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In this activity, I engaged one child from my neighbourhood in the same park where I did my assignment 2.  Using sensory exploration of music, movement and dramatic storytelling, I created the elements of my previous creative response and used them as a base to build new understanding of the place. And also inspired by one of the videos in session 8, I temporarily blindfolded the child and I encouraged him to experience the world through other senses: touch, smell and sound which helped to stimulate imagination and supported inclusive practice.

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Sound/music activity

We used bowls, spoons, and the sounds of nature to create rhythmic beats while singing along to the Bear Hunt Story. I sang the song first and the child repeated the lyrics and mimicked sounds.

Movement Activity

We explored all the corners of the park acting out the story’s journey through tall trees, bushes, muds, etc. The child was blindfolded so was not that comfortable so I adapted by using verbal descriptions and walking along with him and showing him the directions.

Drama Activity

The child and I engaged in role-play, switching between the bear and the explorer characters. And also at the child’s suggestion, blindfolding became the part of dramatic play, adding a layer of empathy and sensory challenge.

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1. Music activity (Singing the bear hunt with nature’s sounds)

Materials Needed: Spoons, Bowls, printed lyrics (optional), natural environment.

Steps:

Gather in a shaded outdoor area.

Recap the Bear Hunt story.

Sing the story, tapping rhythm using spoons on bowls.

Add nature-based sound effects (e.g., rustling leaves, bird calls).

Encourage the child to contribute their own sound effects.

Repeat sections for familiarity and rhythm.

Let the child lead a verse.

Linked EYLF outcome:

Children are effective communicators

This experience encouraged language, expression through sound and also creative interpretation and building confidence and connection with story

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1.        Movement Activity

Materials: Outdoor environment (natural park, hills, etc.), comfortable clothing

Steps:

Walk through the park, narrating the story settings (e.g., deep dark forest)

Encourage the child to act out challenges with expressive body movements.

Pause when needed and follow the child’s pace.

When the child feels comfortable, let the child lead and also let the child to add new parts to the journey.

Framework Link

Outcome 3: Children have a strong sense of wellbeing.

This session allowed child to gain confidence in navigating the different outdoor surface even though, being blindfolded and also to practice coordination through imagination and expressive movements.

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Drama Activity (Taking turns as a bear and the explorer)

Materials: Natural Props, Optional Blindfold

Steps:

Retell the bear hunt story to the child again and assign the roles according to the wish of the child

Use leaves as map for bear hunt.

Blindfold the child if the child wants to see the world through different lens.

Finish with the shared reflection of the adventure.

Framework link:

Outcome 1: Children have strong sense of identity.

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These experiences were developed based on my On Country visit from assignment 2, where I focused on the sensory richness of natural environments and their pedagogical potential through music, movement and drama. Working with one child only helped me to understand their individual response, interests and also their engagement with the three creative forms. The planning and implementation of each experience were informed by Vygotsky’s sociocultural theory practice, which emphasis on imaginative play and also focuses on the role of adult as a scaffold in children’s learning.

Indigenous perspectives were also included by acknowledging the land and realising the true potential of the land, using nature-based themes, encouraging respect for the nature and the beings with it. My planning was also informed by the work of Sensorium Theatre. They use immersive techniques such as blindfolding the child to enhance their sensory engagement. As Gray et. al., (2018) explain, these methods “enable children to tune into their surroundings in a new way, shifting their focus from visual cues to sensory pathways” (p.14). After reading this, I decided to blindfold the child to enrich his sensory experience.

Furthermore, the sessions were underpinned by the ideas from Meyers and Berk (2014) on make-believe play and self-regulation. Their work highlights that imaginative play is very important of children’s creativity and emotional regulation. “In mature make-believe play, children must plan, negotiate roles, and follow rules, which fosters their ability to regulate” (Meyers and Berk, 2014). By inviting the child to lead and to shift between the bear and the explorer, use the available props properly, I created a space where imaginative play supported decision-making and self-regulation.

This was the best opportunity for the child to engage with the world through his senses. Natural experiences offer young children with rich opportunities to engage with the world which can be very beneficial in supporting their learning and wellbeing. As Wilson (2008) explains, “Connecting young children with nature has the potential to promote their physical, cognitive and emotional development in ways that are not achievable in indoor environments alone” (p.11).

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The child engaged very happily with the rhythm and the repetition of the bear hunt.

I felt like he might not like to play the bowl and spoon as a beat but he liked it.

He was eager to play the role of bear.

Natural elements inspired more spontaneous and also creativity to the play.

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The blindfolding part did not go as expected because the child was a bit uncomfortable.

And I thought the activity to go smoothly in a pace but I had to adapt to child’s pace and preferences.

I wanted to make the child crawl and also climb the rock-climbing structure but he was not ready for that.

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Provide more prop variety to enhance the storytelling, like I should have given sticks to him to walk and used something as a binocular.

Allow more time for the child to create his story.

Let the child know in advance about the activity.

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How will I use this growth in future practice?

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How will I use this growth in future practice?

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I will definitely continue to use nature as co-teacher in my planning and teaching activities.

I will make sure to use the child’s input to guide my direction and listen to the child attentively.

I will embed sensory play more often and more intentionally.

I will use music, movement and drama as inclusive entry points to my learning.

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This unit reshaped my understanding of music, movement and drama as very important and inclusive tools for early childhood education. These three modes are not different but interwoven and interconnected pathways for communication, creativity and identity building.  Even with one child, I saw how the arts offer multiple entry points into meaningful learning.

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Australian Government Department of Education. (2022). Belonging, being & becoming: The early years learning framework for Australia (Version 2.0). Australian Government. https://www.education.gov.au/early-years-learning-framework-0

Gray, T., Horner, C., & Macnaughton, G. (2018). Sensory storytelling: A resource for inclusive early childhood practice. Sensorium Theatre. https://sensoriumtheatre.com.au/

Meyers, A., & Berk, L. (2014). Make-believe play and self-regulation. The SAGE handbook of play and learning in early childhood (pp. 43-55). Sage.

Wilson, R. A. (2008). Nature and young children: Encouraging creative play and learning in natural environments. Routledge.