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OUTCOME 1:CHILDREN HAVE A STRONG SENSE OF IDENTITY

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OUTCOME 1:CHILDREN HAVE A STRONG SENSE OF IDENTITY

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Children learn about themselves and construct their own identity within the context of their families and communities. This includes their relationships with people, places and things and the actions and responses of others. Identity is not fixed. It is shaped by experiences. When children have positive experiences they develop an understanding of themselves as significant and respected, and feel a sense of belonging. Relationships are the foundations for the construction of identity – ‘who I am’, ‘how I belong’ and ‘what is my influence?’

In early childhood settings children develop a sense of belonging when they feel accepted, develop attachments and trust those that care for them. As children are developing their sense of identity, they explore different aspects of it (physical, social, emotional, spiritual, cognitive), through their play and their relationships.

1.1 Children feel safe, secure, and supported
1.2  Children learn to interact in relation to others with care, empathy and respect
(Department of Education and Training, 2019)

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OUTCOME 2: CHILDREN ARE CONNECTED WITH ANDCONTRIBUTE TO THEIR WORLD 

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OUTCOME 2: CHILDREN ARE CONNECTED WITH ANDCONTRIBUTE TO THEIR WORLD 

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Experiences of relationships and participation in communities contribute to children’s belonging, being and becoming. From birth children experience living and learning with others in a range of communities. These might include families, local communities or early childhood settings. Having a positive sense of identity and experiencing respectful, responsive relationships strengthens children’s interest and skills in being and becoming active contributors to their world. As children move into early childhood settings they broaden their experiences as participants in different relationships and communities.

2.1  Children develop a sense of belonging to groups and communities and an understanding of the reciprocal rights and responsibilities necessary for active community participation

2.2  Children respond to diversity with respect

2.4  Children become socially responsible and show respect for the environment
(Department of Education and Training, 2019)

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OUTCOME 3: CHILDREN HAVE A STRONG SENSE OF WELLBEING

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OUTCOME 3: CHILDREN HAVE A STRONG SENSE OF WELLBEING

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Wellbeing incorporates both physical and psychological aspects and is central to belonging, being and becoming. Without a strong sense of wellbeing it is difficult to have a sense of belonging, to trust others and feel confident in being, and to optimistically engage in experiences that contribute to becoming.

3.1 Children become strong in their social and emotional wellbeing

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OUTCOME 4: CHILDREN ARE CONFIDENT AND INVOLVEDLEARNERS 

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OUTCOME 4: CHILDREN ARE CONFIDENT AND INVOLVEDLEARNERS 

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A sense of security and sound wellbeing gives children the confidence to experiment and explore and to try out new ideas, thus developing their competence and becoming active and involved participants in learning. Children are more likely to be confident and involved learners when their family and community experiences and understandings are recognised and included in the early childhood setting. This assists them to make connections and to make sense of new experiences.

4.3Children transfer and adapt what they have learned from one context to another
4.4 Children resource their own learning through connecting with people, place, technologies and natural and processed materials

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Bateson, G., & Bateson, M. C. (2000). Steps to an ecology of mind. Chicago, IL: University of Chicago Press.

Bresler, L. (2002). Harry Broudy on the cognitive merits of music education: Implications for research and practice of arts curriculum. Arts Education Policy Review, 103(3), 17–27.

Cooper, S. (2011). General music and early childhood: Embracing a variety of opportunities. General Music Today, 24(2), 1–2.

Department of Education and Training (2019). Belonging, Being & Becoming The Early Years Learning Framework for Australia. https://www.acecqa.gov.au/sites/default/files/2018-02/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.pdf.

Fehr, R. C. (2011). General music academy explores building blocks of early learning. Teaching Music, 18(6), 10.

Kenney, S. (2011). Teaching young children how to sing: One school’s experience. General Music Today, 24(2), 52–56.

Mama Lisa’s World of Children and International Culture. (n.d.). Taba Naba - Torres Strait Islands. [online] Available at: https://www.mamalisa.com/?t=es&p=5085.

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The hundred languages of children through drama

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The hundred languages of children through drama

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During the implementation of this activity which is giving offerings to the Spirits of the Land, we have taken special consideration of embedding concepts of inclusive learning and embracing respect for culture and cultural diversity.

This activity is an extension of my Parallaxis experience, where I have used and old stove to create a Fairy garden and a Fairyland and have extended the activity to a cultural experience where we will be giving offerings to the Spirits of the Land where we pretend to a woman from the Aboriginal Culture and a woman from the Western culture and highlight the different ways we respect the spirits of the land and how we do it.

Resources that we have used are : Pebbles, seeds, gifts - chains and earrings, milk, grains, salt, flower, bark which are all offerings to the fairies as a sign of gratitude for protecting the people and the land in different culture.

The activity is a way of bringing the similarities and differences in the practice of two different cultures and can be seen as an Atelier where children will have the opportunity to look for things that are meaningful to them and give it back as an act of being thankful. Dewey (1934) used the metaphor of a mountain to convey this conceptual wholeness:  '' Mountain peaks do not float unsupported; they do not even just rest upon the earth. They are the earth in one of its manifest operations.''

Finding parts and pieces and enacting them has been a very interesting experience, as we felt that we were doing something which connected us to the history and the ways of life of people; ''In discussing the importance of the space in which the human experience communes with the everyday, ordinary experience, Dewey’s originality marries the concept of aesthetic to experience: In order to understand [emphasis in original] the esthetic in its ultimate and approved forms, one must begin with it in the raw; in the events and scenes that hold the attentive eye and ear of man, arousing his interest and affording him enjoyment as he looks and listens. . . . The man who poked the sticks of burning wood would say he did it to make the fire burn better; but he is nonetheless fascinated by the colorful drama of change enacted before his eyes and imaginatively partakes in it. (Dewey, 1934, p. 3)

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As per the sociocultural theory ''knowledge is cultural understanding and competent participation in discourse communities; learning is a social process; teaching is assisting; and learning leads development through situated performance that is dynamic, episodic, and continuing (Smith et al., 2004).

This enactment will give children plenty of opportunities to develop a sense of respect towards different cultures and socialize while playing in their natural environment. The use of here in the form of offerings is a great way to show children how two different cultures share the same way of being and doing in different ways.  Froebel believed that the manipulation of materials and physical activity, helped children to form abstract and spiritual concepts like ‘‘unity in the universe’’ and ‘‘opposites can be combined together’’ (Froebel 1885)

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Froebel, F. (1885). The education of man. New York, NY: A. Lovell & Co.

Smith et al., 2004

M.E. Smith, A. Teemant, S. Pinnegar
Principles and practices of sociocultural assessment: Foundations for effective strategies for linguistically diverse classrooms

Multicultural Perspectives, 6 (2) (2004), pp. 38-46

The Hundred Languages of Children: the Reggio Emilia Experience in Transformation, 3rd Edition : The Reggio Emilia Experience in Transformation, edited by Carolyn Edwards, et al., ABC-CLIO, LLC, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/vu/detail.action?docID=820317.

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Music is accepted as an important ‘‘building block’’ in early childhood curriculum (Fehr 2011) and musical experiences in the early years are valued for both aesthetic and cognitive merit (Bresler 2002). Activities such as singing, playing instruments, movement, listening and creating music are especially important to musical learning (Cooper 2011; Kenney 2011).

The theory of ‘‘meta-communication’’, promoted by Gregory Bateson, was especially important to Malaguzzi in developing the Reggio approach. In Bateson’s theory, meaning is derived from interaction with others and does not depend on literal verbal meaning (Bateson and Bateson 2000). For Bateson, the intensity and inflection of the voice, facial expressions, accompanying gestures, and secondary signals, as well as the verbal content of the communication determine real meaning during communication.

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I’d like to begin by acknowledging the Traditional Owners of the land on which we meet today. I would also like to pay my respects to Elders past and present.

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Cultural Contexts: “Taba Naba” is a seated rowing song that is sung about the Torres Strait. The strait is located between the tip of Australia and New Guinea and tells the tale of the boat “taxis” that would carry travelers to and from the reef.

In this lesson, children will learn 'Taba Naba' a traditional song sung in Meriam Mir, one of many traditional languages of the Torres Strait Islands. Children will also learn the traditional 'sit-down' dance that accompanies the song.

Through this lesson, children will gain an understanding of the geography, language, culture, people and music of the Torres Strait Islands. From a musical perspective, the children will learn to distinguish the beat and rhythm of the song Taba Naba. They will also practise singing the melody of Taba Naba with correct pitch and do movements that accompanies the song.

Taba Naba – Lyrics in Meriam Mir with translation in English

Taba naba naba norem.

Come. Let us go to the reef.

Tugei penaisir mi dinghy em nabatre.

Get into the dinghy when the morning tide is low.

Mi ko keimi sirir em narbare.

Let us row to the edge of the reef.

Taba naba norem

Come. Let us go to the reef.

(Mama Lisa’s World of Children and International Culture, n.d.)

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Music for “Taba Naba”,
rhythm sticks

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1. We will greet children, ask them to sit on the mat, legs crossed and will sing “Taba Naba” them.

We will break the song into sections and tell children to repeat the sections back and then sing the whole song together. The educators will demonstrate body motions that go along with the song and will sing the whole song with the body motions.

We will give each child one rhythm stick and will tell them to use the rhythm stick like a paddle. And finally will tell students to perform entire song with motions and rhythm sticks

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1. Children will be able to match pitch
2. Children will be able to match rhythm
3. Children will be able to do body motions with the song

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Opening shot: close-up of a door opening, and then of a settler woman’s hand (mine) putting a small
bowl of milk beside the door.
Second shot: Another woman (played by Sarah) walks past, and we smile and say hello to each
other.
Sarah: I didn’t know you had a cat.
Penny: Oh, this isn’t for a cat! My mother grew up in Ireland, and she always taught me to leave a
bowl of milk outside as a gift for the fair folk.
Sarah: The fair folk? Who are they?
Penny: Fairies – spirits of the land. We make offerings to show our respect for them, and to ask them
to help us with our houses and our crops.
(Footage of settler woman’s hands laying out the relevant offerings, as her narration continues in
voiceover):
We give them milk and cream from our cows, and grains from our fields, because these are the
things that we work hard to farm from the land, and they’re very important to us. We share them
with the fairies who share their land with us.
We give them salt, because for thousands of years salt was hard for people who lived in Europe to
get, and so it was very precious to our ancestors.
We leave out clooties as well. (Lays out twigs with scraps of cloth attached.) ‘Clootie’ is a very old
word for ‘cloth,’ and we hang them on trees where fairies live and make a wish, and as the cloth falls
apart and goes back into the land, we believe our wishes will come true.
And we give them beautiful things. (Lays out trinkets and bits of jewellery.) It’s important not to
leave gifts that will harm the land or the animals that live on it, because that will make the fair folk
who protect it angry with us. These will probably be taken by the magpies or currawongs and used
to make their nests look pretty, which will make the fairies happy!
These are some of the things we teach our children to do to live in a good relationship with the
spirits who live here.
Sarah: The Wurundjeri people honour the spirits of the land, too. They don’t call these spirits fairies,
but they have lots of stories about the different kinds of spirits who live all around us, and they give
thanks to the ones who take care of people and animals around them.
(Footage of Sarah’s hands laying out offerings as her narration continues in voiceover):
As the things that grow on your land are important for you, bark is very important for Aboriginal
people. (Lays out bark.) They use it to make their shelters and fishing boats, which they need to
survive, and so they give thanks to the spirits who provide it.
(Lays out feathers) The Wurundjuri creator spirit is Bunjil, who travels the world as a great eagle. He
made the land and all the creatures who live on it. Long ago, when the seas started to rise too far,
the Wurundjuri people came to Bunjil and asked him for help. He said that he would only help
humans if they promised to live in harmony with the land instead of harming it and fighting each
other, and when the people made that promise, the seas went down again. The Wurundjuri keep
their promise to him to this day, and he keeps his promise to them.

(Lays out seeds) When Indigenous people take things from the land to live, they give things back as
well. When they leave the seeds of the plants they eat, it helps to keep the right balance between
plants and animals so that nothing goes hungry on the land we all share.
(Lays out pebbles) In Indigenous spirituality, everything around us shares one spirit, and human
beings are united with the land and everything in it in the Dreaming. Wurundjuri elders will tell you
that when our bodies die, the spirit it held goes into the Dreaming and then returns to us through
rocks, trees, humans and animals. We are not separated from anything. Even these pebbles are
sacred, because they have the same spirit we do.

Cut back to the two women standing at the door.
Settler woman: Settlers and Indigenous people have different names for the beings who live around
us, and different ways of staying in a good relationship with them, but in both of the traditions that
we come from that it’s important to honour the spirits who share the land with us.
Aboriginal woman: And to teach children respect and gratitude for the gifts of the spirits, too.

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Offerings for the spirits of aboriginal culture to protect the land and the people

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Offerings for the spirits of aboriginal culture to protect the land and the people

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Offering of milk, salt and grains, clootie and gifts to the fairies.

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Offering of milk, salt and grains, clootie and gifts to the fairies.

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Creation stories and unity of all spirits:

https://www.deadlystory.com/page/culture/Life_Lore/Spirituality

Importance of Bark:

https://rightnow.org.au/review-3/urban-doolagahl/

Bunjil promises to protect the people:

https://cv.vic.gov.au/stories/aboriginal-culture/meerreeng-an-here-is-my-country/bunjil/

Irish offerings

http://www.tairis.co.uk/daily-practices/types-of-offerings-an-overview/#hospitality

Music attribution:

Dreamy Interlude by Alexander Nakarada (www.serpentsoundstudios.com)
Licensed under Creative Commons BY Attribution 4.0 License
http://creativecommons.org/licenses/by/4.0/

and

Uluru Dreaming by Harry Wilson

(https://music.apple.com/au/album/uluru-dreaming/477219249)

From the album Uluru Dreaming, Music World 2011.