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I acknowledge the Wurundjeri Woi Wurrung and Boon Wurrung peoples of the Kulin Nations, the Traditional Custodians of the land where Namatjira Park in Clayton South now stands and I pay my respects to their Elders past, present and emerging. As I explored the park, I immersed myself in its sounds, movements and textures, the rustle of trees, the flutter of wings, the feel of sand and grass beneath my feet, honouring the enduring connection the Kulin Nations have with this land. Through listening, moving and observing, I recognised and celebrated their cultural presence and ongoing stewardship of Country.

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Today, on the 4th of September 2025, I visited Namatjira Park in Clayton South. This park, named after artist Albert Namatjira, sits on the traditional lands of the Wurundjeri Woi Wurrung and Boon Wurrung peoples of the Kulin Nations. It features a serene lake with a bridge, open grassy areas, towering gum trees and a variety of plants such as banksia and leucopogon. The park is home to birds like black swans, ducks, red wattlebirds, rainbow lorikeets and other small wildlife. During my visit, I engaged my senses, listening to rustling leaves and birds, feeling sand and grass under my feet and observing the fluttering wings connecting deeply to the land and its living elements.

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This is Namatjira Park on a breezy morning. I could hear the gentle lapping of the lake, the rustling of gum trees and the playful chatter of black swans and ducks gliding across the water. Birds flitted and called around me, while butterflies danced in the sunlight and the wind made the leaves sway like they were performing their own little show. Walking across the bridge and feeling the textures beneath my feet, from sand to soft grass, I let my imagination wander, pretending the shadows were dancers, the swans were exploring with me and the rustling leaves whispered stories. Every sound, movement and sight inspired playful drama and rhythm, giving rich insight into how children might explore, imagine and connect with nature through music, movement and drama.

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Creative Response - Echoes of Namatjira: A Soundscape Journey

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Creative Response - Echoes of Namatjira: A Soundscape Journey

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During my on country visit to Namatjira Park, I immersed myself in the sounds and movements around me, the gentle ripples of the lake, swans gliding gracefully, butterflies fluttering and the quiet scratching of ants climbing trees. Guided by the practice of Dadirri, I engaged in still awareness, noticing subtle sounds and silences (MiriamRoseFoundation, 2017). This attentive listening naturally inspired me to hum, which then evolved into a song. To enrich the experience, I created a layered soundscape, combining my voice with the recorded natural sounds, blending sound, movement and drama into an entangled artistic expression.

My creative response intended to capture the sensory and emotional essence of my visit, reflecting my personal connection with place. Inspired by Victor Wooten’s concept of music as a language (TEDx Talks, 2013) and Allara’s storytelling through song (Allara, 2018), I aimed to transform my observations into a pedagogical tool that demonstrates how temporal arts can express relationships with land, community and history. Creating this song and soundscape made me feel deeply attuned, reflective and joyful, highlighting the potential of using sound, movement and drama to engage children in holistic, sensory-rich learning.

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Analytical Response 1 : Reflection on Experience through Temporal Arts Languages

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Analytical Response 1 : Reflection on Experience through Temporal Arts Languages

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During my on-country visit to Namatjira Park, I fully immersed myself in the natural environment, engaging with the languages of sound, movement and drama simultaneously. The gentle lapping of the lake, birdsong and rustling of leaves created a rich soundscape that inspired my creative song, translating nature’s rhythms into musical expression (Wilson, 2018; de Jong, 2017). Walking across sand and soft grass allowed me to physically feel textures and the subtle vibrations of the earth beneath my feet, activating my sense of movement and grounding me in the environment. Observing swans gliding, butterflies fluttering, and ants working along tree trunks engaged my sense of drama as I imagined each creature's micro-narratives and their interactions (Wallin, n.d.; Brooker et al., 2014). These sensations evoked a calm curiosity and deep joy, recalling memories of my childhood explorations and highlighting the importance of unstructured play and sensory engagement for children. I felt a profound connection with place, realising how nature itself can be both a teacher and a co-creator of imaginative experiences (MiriamRoseFoundation, 2017).

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Analytical Response 2 : Connection to Resources and Theoretical Frameworks

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Analytical Response 2 : Connection to Resources and Theoretical Frameworks

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My creative response to the song inspired by this walk was informed by multiple resources exploring deep listening, sensory engagement and the educational power of creative expression. The Dadirri framework emphasises mindfulness and attuning to natural rhythms, which guided my approach to capturing the layered sounds of the park (MiriamRoseFoundation, 2017). Gandini (2012) describes the “hundred languages of children,” highlighting how children use diverse modes of expression to communicate and explore; this philosophy aligns with how I translated my multi-sensory experience into a musical and performative composition. Observing natural patterns of movement and sound in the park resonated with Wilson (2018) emphasis on creative play in natural environments, fostering imagination, problem-solving and cognitive growth. Furthermore, insights from de Jong (TEDx Talks, 2013) and UNICEF (2019) regarding the neurological and social benefits of singing underscore the educational potential of musical engagement for young learners. Through this lens, my song functions as both an artistic interpretation and a pedagogical reflection, demonstrating how sensory experiences can be integrated into learning and creative play (Wallin, n.d.; Brooker et al., 2014).

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Analytical Response 3 : Implications for Early Childhood Education Practice

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Analytical Response 3 : Implications for Early Childhood Education Practice

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This experience has significant implications for my future practice in early childhood education. It demonstrates that outdoor, multi-sensory environments provide a fertile ground for children to explore sound, movement and drama, supporting holistic development. Creating time and space for children to engage with nature through listening, observing and moving fosters imagination, social interaction and emotional well-being (Gandini, 2012; Wilson, 2018; Wallin, n.d.).

My song exemplifies how educators can transform personal experiences into pedagogical tools that encourage creativity, reflective thinking and connection with place. By incorporating the principles of deep listening (MiriamRoseFoundation, 2017), sensory engagement (Brooker et al., 2014) and music’s social and cognitive benefits (TEDx Talks, 2013; UNICEF, 2019), I can design experiences that expand traditional practices. While conventional early childhood programs often emphasise structured, indoor and teacher-directed activities, this approach promotes child led exploration, playful engagement and the integration of temporal arts languages. Ultimately, this reflection shows that engaging children with natural environments is not only playful but deeply educational, offering opportunities to extend beyond routine practices and cultivate holistic, imaginative and sensory rich learning experiences.

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·       Allara - Topic. (2018, November 14). Wala is life [Video]. YouTube. https://www.youtube.com/watch?v=1XACgej9L80

·       Brooker, L., Blaise, M., & Edwards, S. (2014). The Sage Handbook of Play and Learning in Early Childhood: Contexts for play and learning.

·       Gandini, L. (2012). The atelier: A conversation with Vea Vecchi. In C. Edwards, L. Gandini, & G. Forman (Eds.), The hundred languages of children: The Reggio Emilia experience in transformation (3rd ed., pp. 303–316). ABC-CLIO, LLC. https://ebookcentral.proquest.com/lib/vu/reader.action?docID=820317&ppg=330

TEDx Talks. (2015, November 12). The difference between hearing and listening | Pauline Oliveros | TEDxIndianapolis [Video]. YouTube. https://www.youtube.com/watch?v=_QHfOuRrJB8

·       MiriamRoseFoundation. (2017, November 29). DADIRRI (Official Miriam-Rose Ungunmerr Video) :: 3 minute promo [Video]. YouTube. https://www.youtube.com/watch?v=tow2tR_ezL8

·       TEDx Talks. (2013, December 19). How singing together changes the brain: Tania de Jong AM at TEDxMelbourne [Video]. YouTube. https://www.youtube.com/watch?v=I_HOBr8H9EM

·       TEDx Talks. (2013, May 30). Music as a Language: Victor Wooten at TEDxGabriolaIsland [Video]. YouTube. https://www.youtube.com/watch?v=2zvjW9arAZ0

·       UNICEF. (2019, June 12). Is your baby getting enough music? | UNICEF [Video]. YouTube. https://www.youtube.com/watch?v=gIwhGbnY_uI

·       Wallin, M. L. (n.d.). The importance of pretend play in natural settings. https://www.communityplaythings.com/resources/articles/the-importance-of-pretend-play-in-natural-settings

·       Wilson, R. (2018). Nature and young children. In Routledge eBooks. https://doi.org/10.4324/9781315148533