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Through the drama of my On Country exploration, I found the following senses were evoked:

Emotion: I felt peace and calmness wash over me, I felt a welling of gratitude for the land, the trees surrounding me, the river, the wildlife and that I was so lucky to live by such a serene spot.

Visual: The river current moved almost in slow motion, gently rising and falling like little mini waves, the trees stood rigid, solid and still like a soldier rooted to the spot.

Auditory: birdlife is in abundance, coming from every direction, high pitched with an uneven tempo, the volume varying and echoing off the water.

Tactile: walkig on both solid, sturdy concrete and softer, crunchy sounding sand sliding my feet slightly to slide from on side to another. (Gano & Krull, 2020)

I must admit, throughout unit 2008, my logical brain has grappled with some of these concepts. For instance, I questioned, nothing overly dramatic happens when I walk the river, I walk the river ALL the time and not a lot changes. Does it? The YouTube video ‘The Monkey Business Ilusion’ by Simons, 2010 from session 6 however, made me think a little differently. The video has people in white or black shirts and queries how many times the white shirt people pass the ball. As I watched I was so fixated on the white shirts passing the balls, I didn’t even notice a person dressed up in a gorilla suit walk across the entire video, stop AND do a dance and continue to leave the stage. This affirmed for me once again, how sometimes, being caught up in our own tasks, expectations we place on ourselves or others may have for you can allow our focus to slip and we can miss out on the joy of it all. In relation to children, I believe Wilson, 2007 says it best, ‘play is an active form of learning that unites the mind, body and spirit.’

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Through my On Country visit, I engaged many sense relating to movement/dance. These include:

Tactile: my feet on the ground, crunching the sand and pounding the path as I walked mixed with the fresh, cool air on my bare skin.

Vestibular: walking along the correct side of the path, swinging my arms as I walk.

Proprioception: the force I use to create each step

Introspection: the air becoming cooler as the night lingers on. (Gano & Krull, 2020).

When creating my video, I was heavily inspired by the video ‘Dadirri’ by Miriam-Rose Ungunmerr, 2017. Although only a few minutes long, I felt an instant connection to the spectacular visuals of nature. The way the camera almost glided over the water and lily pads, how it focused in on certain aspects, blurring and fading the boarder to ensure they stood out, watching the water flow and certain parts slow right down in motion. In my own visit, I made sure I paid close attention to movement around me, how the river swirled slowly, debris bobbing up and down gently, the trees stood still tonight, as I noticed there was little breeze. I thought about what impacts the river, rainfall can cause it to flood, the warming climate can lead to shrivel up and dry out. This highlighted for me, on how we are all reliant on our water source and the importance we should place on educating the younger generations on how to care for and respect this environment. The river and waterways give life to humans, to animals, to plants; it's the one necessity for life. Yet the river is constantly moving and changing, adapting to external sources. Wilson, 2007 describes how 'unless influenced otherwise, young children are fasinated by the natural world, the child knows the world as being fresh and new and beautiful, full of wonder and excitement.' We must continue to foster and deepen these relationships.

(Movement, Sound, Play | Artifact Dance Project | TEDxTucson, n.d.)

(Wilson, R. 2007).

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ACARA. (2017). Structure. Australiancurriculum.edu.au. https://www.australiancurriculum.edu.au/f-10-curriculum/the-arts/music/structure/

Gano, D., & Krull, S. (2020, July). Natural Sensory Learning. Www.communityplaythings.com. https://www.communityplaythings.com/resources/articles/natural-sensory-learning

MiriamRoseFoundation. (2017). DADIRRI (Official Miriam-Rose Ungunmerr Video) :: 3 minute promo. In YouTube. https://www.youtube.com/watch?v=tow2tR_ezL8

Movement, Sound, Play | Artifact Dance Project | TEDxTucson. (n.d.). Www.youtube.com. https://www.youtube.com/watch?v=HrgpeuPbp-I

Wilson, Ruth. Nature and Young Children: Encouraging Creative and Learning in Natural Environments, Routledge, 2007. ProQuest Ebook Central.

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The Language of Music:

ACARA, 2017 describes learning in music as ‘listening, performing then composing; to learn about the elements of music comprising rhythm, pitch, dynamics and expression, form and structure, timbre and texture.’ I certainly took this take when comprising my own creative response to AT2.

I started by engaging my auditory sense by by listening to the sounds of my surroundings. There were entanglements of sounds such as the abundant birdlife and solitary sounds of the dog barking, the sand crunching beneath my feet, the person busily chattering away on the phone. I too, often am preoccupied calling or voice messaging my friends on my frequent river walks, or if not then I am definitely tuning out, my Airpods in, volume on high and listening to an audiobook or podcast; caught up in my own world, my mind and not merely being as present as I was throughout this particular walk. I imagined the person on the phone to be spilling all their workplace trials and tribulations and secrets from their day; and now I wonder, am I missing the musical gifts by deafening and drowning out the natural world, through so much busyness? (Gano & Krull, 2020).

ACARA, 2017 states how ‘making in music involves active listening, imitation, comparing and contrasting, interrupting and presenting.’

So, by this definition, even when I am talking to a friend or listening to books imagining the story line or other forms of media, this is still the soundtrack to my life, my day. However, I feel as though this is very much focused on either my past experiences i.e. my day, relationships, work or of predictions and plans of the future. I did find it rather calming, almost meditative to turn off the audio content and simply be present in the current moment and natural environment. I noticed the sky looked clearer, the sunset more vibrant, the river moved almost in slow motion, the air felt extra fresh and crisp. I believe this is relevant to how Wilson, 2007 discusses this concept in relation to children in terms of play-based curriculum verses a more formal, academic centred program. Wilson mentions how childhood can be defined as a ‘transition period’ awaiting maturation, as well as adults being more concerned about ‘accomplishments for the sake of the future’ rather than ‘the uniqueness of childhood’ viewing ‘these years as a special moment in time.’ And I must agree. We must all take time out to simply, just be in the here and now. This was a great reminder.

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A musical rendition of Dancing with the River Flow

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A musical rendition of Dancing with the River Flow

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Musical instruments of maracas, wooden tapping sticks and xylophone played by Brooke Kliemt, 2025.

https://youtube.com/shorts/TOaDJZsIoWo?feature=share

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Musical poem; Dancing with the River Flow

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Weeping Willows bend their branches low, palm trees stand short and stout,

Gum trees offer wildlife a home, vibrant red flowers they do sprout.

These trees are strong and sturdy, standing tall and rigid, motionless in the non-existent breeze,

But the ever flowing, graceful river dances lively, through suburbs, roads and buildings and outwards to the seas.

The air is filled with a familiar tune, a dog is our beating drum while the choir of birds singing sweetly fills my ears,

The river speaks through ripples of current, softly twirling, prancing until it drifts away and disappears.

As I move my footsteps echo a crisp and sandy story off the beaten track.

Passers-by with busy minds tell a busy tale or two, to whoever will speak back.

But I just look in wonder, as the sparkling sunset in the sky kisses the earth beneath my feet,

We both watch the dance of the river, that will never miss a beat.

Brooke Kliemt, 2025.