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In their book 'journeys'(Pacini-Ketchabaw, V, Nxumalo, F & Kocher, L 2015) Discuss pedagogical narration and how it can foster rich, collaborative relationships between educators, children, and families. It highlights the potential of this approach to support children's holistic development, their sense of identity, and their engagement with learning.Furthermore, "Journeys" challenges traditional notions and focuses on the process rather than predetermined outcomes. This shift in perspective encourages educators to appreciate and value the unique strengths and capabilities of each child, while promoting a culture of ongoing learning and improvement. I love how closely this ties with the 8 Aboriginal ways of learning and that its all about the process of play not the end result. “The joining lines are as important as the pedagogies themselves. Values, protocols, systems and processes refer to the ways of valuing (axiology), ways of being (ontology - protocols are rules for how to be), ways of knowing (epistemology) and ways of doing (methodology). When you engage with Indigenous communities at this level, you truly have the potential to embed broad and deep Indigenous perspectives” . By embracing Indigenous perspectives, we can nurture a lifelong commitment to cultural diversity and respect among young children. Through this inquiry, I have come to recognize the transformative power of art in facilitating connections between children, their communities, and the wider world. It is my hope that as educators, we will continue to explore, reflect, and engage with materials and artistic languages to create an inclusive and culturally rich early childhood education environment. By doing so, we can play an active role in fostering a society where every child's voice is heard and valued, contributing to a future that is built on mutual respect, understanding, and reconciliation.

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https://www.youtube.com/watch?v=X7mPNwu3PU0
I listened to this song, telling the story of Bunjil the Eagle by a group of school children and their music teacher. I love it ! I love how they have captured the importance of this spiritual animal and got indigenous children involved in the welcome to country.

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This amazing light show pays homage to aboriginal culture. I love how immersive it is.  Light is an integral part of Aboriginal ceremonies and rituals. Fire, torches, and other sources of light are used during ceremonial practices, symbolising purification, protection, and spiritual transformation. Light serves as a focal point for gathering, storytelling, and communal celebrations.

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Sydney opera house lights up in honour of aboriginal art

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A poem to light
In the tapestry of time, a material emerges,
Radiating through epochs, casting its glow,
Light, the ephemeral dancer, the cosmic messenger,
Woven into history, with tales yet untold.
In the corridors of power, it held its sway,
Illuminating thrones, an emblem of might,
A symbol of prestige, a display of opulence,
Light played its role in political might.
In the realm of culture, it danced and flickered,
Guiding artists' hands, inspiring their muse,
From Renaissance canvases to theater's stages,
Light breathed life into tales we still peruse.
In the fabric of society, it forged connections,
Bringing people closer, erasing the divide,
From lamps that lit homes to city skylines,
Light kindled community, hope and pride

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Here is a video of me playing with clay . I thought about ecology and how organisms react with one another in their natural environment and how I had just experimented with this. I also thought about The concept of "Place-Thought" . How are our thoughts, ideas, and actions influenced by the places where we live? “Clay is soil, and soil requires fostering and nourishment. How can we offer this to children with care and help them to develop a growing appreciation for the natural world? How can we use clay from an indigenous perspective?

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Whils moving I thought about how movement is an essential aspect of human existence, deeply rooted in our evolutionary history. Since the earliest humans, movement has been a means of survival, communication, and expression. Our ancestors used movement to navigate their environment, hunt for food, and engage in social interactions.The origins of movement can be traced back to the biological and neurological development of the human body. Humans possess a complex musculoskeletal system, including muscles, bones, and joints, which allows for a wide range of movements. The brain plays a vital role in coordinating and controlling movement through the central nervous system. Movement has its own culture within societies and communities. It encompasses shared knowledge, practices, and aesthetics related to body movement. Cultural values, norms, and beliefs shape the way movement is perceived, taught, and performed. Various cultural contexts give rise to different movement styles, such as traditional folk dances, martial arts, ceremonial rituals, or contemporary dance forms.

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https://www.youtube.com/watch?v=zGIfeZy1ZdY&t=128s

I listened to this music and moved with my hand to the beat. I explored the way my hand moved with the music, the way it naturally clenched and then flowed and made shadows on my projector.

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432Hz 》Aboriginal Trance | Tribal Drum Music + Indigenous Voices

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Geologist explains painting with soil at Rice Gallery's 'yamatane' .. I LOVE this work, incredible use of material..

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https://www.youtube.com/watch?v=EbGqvjbD3vQ

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Geologist explains painting with soil at Rice Gallery's 'yamatane'

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" Aboriginal perspectives are not found in Aboriginal content, but Aboriginal processes..."

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

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Light is recognized as one of the hundred languages .It is seen as a medium through which children can communicate, experiment, and make discoveries about the world around them. Light can be integrated into the learning environment through the use of natural light, artificial lighting, and various light sources. In Reggio-Inspired schools, light and shadow is also known as one of the principles of transparency. By definition, transparency implies openness in such a way that allows light to pass through so that objects behind can be seen. The idea of transparency is also a metaphor to the openness of ideas and theories from children and families. I like this metaphor and think it can be applied to embedding indigenous perspectives into our classrooms. “ Experiences involving light and shadow enable children to appreciate the awe and wonder of the world around them and provide a rich environment in which to develop their natural curiosity.” (Thornton, L& Brunton, P 2010) .  In discussions of race and social justice, lightness and darkness metaphors have been used to address racial biases and challenge color-based hierarchies, promoting equity and inclusivity. This is a great way to think about the aboriginal flag and explaining the meaning of the colours behind it. Light calls us to attention by drawing our gaze, evoking emotions, and creating focal points. Its presence can signify significance or highlight specific aspects of a scene or object. Light can evoke awe, captivate our senses, and guide our attention to particular details or areas of interest.

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“It is vital that teachers have both practical and pedagogical knowledge of the visual arts. There is great value in playing with visual arts materials before offering them to children.” (Education hub)  When starting this Inquiry I knew the importance of exploring materials myself and reflecting to ensure I understand how to implement them into experiences and the environment when I teach. “In the language of art, young children speak to and about the world in both imaginative and relational ways. Children use the language of art to construct meaning and understanding.” (Pelo, Ann 2016) Through art, children contribute their unique perspectives, hopes, and critiques, finding their place in society as active contributors. Pacini-Ketchabaw, Kind, and Kocher's "Encounters with Materials in Early Childhood Education" explores the importance of materials in early childhood education. The authors argue that materials are not just tools for learning, but they also play an essential role in shaping children's experiences and their relationships with the world around them. They also discuss the cultural and historical significance of materials, highlighting how different cultures and societies have used materials in unique ways to express themselves and communicate with others. They argue that understanding the cultural and historical context of materials can help early childhood educators create more meaningful experiences for children.This inquiry delves into the integration of Indigenous perspectives in early childhood education through the lens of art. By embracing artistic languages, movement, and materials that are deeply rooted in Indigenous cultures, we can  create enriching and culturally responsive learning experiences for young children. In this inquiry I hope to show that by embracing Indigenous perspectives through art, we as educators can contribute to a more inclusive and equitable early childhood education learning experience that celebrates the rich cultural heritage of Indigenous peoples and fosters a lifelong commitment to cultural appreciation and reconciliation.

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Pacini-Ketchabaw V, Hertzman C, Friesen S, et al. Encounters with Materials in Early Childhood Education. Taylor & Francis Group; 2016. Available from: http://ebookcentral.proquest.com/lib/vu/detail.action?docID=4649662

Pelo, Ann. The Language of Art : Inquiry-Based Studio Practices in Early Childhood Settings, Redleaf Press, 2016.

(https://theeducationhub.org.nz/an-introduction-to-the-visual-arts-in-early-childhood-education/)

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Crinum asiaticum , a plant I found interesting in my garden 

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Janet Fieldhouse is a contemporary Indigenous artist from Australia who specializes in ceramics and pottery. She is a descendant of the Kamilaroi and Worimi peoples, and her artwork often reflects her cultural heritage and connection to the land. Fieldhouse incorporates traditional techniques and symbols into her clay artworks, creating unique and visually striking pieces that explore themes of identity, spirituality, and environmental concerns.

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Exploring music and inspired by the peninsula college who wrote their own song, I decided to make up my own rhyme for Bunjil the eagle. Thinking about music as a material I thought about how it is a form of language and how , even from birth, we will move if we here music and have some form of reaction. As a runner, music lifts my mood and I often listen to music genres dependent on how I am feeling. Music has been an integral part of human culture throughout history. It has evolved and transformed across different time periods, societies, and cultural contexts, reflecting the beliefs, values, and experiences of diverse communities. Music is created, performed, and transmitted through generations, carrying the legacy of traditions and serving as a record of cultural expression.  I really enjoyed creating my own rhyme that felt meaningful.

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Taking inspiration from The Labyrinth by  Aviva endean which provides an engaging interactive sensory experience I thought about an experience that could be immersive. We can provide flashlights or torches, and encourage children to explore the effects of light in a dimly lit or darkened room.Invite them to experiment with shining light through various natural materials, such as leaves, feathers, or stones, and observe the patterns and colours created.Introduce coloured cellophane or transparent coloured paper and allow children to explore how light interacts with different colours, creating mesmerising effects. Integrate movement and music into the experience by playing Aboriginal music recordings and encourage the children to explore expressive movements inspired by the qualities of light, such as flowing, shimmering or flickering. We can discuss how music, movement and the exploration of light is significant in aboriginal culture. We could also use animal cut outs or figurines of animals like bunjil the eagle to create shadows and explore how they move in the light and tell aboriginal stories through shadow play.

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"All children are born artists. The problem is to remain an artist as we grow up." Sir Ken Robinson argues that creativity is a natural human capacity, but that it is often suppressed and undervalued in traditional education systems.  I think this is important to consider when discussing movement within early years. There are SO many ways we can move when we make art. We can move our own bodies, materials , or both of these intertwined. "Movement and music are integral to children's development. Through music and movement, children can express themselves, develop their motor skills, and explore the world around them." (Young, E.R 2013). Movement can be seen holistically, especially when it comes to embedding movement from an aboriginal perspective. Movement is seen as a way to connect with the land, ancestors, and spiritual beings. Through dance, song, and movement practices, Aboriginal people express their deep spiritual connection to the land, the environment, and the dream time. It is believed that by moving in certain ways, they can communicate with ancestral spirits and seek their guidance and blessings. Movement is an integral part of Aboriginal storytelling and cultural transmission. Traditional dances and ceremonies are used to pass down cultural knowledge, histories, and Dreaming stories from one generation to another. Not only do they use movement in dance, but in story telling too ! "Through musical play and experimentation, children can develop their creativity and curiosity, and learn to approach new experiences with a sense of wonder and discovery." (Young, E.R 2013)

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Getting to know the material - My notes :

Touch, smell, and examine the plants , sensing their textures, colours, and possibilities for creative exploration

plants have been used for various purposes throughout history, such as for medicinal, cultural, and artistic practices. Paint, too, has a rich history, from ancient cave paintings to modern artistic expressions.

For plants think about specific plant type and cultivation processes, and traditional uses.  paint, What are the origins of different pigments and the historical trade routes that facilitated their mobility across cultures and geographies.

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Pacini-Ketchabaw, V, Nxumalo, F & Kocher, L 2015, Journeys: Reconceptualizing early childhood practices through pedagogical narration, University of Toronto Press Higher Education.

https://www.8ways.online/about

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Here I explored with acrylic paint and my chosen natural material- the Crinum asiaticum plant- to observe how I could create art using it in the same way you would traditionally see a paint brush being used in western culture. I noticed how it was quite difficult to pick up paint on this natural material and then I enjoyed the sensation of dabbing the paint more than spreading it. I noticed how the paint was thicker in certain areas and made different markings depending on my strokes. Some of the plant came of onto my work and I decided to leave it as I felt it added a collage element to my work.

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"The land is our canvas, and natural materials are the pigments through which we express our stories, traditions, and connection to our ancestors.” ( Lena Nyadbi) is an Aboriginal artist known for using natural materials in her artwork,  a Gija woman from Western Australia, is recognised for her unique artistic approach that incorporates natural pigments sourced from the land. Through her use of natural materials, Nyadbi's artwork embodies a deep reverence for the land and its significance in Indigenous culture. “Traditionally, materials used by Australian Aboriginal artists were sourced from the local environment. Rock, bark, wood and human skin were painted with pigments bound in material such as saliva, blood, plant gums and resins” Sharon Alcock(2013) . Incorporating natural materials in early years art education from an indigenous perspective supports cultural resilience, strengthens the connection to the land, promotes sustainability and resourcefulness, allows for cultural expression, provides a multisensory experience, and facilitates a connection to ancestral knowledge. It enriches the artistic experiences of children while honouring indigenous heritage, values, and artistic practices. Indigenous aesthetics emphasise the interconnectedness of art, culture, spirituality, and the natural world. It recognizes the significance of natural materials and their relationship to indigenous identity and artistic expression.

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In  Pacini-Ketchabaw, Kind, and Kocher's "Encounters with Materials in Early Childhood Education" they discuss Phenomenology - A focus on the direct, lived experiences of individuals, rather than on abstract or theoretical concepts. Phenomenologists  also aim to uncover the underlying structures and meanings of human experiences, and how they relate to one another. I find this interesting when looking at clay and how each of us may perceive it differently depending on our lived experiences. The book also discusses  that when we work with clay, we are not just manipulating a material. We are also interacting with the natural world, and this interaction causes us to question our own understanding of education, ecology, and the relationship between humans and the environment. Clay can teach us about concepts such as coevolution, symbiosis, and resilience, and we can use these concepts to inform our thinking and practices in areas such as early childhood education, sense-making, and creating positive change in the world.  I looked at artist Andy Goldsworthy - I am intrigued by his concept of his work being ephemeral, meaning they are temporary and will eventually be transformed or destroyed by natural processes such as wind, rain, or decay. I wonder how this reflects the constant changes of nature. Considering Indigenous perspectives when using clay in early years education promotes cultural respect, fosters inclusive learning environments, and contributes to a more comprehensive and meaningful educational experience for children. I particularly like this reference when considering how clay can represent meaning  “Stengers refers to folding as “something like a history … which obliges us to think through the ‘middle,’ through the milieu” (Stengers et al., 2009, p. 3). As with the bowl the children and Tara are shaping, experiences, feelings, memories, and histories are constantly folded in.” We can think about how aboriginal history should be folded into our curriculum- woven and intertwined as to respect and honour it.

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After speaking with an ECT she said “Firstly, It is important to note that when embedding indigenous perspectives into early years art we must always be careful to be culturally appropriate and follow cultural protocols. We need to research and if possible speak with people from the aboriginal community to fully understand this. There are often many tribes and we need to find the local tribe that is most relevant to us. We can speak to our local land council. We need to remember that aboriginal art is meaningful, not just “ dot painting” and we don't always need to “copy” their work.. It can be your own interpretation”. (Maggie Janssen ECT)

“In implementing learning activities, the Reggio Emilia approach is more often used learning media made from natural materials, unused items or loose parts” (Freeman 2011) . I will focus on a Reggio Emilia approach to natural materials by providing an example of a culturally rich, multidisciplinary learning experience that is open ended and allows children to explore the wonders of nature through the use of natural materials from an indigenous perspective. The classroom set up could be transformed into a space that reflects and celebrates Indigenous cultures. Indigenous artwork, symbols, and storytelling elements will be integrated into the environment. Natural materials, such as feathers, clay, bark, and natural pigments, will be thoughtfully displayed, inviting children to engage with their textures, colours, and stories. We can provide children with the opportunity to use materials for weaving with natural fibres, painting with natural pigments, or making collages using leaves and feathers. These experiences will allow children to connect with their ancestral traditions and express their own unique cultural identities.

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I love learning about the story of Bunjil through Aunty Joy Murphy AO and how it is depicted with movements, light and music - Holistic ! This is great start to how we can implement movement into early years experiences with an indigenous perspective.
Firstly we can discuss  how movement is deeply connected to the land, spirituality, and the Dream time stories. We can explore traditional movements or dance, watch videos or if possible invite an elder to discuss  the meanings of movement with the children. Emphasise the deep connection between Aboriginal culture, movement, and the land. Take the children outdoors to a natural setting, such as a local park or garden, where they can experience the environment firsthand. Engage them in movement experiences that reflect their observations and interactions with the natural world such as how the trees sway, how the birds fly, how the ants crawl, how the grass moves underneath our feet. To extend this we can also ask them to tell us a story through movement about their experience in nature. How long has the tree been swaying? What animals live in it? What has the tree seen?

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The story of Bunjil, as narrated by Aunty Joy Murphy AO , Wurundjeri Woi Wurrung Elder.

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1. Alcock, S. (2013). Painting Country: Australian Aboriginal artists' approach to traditional materials in a modern context. AICCM Bulletin, 34(1), 66-74. https://doi.org/10.1179/bac.2013.34.1.008

2. Mahshulah, Z. A., Syaodih, E., & Rachmawati, Y. (2020). The ray of light: An activity approach of Reggio Emilia. In The 2nd International Conference on Elementary Education, Department of Early Childhood Education, Universitas Pendidikan Indonesia (pp. 1–6). Retrieved from http://proceedings.upi.edu/index.php/icee/article/view/687/603

3. Freeman, R. (2011). Reggio Emilia, Vygotsky, and Family Childcare: Four American Providers Describe their Pedagogical Practice. Early Childhood Education Journal, 39(3), 227–246.

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I decided to research the aboriginal story of Bunjil the eagle and Waa the crow. I listened to a few different versions told by aboriginal elders and set up my experience with all the characters and elements involved. I started to tell the story with my figurines, printed images and natural materials. I thought about the history that the story entails and the deep meaning behind the creation of the land for the aboriginal people and how sacred the birds are. I enjoyed taking on different roles and perspectives throughout the story. Drama has ancient roots and can be traced back to ancient civilizations such as Greece, where it was a significant part of religious rituals and storytelling. Throughout history, drama has evolved as a form of artistic expression and communication. It encompasses various theatrical techniques, including role-playing, improvisation, and storytelling, to engage audiences and convey messages.

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“1. We connect through the stories we share.

2. We picture our pathways of knowledge.

3. We see, think, act, make and share without words.

4. We keep and share knowledge with art and objects.

5. We work with lessons from land and nature.

6. We put different ideas together and create new knowledge.

7. We work from wholes to parts, watching and then doing.

8. We bring new knowledge home to help our mob.” (8ways)

After researching the aboriginal way of learning I decided to think about the process for the learning experience with clay. I would start with an introduction to aboriginal culture emphasising the importance of storytelling, art, and symbols in Indigenous communities. I will explain how clay has been used historically and its significance in Aboriginal art. I would then Invite an Aboriginal storyteller or elder to share traditional stories and their meanings with the children. The stories can highlight cultural values, creation myths, or historical events. Emphasise the connection between storytelling, art, and the transmission of knowledge in Indigenous cultures. I will then  provide each child with a small piece of clay outside on a rock and encourage them to mold and shape it according to their own creativity, adding in any natural elements of their choice. I will ask them afterwards to tell me a story about their piece of clay.. What journey did your clay go on?

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I also wanted to explore deep listening, taking a walk and stopping by the Yarra river to listen to the wind, flow of the river, the grass, the leaves crunch. Taking a moment of mindfulness to all the surrounding sounds.

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Pacini-Ketchabaw, Veronica, et al. Encounters with Materials in Early Childhood Education, Taylor & Francis Group, 2016. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/vu/detail.action?docID=4649662.

https://www.8ways.online/about

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Drama can be considered a material in early years education, as it provides a medium for children to engage with and explore various aspects of their world. It offers opportunities for imaginative play, storytelling, role-playing, and creative expression. When incorporating drama into early childhood education, it is important to embed Aboriginal perspectives to promote cultural understanding, respect, and reconciliation. In the  "The Hundred Languages of Children" by Reggio Emilia it teaches that drama is not just a form of entertainment or play; it is a powerful language through which children explore, make meaning, and express their thoughts, emotions, and understanding of the world around them. It is a means of communication that engages their minds, bodies, and senses, enabling them to construct knowledge, develop social skills, and foster a deep connection with their own creativity and imagination.

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Dr Stanner, the anthropologist who did much of his work among the Daly River tribes, wrote this: “Aboriginal religion was probably one of the least material minded, and most life-minded of any of which we have knowledge”.  “In our language this quality is called dadirri. It is inner, deep listening and quiet, still awareness.” - 1988 Miriam-Rose Ungunmerr. I love this concept for embedding aboriginal perspectives into music in the classroom, not only do we have traditional instruments we can explore, but we have ways of hearing and engaging with music. In his ted talk “Music as a language” Victor Wooten says “"Music is a conversation between musicians, and like any conversation, it requires active listening and respect for each other's ideas."  I like this concept in terms of respecting aboriginal culture and listening to their ideas, being open to the conversation.

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I found this article very interesting and a good way of thinking about how we perceive indigenous story telling and how it could be white washed. “As  an  Anishnaabe  and  Haudenosaunee  woman,  my  worldview  is  continuously  tested against the colonial frame.It is therefore an important task to imagine and strive for our original instructions,  which  are  located  in  what  Susan  Hill  (2011)  describes  as  the  “pre-colonial mind”.(Watts V 2013)  The author explains that her worldview is often seen as mythical by "modern" society, while her stories are considered alternative forms of understanding rather than "real" events. Colonisation goes beyond harming people and lands; it also involves deliberate misrepresentations of Indigenous cosmologies. With this in mind I didn't think it would be appropriate to create a conceptual playworld based on an aboriginal story, a new concept from Monash University. I decided to implement drama in another way that can embed aboriginal practices. Children can go on a thought-place walk in nature and then re-tell the story of their walk. What elements did they see- trees, rivers, roads, cars, people ? What did they feel? Happy, sad, content, angry? What was the weather like? This could all be re-told through dramatic play, acting out their walk in nature and maybe imagining other elements and creating their own story.

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Watts, V 2013, ‘Indigenous place - thought & agency amongst humans and non - humans (First Woman and Sky Woman go on a European world tour!)’, Decolonization: Indigeneity, Education & Society, vol. 2, Queen’s University, Canada, pp. 20–34, viewed

https://www.monash.edu/conceptual-playworld/educators/create

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Musician Gary Bowman discussing the importance of music in early years.

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In his article (Coulter, R. 2007) Schafer suggests that music teachers should provide students with a range of musical experiences, including listening to and analysing different types of music, improvising and composing their own pieces, and collaborating with other musicians. He also emphasises the importance of incorporating environmental sounds and natural acoustics into musical performances, in order to create a more immersive and sensory experience for both performers and audiences. I love this concept , after creating my own rhyme surrounding Bunjil the eagle a dream time story animal, I thought about how I could provide a musical experience for children that embeds aboriginal practices and other theories. We can Play recordings of different Aboriginal songs, instrumental music, or Dreaming stories. Encourage children to listen attentively, paying attention to the unique sounds, rhythms, and vocal techniques. If possible I would invite an elder or someone from the aboriginal community to come in and potentially collaborate on a song  with the children. After listening to music we can go into nature and practice dadirri. After this we can facilitate a discussion about the children's observations and emotional responses to the music. We can create a story or musical piece, using vocals, instruments or sound recordings from the natural environment.

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Coulter, R. (2007). R. Murray Schafer: Thinking outside the classroom. In R. Coulter (Ed.), Music and the imagination (pp. 142-156). University of Toronto Press.

Wooten, V. (2012, March). Music as a language. [Video]. TED. https://www.ted.com/talks/victor_wooten_music_as_a_language

1988 Miriam-Rose Ungunmerr

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References

Edwards, C, Gandini, L & Forman, G 2011, The hundred languages of children: The Reggio Emilia experience in transformation, 3rd edn, ABC-CLIO, LLC.

ISBN: 9780313359620

Young, E. R. (2013). The children's music studio: A Reggio-inspired approach. Oxford University Press.
Sir Ken Robinson's TED Talk "Do schools kill creativity?" (2018)