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The significance of materials in early children's learning is very important.
Children's social, physical, emotional, and artistic development is viewed as being influenced by procedures such as brush painting and working with clay (Pacini-Ketchabaw, Kind and Kocher, 2016).

Everything moves, including people, objects, materials, and air, and each movement has a unique rhythm and intensity. Motion, fresh becoming’s, orchestrated movement, and emergences are all a part of everyday life. barely Movements are discernible. Emergence: What results from these being felt, movements being seen, movements being dramatic and being made by a group of people. There is movement both acting and being acted upon far away. We naturally gravitate towards additional questions as we progress through and engage with learning materials. We get the ability to move with the materials while paying attention to the emotional responses we receive. We discover that movement is a part of learning. Children may relate ideas to actions via movement and learn by experiencing the movement (Pacini-Ketchabaw, Kind and Kocher, 2016).

In this digital visual journal, I am going to explore and discuss on the concept of movement by exploring materials such as paper, clay, charcoal, light, paint, and blocks and implement them in an early childhood setting.

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Mahshlah, ZA, Syaodih, E & Rachmawati, Y 2020, ‘The ray of light: An activity approach of Reggio Emilia’. The 2nd International Conference on Elementary Education, Department of Early Childhood Education, Universitas Pendidikan Indonesia

Pacini-Ketchabaw, V, Kind, S. And Kocher, L.L.M. (2016), Encounters with materials in early childhood education, Taylor & Francis Group, London.

Pelo, A. (2016). The language of art: inquiry – based studio practices in early childhood settings. St. Paul, Mn: Redleaf Press.

Roy, D, Baker, WJ & Hamilton, A 2015, ‘Excerpt from: A vision for the arts in education’. Teaching the arts: Early childhood and primary education, 2nd edn, Cambridge University Press, Port Melbourne, VIC.

Topal, CW & Gandini, L 1999, ‘Connections’, Beautiful stuff; Learning with found materials, Davis Publications, Worcester.

Thornton, L & Burnton, P 2010, ‘Exploring light and dark with early years’. Teaching Expertise, Wordpress.

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I have investigated, discussed and put into practise of the importance of movement in connection to many resources in early childhood education in my digital visual jounaljournal. Through my own experiments, I was able to document the movement of paper, clay, charcoal, light, paint, and blocks. I also discovered that these materials play a significant role in movement, and as a result, I learned about the physical movements and properties of these materials as well as what they can do in the environment when used in play, such as how they can be rolled, stacked, or moved. Children's sensory, creative, and visual abilities may develop as they interact with various items, creating opportunities for further explorations.

In conclusion, My findings and explorations helped me to acquire different ideas and techniques to explore the materials which helped me to experience and come up with activities according to children’s interests and play based enjoyable activities as a future early childhood teacher.

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I collected some wooden blocks to see the movement of blocks. Blocks was hard and rectangular shape. I tried to build a tower using the blocks and I placed few blocks many times and it fell over multiple times. But I did not give up, I tried many ways such as horizontally and vertically and moved the blocks into different ways and finally managed to construct a tall building. I was very happy after I managed to construct the building I had imagined.

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Movement of blocks shows us the experience of build, offer, push, glide, ride, transport, run, chase, borrow, use, deplete, find, guard, intensify, accelerate, approach, desire, assemble, loosen, keep, enclose, extend, tear down, build up, pull out, measure, dismantle, encircle, regulate, fabricate, improvise, reorganise, consider, gaze, glance, balance, pause, seek, reconstruct, release, retreat, rest. wooden plan and form. They can't be ripped, crushed, or ground up. Once the standing blocks are in place, firmly sit down.

We questioned our propensity to emphasise "clock time" after coming across blocks, paying attention to their flows and inclosures, and tracing their linkages to several places and globalities: What if time is more than just motionless space? Regardless of whether moments are linear or not (Pacini-Ketchabaw, Kind and Kocher, 2016).

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I used different colour paint, paint brushes, pallet, natural leaves, canvas, and water. I put in different coloured paint onto a plastic dish. This made it easier to mix, combine, pick colours I liked, test colours, fill in my artwork, stir, utilise thickness, and spread over it.

I was able to clearly comprehend the many patterns and the blurry differences between the paint and the canvas with the help of resources I utilised to experiment my art. My artwork was a vibrant painting since I had vivid ideas when I hold my brush. I experienced the variety of colours spreading on the canvas and enjoy merging them to create a colourful artwork. I noticed the paint's viscosity, solidification, and smoothness as well as how it spreads, covers, and how it mixes. I used a leaf and put paint on it, and I pressed it to the canvas, I experienced that the lines of the leave and the movement of paint on the canvas gave me a creative artwork.

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I used charcoal sticks, container filled with water and a white paper. I took the charcoal to my hand and I felt it was hard. I then drew it on the white paper and I experienced that I can draw darker using charcoal and by pressing it harder. After I drew it on paper, I felt my fingers very powdery and when I turned my hand around, I saw all the charcoal on my hand.
I wanted to make the art lighter, so I rubbed it with my fingers and I experienced that the charcoal moves smoothly and I can have lighter shades when I rub with my fingers.
I then dipped the charcoal in water and I drew the dipped charcoal on paper to see how it moves and reacts. I observed that the drawing became darker when I used charcoal with water. This was an fun experiment for me as I never experienced charcoal art before. The movement with charcoal and body movements really amazed me.

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I will set up a construction corner in a corner of the classroom with different type of construction activities using wooden blocks. Children can experience the movement by blocks by stacking them up, tearing them down and by reconstructing.

By having the construction corner in the class room, aids in children's development of visual perception, eye-hand coordination, and visual processing abilities, all of which are crucial to the overall development of visual motor skills that enable us to perceive, process, and use visual information while using motor skills to manipulate and move objects in tasks and also their imagination when blocks move, self expression, problem-solving, physical development and creativity will increase (Pacini-Ketchabaw, Kind and Kocher, 2016).

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I used air dry clay, wooden spoon and some water for my clay experience. The block of clay was hard and little bit watery. I then broke a small piece of clay and then made a ball. I used both my hands to make the ball round and the movement of clay helped me to get the shape I wanted to. The clay was very sticky on my hands so I used more clay and few drops of water to shape my ball. I did not have and idea of what I will make out from clay so I used a another block of clay and shaped it the way I wanted to while I was playing with clay. Then I took the wooden fork and pressed it on the clay. I experienced a beautiful art with my clay play even though I did not have any imagination of the end result.

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Movement by charcoal can be experienced by “obtain, extract, unearth, dig, discover, excavate, mark, saw, cut, wrap, burn, roast, hesitate, draw in, shake, pulverise, hammer, thump, transfer, try, pour, examine, uncover, cover, draw near, disperse, handle, grate, chop, spread, sweep, dust, brush, multiply, stroke, blaze, howl, growl, pulverise, hammer, thump. A stick of compacted, charred wood exists as charcoal. But it's also a progression, a narrative, an occasion, a happening, and a doing (Pacini-Ketchabaw, Kind and Kocher, 2016).

The chance to be receptive to idea was presented to us by the discovery of charcoal. hoping to reconnect. having the want to touch and be touched. the desire to take care of whatever that needed taking care of. the desire to become more open to the world's unpredictable nature. the desire to engage with the assemblages to which we aspire (Pacini-Ketchabaw, Kind and Kocher, 2016).

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I collected a magazine paper to see and experiment the movement. I crushed the paper, teared the paper, dipped the paper in to water.

When I crushed and teared the paper my fingers and hands moved and I felt that when I tear the paper from the top, I have to put more strength than crushing the paper.

When I dipped the paper into the water, I felt that the paper gets together and stick together and it is easy to tear.

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I used a torch, lamp, my fingers and natural sun and moon to see movement with light. I experienced that light is all around me. In the morning when I woke up and opened my blinds I saw the sun light coming through my window. I then experienced light movement in the dark and how we can see shadows and reactions with the light movement. I pressed my torch to see the light power and I experienced different movements when I moved the torch around. When I looked up in the sky at night, I saw natural moon light from the sky and how it fades when the day light appears.

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I will have a group activity and provide charcoal sticks, A4 paper and bucket filled with water. Children can touch, feel, and experiment the movement of charcoal by drawing it on the white paper and they will be able to experiment the darkness and lightness of the charcoal when drawn into the water, they will also be able to put the charcoal into the bucket filled with water so that they will experience how charcoal moves and reacts.

Children will be given hope when they come upon charcoal—the hope to be open to ideas. the desire to reconnect. the desire for both contact and touchback. the desire to take care of anything that required attention as it appeared. the desire to become more receptive to the unpredictable nature of the world (Pacini-Ketchabaw, Kind and Kocher, 2016).

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Paint movement is experienced by anticipating, flowing, dropping, improvising, mixing, impersonating, dabbing, resounding, stabbing, using fingers, squishing, slipping, spilling, speculating, wrapping, choreographing, modifying, patting, stirring, dripping, stroking, splattering, arranging, covering, spreading, massaging, flicking, marking, colouring, sliding, blending, composing, merging, picking up, enacting, performing, pouring, exchanging (Pacini-Ketchabaw, Kind and Kocher, 2016).

By movement of painting children may express ideas, feel emotions, utilise their senses, learn about colour, investigate processes and results, and produce beautiful works of art and experiences by painting in which they are strengthening their hands, wrists, and fingers while also developing better hand-eye coordination and developing their fine motor skills quickly.

I examined the paint's viscosity, solidification, and smoothness as well as how it spreads, covers, and mixes which gave me various understanding on paints movements and its reactions.

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Clay is an organic, natural product of the soil. It has a cold, dark aroma. Inside its velvety moistness, it is gritty. Clay is felt on our skin when we work with it with our hands. Working with clay has an intuitive component; with time and several interactions, we get to understand its fluidity and solidity (Pelo, 2016). Movement of clay helps children strengthens hand-eye coordination, promotes trial-and-error learning, improves motor skills and encourages creativity.

It's amazing how adaptable clay is. It can be cut, engraved, ornamented, glazed, carried, burnished, heaved, burned, dropped, hollowed, changed, polished, painted, hammered, flattened, carved, and transformed. Clay wiggles, sobs, sticks, contracts, dries, stretches, gestures, melts, trickles, sits, cracks, collapses, rises, connects, rests, and collects (Pacini-Ketchabaw, Kind and Kocher, 2016).

As children manipulate, clay reacts to their movements. But occasionally it struggles and clings to a particular shape. However, it is impossible to foresee these resistances. Clay moves about in time with the children’s movements. Because of its simple malleability and adaptability, it demands transformation. It allows children to watch as it interacts with objects like shoes, pockets, canvas, floors, hands, gloves, and air in surprising ways (Pacini-Ketchabaw, Kind and Kocher, 2016).

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Shredding paper helps children develop a wide range of crucial abilities, including hand strength, hand-eye coordination, accuracy, refined motions, bilateral coordination, and more. When a child destroys paper, their little hand muscles get stronger and more resilient.

According to (Pacini-Ketchabaw, Kind and Kocher, 2016), paper has its own preferences. The water, the walls, the flooring, the door, and the bodies of the children are all affected by it. It gains notoriety based on how it floats, turns slimy, adheres to walls, windows, and legs under various circumstances, feels, slides off, behaves, and moves. Paper gains the reputations of being sensitive, reactive, pliable, absorbent, responsive to touch, and capable of being bent, folded, and crumpled. Even if these motions are slight, working with paper requires constant motion in which one joins forces with the material and reacts to its inclinations.

Paper ripping can help with sensory requirements, coordination, and visual motor abilities in addition to being a fine motor technique. The development of bilateral coordination abilities is supported through stable paper folding, which involves utilising the non-dominant hand to hold the paper and the dominant hand to produce precise rips. More skilled motor actions may be required depending on how intricate the paper rip line is.

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Nobody or anything is untouched by the light, regardless of where they are or what they are. The characteristics of light are that it flows and is sent into an infinitely beyond space. The light is a real, tangible thing that fills the room and is there. The use of light in educational activities is not always maximised, and sometimes the way the notion of light is presented is not appropriate (Mahshulah, Syaodih & Rachmawati, 2020)

Playing with light and dark produces fascinating movement experiences that both children and adults will love. Children have the chance to experience refers to as "gratuitous fear" when it comes to light and darkness since they carry the potential for curiosity, mystery, danger, and challenge. Exploring natural light movement by taking a look around surroundings and notice where the sun shines in at various times of the day and observe how the sun's position varies throughout the day help children to (Thornton & Brunton, 2010).

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As an Early Childhood Teacher, I will have a group activity and provide A4 papers, newspapers and magazines , scissors , basket filled with water and allow them chose any paper they like so that they can touch and feel the thickness of paper, crush, tear and dip the paper into the water. Children will see how the movement of papers and how paper will react when its dip into water and they will be able to crush the papers and experience the play-based paper movement.

As mentioned in the Encounter with Materials according to (Pacini-Ketchabaw, Kind and Kocher, 2016), the little hand muscles will get stronger and more resilient when a youngster breaks, crush, fold and cut a sheet of paper.  Numerous fine motor abilities will improve within the child by movement of paper.

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I will invite children to participate in this energetic group activity, entertaining experience with clay. Children will be provided with air dry clay, rollers, basket of water and some sticks. Children can collect a block of clay and use their fingers and hands to press and role the way they want their art to be and encourage them to explore the clay block with their entire body. Children will have open ended questions on how they can make different shapes using clay and they will request for more clay if needed and thereby children improve hand-eye coordination skills, creativity using their own imagination and fine motor skills using clay movement.

This level emphasises full-body exploration. Children can experience the clay's receptivity when they engage their entire bodies in their interaction with the movement of clay (Pacini-Ketchabaw, Kind and Kocher, 2016).

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I will set an environment made more interesting by light boxes, which provide a space for close examination or the exploration of pattern, shape, form, colour, opacity, and colour mixing. A light box's relaxing effect encourages sensory exploration and holds children’s interest on the movement of light.

To explore light movement effectively, the surroundings will be dark, I will designate specific areas in the classroom environment where children can explore light. I will use blinds to darken a tiny space or a naturally dark location (corner of the classroom) or a den behind a table covered in blankets and blackout materials so that children will experience the different movement of light within the classroom. Experiences with light and shadow movement help children understand the wonder and amazement of the world around them and offer a rich setting in which to foster their innate curiosity (Thornton & Brunton, 2010).

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I will provide children with different colours of paint, A4 paper, pallets to mix, different sizes of paint brushes, natural leaves and flowers and container filled with water. Children can squeeze the colours they like to the pallet, and they can use any size of paint brush to mix their paint with and paint the A4 sheet as they wish. By doing this children can experience the thickness of the paint and they will use their own imagination to react to the paint movement.

Children will experience a fun activity as painting is enjoyable and a learning opportunity. Children can develop their visual expressiveness, spatial awareness, and colour perception via painting. Additionally, children who paint frequently improve their motor skills and creative abilities (Pacini-Ketchabaw, Kind and Kocher, 2016).