# data[].attributes.attachment_caption
here, i was fully focused and was listening to the wind and matching with Ridhim of water.

# data[].attributes.body
the wind at the beach turned into a choreography. My body automatically mimicked its sweeping motions, jolting with its gusts, turning, and halting. Every movement was deliberate but spontaneous, using raised arms and planted feet to follow the rhythm of the wind. I rose tall as it surged, and knelt low as it spoke. I looked at weight, space, time, and flow contrasts using Rudolf Laban's ideas of movement. The wind turned into a choreographer, and the beach into a stage. According to kinesthetic learning theory, infants learn best via embodied experience, and this bodily involvement supported my view. I envisioned how young students would translate the signals of nature into movement stories by interpreting such components as sprinting, balancing on driftwood, or spinning in circles. I intend to foster this deep conversation between body and location in early childhood settings by providing nature dancing experiences that encourage self-assurance, coordination, and emotional expression.

# data[].attributes.attachment_caption
it was so peaceful, listening to water waves.

# data[].attributes.body
: The wind sung in erratic tones, whirling, harsh, and gentle. I responded by leaning into its voice and creating a soundscape out of various materials, with seaweed rustling like string instruments, stones clicking, and shells chiming. I added my voice to the group, humming long notes that blended with the wind. Echoing Pauline Oliveros' idea of deep listening—an active, focused attention to all ambient sounds—the music was impromptu and evocative. I started mentally noting the rhythms: a quick gust as staccato, a calm as repose. Here, music was the atmosphere, not anything apart from it. I discovered that this was in line with the Reggio Emilia philosophy, which sees children (and teachers) as co-creators of knowledge, particularly through sensory modalities. I would recreate this experience with children in the future by forming natural orchestras, which would inspire them to work with place as their musical partner and write, listen, and participate.

# data[].attributes.attachment_caption
we made a turtle using sand and made eyes with shells.

# data[].attributes.body
The image turned into a dramatic account of the wind's trip as I stood among the sand dunes. I assumed roles as the wind, the sea, and even the far-off clouds, in addition to myself. I told a made-up narrative using gestures, facial expressions, and vocal modulation: a joyful wind racing the tide and looking for company in the sky. I used character development strategies from theatrical pedagogies, such as role-playing and Mantle of the Expert. As the wind became tangled in tree branches, personifying its struggle, the tension increased until it was resolved in a dramatic, cathartic ending. My relationship with place was strengthened by this use of drama, which turned observation into story and feeling. Such dramatic storytelling encourages empathy, creativity, and group discovery in early childhood settings. As they immerse themselves in the tale of place and dramatise natural events, children develop become storytellers of the land. This is consistent with EYLF Outcome 5: Children can communicate well, particularly via imaginative play and symbolic representation

# data[].attributes.body
The beach, a constantly shifting transitional area where land and sea mix, beckoned a temporal and interpretative use of sound. The wind, powerful and mischievous, was a participant as well as a background element. I replied by considering the wind as both an instrument and a score in the temporal arts language of music. It pumped, howled, and whispered—a sound story that influenced my imaginative creation. I created rhythms and tones with organic elements like driftwood, sand, and shells. Using a shaker made of dried seaweed and pebbles, I imitated the wind's speed and responded to its swells and pauses by layering harmonies with my voice. The Aboriginal ways of knowing, especially the focus on reciprocal ties with Country and the learning via land and environment, are reflected in this approach. As a teacher, I view this endeavour as both cultural and pedagogical listening—letting Country speak first—as well as artmaking. This is in line with the eight Aboriginal Ways of Learning, especially "Deconstruct/Reconstruct" and "Learning Maps," as I re-formed the landscape's tale musically in response to my intuition.

# data[].attributes.attachment_caption
listen to the voice recording, next section.

# data[].attributes.body
My artefact is a live beach recording of a soundscape and movement story. It features voice parts, instruments made from discovered objects (seaweed, shells), and a dancing reaction to the patterns of the wind. Reflective writing, sound recording, and video were used to chronicle them. Interpreting the Creative Work: This artefact illustrates how children investigate meaning via multimodal, layered play and represents a process of "thinking with materials" (Vecchi, in Gandini, 2012). The wind evoked both bodily and emotional reactions, acting as a co-creator rather than a background. I used dramatic gesture, shifting movement, and ambient sound to convey the wind's personality while I told a story about its voyage. The Atelier: a Conversation with Vea Vecchi by Gandini (2012)
Vecchi highlights that "a dialogue among languages" is the source of children's artistic expression (p. 308). That conversation, in which no language predominated but each informed the others, was repeated by this event. It supports the notion that arts-based paedagogy is about process rather than result and that teachers need to participate in these activities in order to fully grasp their pedagogical potential.
Forest Paedagogies: Situating Place as Co-teacher (Knight, L. 2015).
Knight talks on the concept of place as an active participant in education. The sand and wind guided the lessons in this place, not me. This is consistent with the pedagogical change Knight talks about, in which nature is viewed as a teacher to be heard rather than a resource to be utilised. i repositioned as a participant, co-learner, and documenter rather than an instructor.

This inspires a rethinking of the outdoor arts-based learning environment. we can trust children's instincts to move, make sounds, and tell stories in response to natural cues by creating a setting that allows them to engage in creative dialogue with the environment without the need for scheduled activities or objectives, as i made a turtle without any representation and used the things that were available there, children could also use their imagination to create things like that, it will help them to think broad.

Does this go against what's being done now?
mayb yes . Predetermined learning objectives, indoor arts tables, or "craft" are frequently emphasised as outcomes in contemporary practices. This contemplation reaffirms that authentic arts education is emergent, embodied, and ecological—and that we must relinquish authority and join children as co-researchers of meaning.

# data[].attributes.body
C. Edwards, L. Gandini, & G. Forman . (2022). ProQuest Ebook Central. Proquest.com. https://ebookcentral.proquest.com/lib/vu/reader.action?docID=820317&ppg=330

Gillies, J., & University Of Tasmania. (2012). Dance and drama in education. Pearson Australia.

Kyretses, S., Lian Caplan, & Curriculum Kids. (2017). Music and movement : reflecting the EYLF. Craigieburn, Vic. Curriculum Kids.

Öztürk Samur, A. (2014). A study on the relationship between externalising behaviours and emotional skills of 60–72-month-old children. Early Child Development and Care, 185(1), 75–83. https://doi.org/10.1080/03004430.2014.905549

Waite, S. (2017). Children Learning outside the Classroom (2nd ed.). SAGE.

Young, S., Ilari, B., & Springerlink (Online Service. (2019). Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. Springer International Publishing.