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The movement of these boats reminds me of the Bangarra Education Resources - Mutton Bird Dance, with the natural movements, strength and softness all rolled into one.

I have always thought of dance as something that has choreographed actions put to music, I hadn't considered the natural movements, choreographed by Place. The wind, water and boats, all dancing together. In this clip, I see the strength of the water and wind, moving the big boats, but doing so gently, with slow, rhythmic movements.

In my practice, I will draw children's attention to the natural music, dance and drama in their interests and environment. There is much to see and learn.

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Ungunmerr-Baumann (2002)

The drama of Nature fighting for the space it once owned. Plants flowering, sending their seeds on the wings of the wind to more cracks in the concrete. These cracks are made from Nature pressing up from underneath. The concrete cannot stand her force. The seeds settle in the cracks and sprout into new plants, ready to continue the cycle in this war.

Or is Nature just joining in? Taking it's place in the world, where it always was. Ungunmerr-Baumann (2002), tells how of the practice of Dadirri, or deep listening. When we sit in stillness we notice things we didn't before.

I sat and practiced Dadirri. Was I noticing the joining of the past and the present? Creating a future where everyone, including the more-than-human, co-exist together. I first described this scene as a war, now it feels peaceful and has a sense of togetherness.

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The Parallaxis, a game described as "a quest for cracks and shadows that transform the known into the unknown" (Kilby 2017, p 5).

This is exactly how I felt during my Parallaxis experience.

I noticed these bricks in the wall on the edge of the boat ramp. I imagined them as a secret entrance. There is a button to push, on the lefthand side. It is disguised as a drain. When you push this button, the bricks separate and you head inside.

Inside it is cosy and warm, there are cushions and books scattered around the floor. A calm and comforting place, right underneath this busy world we live in. They exist together, in my mind.

Children play in this imaginative way often. They see those shadows and crack, imagine the possibilities beyond. Make them part of their world, looking beyond the first thing our eyes see.

I plan to develop a curriculum that celebrates the power of imagination. I will learn, alongside children, about being, thinking and learning with Place, as described in Hamm (2015). The environment is interwoven with past, present and future. It is full of possibilities and I endeavour to utilise as much as I can as I educate children with music, movement and drama.

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Whilst I know that these tracks end at the bottom of this ramp, I imagine this being the beginning of the line. A line that leads to a wonderful world of underwater entertainment.

Where crabs play trumpets. Tiny fish dance in pairs, flipping, spinning and swirling to the music. Seaweed climbs with the tempo, rushing to the top of the water and, when the music slows, settling back down on the sea floor. Telling the shells down there all about their adventures towards the sun.

Children have the innate ability to conjur stories like this and, when we observe and document their ways of communicating and learning, we can construct our curriculum to include and reflect possibilities like the above example.

In my future practice, I plan to include an exploration of music, sound, dance and drama that is child-led and play based. A program like this "can nurture the innate musicality of young children so that they become and remain music makers throughout their lives" (Niland 2009).

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Hamm, C 2015, ‘Walking with place: storying reconciliation pedagogies in early childhood education’, Canadian Children, vol. 40, no. 2, Canadian Association for Young Children, pp. 56–66, viewed <https://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=117176256&site=eds-live&authtype=shib&custid=s1145751>.

Kilby, J 2017, The Parallaxis - a game of walking between worlds, PhD Thesis, RMIT University, Melbourne.

Niland, A 2009, ‘The power of musical play: the value of play-based, child-centered curriculum in early childhood music education’, General Music Today, vol. 23, no. 1, Sage Publications Inc., pp. 17–21, viewed <https://search.ebscohost.com/login.aspx?direct=true&AuthType=shib&db=afh&AN=44491104&site=ehost-live&custid=s1145751>.

Nolan, A & Raban, B 2015, Theories into practice: understanding and rethinking our work with young children and the EYLF, Teaching Solutions, Blairgowrie, VIC

Ungunmerr-Baumann, MR 2002, Dadirri: inner deep listening and quiet still awareness, Emmaus Productions, pp. 1–4, accessed from http://www.dadirri.org.au/wp-content/uploads/2015/03/Dadirri-Inner-Deep-Listening-M-R-Ungunmerr-Bauman-Refl1.pdf.

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Bunurong Country, Williamstown.