Access, creativity and children's particitation: The art shelf that opened up possibilities

Abstract

This study aimed to explore how young children experience access to creative materials in preschool and how such access, combined with teacher support, influences their participation and creativity. The study is grounded in the belief that children’s creative expression flourishes when the learning environment is physically and relationally supportive. Central to this is the idea that democratic pedagogical practices and accessible environments promote children’s autonomy, creativity, and agency in early childhood education settings (Pacini-Ketchabaw et al., 2017; Rinaldi, 2006).

The main aim of the research was to investigate how children respond when creative materials are made visible and readily available in their daily environment, and how preschool teachers’ attitudes and engagement affect this process. More specifically, the research questions were: (1) How do children experience access to creative materials? and (2) What influence does increased access, along with teacher support, have on children’s creative activity and participation?

The theoretical framework draws on perspectives from Reggio Emilia-inspired early childhood education, focusing on children as competent and creative individuals who construct knowledge through interaction with materials, peers, and adults (Hoyuelos, 2013; Vecchi, 2010). The study also aligns with sociocultural theories of learning, which emphasize the significance of context, tools, and collaboration in meaning-making processes (Svanborg R. Jónsdóttir, 2016).

The research was conducted as a practitioner-led action research project in one preschool classroom in Iceland, operating under the Reggio Emilia philosophy. The researcher, also the classroom teacher, introduced visible and accessible creative materials to the classroom environment over 12 weeks. The study utilized a mixed-methods ethnographic approach, including participant observation, a reflective research journal, group interviews with children and staff, and photographic documentation of materials and children’s creations.

The findings indicate that merely making materials accessible and visible is not sufficient to activate children’s creativity or participation. Instead, the children required intentional support through structured provocations, shared exploration, and consistent adult presence. Initially, the children showed limited engagement with the creativity shelf despite its prominence. It was not until the educator began placing materials on work tables and initiating conversations that the children gradually became more independent, experimental, and collaborative in their use of the materials.

A particularly illustrative event was what came to be known as the “painting mishap,” in which a group of children used paint to decorate themselves and parts of the room. While initially framed as a disruption, this event became a turning point in recognizing children’s need to explore materials physically and socially, emphasizing the importance of adult guidance that allows for risk-taking and learning through trial and error.

One of the critical challenges encountered was staff shortage. During weeks of limited staffing, children’s access to materials remained, whereas support from educators diminished, leading to reduced engagement. This experience supports findings from previous research to the effect that democratic and creative learning environments require both material infrastructure and sustained adult involvement (Lewin-Benham, 2011; Rinaldi, 2006). The temporary withdrawal of adult co-researchers resulted in stagnation, demonstrating that participation is co-constructed and fragile in the absence of relational scaffolding.

From a theoretical standpoint, the study confirms the Reggio Emilia view that the environment is a “third teacher,” but only when activated through social interaction and cultural meaning-making. The children’s creative processes aligned with Vecchi’s (2010) conception of aesthetic learning as an inquiry process, and Hoyuelos’ (2013) emphasis on the ethical responsibility of educators to build participatory learning cultures.

Ultimately, the creativity shelf became more than a physical object; it evolved into a shared cultural space where children negotiated ideas, expressed identities, and tested boundaries. The educator’s role transformed from initiator to co-learner, fostering an atmosphere where creativity and democracy were not taught but lived. The findings contribute to the understanding of how participatory pedagogies are enacted in practice and offer insight into the nuanced and often non-linear nature of fostering creative participation in early childhood settings.