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Introduction:
Drama and puppetry support creativity by allowing young children to express ideas, emotions, and stories through movement, voice, and role-play. These forms of play nurture imagination, empathy, and communication skills. Through pretending to be someone else or using a puppet to speak, children develop confidence, explore social roles, and practise problem-solving. Drama and puppetry are accessible to all learners, including those with limited verbal language, as they offer multiple modes of expression. Integrating drama into early learning environments supports holistic development and encourages collaborative, creative thinking in a fun and engaging way.
Creativity Theories and Perspectives
Vygotsky highlighted the importance of imaginative play in developing abstract thinking and self-regulation. Through role-play, children engage in symbolic representation—a key foundation for literacy and cognitive growth. Gardner’s theory of Multiple Intelligences supports dramatic arts by engaging bodily–kinesthetic, interpersonal, and linguistic intelligences. The Reggio Emilia approach values dramatic expression as one of the "hundred languages of children," giving voice to thoughts and feelings that may be difficult to express otherwise. Drama and puppetry align with these theories by fostering creativity through social interaction, imagination, and narrative thinking.
Resources, Materials, and Digital Technologies
Educators can use hand puppets, finger puppets, masks, dress-up clothes, scarves, small world figures, and open-ended props like boxes or fabric. Story stones and felt boards support storytelling for younger children. Digital tools include puppet-making apps (e.g., Puppet Master, Toontastic), digital storybooks, and voice-recording tools that allow children to animate characters or retell stories. Setting up dramatic play corners (e.g., home corner, doctor’s office, space station) invites role-play. These tools support children’s ability to act out real-life scenarios and fantasy stories, promoting confidence, collaboration, and language development.
Learning Experience
Animal Sound Puppets
0–2 Years
Peek-a-Boo Puppet Play
Educators use soft hand puppets to play peek-a-boo, helping infants begin to understand turn-taking and emotional expression.
Source: Trevarthen, C. (2002). Early communication and the roots of creativity.Animal Sound Puppets
Using animal finger puppets, educators mimic sounds (e.g., moo, baa), encouraging infants to copy and respond.
Source: NSW Department of Education (2023).
Puppet Story Retelling
2–3 Years
Puppet Story Retelling
Educators read a short story, then use puppets to retell it. Children join in with repeated phrases and puppet actions.
Source: Ewing, R. (2010). The Arts and Australian Education.
Dress-Up Free Play
Children choose costumes and act out familiar roles (e.g., parent, chef, superhero). Educators support by adding props and vocabulary.
Source: Isenberg & Jalongo (2013). Creative Thinking and Arts-Based Learning.
Puppet Show
3–5 Years
Create a Puppet Show
Children design simple stick puppets, create a background, and perform a short puppet show based on a familiar story.
Source: Craft, A. (2005). Creativity in Schools.Role-Play Scenarios
Set up themed dramatic play areas (e.g., vet clinic). Children assign roles, solve pretend problems, and create dialogue.
Source: Fleer, M. (2014). Theorising Play in the Early Years.
6–8 Years
Scripted Drama Activity
Children co-create a short script and perform it using simple props and costumes. Educators guide structure while encouraging improvisation.
Source: Wright, S. (2012). Children, Meaning-Making and the Arts.
2. Digital Puppet Animation
Children use apps like Toontastic to create animated puppet stories, combining storytelling, voice recording, and visual design.
Source: Edwards, S. (2013). Digital Play in the Early Years
Digital evidence (video recording/timelines) of enactment
Critical Reflection and Evaluation
The enactment of Puppet Story Retelling and Animal Sound Puppets highlighted the value of puppetry in fostering young children’s creativity, communication, and emotional expression. One aspect that went well was the children’s enthusiastic engagement with the characters. They confidently adopted roles, improvised dialogue, and expressed emotions through voice and gesture, demonstrating creativity and a strong connection to the story. The familiar context of the storybook and the flexibility of puppet characters supported diverse learning styles and encouraged participation from both verbal and non-verbal children.
Another strength was the use of open-ended questions and dramatic modelling, which helped scaffold children’s thinking and extended their imaginative responses. However, one area for improvement was time management during group performances; some children lost focus while waiting for their turn. In future enactments, I would divide the group into smaller pairs or rotate storytelling stations to maintain engagement.
Additionally, I would introduce more culturally inclusive puppet characters and stories to reflect children’s backgrounds and identities. This would deepen connections to the EYLF principles of diversity and belonging. Overall, both activities effectively supported children’s development as confident communicators, creative thinkers, and collaborative learners.
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