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Materials needed for the music/sound activity

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Learning Design (Materials and Instructions - Sound/music activity)

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Learning Design (Materials and Instructions - Sound/music activity)

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Setup: Design a natural setting for the outdoor area (or an indoor area with images of nature), arrange the children in a big circle, and make sure that all of them can hear the sounds of nature clearly from this area (or ensure that a Bluetooth speaker or other audio device playing recorded nature sounds is placed where children can hear the sounds of the natural landscape while sitting in the indoor space).

Materials Needed:

Basic instruments (shakers, wind chimes, etc.)

Natural elements (stones, sticks, branches, etc.)

Optional: Recordings of soundscape from nature (leaves, wind, birdsong, etc.)

Optional: Images or videos from the on-country visit to provide context.

Instructions:

1. Introduction (2-3 minutes)

Children arrange in a circle in an outdoor environment or a calm, indoor area with a nature theme, where children will not be distracted.

Educators give a quick overview of the lesson, outlining how the children will be exploring sounds that are inspired by the natural world.

2. Exploring Sounds Session (3-4minutes)

Have children take a comfortable spot on the grass and close their eyes.

Encourage children to listen deeply to natural sounds outdoors, such as the wind, rustling leaves, or birdsong.

3. Discussion (2-3 minutes)

The educator will ask the children what the sound reminds them of and how it makes them feel after they have discovered and listened to it.

Additionally, the educator facilitates a brief discussion on the senses with the children, helping them make connections between sounds and feelings.

4. Create unique sounds using the surroundings (5-7 minutes)

Give children simple musical instruments like chimes, drums, etc., or let them gather natural objects from the environment like sticks, stones, leaves, etc.

Educators promote children to use instruments or natural elements to recreate the unique sounds they hear (either on their own or in a group).

If they are interested, educators let them try out different sound combinations with their voices.

5. Reflecting and Connection (2-3 minutes)

Educators invite children to talk about the sounds they generate and what they are trying to mimic or convey with their own sound creations.

Afterwards, educators emphasise how these practices reflect Indigenous traditions of listening to and respecting the land.

6. Conclusion (1-2 minutes)

The educators concluded by thanking the children for coming and underlining how important it is to listen to nature as well as build a connection with the natural surroundings.

Connection to Early Years Learning Framework:

“Learning Outcome 2: Children are connected with and contribute to their world” (AGDE, 2022, p. 43). Children gain a deeper connection to nature and an understanding of their responsibility to respect and reflect on their environment via this experience. According to the Early Years Learning Framework, this activity connects to Learning Outcome 2.

“Learning Outcome 4: Children are confident and involved learners” (AGDE, 2022, p. 51). Children explore soundscapes and experiment with sound recreation during this session, which helps them develop their creative expression skills. This relates to the Early Years Learning Framework's Learning Outcome 4.

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Pre-session expectations: I engage children to effortlessly close their eyes and concentrate entirely on the surrounding sounds, immersing themselves in the auditory experience. Through this experience, children were keen to explore their environment and the resources available, and they showed an interest in natural elements. Children showed curiosity and delight in creating unique sounds with chimes, or natural elements (sticks, branches, stones, etc.), which aligned with my expectations about the tactile and exploratory character of this activity. Children were also encouraged to be creative by the immersive experience; some even tried to mimic the sound of chirping and rustling leaves on their own. My aim is that children will develop a deeper and more emotional connection to sound and a sense of connection to their surroundings based on my individual experiences during the on-country visit.

Post-session realisations: The children were eager to investigate the natural materials, although at first, they were more interested in the tactile elements than the actual sounds. Many children required more urging and guidance, so I did not always link the sounds they were hearing and the items they were using. More assistance was needed for this activity than I had thought, particularly when it came to getting them to think about how the sounds made them feel. The children first struggled to stay still and pay attention to the sounds when they were instructed to close their eyes and concentrate on the sounds. But as the group settled in, the moment changed, with several of them clearly unwinding and paying close attention to the soundscapes they heard.

What might I do different next time?

The next time, I will start the session with more structure, starting with a brief guided meditation or visualisation to help the children become used to listening. Additionally, I will think about dividing the task into smaller segments so that children may think back on and talk more about their auditory experiences before beginning the process of making unique sounds. After the activity, I will also include a more structured reflection period where children may talk about what they heard and how the sounds affected them. As a result, I will devote more time to this exercise, allowing them more time to investigate the relationships between the sounds they make and their surroundings.

How might I use this growth in my future practice of early childhood education?

This experience emphasises how crucial it is to include reflective times in sound and music-based activities. Rather than rushing the activity, I will focus more on giving children time to digest and think about what they “hear” and “feel” in future activities. This activity will appropriate for children from 4-5 years old because I saw that engaging in sensory-based activities, particularly those that incorporate ambient sounds, might offer children significant chances to establish connections with their surroundings and their feelings. The value of Indigenous perspectives is further supported by this experience, particularly about the idea of deep listening and how it might be incorporated into early childhood education. By doing this, I hope to give children more chances to interact with the outdoors and use sound to build a connection. This brought to mind Allara's song "Wala Is Life" from Session 3 I had studied, which highlights the importance of sound and music in fostering a spiritual connection to the Earth (Allara - Topic, 2018). Through their creative exploration and music-making, I wish to inspire children to grow in this respect as well as respect for the environment. I will keep incorporating Indigenous perspectives going forward, with an emphasis on using music and sound to foster a deep bond between children and the natural world.

Overall reflection: I thought of music as a separate art form before taking this subject, with melody, rhythm, and instruments taking the stage. However, I have learned from this activity and my On-Country experience that music is much more than just that; it is about the noises all around us, our relationship with the natural world, and the stories our sounds can tell. My understanding of music has changed as a result of this practice, and I now see it as a holistic activity that is strongly connected to the environment, the body, and the cultural background. In this sense, music is found in the natural world, in the whisper of the wind or the rustle of the leaves. It is not restricted to formal instruments or structured sounds. Moreover, interacting with Indigenous perspectives has deepened my comprehension of the connections between sound and place, identity, and culture. Because of this task, I see music as a means of fostering a sense of connection with the outside world and have a more expansive view of the role that music plays in early childhood education - not just as an instrument for artistic expression, but also as a way for children to bond with one another, their surroundings, and themselves.

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https://youtu.be/CPNVrNmjQ-Y?si=gMDQTA07kH-30ex1. The child dance freely to the rhythm of Erhu music as they discover with several ways to express the sounds they hear.

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Pre-session expectations: Children should be excited to take part in the movement-based activity and should be able to express the peacock and other natural elements right away fluently and enthusiastically. I see the scarves or ribbons being imaginatively used to enhance children's ability to express their imaginations while also providing visual beauty. I think children will be able to move in time with the music, experimenting with rhythm and dynamics through their body language, inspired by the sound of the Erhu. Children's movements, in my opinion, will convey a deeper connection to nature by emulating the grace of flying birds, swaying trees, or even peacocks flaunting their colourful feathers.

Post-session realisations: Though many require further encouragement and direction to completely express the natural aspects, children love utilising scarves and ribbons. Some children spend more time manipulating the objects than using them to create expressive motions. Not every child has the elegance that is expected of them when they move, especially those who struggle with dancing or rhythmic motions. But I find the Erhu's melody to be appealing, and I urge children to react well to it by learning to focus better as they grow accustomed to its sound. With more direction, a lot of children start experimenting with motions that resemble various parts of the natural world. They show imagination and spontaneity as they try swinging like trees or walking elegantly like peacocks.

What might I do different next time?

I will simulate the peacock's natural movements and aspects and teach them more thoroughly before letting the children explore at their own pace next time. Children who are reluctant or uncertain about how to communicate their motions can receive help from early exposure to movement cues or structured prompts. Additionally, I would think about dividing the lesson into smaller parts, more concentrated chunks where children might investigate each unique natural element. This will enable children to participate and get a more profound comprehension before advancing to the next idea. Children can also feel more comfortable and concentrated throughout the activity if the area is smaller and more defined.

How might I use this growth in my future practice of early childhood education?

I learned from this experience how important it is to encourage children's movement experiences, particularly when they are experimenting with abstract ideas like portraying natural components. This reminded me of the "Mutton Bird" performance performed by Bangarra Performance Theatre, which I learned through Session 2 in my class (Bangarradance theatre, 2015). Children can use music, creativity, and props to transform into components of the natural world, just as the dancers in the Mutton Bird Dance explored the dynamics of movement inspired by nature. Children can develop a greater awareness of how movement is utilised in many cultures to celebrate nature by including Indigenous thoughts on dance as a narrative form and a way to connect to the land. The activity also appropriate for the children from 3-5 years old. As a result, I have thought about it and concluded that giving children precise, step-by-step directions can boost their confidence when it comes to expressing their creativity. In the future, I will use more visual aids to encourage children's activity, including pictures or films of animals or other natural features. I also understand how important it is to strike a balance between guided movement exercises and unstructured exploration, giving them just enough guidance to feel secure but still letting them express themselves freely. I will still employ music as a creative expression tool in my future work, making sure to always relate it to the natural world to urge kids to form bonds with their surroundings.

Overall reflection: I viewed dance mostly as a kind of physical exercise or artistic expression before studying this unit. I now have a better understanding of dance as a means of building connections with my own emotions, the natural world, and cultural traditions thanks to this course. I also recognise the value of using dance as a medium for experimenting with rhythm, movement, and storytelling. It has been clear to me from interacting with Indigenous perspectives such as the “Mutton Bird” dance and connecting to the Country that dancing can be an effective way for children to build a strong connection with the natural world, their culture, and their community. In the future, I plan to include more movement-based activities in my lessons to help children connect with their cultural heritage and the outside world, as well as to express themselves.

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“The Secret’s Garden Sounds” (sound/music activity)

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“The Secret’s Garden Sounds” (sound/music activity)

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Children will participate in a fully immersive audio experience, engaged in a soundtrack inspired by the soundscapes I’ve heard on my on-country visit. They will assemble in an outside area, closing their eyes to concentrate on the sounds of the surroundings, including wind, rustling leaves, and birdsong. I encourage children to listen deeply and imagine the area. They will then find out what the sounds remind them of and how they feel about it. Following their listening, children will recreate these sounds with basic instruments like chimes and shakers, use their voices or they will even design natural elements such as sticks, stones, leaves, or rustling branches to create unique sounds. This enables them to investigate the relationship between sound and the natural world more thoroughly. In a quick 5-15 minute session, this activity will encourage creativity, sound awareness, and active listening. Therefore, echoing Indigenous practices of profound listening and reverence for the sounds of nature, the activity also emphasises listening to the natural environment as a way of creating a connection with the land.

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Materials needed for the movement/dance activity 

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Learning Design (Materials and Instructions - Movement/dance activity)

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Learning Design (Materials and Instructions - Movement/dance activity)

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Setup: Give children free rein to move around in an open area either indoors, like creating a big rug in an empty corner of the classroom, or outside if it is possible. Educators then encouraged children to move freely through arranged and showed visual prompts around the area, such as pictures or videos of peacocks, trees, or leaves.

Materials Needed:

A recording of Erhu music (or an Erhu instrument)

Scarves or ribbons (in green, yellow, or other peacocks colours of children’s choice)

Some videos or photos of peacocks and natural elements from the on-country visit (optional).

Instructions:

1. Introduction of Movement (2-3 minutes)

In the classroom’s open area, educators gather children into a big circle and let them imagine they are in the mystery garden.

The educator then gives a quick overview of the activity, encouraging children to visualise the big green tree outside that sways like a dancing peacock and other elements they can “see” and “hear” from the soundscape (leaves, wind, etc.).

Educators use available images or brief videos of peacocks and other natural features to pique children's curiosity.

2. Warm-Up Activity (3-4 minutes)

To warm up children's bodies, educators begin with basic stretches and have them focus on flowing, soft movements like flapping their wings or swinging branches.

Educators additionally encourage children to move their arms like they are swaying leaves or flying birds and to sense the space around them.

3. Introduction to an Erhu Soundscape (1-2 minutes)

Inform kids that educators play Erhu music that captures the atmosphere of a mystical garden.

Educators will either perform a brief piece of Erhu instrument or play a recording of Erhu music during the on-country visit. The children are then asked to pay close attention to the music and allow the sound to inspire their movements.

4. Exploration of Peacock Dance under Guidance (3-4 minutes)

Educators urge kid to mimic a peacock's gestures as the music plays. Ask them to see themselves as towering trees that sway in the wind like peacocks flaunting their colourful feathers.

Allow children to use ribbons or scarves to enliven their dance, visualising the scarves as feathers or leaves fluttering in the breeze.

Furthermore, educators let children to freely make quick motions like flapping their arms like a bird or swaying like branches of a tree.

5. Exploring of Free Movement (3-5 minutes)

Let children dance freely to the rhythm of Erhu music as they discover with several ways to express the sounds they hear.

Children are also motivated to use their imaginations and come up with unique dance moves that are influenced by the Erhu music, like hopping, whirling, or slowly spreading the "feathers" of scarves or ribbons.

6. Reflecting and Connection (2-3 minutes)

When the song ends, the educators gather children and asks them to share the movements and emotions the music evokes in them.

The educator then talks about how children's bodies may convey what they hear in nature.

Educators explain to children how they use dancing to highlight Indigenous movement practices and showing the relationship between imagination, physical movement, and emotional connection to the natural world.

7. Conclusion (1-2 minutes)

After the class, the educator thanked children for taking part in the activity and emphasised how they encouraged children to use creative expression to explore and express their understanding of the natural world. This allowed children to make a direct connection with cultural frameworks and perspectives that place a high value on art and a connection to the land.

Connection to Early Years Learning Framework:

“Learning Outcome 1: Children have a strong sense of identity” (AGDE, 2022, p. 34). This outcome is pertinent to activity since it promotes creativity and self-expression via movement.

“Learning Outcome 4: Children are confident and involved learners” (AGDE, 2022, p. 53). The activity also connects to Outcome 4 because it engages children to solve problems through movement, actively learn, and develop an awareness of their bodies in space.

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“How the Peacock Dances” (movement/dance activity)

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“How the Peacock Dances” (movement/dance activity)

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Children will embody the peacock's movements and those of other natural elements they learn from soundscape in this movement-based activity. Children will use their movement to boost their imagination and transform sounds into tangible forms by imitating swinging leaves, flying birds, blowing wind, or even peacocks showing their feathers. In the open space, I also motivate children to enhance their movements and add additional texture and visual appeal by using scarves or ribbons as props to imitate feathers. Children will be able to move freely to the music I play on the Erhu, which will inspire them to produce graceful and expressive peacock dances based on my personal experience of seeing a tall, green lemon tree sway back and forth like a peacock. The Erhu, a traditional Vietnamese stringed instrument known for its emotional and sensual sound, will be used to create a soundscape that reflects the atmosphere of a mysterious garden. In addition to fostering children's imagination and creative expression, this activity will encourage them to investigate rhythm and body movement while establishing connections with the larger natural world.

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“The Garden’s Hidden Mystery: A Dramatic Play” (drama activity)

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“The Garden’s Hidden Mystery: A Dramatic Play” (drama activity)

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I inspire children to participate in dramatic play where they will assume roles inspired by the garden (e.g., peacocks, trees, wind). With the play "The Garden’s Hidden Mystery," children will engage in dramatic storytelling inspired by "The Peacock’s Mystery Garden," which I have created based on my own experience. Within the garden setting, children can even write their dialogues and stories. Using basic costumes and props, children will enact a spontaneous short tale to bring the play to life and have fun. They are going to pretend to be inhabitants for a day in their life. They will act like various plants, or animals and talk about their interactions and experiences in the garden. Using a combination of sensory and movement experiences with storytelling, dramatic play will enhance children's comprehension of the story, spark their imaginations, and give them more self-assurance to express themselves.

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Each activity I create is informed by my profound experiences on-country and embodies the Indigenous culture's excellent value of land, sound, dance, and storytelling. The reason I design these musical, movement, and dramatic experiences is to address three main points which include building a strong connection between children to the natural world and Indigenous knowledge systems; fostering artistic expression through temporal arts (music, dance, and drama); and encouraging self-control, imaginative play, and sensory exploration. I had the chance to experience on-country as part of Assessment Task 2 and see firsthand the deep cultural connections that Indigenous communities have to the land. I became aware of how crucial it is to include Indigenous viewpoints in creative arts-based pedagogy as a result of this encounter. The insights I gained about using movement to express cultural knowledge, storytelling as a learning tool, and deeply listening to nature served as the inspiration for the activities in Assessment Task 3, which included dancing like a peacock, creating new sounds by listening to natural sounds, and performing dramatic play. Much like Indigenous storytelling methods, these activities encourage children to explore music, dance, and drama as means to understand the world around them. Therefore, I have taken great care in creating and incorporating Indigenous knowledge systems, environmental relationships, respect for the natural world, and the value of storytelling as a teaching tool into each of these activities. The theoretical, cultural, and experiential components I met in Assessment 2 are expanded upon and applied in Assessment 3. Assessment 2 gave me the opportunity to learn from and reflect on my personal experiences; Assessment 3 focuses on converting those reflections into educational experiences that are engaging and culturally appropriate for children.

I am inspired to guide children to utilise music to connect with nature by the sounds I hear through Music Experience, such as the wind or rustling leaves, etc. Through this process, children learn to connect with their environment and use auditory signals as a creative outlet by mimicking natural sounds with musical instruments or natural objects. This relates to Dr Baltagi, who has recommended a few basic instruments we might utilise to allow kids to play with sound and music. "Music at an early age helps children express themselves and share their feelings," the author has stated. They can respond to music they hear by swaying, bouncing, and moving their hands, even at an early age (UNICEF, 2019). Because of this, I have created a musical activity that lets children interact with immersive soundscapes. Additionally, children in the Movement Experience take on the forms of trees, birds, and wind, emulating the elegant movements of a peacock and reinforcing the Indigenous culture's belief in the symbiotic relationship between nature and movement. I would like to incorporate both movement and music into my future early childhood education practice to further optimise the benefits of movement. Both will complement one another in this way to improve the experience of learning and movement. Children will be exposed to music gradually. Once they feel at ease, they can work with more complex rhythmic and melodic patterns and produce a range of musical reactions (Niland, 2009). I make a connection between this experience and the prior one from Assessment 2 to illustrate how children's bodies and environments interact holistically in Indigenous cultures. Moreover, Indigenous storytelling methods are also highlighted in the Dramatic Play activity “The Garden's Hidden Mystery.” In the story, the land and its creatures have deep meanings and convey a sense of connectedness to the natural world. Children who engage in dramatic play also benefit from improved self-control and emotional understanding (Brooker et al., 2014). This served as inspiration for the theatre project "The Garden's Hidden Mystery," which lets kids pretend to be plants and animals and imagine what goes on in a garden. This activity promotes improvisation, creative discourse, and role-playing. Children's development benefits from dramatic play because it teaches them how to negotiate social and emotional interactions.

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Allara - Topic. (2018, November 14). Wala is life [Video]. YouTube. https://youtu.be/1XACgej9L80

Australian Government Department Of Education [AGDE](2022). Belonging, Being and Becoming: The Early Years Learning Framework for Australia (V2.0). Australian Government Department of Education for the Ministerial Council.

Bangarradance theatre. (2015, May 20). Bangarra Education Resources Mutton Bird [Video]. YouTube. https://youtu.be/o-PV98Oshkc

Brooker, L., Blaise, M., & Edwards, S. (2014). The SAGE Handbook of Play and Learning in Early Childhood. In SAGE Publications Ltd eBooks. https://doi.org/10.4135/9781473907850

Edwards, C., Gandini, L., & Forman, G. (Eds.). (2011). The hundred languages of children: The reggio emilia experience in transformation. Bloomsbury Publishing USA.

Niland, A. (2009). The power of musical play: The value of play-based, child-centered curriculum in early childhood music education. General Music Today, 23(1), 17-21. https://doi.org/10.1177/1048371309335625

Ninjypsy. (n.d.). The Parallaxis - A game of walking between worlds. The Parallaxis. https://www.the-parallaxis.com/

Nitecki, E., Chung, M.-H., & Mercy College. (2016). Play as Place: A Safe Space for Young Children to Learn about the World. In The International Journal of Early Childhood Environmental Education (Vol. 4, Issue 1, p. 25). https://files.eric.ed.gov/fulltext/EJ1120144.pdf

UNICEF. (2019, June 12). Is your baby getting enough music? | UNICEF [Video]. YouTube. https://youtu.be/gIwhGbnY_uI

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Pre-session expectations: I expect that the children will be engrossed in the dramatic play of "The Garden’s Hidden Mystery", and excited to play roles that are influenced by the garden. I encourage children to have fun coming up with conversations and acting out their characters, whether they are wind, trees, or peacocks, with energy and creativity. Additionally, I think that the mix of costumes and props will inspire children to tell stories more imaginatively, with them working together and improvising as they investigate interactions in the garden environment. In general, I hope that this activity will increase their self-assurance in using drama to express themselves.

Post-session realisations: The children were excited to pretend to be garden inhabitants, but at first, a few of them were hesitant to improvise or make up their dialogues. Instead of participating in the scripted narrative, several children would have rather moved around and explored the physical space. To promote children's participation in the dramatic story, I discovered that more predicted instruction was needed, and the spontaneous collaboration I had hoped for took longer to materialise. Additionally, I found that children needed more time to understand their part in the play and start considering the connections and exchanges between the characters. But as kids listened to the story I told, more joined in, and spontaneous cooperation started to happen.

What might I do different next time?

Next time, I will introduce the play within a more regulated framework, giving the children more clarity on the storytelling procedure before letting them improvise. Before advancing to larger group performance, I will also divide children into small groups or couples work to boost confidence. I discovered that dividing the play into smaller scenes allowed the kids to concentrate on particular interactions and grow into more imaginative characters. Before beginning the entire play, I will also give the children more time to explore their parts and get a feel for the storytelling part.

How might I use this growth in my future practice of early childhood education?

This activity underlines how crucial it is to encourage children's dramatic play and offer sufficient assistance to children who might not feel comfortable improvising. This activity will appropriate for kids from 4-5 years old. To support children's creative processes, I will be sure to introduce more structured dramatic activities in smaller batches in the future, along with clear directions and role models. Additionally, I have seen that giving children a variety of ways to take part—through speech, movement, or interacting with props—gives them several points of entry into the experience and promotes better inclusivity. This takes me to Kilby's Parallaxis Experience, which I learned in Session 3, an interactive storytelling platform that explores various viewpoints and alternate stories (Ninjypsy, n.d.). Similar to the Parallaxis Experience, this play enables children to investigate several viewpoints, act out various roles, and work together to construct a shared narrative. It highlights the value of drama play in helping children develop their social, emotional, and creative skills as well as their ability to connect with others and their surroundings. Thus, in my future practice, I will persist in advocating for imaginative storytelling, acknowledging that children' s dramatic play skills evolve gradually and gain from consistent chances to enhance confidence and creativity.

Overall reflection: I only considered drama to be a kind of role-playing or performance before I studied this unit. However, the more I studied and explored drama more deeply, the more I realised how effective it is as a teaching tool, fostering not only artistic expression but also social-emotional learning, teamwork, and self-assurance. I now see dramatic play as a concrete means for children to develop their narratives, relationships, and points of view. Through the integration of Indigenous perspectives, such as utilising role-playing to build a strong connection with the land, I have acquired a more profound comprehension of how theatre can function as a narrative instrument that promotes cultural comprehension and social connection. So, I plan to include dramatic play into my teaching more deliberately in the future to foster children's self-expression, creativity, and communication abilities.

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Materials needed for the drama activity 

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Learning Design (Materials and Instructions - Drama activity)

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Learning Design (Materials and Instructions - Drama activity)

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Setup: Using a large cloth or mat to define the stage space, create a small performance area in the classroom. The educator sets up basic garden props, such as tiny artificial plants, children's favourite plush toys to adorn the garden with, or little branches, rocks, leaves, etc., to symbolise natural elements, and pretends to create a mystery garden right in the classroom. When some of the children are not performing, the teacher sets up extra little chairs or a circle of cushions for them to watch.

Materials Needed:

Simple costumes (scarves, headbands, etc.)

Props (sticks, branches, stones, leaves, etc.)

Soft toys (birds, etc.)

Optional: Music or soundscapes from on-country visit to provide context

Writing tools (paper, markers, etc.) so children can create their own dialogues.

Instructions:

1. Introduction (2-3 minutes)

As the children assemble around the stage, the educator presents the concept of the play "The Garden’s Hidden Mystery". Inform the children that they will be taking the roles of characters that are drawn from the garden, like peacocks, trees, birds, the wind, etc.

Educators briefly narrate the story of "The Peacock's Mystery Garden," emphasising the garden's enchantment and mystery.

2. Selection of Roles (3-5 minutes)

Give children the choice to choose the characters they want to act like a peacock, a tree, the wind, or another garden element.

Let children explore props and outfits, and assist them in dressing according to their characters.

3. Creation of Story (5-7 minutes)

Urge kids to write brief dialogues or scenes that fit the roles they have selected. It could just be a single sentence or a brief conversation.

If time allows, children can create their own stories and interactions through writing or drawing, which makes the activity more engaging in a literacy component.

4. Dramatic Play (5-10 minutes)

Educators encourage children to imagine and lead them into the garden area. Describe the setting to set the scene: You are now in a mysterious garden where peacocks wander and the wind whispers secrets.

Invite children to pretend to be their characters. They can talk, engage in conversation about their lives as garden inhabitants, and convey their personas through movement and sound.

5. Reflecting and Connection (5 minutes)

Ask the children to share their best scenes from the play as educators gather them in a circle.

Educators talk to children about their feelings about living in a garden and the lessons they learned from the narrative.

Subsequently, educators underscored to kids that the activity was founded on Indigenous storytelling traditions, stressing the significance of storytelling in fostering a sense of connection with the natural world and cultural legacy.

6. Conclusion (1-2 minutes)

Praise children's inventiveness and involvement.

Conclude by expressing gratitude to the children for their participation and making the connection between the activity and the concepts of discovering nature and using dramatic play as an opportunity for creativity.

Connection to Early Years Learning Framework:

“Learning Outcome 4: Children are confident and involved learners” (AGDE, 2022, p. 53). Children learn to investigate ideas, think critically, and apply creativity through dramatic play. Using their creative expressions, children explore concepts, solve issues in role-play scenarios, and participate in active learning.

“Learning Outcome 5: Children are effective communicators” (AGDE, 2022, p. 58). Children who engage in this activity will gain rich language skills as they interact with peers, act out roles, and tell stories. Children also develop their vocabulary and storytelling abilities while practising verbal and nonverbal communication through dramatic play.

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Each of these tasks uses an inquiry-based, child-centred methodology. As active participants in their education, children are encouraged to experiment, investigate, and engage with their surroundings, as stated in the Early Years Learning Framework (AGDE, 2022). The Reggio Emilia method, which highlights the environment as the third teacher, is also in line with these activities (Edwards et al., 2011). The experiences inspire children to learn via engagement with their surroundings, supporting both cognitive and sensory development, by including outdoor spaces and natural elements into the learning environment. Furthermore, children are encouraged to learn through teamwork, and connection with classmates and their surroundings, rather than in solitude, in all three of these activities. Children are helped to understand their relationship to the land using sound, movement, and dramatic performance, which highlights the cultural aspect of education. Children act out and interact with natural components, just as in dramatic play, and learn about the symbiotic interactions found in nature. I find this to be consistent with Vygotsky's Cultural-Historical Theory, which emphasises social interactions and shared cultural activities as means of learning (Nitecki et al., 2016). Because of this, these exercises allow children the chance to work closely with temporal and sensory art, which reflects my own on-country experience. Indigenous peoples emphasise that children learn by doing, whether it is through role-playing the motions of birds, listening to the wind, or creating a story based on the garden's ecology. Children can gain a dynamic and thoughtful understanding of and appreciation for their environment through these imaginative, immersive practices.

Indigenous perspectives are essential to every experience I provide. While the movement is influenced by traditional dances that depict animals and natural elements, music's emphasis on sound reflects Indigenous practices of in-depth environmental observation. Indigenous storytelling techniques are also used in dramatic play, which uses nature as a major topic to teach deeper truths about relationships, life, and the environment. Like what I experienced on an on-country visit, these activities provide kids with a sense of respect and connection to the land in addition to offering creative and sensory stimulation.

In conclusion, by combining Indigenous viewpoints with temporal arts, I have gained a deeper understanding of how children learn through their bodies, senses, and environments. These activities will still have an impact on my teaching in the future since I want to create immersive and imaginative learning environments that value children's imaginations and the environment they live in.