Second Graders’ Recycled/Craft Item Products Demonstrate Life Cycle Content Knowledge and Creativity Skills

doi:10.4236/ce.2012.34073

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Creative Education

2012. Vol.3, No.4, 479-485

Published Online August 2012 in SciRes (http://www.SciRP.org/journal/ce) http://dx.doi.org/10.4236/ce.2012.34073

Second Graders’ Recycled/Craft Item Products Demonstrate Life

Cycle Content Knowledge and Creativity Skills

Angela Naomi Webb, Audrey C. Rule

Department of Curriculum and Instruction, University of Northern Iowa, Cedar Falls, USA

Email: [email protected]

Received June 1st, 2012; r evised July 12th, 2012; accepted July 19th, 2012

Creativity is a necessary skill for students to become problem solvers in the rapidly changing 21st century.

This study’s main activity allowed students to demonstrate their content knowledge in an engaging way

while also exhibiting creative strengths. Twenty-two second grade students (15 female, 7 male) of mixed

ability levels at a Title 1 school produced projects using identical sets of recycled and craft items. They

incorporated vocabulary words and images associated with the life cycles of four organisms: horse, drag-

onfly, sea turtle, and bean plant. Projects were analyzed for creative strengths as well as science concept

integration. Student-made products showed vocabulary from all four life cycles, but familiar organisms

(dragonfly and bean plant) were depicted more frequently. Creative strengths evidenced in student work

included: elaboration, breaking boundaries, storytelling articulateness, originality, and emotional expres-

siveness, among others. The authors recommend teachers incorporate similar creative tasks as assess-

ments of content learning. Additional studies integrating more creative product assessments for a longer

duration to show growth over time are suggested.

Keywords: Life Cycle; Science; Second Grade; Creativity

Introduction

The high stakes testing climate of the No Child Left Be-

hind legislation for most schools has caused teachers to focu s

on content addressed by standardized assessments through

teacher-led instruction and to narrow the curriculum to teste d

subjects, thereby reducing the arts and more creative activi-

ties (Center on Education Policy, 2009). A Rand study (Ha-

milton, Stecher, Marsh, McComb s, Robyn, Russell, Naftel, &

Bamey, 2007) reported that teachers expressed concern for

high-achieving and creative students who received less atten-

tion because the curriculum was restricted and attention fo-

cused more on low achievers. This study examined how a

highly creative activity can be used as a practice and assess-

ment of student vocabulary and concept learning for a seco nd

grade unit on animal and plant life cycles.

Support for 21st Century Skills

Various educational groups promoting “21st Century” skill

programs highlight creativity and problem solving skills as vital

to preparing for a changing, highly-technological, global work-

place. A group of international researchers (Assessment &

Teaching of 21st Century Skills, 2012) identified essential skills

for success in the future in four areas: ways of thinking—crea-

tively and critically, ways of working with others through

communication and collaboration, tools for working—informa-

tion literacy and communication technology, and citizenship

and responsibility skills for living in the world. Both the Part-

nership for 21st Century Skills (2011) and the Center for 21st

Century Skills (Education Connection, 2012) include creativity,

innovation, and problem-solving skills as thinking skills critical

to success in a quickly evolving, complex society. The creative

problem solving activity described in this article can support

these skills while also serving as a way for students to evidence

the content knowledge they are acquirin g .

The activity on which this article focuses was used as a crea-

tive practice and assessment of content knowledge during a

culminating activity for an animal and plant life cycle unit of

instruction. These second graders had been reading about the

life cycles of the sea turtle (egg—hatchling—adult), bean plant

(seed—sprout—seedling—flowering plant), horse (stallion and

mare—offspring—colt or foal), and dragonfly (egg—larva—

nymph—adult dragonfly) and had been practicing these con-

cepts in creative ways by converting simple figures and squig-

gles into images related to the life cycles and standard ways by

drawing the stages of the organism’s life cycle. See Webb and

Rule for detailed explanation of that activity (2012). As a final

in-class assignment combining all four organisms’ life cycles,

students were each given an identical set of recycled and craft

items, a piece of construction paper of their color choice as a

base on which to make and label the parts of the product, and

asked to use all materials in making a construction that showed

as much as they could about the life cycles. Table 1 shows the

list of items in the identical sets given to students.

Figure 1 shows a representative second grader’s final prod-

uct. This student has shown three of the four life cycles in her

product. A dragonfly was depicted by the black foam cutout.

The pink fuzzy chenille pieces are dragonfly nymphs. The

wooden clothespin is a hovering dragonfly (“hover” was a tar-

geted vocabulary word). The egg carton compartments with

paper punches are the bean plant seeds. The green palm tree

stirrer is a bean plant sprout emerging from the soil. The plastic

cup represents the carapace of a sea turtle as it digs a hole to lay

eggs. The eggs are shown as the white marbles in the project.

Most student products addressed two or three organism life

A. N. WEBB, A. C. RULE

Table 1.

Set of materials given to each second grade student.

Set of Given Items

Pink fuzzy b umpy chenille stick (pipe-cleaner)

30 cm of inch-wide peach grosgrain ribbon

Green plastic palm tree dri nk stirrer

Clear plastic cup

Wooden clip type clothespin

Wooden tong u e depressor

Black foam block

Three silver stars on a string

3 white flat glass marbl es

Red spatte red cardboa rd f rozen food tr ay

13 × 15 cm red heart netting

13 × 20 cm buff cardstock

18 × 8 cm white envelope with spoonful of multicolored confetti paper

punches inside

2 sections of a gray cardboard egg carton

Apple and star stickers

2 black plastic drink stirrers

Figure 1.

Example entire li fe c ycle product made by s ec on d grade student.

cycle components, in a similar manner to this student’s work.

Creative Transformations

J. P. Guilford, renowned p sychologist, was an early researcher

recognizing that intelligence was a multidimensional construct.

He developed a model of mental functioning called the Structure

of the Intellect (Guilford, 1967; Guilford & Hoepner, 1971).

Although this model is no l onger an accepted model of cognitive

functioning, it brought to light many important aspects of creative

production such as the distinction between convergent (seeking to

zero-in on the one correct answer) and divergent (seeking many,

varied correct answers) production. The model also highlighted

the diverse mental processes in which humans can engage; these

processes remain valid even if Guilford’s conception of how the

brain operates was faulty. The Structure of the Intellect model

was shown figuratively as a cube with three different dimensions:

operations (general intellectual processes), content (broad areas

of information), and products (the result of applying mental op-

erations to content). Products included units, classes, relations,

systems, implications, and transformations. This last type, trans-

formation, can be applied to the student products made in this

study.

“A transformation is any kind of change in information”

(Guilford, 1977: p. 37). Guilford highlighted certain transforma-

tions as particularly important. Fi gural transformations involved

a change in the spatial orientation of a figure or a new image

produced from a figure by the addition of lines, shapes, or shad-

ing. In this study, the creative constructions were a type of figural

transformation because the given objects were cut apart, bent,

rearranged, and glued to make a new construction related to life

cycles. Semantic transformations refer to a substitution of mean-

ing. An object used in an unusual way that is counter to its typical

recognized purpose, such as using a ruler to poke an object out

from beneath a bookcase, rather than mea sure, is an example. As

students examined the given set of objects for thei r creative con-

struction, they needed to repurpose the recy cled items as parts of

their life cycle constructions, rather than their original use as food

trays, drink stirrers, or egg cartons. This re-visioning of purpose

was a semantic transformation.

Transformation, though not always referred to with this term,

is still recognized as an important mental process resulting in

creative products. Michael Michalko (2001), organizer of a team

of NATO intelligence specialists and academics who inventoried

all known creative thinking methods to provide a storehouse of

techniques for solving international problems, called transforma-

tion recognizing “latent potential” (p. 234). He stated, “[E]very

new subject or idea produces a host of creative byproducts, ini-

tially seen as irrelevant, but available for fashioning into novel

new directions” (p. 234). Michalko gave an example of how

people in Nairobi saw the latent potential of old tires, recycling

them into sandals as they recognized the durability of the material

and made a functional shift—a semantic transformation in Guil-

ford’s terminology.

More recently, Davis, Rimm and Siegle (2011: p. 211) define d

transformation as the “ability to adapt something to a new use;

see new meanings, implications, and applications; or creatively

change one object or idea into anot her”. They concluded, “Tran s-

formation is an extremely important creative ability.”

Previous Work

The creative problem solving activity used in this study has

been described in only a few previously published works. Rule,

Zhbanova, Hileman Webb, Evans, Schneider, Parpucu, Logan,

Van Meeteren, A lkouri, and Ru a n (2011) conducted two similar

workshops at a state conference for education of the gifted us-

ing this problem-solving activity. Participants, who were mostly

teachers of the gifted, were each given an identical set of mate-

rials—in one workshop, the set was identical to that used in the

current study. Teachers in that workshop were asked to make

something that related to an interpretation of the theme “cool

space”. The other workshop participants were given a different

set of materials and the theme “under water”. The products

made by participants and an analysis of the creative strengths

shown are provided in this document.

480

A. N. WEBB, A. C. RULE

Another trial of this problem solving activity is described in

an article by Rule, Alkouri, Criswell, Evans, Hileman Webb,

Parpucu, Ruan, Van Meeteren, Uhlenberg, Vasileva, and Zh-

banova (in press). Participants in this study were mostly gradu-

ate students in a creativity course who made products from

identical sets of materials that conformed to various constraints.

After making the products, students were told to revision each

by relating it to a topic in economics as practice in re-visiting

the problem and keeping it open. The journal article explains

how this activity may be used to infuse creativity into social

studies education.

The current study extends this technique to K-12 education

by having second graders apply the method to a unit on life cy-

cles. The following section describes the details of the method

and is followed by the results and conclusions of the study.

Method

This study was conducted with a class of 22 second grade

students learning about four different animal and plant life cy-

cles. The focus was learning science concepts and vocabulary

through reading of nonfiction texts at the students’ reading

levels. The study sought to examine how a creative task in

which students made a life cycle construction of a given set of

recycled and craft materials could be used as a content assess-

ment.

Participants

Twenty-two students (7 male, 15 female; 19 Caucasian, 3

African-American, 1 Hispanic) of mixed academic performance

comprising an intact second grade classroom at a public school

in rural Iowa participated in the study. This school’s population

was low socio-economic status with fifty-seven percent of chil-

dren at the school receiving free or reduced cost lunches. This

study was approved by the overseeing university’s Human Sub-

jects Committee (HP#11-068), the district’s superintendent, the

school’s principal, and with written consent from parents and

participating students.

Design

The life cycles of four organisms were investigated over a

month with one week devoted to each organism. Key vocabu-

lary words were identified for each animal or plant life cycle.

These were practiced by making creative figural transforma-

tions on paper (sea turtle and bean plant) or by drawing and

labeling the life cycles (dragonfly and horse). Another study

(Webb & Rule, 2012) reported on the vocabulary test advantage

for practicing creatively with figural transformations. In con-

trast, this study examined a culminating activity for the life

cycle unit, making a three-dimensional construction of a given

set of recycled and craft materials.

For a final assessment of student learning of life cycle con-

cepts, each student was given an identical set of recycled and

craft materials as listed in Table 1. These materials showed a

variety of physical properties such as flexibility, stiffness, color,

shape, volume, and texture. This set was identical to a set used

in an earlier experiment with a different content theme (“cool

space”) conducted with adult participants attending a gifted

education conference (Rule et al., 2011). Students were told the

following guidelines for the activity: 1) all of the given items

should be incorporated into the final structure; 2) the theme for

the construction is the four life cycles recently studied (sea

turtle, dragonfly, horse, bean plant); 3) students were asked to

identify key vocabulary in their products; 4) a thirty-minute

time limit was given; 5) students were allowed to cut, color, or

fold items and use tape, glue, crayons, and markers; 6) stu-

dents were allowed to choose a piece or two of colored con-

struction paper as a base for their work. The student products

were photographed and students wrote labels or descriptions of

what they had depicted.

Data Analysis

The number of key vocabulary words studied for each of the

four organisms was tabulated. The products were examined for

creative strengths and techniques.

Results and Discussion

Creative Strengths

Table 2 shows creative strengths exhibited by second grade rs’

products. This list is not exhaustive of all possibilities, but

shows those expressly taught in previous lessons by the teacher

(originality, elaboration, emotional expressiveness, and break-

ing boundaries), along with others spontaneously shown by the

students in their products. Torrance, Ball, and Safter (1992),

besides identifying and scoring fluency, flexibility, originality,

elaboration, and abstractness of titles in the Torrance Test of

Creative Thinking (figural format), identified several other

“creative strengths” that test subjects might exhibit in their

work. These included the other ideas presented in Table 2 such

as storytelling articulateness, movement or action, and emo-

tional expressiveness, among others.

Table 3 shows the identified vocabulary words students

incorporated into their structures. Students used more vocabu-

lary related to bean plants and dragonflies than sea turtles and

horses. Because students had grown a bean plant, were familiar

Table 2.

Creative strengths evidenced in the study.

Creative St rength Explanation

Originality Different idea not previously represented.

Elaboration Adding extra details to the illustration.

Emotional

Expressiveness Emotional words or facial expressions on the

animal depictions.

Storytelling

Articulateness Sense of a story or sequence of events.

Movement/Action Motion lines or a ction.

Breaking Boundaries Turning upside-down or brea king normal

lines and boundaries.

Abstract Ideas Ecological or political messages inte gr ated in

the project.

Three-Dimensionality Instead of spreading the items into a f l at

object, the obj ect has h eight.

Internal VisualizationShowing what is inside w ith a cutaway or

transparent piece.

Richness of Im agery Artistic appeal: Partic u l arly cute or b eautiful

work.

A. N. WEBB, A. C. RULE

Table 3.

Vocabulary addressed by the three- dimensional life cycle creations.

Life Cycle Vocabulary

Words Frequency Total for This

Life Cycle

Egg 4

Hatchling 3

Plastron 3

Incubation 2

Sea Turtle 2

Carapace 1

Submerged 0

Sea Turtle

Reptile 0

Seedling 6

Sprout 5

Seed or Seed Coat5

Pollinate 4

Pod 3

Bean Plant 3

Soil 2

Bean Plant

Germinate 0

Insect 7

Dragonfly 7

Predator 4

Hover 4

Nymph 3

Molt 1

Larva 1

Dragonfly

Antenna 0

Foal 6

Mammal 5

Horse 2

Harness 2

Mare 1

Stallion 0

Muzzle 0

Horse

Offspring 0

with farming of soy beans, and personal experience with dra-

gonflies, they depicted them in their work more frequently.

Students were able to show retention of vocabulary concepts

through a creative product rather than a traditional paper and

pencil test.

Figures 2-5 feature selected parts of student products to

show how students depicted components of the life cycles. All

of the items shown here were expressly labeled by students

with the vocabulary words related to these components being

highlighted. Students also verbally explained their work to the

teacher (first author of this article). For each example, we

Figure 2.

Student’s products related to the bean pl a n t l i f e cycle.

Figure 3.

Student’s work relat e d to th e dragonfly life cycle.

482

A. N. WEBB, A. C. RULE

Figure 4.

Three different students’ foals from the horse life cycle.

Figure 5.

Different students’ constructions of parts of the sea turtle life cycle.

discuss the creative strengths exhibited by the student. Figure 2

shows parts of student products related to the bean plant life

cycle. The sprout was made with a cut portion of the green

plastic palm tree drink stirrer thrust into the gray egg carton cup

that represented the soil, a creative idea because the student

modified the given pieces rather than using them as a whole

(creative strength of breaking boundaries).

The top right image of Figure 2 shows a seedling that has

matured enough to develop a flower. The cut pieces of green

plastic are the leaves and the pink fuzzy bumpy chenille stick

was used to make an appealing flower (creative strength of

richness of imagery). The student showed pollination and seed

development with the multicolored confetti paper punches. The

stars are seeds from the flower that are falling to the ground and

starting to sprout. This product shows a lot of detail (creative

strength of elaboration), tells the story of plant’s reproduction

(creative strength of story-telling articulateness), and shows

motion (creative strength of movement) with the falling seeds.

The bottom left image of Figure 2 shows a flowering bean

plant in a container with soil. The soil shows details of various

components: rocks are represented by the paper punches while

stars symbolize the soil (creative strength of elaboration). The

apple sticker signifies the idea of a garden with edible food

while the red heart netting symbolically protects the garden

with love (creative strength of abstract thinking).

The final image in Figure 2 at the bottom right shows sev-

eral unusual aspects. First, the student made a three-dimen-

sional scene by taping the black night sky backdrop to the green

ground (creative strength of three-dimensionality). No other

students made a three dimensional backdrop, so this was a

unique idea (creative strength of originality). Then the student

contrasted the beauty of a newly-opened white flower with the

trashy paper-punch litter in the flower pot cup and as bits of

heart netting on the ground (creative strength of abstract think-

ing).

Figure 3 shows images of student work related to the drag-

onfly life cycle or insects. The upper left image shows a drag-

onfly laying eggs. The dragonfly has red netted wings and is

hovering over the eggs. A white flat marble was used as the

head and contains eyes. The student cut and altered materials to

make the dragonfly and eggs (creative strength of breaking

boundaries), producing many parts to show detail (creative

strength of elaboration) in this scene of a female dragonfly

hovering over her eggs (creative strength of storytelling articu-

lateness). The top right image shows the parts of an insect that

were studied at the time of the dragonfly life cycle. The student

included the three-part body of head, thorax and abdomen, the

antennae, wings, and spotted pattern of a ladybug (creative

strength of elaboration). In contrast, the lower left image of a

dragonfly shows little detail or elaboration, but it shows the

creative strength of emotional expressiveness through the smile.

The last image on the bottom right is a dragonfly nymph that

indicates the student’s content knowledge of the wingless form

of this larva.

Figure 4 shows three different ways students depicted a foal

of the horse life cycle. The upper left image shows a young

horse with a pink chenille tail and red-brown body colored with

crayon (creative strength of elaboration). The right image

shows black stirrer legs, pink chenille ears, and a connected

string of silver stars for a tail on the black foam body (creative

strength of elaboration). The last image on the lower left shows

facial features, including a smile, in addition of legs and tail

(creative strength of emotional expressiveness).

Figure 5 illustrates images from the sea turtle life cycle. The

upper left image is of a sea turtle nest. The paper punches are

eggs, the cut pieces of black foam and red netting are sand, and

the gray pieces of egg carton are the sea turtles concealing the

nest. This image shows several layers inside of the nest (crea-

tive strength of internal visualization). The pink fuzz is fur from

a predator that was seeking to uncover and eat the eggs

(creative strength of storytelling articulateness). The bottom left

A. N. WEBB, A. C. RULE

image shows a turtle’s carapace with concentric circle designs

(creative strength of elaboration) while the final image shows

the plastron on the underside of a sea turtle (creative strength of

an unusual perspective). The plastron in the drawing also shows

attention to detail, as the suture lines are visible (creative

strength of elaboration).

Misconceptions

An open-ended culminating project like the one described in

this article is a good place to examine misconceptions in stu-

dent thinking. Although none were detected in this project,

several research studies indicate that children have misconcep-

tions about animal life cycles that they eventually outgrow with

appropriate instruction. For example, Nguyen and Rosengren

(2004), in surveying parents concerning their children’s bio-

logical knowledge of life cycles, found fewer misconceptions in

5 to 6 year olds than 3 to 4 year olds, indicating that miscon-

ceptions are open to change and are eventually replaced with

accurate facts. For instance, some younger children thought that

babies grew from seeds like plants whereas older students knew

that babies grew inside their mothers’ bodies and had charac-

teristics of their parents. Similarly, Hickling and Gelman (1995)

reported that most children understood bef ore age five that plants

grow from seeds. Another common misconception among first

graders reported by teachers was the belief that insects were not

animals because they are not furry, four-legged creatures (Pine,

Messer & St. John, 2010). An emphasis on scientific classifi-

cation of animals into different classes such as mammals, rep-

tiles, and insects helps students understand that all animals are

not mammals. In this study, the teacher presented three life

cycles from these different classes of animals, drawing student

attention to the fact that dragonflies, as insects, are indeed a

type of animal.

Conclusion

Students were able to evidence their content knowledge and

vocabulary acquisition related to animal life cycles through this

activity. They incorporated 25 different words related to the life

cycles as was shown in Table 3 and showed many different

parts of the life cycles. This level of vocabulary acquisition is

particularly interesting, given the fact that students did not

study or review vocabulary for this assessment—the results in-

dicate student learning solely from the lessons. Additionally , stu-

dents were able to demonstrate and practice creative strengths

and problem-solving abilities through this exercise. They espe-

cially exhibited elaboration, breaking of boundaries, storytel-

ling articulateness, abstract thought, emotional expressiveness,

and unusual perspectives. Although the teacher focused more of

her instruction regarding creativity on adding details and using

materials in different ways, students spontaneously displayed

other strengths. The relaxed productive atmosphere produced in

the classroom by addressing creative thinking skills promoted a

safe environment where risk-taking was encouraged. Therefore,

students naturally evidenced other creative traits (Cremin, Bur-

nard, & Craft, 2006). This situation fits with Lin’s (2009, 2011)

triangular model for creative pedagogy of “creative teaching,”

“teaching for creativity,” and “creative learning” at each of the

three vertices. Teaching creatively involves “using imaginative

approaches to make learning more interesting and effective”

(NACCCE, 1999: p. 89): the teacher provided an exciting ac-

tivity with interesting recycled and craft items for students to

re-envision as life cycle parts. The “teaching for creativity”

aspects highlighted identifying and developing learner capabili-

ties as the teacher gave instruction on elaboration, breaking

boundaries, and generating original ideas. By standing back,

allowing students to take responsibility for their creative work,

by encouraging the students’ curiosity, questioning and deci-

sion-making, the teacher facilitated “creative learning” compo-

nent of Lin’s triangular model.

In future studies, this activity could be repeated several times

so that students could become more aware of all of the creative

strengths and practice these skills. If a teacher used this type of

activity for weekly practice of content, both academic content

and creativity skills might be practiced, allowing students to

make growth in multiple areas. The vocabulary and concepts

students depict in their work also provide a useful assessment

of information being learned.

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