In Light of Theoretical Perspectives and Practical Experience, Discuss the Importance Of

Biography

My name is Emma McShane. I am a mature part-time student in my final year of a BA Honours Degree in Early Childhood Studies at Stranmillis University College Belfast. After having completed art and design courses and worked in interiors, I lived and travelled abroad for several years. On returning I worked in office management before deciding, after the birth of my first child, that I wanted to learn more about children’s development, education and care. I started my education by completing an NVQ in Children’s Care and Learning Development whilst volunteering in a local nursery. At this point I considered the ECS Degree but realised that I needed more experience in assignment work and studying, so I then finished a two year HNC in Advanced Practice Working with Children and Families and from this course, then applied to Stranmillis. I have continued to work throughout this period in education as a SEN classroom assistant which is an area of particular importance to me, not least because my son has a statement of Autism. I am very interested in the emotional well-being of children and how this can be promoted and in future would like to further my knowledge and experience in this area. The Arts and Creativity in general have always been a significant factor in my life; I feel that all children need to access and integrate these in their learning to experience an enriched life as a child and as an adult.

In light of theoretical perspectives and practical experience, discuss the importance of creativity in the development of the young child. (1000 words)

Creativity can be defined as high-level thinking as it involves developing an idea through a deep thought process and creation of a product resulting from the idea, (Bruce, 2011). There has been a tendency to only link creativity to the Arts, although the term has become associated with other areas such as creative thinking, (Glaveneau, 2011, 2014). Possibility thinking (Craft, 2011) or divergent thinking (Russ and Wallace, 2014) overlap with creativity in the Arts because, they all share common criteria, although researchers differ slightly in their definitions. Torrance (1964), proposes originality, fluency, flexibility and elaboration, whereas Runco and Jaeger (2012) reduce this to originality and effectiveness; Robinson (2001) emphasises imagination and includes value although Weisberg (2015) disputes the latter as value can be subjective and changing. This short paper starts by discussing the benefits of these defining criteria on the development of the young child through creative thinking. The focus then moves to the importance of creativity through the arts and finally the significance to children’s development of combining both these approaches in practice.

Research points to promoting creativity in education to enable future generations to cope with social, economic and global issues (Martin, 2007; Keahy, 2016). However, Berghetto (2010) warns that current education practice such as the initiate, response, evaluate approach, (IRE), restricts children’s abilities to express, explore or interpret their understanding. Furthermore Cropley (2012) cautions children are not being equipped to make associations or take risks which are essential for evolving positive creative attitudes such as values, motivation and attentiveness. Robinson (2011) believes although logic and knowledge are needed to inform creativity, there should be an open approach to learning creatively. Creativity thinking is a skill that should be applied cross all domains of learning to progress children’s development (Michalopoulou, 2014; Hennessey and Amabile, 2010) and can foster divergent thinking in adult life (Ross and Wallace, 2013). By providing environments in practice which encourage problem solving and critical thinking, children become active learners, increasing their engagement, confidence and cognitive development (Robinson, 2001).

The Northern Ireland Curriculum, (Council for Curriculum, Examinations and Assessment, (CCEA), 2007), recognises the importance of nurturing decision making, critical thinking, communication and cooperation skills in the ‘thinking skills and personal capabilities’ cross-curricular programme. In practice the adult encourages the children to work collaboratively through group discussions and consider innovative, proactive approaches to problems. Children are given opportunities in practice to extend possibilities, experiment and explore through such activities as construction play. These creative activities allow for mistakes and demonstrate that failure is not a flaw and can lead to discovery (Cote, 2010). Through this social constructivist approach to creativity, children’s social and emotional development are enhanced by acquiring social skills, resilience and perseverance, (Denham and Brown, 2010).

Due to the increased emphasis on promotion of creative thinking, there are concerns that creativity through art education, an already marginalised area of learning, is being further side-lined, and is fast becoming an extra-curricular activity only accessed by the privileged,- (The Warwick Commission, 2015). An issue with creativity in the arts is that people, including children, assume they must be talented to be creative which discourages involvement if they feel incompetent, (Glaveanu, 2011). However, Vygotsky (2004) states creativity is integral to human existence as it is the means of expression of imagination and consciousness. Imagination is the first step in human creativity leading to symbolising and representation which can be seen in practice in children’s art and play (Griffith, 2014; Ulger, 2015). Saracho (2012) claims children’s creative imagination is highest at pre-school age, although Keahy (2016) warns this creative capacity diminishes if unused. Through constructivism, children use their visual perception and aesthetic sensitivity to investigate their environment and experiences, (Savoie, 2015). They need safe and secure environments to express and interpret their insights creatively; art and play offer them this opportunity as there is less pressure for defined outcomes, (Cote, 2010; Cantro, et al 2016).

In practice, play involving examining materials and trying new techniques in art allows children to convey ideas with the focus on the process rather than the product which builds self-esteem and self-perception of capabilities (Bergen, 2009). However, creative arts are not limited only to learning techniques, it is about observation, evaluating and experiencing as well as creation (Denac, 2014). In practice through role play and drama, (Fromberg, 2006; Toivanen et al, 2013) and through viewing and appreciating others works, children develop intuitive and perceptive thinking and comprehension of others perspectives which promotes social development and adaptability, (Michalopoulou, 2008; Ferland, 2009).

Fine art, music, dance, drama and literature are forms of communication and expressions of culture, which are included in art education and build on children’s developing curiosity, imagination and creativity (Isbell and Raines, 2013). Nevertheless, Fleming (2010) claims art education needs to incorporate and promote divergent and critical thinking to give children the skills to deal with unforeseen situations. Research such as Hoffman-Davis (2008) and Nevanen et al, (2015) find that when art is incorporated throughout the curriculum, creativity can develop children’s comprehension and reflective skills, and increases concentration and emotional expression. Gardner, (1983) recognises that children learn through multiple-intelligences, therefore, when different modes of learning are employed through creativity across the curriculum all strengths and abilities can be catered for, ensuring success for all. This is evident in the Reggio Emilia approach where ateliers assist children in long term creative projects with varied media to extend children’s understanding and learning development, (Vecchio, 2010). More recently Education Scotland has put creativity at the centre of its Curriculum for Excellence (CfE) (Scottish Executive, 2004) with the Education and Arts, Culture and Creativity: Action Plan, (Scottish Executive, 2010) by embedding creativity in all aspects of learning to ensure fostering of intrinsic, social and economic values from early childhood onwards.

To summarise, creativity is a broad term which can be applied to all areas involving processing ideas to creating a product. Encouraging and supporting children’s creative thinking is important for their development as it enables them to explore their imaginative ideas, to develop problem solving skills and innovative approaches to the world around. Creativity through the arts is essential for children to take the first steps in developing their imagination and begin to use expression and representation to interpret their thoughts. When artistic creativity and creative thinking are combined to extend children’s learning, children become active agents in their own learning, increasing self-esteem and self-perception. Creativity is important to the cognitive, social and emotional development of the young child and it enables them to be intrinsically motivated and contributing members of society. Creativity is not an add-on; it is part of who we are.

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