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During my solo visit for Assessment 2, I sat quietly at Arthur Westlake Memorial Reserve Park. I watched the ducks glide smoothly across the water and listened to the calming sounds—rippling water, rustling leaves, distant bird calls. These natural encounters inspired the creation of three short activities for young children, helping them engage with the temporal arts—music, movement, and drama—to connect with place, self, and imagination.

Wilson (2007) suggests that natural settings stimulate open-ended creative play, offering children sensory-rich environments to explore. This guided my decision to use the ducks and their environment as a central motif.

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Music Activity: Duck Pond Sound Symphony

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Music Activity: Duck Pond Sound Symphony

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We explore and create a soundscape based on our interpretation of the duck pond. Sitting next to each other, we listened to a short audio clip we had recorded at the park (ducks quacking, water rippling). Then, we use natural materials like pebbles (for tapping), sticks (for soft rustling), and eucalyptus pine to replicate those noises. We also clapped softly for duck feet and used voice sounds for quacks.

Learning Focus:

Listening carefully to environmental sounds

Rhythmic awareness through imitation and repetition

Creativity in using everyday items to make music

Wright (2012) highlights the importance of embodied and sensory experiences in music education, especially when using non-traditional “instruments.” Children’s musicality is enhanced through playful engagement with sound, not just formal instruction.

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we explore movement by imitating how ducks move, swim, and interact with their environment. This encourages body awareness, physical coordination, and imaginative expression.

Materials we use include open outdoor space

duck-themed nature sounds with ducks, gentle pond ambiance, and quacking sounds. A visual of ducks.

Inspired by observing ducks at the park, we used our body movements to interpret how ducks move—waddling on land, gliding on water, and splashing as they bathe. Music with water-like qualities supported the movement.

We play Waddle Wuddle: Let’s waddle like ducks!”
We walk with our knees slightly bent, feet turned out, swinging our arms.

Flap Wings:
“Now let’s flap our wings like we’re flying!”
– Arms out to the side, flapping up and down.

Quack Parade:
“Let’s march and quack like a big duck family!”
We march around in a line, quacking joyfully.

Cool Down: Duck Nest Rest
We sit down like ducks resting in their nest. Play soft pond sounds or hum a lullaby. Close our eyes and imagine floating gently on a peaceful lake.

Learning Focus:

Body awareness and control

Theoretical Link:

Ewing (2010) explains that movement is one of children’s first languages, helping them express what they can’t yet put into words. Children embody stories and build a sense of belonging to place through imaginative play and movement.

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Drama Activity: The Lost Duckling Adventure

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Drama Activity: The Lost Duckling Adventure

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Activity Description: storytelling game.

I told my child:

“A baby duckling is missing from the pond! Can you help me find them?”

We created a pretend environment with blue cloth for water, and grass and trees. we chose roles: ducks, fish even the wind. We used expressive voices, gestures, and sounds to narrate the journey:

"I hear something—QUACK! Was that the duckling?"

"Let’s tiptoe through the reeds..."

we problem-solved, improvised, and used our bodies and voices to guide the drama.

Learning Focus:

Collaborative storytelling

Emotional development through role-play

dramatic expression (voice, gesture, mime)

Theoretical Link:

Wright (2012) and Ewing (2010) both argue that drama allows children to explore identity and emotion and imagine new perspectives. Through pretend play, they safely process fears, friendship, and resolution.

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My activities were inspired by the ducks I observed at Arthur Westlake Memorial Reserve Park. The children's music, movement, and drama experiences mirror the sensory richness I encountered during my visit. Wilson (2007) argues that natural environments spark imaginative, unstructured play. Ewing (2010) and Wright (2012) support using the arts to express and interpret these experiences. By transforming natural elements into soundscapes, journeys, and dramatic storytelling, I encouraged children to connect emotionally and physically with place, using accessible, embodied arts practices that build confidence and creativity.

Inspired by ducks and sensory observations at Arthur Westlake Memorial Reserve (Assessment 2)

Created arts-based experiences using natural sounds, movement, and storytelling

Grounded in theory:

🌿 Wilson (2007) – Nature supports creative, open-ended play

🎨 Ewing (2010) – Arts help children express complex ideas

🎶 Wright (2012) – Sound/movement support meaning-making

Engagee with place, self, and peers through imagination and the body

Activities require no formal instruments—just voice, movement, and found objects

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 Reflection on Implementing Music, Movement, and Drama Activities Inspired by Place

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 Reflection on Implementing Music, Movement, and Drama Activities Inspired by Place

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What went as expected?

We were highly engaged during all three sessions, especially in the drama activity. They enthusiastically took on duck roles and added ourstory ideas.

The music session was joyful and energetic—my child responded well to hearing real duck sounds and recreating them using natural stick instruments.

The movement session provided a lovely, flowing space for self-expression. The scarves added a playful and imaginative touch that the children loved.

What did not go as expected?

we found it difficult to connect duck sounds to the instruments without a visual prompt.

During the movement activity, transitions between "waddling," "gliding," and "splashing" weren’t always clear, and my son seemed unsure what to do next.

In the drama session, my son was hesitant to join in at first due to unfamiliar.

What might I do differently next time?

Use visual aids like photos, puppets, or movement cards alongside sound recordings to better scaffold understanding and support all learning styles.

Add a clear sequence of actions or use a simple picture book as a narrative base for the drama session to help shy children feel more comfortable participating.

Consider incorporating peer modeling (asking confident children to demonstrate first) during movement sessions to build group confidence.

How might I use this growth in my future practice?

This experience has reminded me of the power of place-based and arts-integrated learning. In the future, I will:

Use nature as a co-teacher, drawing from real environments and sounds to build imaginative experiences.

Integrate music, movement, and drama regularly—not as extras, but as core learning tools that support emotional expression, sensory development, and social collaboration.

Be more intentional about scaffolding arts experiences to support.

Overall Reflection

Engaging with this unit has transformed my perspective on music, movement, and drama in early childhood education. I previously saw these elements as optional or occasional experiences. Now, I understand them as powerful languages of expression, exploration, and connection—not only for children but for educators too.

Through the creative tasks and real-life implementation, I’ve witnessed how these art forms allow children to:

Express their understanding of the world in deep, non-verbal ways

Build empathy and imaginative thinking

Develop physical and cognitive skills through joyful, embodied learning

This unit has inspired me to become a more reflective, playful, and responsive educator—someone who sees the arts not as something separate from “learning,” but as learning itself.

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Booth, D. (2011). Story drama: Creating stories through role playing, improvising and reading aloud. Pembroke Publishers.

Gandini, L. (2012). The hundred languages of children: The Reggio Emilia experience in transformation (3rd ed.). Praeger.

Wright, S. (2012). Children, meaning-making and the arts (2nd ed.). Pearson Australia.

Department of Education and Training. (2016). Victorian Early Years Learning and Development Framework: For all children from birth to eight years. https://www.vic.gov.au/victorian-early-years-learning-and-development-framework

Australian Government Department of Education. (2022). Belonging, being & becoming: The Early Years Learning Framework for Australia (V2.0).