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Reference

Bangarra Education Resources Mutton Bird. (2015). YouTube. Retrieved September 17, 2023, from https://youtu.be/o-PV98Oshkc.

Delafield-Butt, J. T., & Trevarthen, C. (2022, April 4). Creative dance for early childhood |. | Creative Dance Teaching Ideas and Resources. https://danceteachingideas.com/creative-dance-movement-for-toddlers/

The school without wall. (2018). YouTube. Retrieved September 11, 2023, from https://youtu.be/vNAKhgATlAo.

ungunmerr-Baumann, M.-R. ungunmerr. (2002). Dadirri - a reflection by Miriam - Rose ungunmerr- Baumann. http://dadirri.org.au/wp-content/uploads/2015/03/Dadirri-Inner-Deep-Listening-M-R-Ungunmerr-Bauman-Refl1.pdf

Vanessa L., B. (2014). What Music Educators Can Learn from the Reggio Emilia Approach. http://sagepub.com. http://sagepub.com

Wilson, R. A. (2018). Nature and young children: Encouraging creative play and learning in Natural Environments. Routledge, Taylor & Francis Group.

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Unit Reflection:
Week 1 - Session 1:
In my first session of week 1, I focused on learning about music. Prior to this unit, I always considered music to be something that required formal training to play instruments and sing properly. However, after reading about Deep Listening, I understood that through deep listening to nature, one can truly enjoy music. Victor Wooten's TED talk also emphasized that music is a language that we must learn.
Session 2:
In the second session, I explored how movements can convey stories and connect with emotions. This perspective shift significantly impacted my teaching practices. I began using movements to express emotions and narratives to children. Additionally, I started teaching children meaningful movements during dance and yoga activities.
Week 2 - Session 3:
In session 3, I delved into the significance of different senses, the importance of listening, and the value of pretend play and natural play. I used to believe that the home corner was the most popular play space for children to explore pretend play. However, this unit changed my perspective. I realized the importance of incorporating various forms of creative play into children's play spaces.
Session 4:
Session 4 discussed the connection between place, music, movement, and drama. I had the opportunity to experience this during my country walk assessment (Assessment 2) and subsequently implemented these ideas in Assessment 3.
Saturday Class:
During the Saturday class, we engaged in numerous hands-on experiences related to movements and creative play associated with music and movement.
Weeks 3 and 4 - Sessions 7 and 8
These sessions provided more insight into how to incorporate music, movement, and drama as inclusive practices. The provided videos and reading materials supported the implementation of inclusiveness in these practices, emphasizing the importance of accommodating all children according to their developmental stages. For instance, if a child cannot walk, the approach should be to support their participation in dance activities through hand movements.
Overall, this unit has taught me various concepts related to music, movement, and drama. It has also enabled me to recognise the temporal arts in the natural environment and apply them in my practices as a pre-service teacher.

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Experience 3 photos

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Experience Plan
The primary aim of this activity is to encourage children to engage with music created from natural materials. To inspire them, we will start by allowing them to watch and discuss the "Country Walk Video" on the center's iPad, encouraging open-ended conversations about the different sounds within the video. Additionally, we will connect the natural sounds with the Aboriginal perspective, especially the natural musical instruments that they used.

To ensure that this experience is more hands-on, we will set up musical instruments made of natural materials in our outdoor play space and invite children to engage with these instruments. These instruments will include didgeridoos, shakers made from natural materials, tambourines, and wooden sticks. During this play, we will encourage the children to have open-ended conversations about the types of sounds they are producing and how they are creating them.

Rationale:
During my country walk, I heard various sounds in the environment, all created by nature. This inspired me to think about creating music with natural materials that we have access to. I was also fascinated by the natural music in nature, which motivated me to create an outdoor musical experience, rather than an indoor one. I was inspired by how Indigenous individuals utilized natural materials to create unique sounds.

In line with the Reggio Emilia approach, I added the musical instruments as a deliberate teaching component. Through this intentional approach, I aim to encourage the children to explore their own interests. As Lev Vygotsky stated, language is a "cognitive tool" for children to express their understanding and engagement. Therefore, fostering open-ended conversations during this musical experience will encourage them to think critically about their play (Vanessa L., 2014).

Implementation:
I introduced the musical instruments in our nature play space and invited the children to explore the experience. A group of children spontaneously joined the play space, sharing the resources and singing acknowledgment songs while continuing the experience according to their interests.

Reflection:
Children showed curiosity and enthusiasm outdoors, smoothly shifting between singing and instrument play. These experiences nurtured creativity, boosted language skills through discussions, and enhanced social interactions. Limited space hindered participation; I aim to expand and provide abstract resources for more freedom. This outdoor music experience offered exciting skill development in tune with nature.

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Experience Plan
Continuing from the "Country Walk Video," my next set of experiences focuses on movement. To incorporate movement, I will read a story about Australian native animals and engage in discussions with the children about these animals. Then, I will encourage the children to mimic Australian native animal poses, such as the Emu and Kangaroo, inspired by the unit material from Bangarra education resources, specifically "Mutton Bird." I aim to connect these experiences with the Aboriginal way of life and their relationship with nature and native animals (Page, 2015).

Rationale:
My observations during the country walk prompted me to reconsider the unit resources (Ungunmerr-Baumann, 2002) (Page, 2015). I aimed to enrich my teaching by connecting Australian native animals to the lifestyles of our First Nations people and their natural habitats. I pondered how to create experiences where children could explore the names and images of these animals, allowing them to recreate these images in their own way. Piaget's research emphasized the significance of dance and movement in early childhood development. It serves as a tool for stimulating children's behaviour during dance and movement activities (Page, 2015).

Implementation:
During group time, I read the book "Australian Native Animals" and engaged the children in an open-ended conversation about these animals and their experiences with them. The children actively participated in the discussion, sharing their own experiences. Afterward, I invited them to the outdoor play space on the mat to engage in free yoga poses inspired by Australian native animals. The children were excited and happy to move around the mat freely and create poses based on their interests.

Reflection:
The children displayed curiosity and active participation in group discussions about native animals. They confidently showcased their yoga poses, fostering a connection with nature, animals, and our land. I considered enhancing future experiences by integrating music with yoga for added enjoyment and enrichment.

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Experiences
My third planned experience for the children revolved around drama. To enhance their engagement in the dramatic play, I encouraged them to create shadow puppets in our outdoor play space. Throughout this activity, I facilitated open-ended conversations about their puppet creations.

Rationale:
Inspired by a creative story from my country walk, where I observed fish bubbles following the sun's reflection in the water, I decided to use the same concept to spark the children's imagination through shadows. These experiences allowed the children to explore their environment without relying on modern play resources, providing an opportunity to discuss the experiences of Aboriginal children and their connection with nature (Wilson, 2018). Howard Gardner's theory, which suggests that creative play in a natural environment fosters naturalistic intelligence, resonates with me. Hence, I incorporated this approach into my teaching practices to encourage children to engage in more creative experiences in natural settings using natural resources (Wilson, 2018).

Implementation:
I invited a group of children to follow their own shadows. Some children were captivated by this activity, while others became easily distracted, likely due to their familiarity with modern resources. For instance, Child A enthusiastically engaged with her shadow, experimenting with various body and hand shapes. She then extended her imagination by creating birds with her hands, all at her own pace.

Reflection:
The creation of shadow puppets did not resonate with all the children; some showed interest, while others were quickly distracted. This may be attributed to their usual modern resources. In the future, I plan to design more experiences with fewer modern resources and incorporate more natural materials to encourage the children to expand their imaginative abilities. I also aim to provide more opportunities for the children to explore various types of puppet shows using natural resources. Overall, these experiences have prompted me to adopt a teaching approach that places greater emphasis on natural resources, thereby enhancing my teaching practices.