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11: Teaching Styles That Support Lateral Thinking

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    274101
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    One thing you’ve probably noticed, if you’ve spent any time in the field of early childhood education, is that teachers use a wide variety of approaches in their daily work with children. It can feel overwhelming at first to navigate all the different styles and methods—but remember, you don’t need to “become someone else” to be effective. Stay true to your own personality and teaching style while remaining open to the range of approaches you can integrate into your unique way of working.

    In this chapter, you’ll explore three distinct approaches to working with young children. What matters most isn’t doing things exactly the way someone else does—it’s letting your values shine through. If you value healthy child development and creativity, you’ll naturally gravitate toward one of the approaches discussed, while still honoring your own voice and strengths as an educator.

    Teachers Who Value Creativity Foster Lateral Thinking

    Lateral thinking, as defined by Edward de Bono, is a type of divergent thinking that enables children to explore unusual, creative, or surprising ideas rather than seeking a single correct answer. It leads to new inventions, playful problem-solving, and unexpected discoveries. While many teachers focus on helping children find the right answer, some of the most effective learning occurs when children think in unexpected ways. In lateral thinking, instead of moving straight up (vertical thinking) toward a solution, children are asked to look sideways, exploring different angles and ideas that others might not consider. De Bono believed that we can teach children to think this way.

    When we value lateral thinking, we show children that there are many ways to approach a problem. We help them feel safe to try new things, take risks, and express their ideas without fear of being “wrong.” Over time, this kind of environment builds confidence, flexibility, and imagination—all essential skills for a happy and productive life!

    Continuum of Approaches

    Schirrmacher and Fox (2014) describe a range of approaches to working with young children that influence creative outcomes.

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    Teacher‑Directed (Direct instruction)

    The teacher has a clear idea of what the children will create and how they will approach it. They often give specific instructions to ensure a recognizable product. There is little input from the children. This is sometimes referred to as Direct Instruction.  It involves structured approaches that sit at the far end of the continuum. The teacher-directed strategy is one in which the adult defines the learning goals, leads the lesson, and typically predetermines the expected outcome. There is a focus on lessons that are often tightly planned, with the teacher as the formal authority, offering step-by-step guidance and reinforcing correct responses

    Why Heavy Teacher Intervention Isn’t Ideal in Early Childhood Art

    Heavily guided, teacher-directed instruction—where the adult models every step, offers praise or stickers, and expects children to produce specific, predetermined results—may have its place, but it doesn’t align with developmentally appropriate practices in early childhood. Research suggests that direct instruction often limits creativity and can hinder the early development of critical thinking skills, which serve as a foundation for later academic pursuits (Hattie, 2009).

    Critics also argue that this approach overly relies on the teacher as the primary source of knowledge, leaving little room for children to explore or take initiative. It can stifle independent thinking and make the learning environment feel rigid and one-dimensional (Lopez, 2023).

    Constructivist Alternatives for Young Learners

    By contrast, constructivist and play-based approaches suggest that children learn best when the teacher acts as a facilitator rather than an authoritarian (Vygotsky, 1978). In this model, the teacher provides materials, poses open-ended questions, and steps back to let children discover and experiment. This type of guidance nurtures active engagement, fosters creativity, and supports deeper learning (Newman, Griffin, & Cole, 1989; Rogoff, 1990).

    Do Crafts Have a Place in Early Childhood Education?

    Not exactly… The Oxford Dictionary defines a craft as “an activity involving skill in making things by hand.” Unlike open-ended art experiences, crafts usually involve specific steps, patterns, or outcomes. They require children to have both familiarity with the materials (such as papier-mâché or weaving) and the fine motor coordination and sustained focus skills to complete them successfully. These skills typically emerge around age seven or eight, when children enter Jean Piaget’s concrete operational stage of cognitive development and Erik Erikson’s stage of initiative versus guilt in the psychosocial domain.

    Before these more mature skills are in place, children under eight benefit most from open-ended exploration with a wide variety of materials: crayons, markers, paint, glue, collage items, clay, and more. Developmental science supports the practice of offering such exploratory art experiences in early childhood. These experiences help build foundational skills—physical, emotional, and cognitive— through play and creative discovery, rather than structured, product-driven tasks.

    There may be times when a teacher feels the urge to have children “make something”—perhaps for a holiday or special calendar occasion. But in truth, these kinds of crafts are often more meaningful to the adults who receive them than to the children creating them. While it may be difficult to completely avoid these moments in early childhood education, it’s wise to minimize them. A better approach is to create a classroom environment rich in open-ended art materials and experiences, where the focus is on the process rather than the product.

    Craft projects can also raise other concerns. For example, when teachers display identical finished products on a bulletin board, it can unintentionally set up a sense of visual comparison or competition. In other cases, a child may want to add personal touches (such as extra beads, tissue paper, or paint) but feel restricted because the craft is pre-planned and deviations aren't allowed. These moments send the message: art is not for the artist, but rather something done to please adults. Over time, this may cause a child to hesitate or even avoid engaging in artistic expression and creative thinking altogether.

    However… There is Value in Craftwork

    In many contexts, crafts hold deep artistic and cultural value. Skilled craftspeople devote time, practice, and patience to their work, often creating items that are both beautiful and functional. Traditional crafts, such as candle-making, jewelry, weaving, pottery, and wind chimes, reflect cultural heritage and personal expression. These art forms are passed down through generations and are often embedded in meaningful rituals, storytelling, and everyday life (Edwards, 2006).

    In early childhood education, the question isn’t whether crafts have value—it’s when and how they are developmentally appropriate. Craft projects can be meaningful for older children who already have a strong foundation in open-ended artistic exploration and who are motivated to learn specific techniques. These children are often ready to follow multi-step processes, appreciate aesthetic details, and take pride in creating a functional or decorative object. Introducing crafts at this stage can support goal-setting, focus, and hand–eye coordination, while also nurturing cultural awareness and appreciation (Schirrmacher & Fox, 2019).

    When introducing young children to cultural crafts, the experience should be hands-on, respectful, and adapted to meet their developmental stage. For example, rather than copying an intricate design, children might explore similar materials (like fabric, beads, or clay) in an open-ended way, or contribute to a simplified version of a craft inspired by the cultural form. This allows them to connect with the essence of the cultural tradition without being pressured to replicate a polished product.

    Teacher‑Guided (Facilitation)

    The teacher-guided approach offers a thoughtful blend of structure and freedom. It sits in the middle of the teaching style continuum, balancing teacher input with significant child choice and creativity. In this facilitative role, the teacher observes closely and intervenes only when needed—supporting rather than directing. Schirrmacher and Fox (2019) describe this as the role of a guide: someone who sets the stage for learning without taking center stage.

    In practice, this might look like a teacher introducing new materials at the art center or posing an open-ended suggestion rooted in a shared experience. For example, a teacher might say, “I brought this big cardboard box from home, and I wondered if we could turn it into a fire truck like the one that visited us yesterday.” This gentle invitation is not controlling but helps to spark ideas and elaborate on the children’s recent experiences.

    In the teacher-guided approach, there is no pre-set outcome unless it connects meaningfully to something the children have seen, felt, or wondered about. Children are free to take the idea in their own direction, using paint, crayons, markers, or clay to represent their thoughts. This approach supports creativity, initiative, and decision-making while still providing a nurturing structure that fosters exploration.

    One child said while taping a rope to a hole on the side of the cardboard box, “I’m making the firetruck’s hose right here…’cause ‘member, it sprayed water to help people?”

    This kind of comment shows how teacher-guided art experiences allow children to connect memory, imagination, and materials in their own meaningful way.

    Child‑Centered (Non-intervention / Unstructured)

    At the opposite end of the continuum is the child-centered, unstructured, or non-intervention approach. In this model, children initiate and direct their own learning experiences while the teacher takes a more observational role. Rather than directing the outcome, the teacher creates a supportive environment where creativity can unfold naturally. These classrooms tend to be rich with open-ended materials and opportunities for imaginative play, child-led art, and collaborative work (Schirrmacher & Fox, 2019).

    Schirrmacher and Fox (2019) emphasize that when adults do engage with children's creative work, they should do so with care and intention. This means using reflective art dialogue that highlights elements of art like color, shape, or texture, while resisting the urge to judge, correct, or compare. Asking open-ended questions like, “Can you tell me about your drawing?” and responding with curiosity rather than praise encourages children to remain the authors of their own creative narratives. This kind of respectful engagement fosters intrinsic motivation and a strong sense of artistic identity.

    That said, children also benefit from a gentle structure that gives their day a sense of rhythm and security. Knowing what to expect helps many young children feel safe and confident. For that reason, a fully child-directed approach is often best reserved for particular times of the day—such as early morning arrivals or the quieter wind-down period before pickup—when a looser structure can comfortably support independent exploration.

    Summary of Approaches

    Position on Continuum

    Approach Type

    Teacher Role

    Characteristics

    Teacher‑Directed (Left)

    Direct / Structured

    Formal authority, highly directive

    Pre‑planned lessons, specific outcomes, structured reinforcement

    Teacher‑Guided (Middle)

    Facilitation

    Observer, subtle intervener

    Questions and scaffolding, support without dominating, responsive fluidity

    Child‑Centered (Right)

    Unstructured / Non‑intervention

    Minimal intervention, listener

    Child‑initiated projects, open‑ended materials, creative autonomy

    These distinctions draw a clear line across the continuum from complete teacher control to total child freedom, with the guided or facilitative position offering a flexible middle path. Schirrmacher & Fox (2019) emphasize that good teaching often resides in this middle space, where structure meets creativity and children are neither overwhelmed nor overly directed.

    Reflecting Thoughts

    Teaching young children through creative experiences doesn't rely on a single perfect method or strict formula. Instead, it involves reading the situation and responding appropriately to the children present. Sometimes, children need an invitation, new materials, a thoughtful question, or gentle guidance to deepen their thinking. At other times, we should step back to let their ideas develop freely. The most effective teachers skillfully navigate this spectrum, providing structure without control and offering freedom without leaving children to figure everything out alone. By trusting children's ability to think, imagine, and create, we shift from directing them on what to produce to creating environments where they can explore and discover on their own. Ultimately, the goal may not be to choose between teacher-led and child-centered methods, but to develop the wisdom to support them when needed and give space for their budding leadership.


    This page titled 11: Teaching Styles That Support Lateral Thinking was last modified on Sun, 26 Jul 2026 04:31:12 GMT and is shared under a CC BY-NC 4.0 license and was authored, remixed, and/or curated by Donna King.

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