imagination and creativity in education

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5 Reasons Why It Is More Important Than Ever to Teach Creativity

• Education Leadership

On the laundry list of skills and content areas teachers have to cover, creativity doesn’t traditionally get top billing. It’s usually lumped together with other soft skills like communication and collaboration: Great to have, though not as important as reading or long division.

But research is showing that creativity isn’t just great to have. It’s an essential human skill — perhaps even an evolutionary imperative in our technology-driven world.

“The pace of cultural change is accelerating more quickly than ever before,” says Liane Gabora , associate professor of psychology and creative studies at the University of British Columbia. “In some biological systems, when the environment is changing quickly, the mutation rate goes up. Similarly, in times of change we need to bump up creativity levels — to generate the innovative ideas that will keep us afloat.”

From standardized tests to one-size-fits-all curriculum, public education often leaves little room for creativity, says EdNews Daily founder Robyn D. Shulman . This puts many schools out of sync with both global demand and societal needs, leaving students poorly prepared for future success.

What can education leaders do about it? For starters, they can make teaching creativity a priority. Here are five reasons to encourage teachers to bring more creativity into the classroom:

1. Creativity motivates kids to learn.

Decades of research link creativity with the intrinsic motivation to learn. When students are focused on a creative goal, they become more absorbed in their learning and more driven to acquire the skills they need to accomplish it.

As proof, education leader Ryan Imbriale cites his young daughter, who loves making TikTok videos showcasing her gymnastics skills. “She spends countless hours on her mat, working over and over again to try to get her gymnastics moves correct so she can share her TikTok video of her success,” says the executive director of innovative learning for Baltimore County Public Schools.

Students are most motivated to learn when certain factors are present: They’re able to tie their learning to their personal interests, they have a sense of autonomy and control over their task, and they feel competent in the work they’re doing. Creative projects can easily meet all three conditions.

2. Creativity lights up the brain.

Teachers who frequently assign classwork involving creativity are more likely to observe higher-order cognitive skills — problem solving, critical thinking, making connections between subjects — in their students. And when teachers combine creativity with transformative technology use, they see even better outcomes.

Creative work helps students connect new information to their prior knowledge, says Wanda Terral, director of technology for Lakeland School System outside of Memphis. That makes the learning stickier.

“Unless there’s a place to ‘stick’ the knowledge to what they already know, it’s hard for students to make it a part of themselves moving forward,” she says. “It comes down to time. There’s not enough time to give them the flexibility to find out where the learning fits in their life and in their brain.”

3. Creativity spurs emotional development.

The creative process involves a lot of trial and error. Productive struggle — a gentler term for failure — builds resilience, teaching students to push through difficulty to reach success. That’s fertile soil for emotional growth.

“Allowing students to experience the journey, regardless of the end result, is important,” says Terral, a presenter at  ISTE Creative Constructor Lab .

Creativity gives students the freedom to explore and learn new things from each other, Imbriale adds. As they overcome challenges and bring their creative ideas to fruition, “students begin to see that they have limitless boundaries,” he says. “That, in turn, creates confidence. It helps with self-esteem and emotional development.”

4. Creativity can ignite those hard-to-reach students.

Many educators have at least one story about a student who was struggling until the teacher assigned a creative project. When academically disinclined students are permitted to unleash their creativity or explore a topic of personal interest, the transformation can be startling.

“Some students don’t do well on tests or don’t do well grade-wise, but they’re super-creative kids,” Terral says. “It may be that the structure of school is not good for them. But put that canvas in front of them or give them tools so they can sculpt, and their creativity just oozes out of them.”

5. Creativity is an essential job skill of the future.

Actually, it’s an essential job skill right now.

According to an Adobe study , 85% of college-educated professionals say creative thinking is critical for problem solving in their careers. And an analysis of LinkedIn data found that creativity is the second most in-demand job skill (after cloud computing), topping the list of soft skills companies need most. As automation continues to swallow up routine jobs, those who rely on soft skills like creativity will see the most growth.

“We can’t exist without the creative thinker. It’s the idea generation and the opportunity to collaborate with others that moves work,” Imbriale says.

“It’s one thing to be able to sit in front of computer screen and program something. But it’s another to have the conversations and engage in learning about what somebody wants out of a program to be written in order to be able to deliver on that. That all comes from a creative mindset.”

Nicole Krueger is a freelance writer and journalist with a passion for finding out what makes learners tick.

• artificial intelligence

Understanding Creativity

• Posted June 25, 2020
• By Emily Boudreau

Understanding the learning that happens with creative work can often be elusive in any K–12 subject. A new study from Harvard Graduate School of Education Associate Professor Karen Brennan , and researchers Paulina Haduong and Emily Veno, compiles case studies, interviews, and assessment artifacts from 80 computer science teachers across the K–12 space. These data shed new light on how teachers tackle this challenge in an emerging subject area.

“A common refrain we were hearing from teachers was, ‘We’re really excited about doing creative work in the classroom but we’re uncertain about how to assess what kids are learning, and that makes it hard for us to do what we want to do,’” Brennan says. “We wanted to learn from teachers who are supporting and assessing creativity in the classroom, and amplify their work, and celebrate it and show what’s possible as a way of helping other teachers.”

Create a culture that values meaningful assessment for learning — not just grades

As many schools and districts decided to suspend letter grades during the pandemic, teachers need to help students find intrinsic motivation. “It’s a great moment to ask, ‘What would assessment look like without a focus on grades and competition?’” says Veno.

Indeed, the practice of fostering a classroom culture that celebrates student voice, creativity, and exploration isn’t limited to computer science. The practice of being a creative agent in the world extends through all subject areas.

The research team suggests the following principles from computer science classrooms may help shape assessment culture across grade levels and subject areas.

Solicit different kinds of feedback

Give students the time and space to receive and incorporate feedback. “One thing that’s been highlighted in assessment work is that it is not about the teacher talking to a student in a vacuum,” says Haduong, noting that hearing from peers and outside audience members can help students find meaning and direction as they move forward with their projects.

• Feedback rubrics help students receive targeted feedback from audience members. Additionally, looking at the rubrics can help the teacher gather data on student work.

Emphasize the process for teachers and students

Finding the appropriate rubric or creating effective project scaffolding is a journey. Indeed, according to Haduong, “we found that many educators had a deep commitment to iteration in their own work.” Successful assessment practices conveyed that spirit to students.

• Keeping design journals can help students see their work as it progresses and provides documentation for teachers on the student’s process.
• Consider the message sent by the form and aesthetics of rubrics. One educator decided to use a handwritten assessment to convey that teachers, too, are working on refining their practice.

Scaffold independence

Students need to be able to take ownership of their learning as virtual learning lessens teacher oversight. Students need to look at their own work critically and know when they’ve done their best. Teachers need to guide students in this process and provide scaffolded opportunities for reflection.

• Have students design their own assessment rubric. Students then develop their own continuum to help independently set expectations for themselves and their work.

Key Takeaways

• Assessment shouldn’t be limited to the grade a student receives at the end of the semester or a final exam. Rather, it should be part of the classroom culture and it should be continuous, with an emphasis on using assessment not for accountability or extrinsic motivation, but to support student learning.
• Teachers can help learners see that learning and teaching are iterative processes by being more transparent about their own efforts to reflect and iterate on their practices.
• Teachers should scaffold opportunities for students to evaluate their own work and develop independence.

Additional Resources

• Creative Computing curriculum and projects
• Karen Brennan on helping kids get “unstuck”
• Usable Knowledge on how assessment can help continue the learning process

Usable Knowledge

Connecting education research to practice — with timely insights for educators, families, and communities

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In This Article Expand or collapse the "in this article" section Young Children’s Imagination

Introduction, the intertwining of imagination and creativity: a symbiotic relationship.

• Children and Imagination
• Teacher Education: Strategies, Lessons, and Practice
• Kieran Egan and the Theory of Imaginative Education
• Imaginative Education Publications

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Young Children’s Imagination by Kym Stewart , Annabella Cant LAST REVIEWED: 25 September 2019 LAST MODIFIED: 25 September 2019 DOI: 10.1093/obo/9780199791231-0222

The following bibliography offers readers a glimpse into the breadth of research on young children and imagination and its impact on culture, research, and education practice. The writings are organized into seven sections: the Intertwining of Imagination and Creativity: A Symbiotic Relationship , Children and Imagination , Teacher Education: Strategies, Lessons, and Practice , Kieran Egan and the Theory of Imaginative Education , Imaginative Education Publications , Journals , and Handbooks . In many disciplines, the ideas of imagination and creativity have been conflated. This bibliography offers some key readings to help distinguish these two terms, while also confirming their interconnectedness. This complexity of definitions and usage of terms is more fully explored in the next section, which presents a variety of research projects looking closely at the role of imagination in early learning, play, and creative endeavors. The importance of imagination for young children’s development is further explored in the teacher-training section, where scholars, researchers, and educators share practical and theoretical suggestion for in-service teachers and current practicing teachers. This focus on education is deepened in the following two sections, focusing on a particular educational philosopher, Kieran Egan, and his educational theory, Imaginative Education—one of the most well-known educational theories. Following the major works about the theory of Imaginative Education written by its designer and creator, Kieran Egan, the bibliography collates articles that directly engage with the theory, in practical and theoretical settings, from early childhood to postsecondary education. Finally, the last two sections offer the reader a list of journals and handbooks about children’s thinking, education, and imagination.

The concepts of imagination and creativity have often been used interchangeably in pedagogical, psychological, and philosophical literature. The following readings were selected to highlight the differentiation of these two concepts, as well as the role of these concepts within the educational context. Most of the readings focus on children’s early learning; however, the pivotal importance that creativity and imagination play in learning can be seen at all levels of education. Although these two concepts are distinct, they are also carefully interrelated. For example, in Tsai 2012 and Egan, et al. 2015 we see how the imagination is depicted as being part of the creative process. The entanglements between the two concepts are also represented in the studies Finke 1996 and Pendleton-Jullian and Brown 2016 . This interrelation is examined via the activity of play in Aljarrah 2017 ; Holmes, et al. 2019 ; and Nilsson, et al. 2018 as an integral part of learning and a context for imaginative thinking—and thus creativity. Dillon 2018 offers a practical example of children’s creativity at play, and Paul and Kaufman 2017 takes a philosophical approach to the two concepts. The overall message of the readings in this section is that both imagination and creativity must be part of curricula, and playful learning is legitimate at all levels of education.

Aljarrah, Ayman. “Play as a Manifestation of Children’s Imagination and Creativity.” Journal for the Education of Gifted Young Scientists 5.1 (2017): 25–38.

DOI: 10.17478/jegys.2017.52

This article, along with a literature review, focuses on the value of play in teaching and learning. The author emphasizes the fact that play is a clear trigger for the manifestation and nurturing of imagination and creativity. This paper also engages with the interrelatedness of creativity, imagination, and play.

Dillon, Anna. “Finding Innovation and Imagination in a Bag of Loose Parts.” Childhood Education 94.1 (2018): 62–65.

DOI: 10.1080/00094056.2018.1420369

This short article describes a few moments in time when children engage with a bag of “loose parts.” The author suggests that simple items can stimulate children’s imagination, innovative thinking, and the desire to explore and discover.

Egan, Kieran, Gillian Judson, and Krystina Madej. Engaging Imagination and Developing Creativity in Education . Newcastle upon Tyne, UK: Cambridge Scholars, 2015.

The book demonstrates, through a number of invited chapters, that imagination is a vital part of creativity. The authors note the discrepancy between the world of today, which is in need of creative innovation, and schooling systems that do not offer imagination an honorable place in the curriculum.

Finke, Ronald A. “Imagery, Creativity, and Emergent Structure.” Consciousness and Cognition 5.3 (1996): 381–393.

DOI: 10.1006/ccog.1996.0024

The article begins with a short literature review on creative thinking and imagination studies, continuing with an analysis of the distinctions and correlations between aspects of controlled creative imagery and aspects of it when this control is not present—a process that creates unanticipated structures in imagined forms.

Gaut, Berys Nigel, and Paisley Livingston, eds. The Creation of Art: New Essays in Philosophical Aesthetics . Cambridge, UK: Cambridge University Press, 2007.

This book describes the links between imagination and creativity by describing each in detail. The authors—a group of distinguished thinkers—consider the analysis of imagination as a more difficult process due to its slipperiness. A relevant distinction is made between imagination and imaginings.

Holmes, Robyn M., Brianna Gardner, Kristen Kohm, et al. “The Relationship between Young Children’s Language Abilities, Creativity, Play, and Storytelling.” Early Child Development and Care 189.2 (2019): 244–254.

DOI: 10.1080/03004430.2017.1314274

This study investigates the relationship between children’s social play, storytelling, language abilities, and imagination. The results show a positive relationship between play and creativity, storytelling and language abilities, and language and creativity.

Nilsson, Monica, Beth Ferholt, and Robert Lecusay. “‘The Playing-Exploring Child’: Reconceptualizing the Relationship between Play and Learning in Early Childhood Education.” Contemporary Issues in Early Childhood 19.3 (2018): 231–245.

DOI: 10.1177/1463949117710800

This article problematizes the dichotomy between play and learning through a reconceptualization of early childhood education as not an informal process but an outcome of play and exploration. The authors drive the arguments back to Vygotsky’s theory on play, imagination, realistic thinking, and creativity.

Paul, Elliot Samuel, and Scott Barry Kaufman. The Philosophy of Creativity: New Essays . New York: Oxford University Press, 2017.

The essays in the book bring to the surface some straightforward questions about the role of creativity and imagination in life. The philosophical lens allows the reader to get a new kind of perspective on this discussion.

Pendleton-Jullian, Ann M., and John Seely Brown. Pragmatic Imagination: Single from Design Unbound . San Francisco: Blurb, 2016.

The small book unpacks aspects of a pragmatic and productive imagination that should be part of the agency of all humans. In the view of the authors, the entanglement of imagination and action marks one of the delimitations between creativity and imagination.

Tsai, Kuan Chen. “ Play, Imagination, and Creativity: A Brief Literature Review .” Journal of Education and Learning 1.2 (2012).

DOI: 10.5539/jel.v1n2p15

The review engages with the concepts of play, imagination, and creativity, with the purpose of demonstrating their pivotal role in learning for students. Creativity is depicted as a result of an active imagination.

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"[Genetically Modified Organisms: A Scientific-Political Dialogue on a Meaningless Meme] is an excellent book presenting a very strong case for abandoning the acronym GMO. It will be extremely helpful to scholars and educators in developing countries who need to persuade their populace and politicians to adopt modern methods to reap the benefits of more nutritious foods and greatly improved yields."

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Engaging Imagination and Developing Creativity in Education (2nd Edition)

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Imagination is the source of creativity and invention. This volume of essays has been collected expressly to bring readers new ideas about imagination and creativity in education that will both stimulate discussion and debate, and also contribute practical ideas for how to infuse daily classrooms with imaginative activities.

Researchers and educators around the world have taken up the discussion about the importance of imagination and creativity in education. This global relevance is represented here by writings from authors from Brazil, Canada, China, Denmark, Italy, Israel, Japan, and Romania. In the first part of the book, these authors explore and discuss theories of development, imagination, and creativity. In the second part, they extend these theories to broader social issues, including responsible citizenship, gender, and special needs education, and to new approaches to teaching curriculum subjects such as literacy, science, and mathematics, as well as to the educational environment of the museum.

Since the first edition of this book, Imaginative Education (IE) has developed increasingly accessible strategies for teachers to routinely engage imagination in everyday practice. New essays for the second edition include discussions about increasing political consciousness, improving teacher education, and using mathematical evaluation in Part I, and phenomenological approaches to media education in Part II.

Kieran Egan is a Professor in the Faculty of Education at Simon Fraser University, Canada. He is the author of The Educated Mind: How cognitive tools shape our understanding (University of Chicago Press). He is also the author of Learning in Depth: A simple innovation that can transform schooling (University of Chicago Press), and a contributor to the LiD website (http://ierg.ca/LID/).

Gillian Judson is one of the Directors of the Imaginative Education Research Group (www.ierg.ca), and a Lecturer in the Faculty of Education at Simon Fraser University. Her published work and teaching show how students’ imaginations (pre-K through graduate school) can be routinely engaged to ensure effective learning across the curriculum. She is particularly interested in how an imaginative and ecologically sensitive approach to education can lead to a sophisticated ecological consciousness.

Krystina Madej is Visiting Assistant Professor at the School of Literature, Media, and Communication at Georgia Institute of Technology, Atlanta, Georgia, and Visiting Professor at the Center for Digital Media, Vancouver, Canada. Her current work looks at the nature of children’s somatic engagement with narrative rhymes in which characteristics of their interaction in traditional oral and print media are contrasted with their interaction in digital media.

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