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Pilot Project Evaluation Report

Researched and authored by Miriam Murtin (PALATINE / University of Exeter), evaluating the developmental and pedagogical impact of the Imaginary Leaps pilot across Lancashire settings.

Complete Research Document (PDF)

Download the unabridged 12-page pilot evaluation report complete with case studies, methodology references, and institutional findings.

Download PDF Report (313 KB)

1. Project Background & Pilot Context

During 2008–2009, DNA Puppetry & Visual Theatre undertook an intensive pilot project titled Imaginary Leaps across two contrasting Lancashire early years settings: Appletree Children’s Centre (Lancaster) and Stoneygate Nursery School (Preston).

The fundamental aim was to investigate fresh methodologies for embedding performing and visual arts into early years settings, creating a bridge between professional artists and early years educators. The project sought to align high-calibre artistic practice directly with the four themes of the Early Years Foundation Stage (EYFS): A Unique Child, Positive Relationships, Enabling Environments, and Learning and Development.

2. Working Practice & The ‘Play Catalyst’

Traditional children’s theatre often places the child in a passive spectator role. In stark contrast, Imaginary Leaps grounded its methodology in Tina Bruce’s principles of free-flow play.

Rather than performing from rigid scripts, artists acted as ‘play catalysts’:

  • Environment First: Rooms were transformed into immersive, sensory spaces using unscripted materials — soft parachute silks, sheer fabrics, compost, domestic objects, water, and shadow lanterns.
  • Child-Directed Exploration: Children decided how long to touch, manipulate, or animate objects. Facilitators observed closely, offering subtle scaffolding without imposing adult narratives.
  • Multi-Sensory Heuristic Engagement: Inspired by treasure baskets and Reggio Emilia, ordinary domestic and natural items were experienced through touch, sound, smell, and sight.

3. Key Observed Outcomes

Personal, Social & Emotional Growth

Staff noted profound leaps in confidence among children with previous social hesitancy or selective mutism. Because puppets speak a symbolic, non-threatening language, children felt empowered to interact.

“Iman is normally very shy and the second or third to join in, but during the session she was first up to interact with the puppet!”
— Stoneygate Key Worker

Language & Story Recall

Children spontaneously generated new vocabulary to describe physical properties — ‘crinkly’, ‘fluttering’, ‘crunchy’, ‘heavy’. Parents reported children retelling the stories vividly at home and animating household objects during mealtime routines.

Parental & Practitioner Transformation

Parents reported feeling unburdened by rigid behavioural expectations. Instead of constantly monitoring rules, they could observe and enjoy their children’s natural creativity.

4. Future Developments & Reflective Questions

Following Phase 3, several key strategic priorities were established:

  • Developing permanent tactile play kits for distribution to nurseries, libraries, and galleries.
  • Extending practitioner CPD across regional and national Early Years networks (e.g. Preschool Learning Alliance, Earlyarts).
  • Publishing illustrated storybooks (‘Tissue Play Tales’) co-created with children during residencies.

Questions for Continued Dialogue

  • When does free-flow play become too unstructured, and what subtle boundaries keep it safe?
  • How can artists and key workers model constructive social behaviour without stifling spontaneous creativity?
  • How can early years artists best master the pedagogical language of education frameworks without losing artistic spontaneity?

5. Artists’ Reflective Statements

Hayli

Associate Artist

“During this project I benefited from knowledge of early years practice and creative play with DNA’s support. I was able to explore creative play experimentally within a supportive team. I became conscious of the facilitator role, breaking habitual performance habits and learning the difference between adult and child perceptions of imaginative play.”

Amanda

Associate Artist

“Approaching a session without a rigid plan was initially out of my comfort zone. From this I learnt to embrace free play and completely child-led activities. Learning to be a ‘play catalyst’ — creating a stimulating environment, knowing when to support play and when to step back to let it happen — was an inspiring revelation.”

Liz

Associate Artist

“Exploring elemental themes like air and clouds showed me how young children naturally weave storytelling into tactile experiences. The freedom of the format empowered both the children and their parents to discover genuine creative self-expression without fear of judgment.”

“Producers of creative learning for early years: Communicating visually, inspiring creativity.”

Imaginary Leaps Research Initiative