4: Providing Creative Experiences

Loris Malaguzzi (1920-1994): The Reggio Emilia Approach Rooted in Respect

A continually emerging contribution to artistic development comes from the work of Loris Malaguzzi, an Italian educator who helped develop the Reggio Emilia approach, an inspiring educational philosophy. After World War II, families in the town of Reggio Emilia, Italy, wanted to build new schools that supported peace, democracy, and the full potential of children. Malaguzzi joined their efforts and worked with teachers to create schools where creativity, self-expression, and collaboration were central to learning. He and his colleagues saw children are strong, capable, and full of ideas, and that artistic materials namely clay, paint, and drawing, help them explore their thinking in deep and meaningful ways. The Reggio Emila approach encourages us to see creativity as a way of thinking, communicating, and learning rather than the completion a craft or actitivity that has a predetermined outcome.   (Edwards, Gandini, & Forman, 2012).

The Reggio Emilia approach is guided by a set of principles that support creativity, exploration, and collaboration. Early education programs around the world, including many in the United States, have been inspired to apply these principles in their classrooms. "Reggio-inspired" schools, as they are typically called, uphold the following values:

• Children are capable and wildly creative thinkers. 
  Educators in Reggio-inspired settings believe that children are strong, competent individuals with powerful ideas. This belief influences every aspect of teaching, from how intently teachers listen to children to how dynamic materials and learning spaces are prepared (Malaguzzi, 1996). 
• The environment is seen as the “third teacher.”
  Classrooms are carefully designed to invite exploration and communication. Natural light, living plants, mirrors, and neutral colors help create a calm, focused atmosphere. The goal is not only aesthetic beauty but also to support relationships and discovery. A well-designed environment encourages children to collaborate, problem-solve, and express themselves (Gandini, 2012). The environment's aesthetics is also of interest to educators in Reggio Emilia Schools.  If you ever find yourself in one you will note it's well-lit and nature based elements such as large windows and live plants with furniture that does not compete for attention with all the activity of the space, rather the furnishings and walls take on a muted or neutral tone and the color comes from the children themselves as well as their work and the live plants often found in these spaces.
• The teacher is the “second teacher” and the child the "first teacher".
  In Reggio Emilia classrooms, a term used to highlight the educator’s role as a co-learner and co-researcher is "second teacher".  This teacher listens closely, observes and documents children’s thinking, and helps extend their ideas through dialogue and further documentation rather than delivering fixed or disconnected lessons like you might see in a published "curriculum guide".
• Families are active participants in the learning process.
  Parents are seen as partners in education. Communication is open and ongoing, and families are invited to contribute to curriculum decisions and classroom life. This value creates a sense of community and shared responsibility for the child’s development (Edwards et al., 2012).
• Art and creativity are central to learning.
  Reggio Emilia programs typically include an atelier (art studio) and an atelierista (a trained art specialist) who collaborates with teachers and children. The atelier provides a dedicated space for children to explore a wide range of materials and media. Projects often unfold over days or weeks, encouraging deep thinking, thougtful elaboration and multiple forms of expression. Malaguzzi referred to this as “the hundred languages of children” — a belief that children express themselves in many different ways, including drawing, movement, sculpture, and storytelling (Malaguzzi, 1996).

Tara Govender: How culture affects artistic development

Tara Govender is an educator and researcher who highlights the vital role that culture and social context play in children's artistic expression. Her work encourages teachers to move beyond traditional ideas of artistic “development” and recognize that what children create is often shaped by their families, communities, and cultural stories. Govender reminds us that children’s art reflects their lived experience. For example, a child who sees henna patterns at family celebrations might draw spirals and symbols that carry meaning in their home life. Another child might use bold colors or create images inspired by stories passed down through oral tradition. These expressions are valid and meaningful, even if they don’t follow a typical developmental sequence seen in Western art education.  In early childhood settings, teachers need to create inclusive spaces that honor this diversity of artistic voice. This means offering materials, books, visuals, and conversations that reflect a wide range of cultures and ways of making art, and avoiding the idea that one way of drawing or representing is “better” or more advanced than another.

Govender’s work supports the idea that cultural identity and artistic development are deeply connected, and that educators have a responsibility to make room for every child’s story to be seen and heard through art.

Christine Marmé Thompson: Children's visual storytelling

I have heard many of my students worry about what to say when a child has produced a work of art. If simple praise or asking "what is it?" is frowned upon, what should the caring teacher say? 

Christine Marmé Thompson’s work on children’s visual storytelling gives us a deeper understanding of children’s meaning-making through visual languages. Her research positions young children as active narrators (not passive scribblers) who use visual forms to explore and communicate meaning. Thompson challenges traditional developmental checklists and instead emphasizes the relational, imaginative, and narrative aspects of children's art making. Thompson urges educators to view children's art as a form of storytelling, not just as a stage in their developing realism. Children's visual storytelling is symbolic and deeply personal.  According to Thompson, children draw to explore, explain, and connect with their world. 

Practical Applications

Teachers should provide a variety of materials such as collage, markers, paint, and digital tools. They should allocate plenty of time and space for children to express themselves through art. They should also create opportunities for children to share and discuss their artwork, like peer storytelling circles, portfolios, and documentation walls. Listening to and interpreting children’s visual stories encourages a responsive curriculum focused on the child's interests. 

Analysis Through Thompson’s Lens

• Culture: The drawing reflects a specific cultural celebration—Eid al-Fitr—and shows how Amir connects food, ritual, and family through his art.
• Experience: Amir draws what matters to him—the tactile experience of food, the social gathering, and the emotional joy of celebration.
• Identity: He identifies who belongs (even babies and distant relatives), affirming his sense of family, belonging, and heritage.
• Narrative and Symbol: The moon isn’t just decoration—it’s a religious and cultural symbol, full of meaning in Amir’s world.
• Therefore, culturally responsive teaching means:
  • Valuing children's lived experiences as valid and worthy of artistic exploration.
  • Inviting open-ended prompts that let culture and individuality shine.
  • Listening and documenting the child's story, not just evaluating the drawing’s quality.

“The image, even in its simplest form, must be considered in relation to the child’s world, and in the presence of that child’s voice.” (Thompson, 2006)

Major Contributions of Thought Leaders

1. Individually Appropriate Experiences

A teacher who uses DAP takes into account the unique needs, preferences, and temperaments of each child, not just their age. For example, consider 5-year-old Sadie. While most children in her classroom enjoy sensory play—such as running their hands through a bin of birdseed or exploring a cornstarch-and-water mixture (commonly known as “oobleck”)—Sadie reacts with caution and avoids touching these materials. She may be experiencing strong sensory sensitivity. Does this mean Sadie should be protected from all sensory experiences? Not necessarily. A developmentally appropriate response involves noticing her hesitation and responding with sensitivity and flexibility. A thoughtful teacher might offer Sadie a pair of gloves or invite her to watch first and join in later, when she feels more comfortable. The goal is not to force participation, but to gently support her engagement by meeting her where she is.

By tuning in to each child's individual responses and needs, teachers can adjust the classroom environment to support inclusive, meaningful participation for every learner. This approach fosters trust, autonomy, and a sense of belonging—core elements in healthy early development.

The Freedom-of-Childhood Approach

Childhood is a unique and fleeting stage in the human lifespan. It is a period rich with curiosity, imagination, and a natural drive to learn.  These qualities that often fade as children learn of the high-stakes nature of education and more adult-like responsibilities take over. Childhood can feel like a thing of the past at times.  Honoring creativity during childhood and beyond respects the wonder and magic of early life and supports joyful, meaningful learning. In his seminal work, The Hurried Child, first published in the 1980s, David Elkind (2007) cautioned against the increasing pressure placed on children to grow up too quickly. He described a societal shift toward emphasizing early academic achievement and performance at the expense of developmental readiness and individual interest.

When children are expected to perform tasks for which they are not developmentally prepared or emotionally invested, they receive a troubling message: who they are right now—as curious, playful, expressive young learners—is not enough. Instead, they are rewarded only for demonstrating skills or behaviors beyond their natural stage. This pressure not only undermines their intrinsic motivation but can also lead to long-term consequences such as anxiety, burnout, and disengagement from learning. As Elkind (2007) writes, “When we pressure children to grow up too fast, we rob them of the very experiences that prepare them for the future.”

A freedom-of-childhood approach centers the child’s current needs and interests, trusting that authentic growth emerges best through play, creativity, and exploration.

Closing Reflection

Each thought leader you’ve just read about encourages teachers to slow down, listen carefully, and most importantly, trust in children's 100 languages of expression. Malaguzzi emphasizes that creativity is a vital way of thinking and engaging with children. Govender urges us to reconsider what we might hastily label as DAP, instead recognizing the culture embedded in children's marks and symbols. Thompson draws our focus to the narrative element of children’s artwork, where drawing, conversation, imagination, and meaning unfold together in real time. Now, it’s your turn as an emerging thought leader in this field to develop your own ideas about the purpose and process of creativity! Good luck!