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This chapter offers an evaluation and interpretation of the creative thinking and collaboration that took place in a class of five year olds in an English primary school during the academic year 2004–05. This school was committed to developing itself as a creative learning community by participating in a creativity-training programme, Synectics, more usually employed in an adult business context. This school wanted to develop its capacity for creative teaching and learning. This intent was in tune with national and international developments in education where strenuous efforts were being made to extend the reach of creative education which had for a long time been more or less exclusively associated with the arts. The chapter offers an outline of these developments to set the research in context. The research described is a case study and second phase of an evaluation of the project EXCITE! (Excellence, Creativity and Innovation in Teaching and Education) and was carried out by researchers from the Open University. Previous research suggests that when children first start school, they are already competent creative thinkers and storytellers and that both creative and narrative modes of thinking involve abductive rather than deductive inferential reasoning. It is argued that although children may need training in paradigmatic (deductive) modes of thought, they do not necessarily need further training in narrative modes of thought. The examples of young children’s thinking discussed in chapter support this argument. The Synectics creativity-training programme does not claim to ‘teach’ creative thinking per se. The evidence presented suggests that when teachers use Synectics tools and techniques to inform practice, these allow them to create a positive, emotional climate that allows young children to use analogy and metaphor to construct creative explanations and narratives through collaborative discussion.

This chapter introduces the edited collection, Exploring Children’s Creative Narratives that offers fresh perspectives on children’s creative narratives and that explores what these perspectives reveal about their imagination, their thought processes and how they understand the world. The chapter argues that ethnographic case studies, naturalistic observations, conversations and playful interactions with children ranging in age from two to eleven years allow the development of theoretical insights that challenge traditional accounts of creativity and narrative. It also argues that a proper understanding of creative narratives has to be an interdisciplinary endeavour if it is to do justice to the rich, complex, multi-modal and embodied nature of the children’s thought processes as revealed through their drawing and story-telling, music making, dance, drama and imaginative play. Interpretation of these processes draws on socio-cultural accounts of creativity and creative development that challenge more traditional accounts of creativity as an attribute or talent that belongs only to certain gifted individuals. The chapter (and contributors to the collection) maintains that to understand the situated nature of children’s creative activity it is important to examine the social, affective and cognitive processes that take place when children are immersed in such activity. This re-conceptualisation of children’s creativity challenges conventional educational practice and suggests that formal educational training programmes should offer teachers more sophisticated cultural discourses and experiences which will allow them to gain a more rounded understanding of children’s creative narratives.

This chapter offers an evaluation and interpretation of the creative thinking and collaboration that took place in a class of five year olds in an English primary school during the academic year 2004–05. This school was committed to developing itself as a creative learning community by participating in a creativity-training programme, Synectics, more usually employed in an adult business context. This school wanted to develop its capacity for creative teaching and learning. This intent was in tune with national and international developments in education where strenuous efforts were being made to extend the reach of creative education which had for a long time been more or less exclusively associated with the arts. The chapter offers an outline of these developments to set the research in context. The research described is a case study and second phase of an evaluation of the project EXCITE! (Excellence, Creativity and Innovation in Teaching and Education) and was carried out by researchers from the Open University. Previous research suggests that when children first start school, they are already competent creative thinkers and storytellers and that both creative and narrative modes of thinking involve abductive rather than deductive inferential reasoning. It is argued that although children may need training in paradigmatic (deductive) modes of thought, they do not necessarily need further training in narrative modes of thought. The examples of young children’s thinking discussed in chapter support this argument. The Synectics creativity-training programme does not claim to ‘teach’ creative thinking per se. The evidence presented suggests that when teachers use Synectics tools and techniques to inform practice, these allow them to create a positive, emotional climate that allows young children to use analogy and metaphor to construct creative explanations and narratives through collaborative discussion.

This chapter introduces the edited collection, Exploring Children’s Creative Narratives that offers fresh perspectives on children’s creative narratives and that explores what these perspectives reveal about their imagination, their thought processes and how they understand the world. The chapter argues that ethnographic case studies, naturalistic observations, conversations and playful interactions with children ranging in age from two to eleven years allow the development of theoretical insights that challenge traditional accounts of creativity and narrative. It also argues that a proper understanding of creative narratives has to be an interdisciplinary endeavour if it is to do justice to the rich, complex, multi-modal and embodied nature of the children’s thought processes as revealed through their drawing and story-telling, music making, dance, drama and imaginative play. Interpretation of these processes draws on socio-cultural accounts of creativity and creative development that challenge more traditional accounts of creativity as an attribute or talent that belongs only to certain gifted individuals. The chapter (and contributors to the collection) maintains that to understand the situated nature of children’s creative activity it is important to examine the social, affective and cognitive processes that take place when children are immersed in such activity. This re-conceptualisation of children’s creativity challenges conventional educational practice and suggests that formal educational training programmes should offer teachers more sophisticated cultural discourses and experiences which will allow them to gain a more rounded understanding of children’s creative narratives.