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Visit an outdoor space and play the Parallaxis game:

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Visit an outdoor space and play the Parallaxis game:

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In the morning, here I can hear the sound of the wind, the sound of the leaves rustling, the chirping of birds, parrots, and even the sound of traffic outside along with the sirens.

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Image 1: Introduce my new friend - Parrots

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Image 1: Introduce my new friend - Parrots

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Image 2: A door frame in the parrot's house made from tree branches

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Image 2: A door frame in the parrot's house made from tree branches

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When I was walking along the road in the park, I suddenly came across a door frame in the parrot's house made from tree branches. I never thought about that before. It reminds me paying attention to “who and what is in this place with me” (Latour, 2004a as cited in Taylor & Giugni, 2012, p. 110). I focus on using my imagination to start with what is immediately noticeable.

References:

Latour, B. 2004, How to talk about the body: The normative dimension of science, Body & Society, 10(2–3), 205–229.

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Image 3: A boat made from a fallen tree branch

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Image 3: A boat made from a fallen tree branch

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After a few more steps, I saw a large boat for parrots. Because they can't swim, they can use it to cross the river.

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When the parrots cross the river, they will see two fences formed by two broken branches lying on the ground

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The parrots will gather at the meeting place, where there are tables and chairs for them to sit and discuss with each other about the practice time, what song for today's vocal practice.

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Playing the Parallaxis game gives me curiosity and creativity which are values ​​that I will implement in my teaching as a kinder teacher in the future. Parallaxis is reminiscent of role-playing fantasy games, and I was curious about the path my imagination might take. Children are also naturally curious. They are encouraged to explore and learn about the world around them. I am inspired to challenge their thinking by questioning and examining their thoughts and ideas. This can help them deepen their understanding of the world and connection. Also, based on the video "Hearing & Deep Listening (R Murray Schafer)", by using my senses to listen carefully, and consider things carefully, life will be rich in a way that the world is one giant piece of music, one giant piece of music that goes on continuously with no beginning and perhaps no end. “Listening is a moral and aesthetic attitude.” - Loris Malaguzzi. As teachers, we prepare the environment, but mainly we focus on what children see and touch. The auditory environment is invisible, but it is equally important. Spaces full of children are always filled with sound, and there is much we can do to design a beautiful sound scene for young children.

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Each parrot will find a suitable place and then they will begin to practice their voice. When I closed my eyes and tried to listen to what they were saying, suddenly I could understand their language. They seem to be practicing their voices with

"Do,

Do Re Mi

Do Re Mi Re Do

Do Re Mi Fa Mi Re Do

Do Re Mi Fa Sol Fa Mi Re Do ..."

That reminds me of the video "Dadirri", which Dadirri is listening to. I feel like my soul is connected to nature. The sound is light, lively, and free of noise brought to me. "Dadirri looks inward, listens deeply, and is quiet, still. Dadirri realizes the source deep within us."

It also reminds me of Reggio Emilia's approach to hundreds of languages ​​that encourage music and nature and that music is considered a "building block" and that the "teacher's role was to create a stimulating and playful environment for children." to flourish mentally and morally". Music also includes movement and drama. The body naturally responds to music through movement and because music often tells a story, there is a strong ‘‘make-believe’’, dramatic play aspect to music and to many musical experiences. (Hanna, W 2014, p. 292)

References:
Hanna, W 2014, ‘A Reggio-inspired music atelier: opening the door between visual arts and music’, Early Childhood Education Journal, vol. 42, no. 4, Springer Netherlands, pp. 287–294, viewed 12 November 2022,

<https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1036230&authtype=shib&custid=s1145751>.

Ungunmerr-Baumann, MR 2002, Dadirri: inner deep listening and quiet still awareness, Emmaus Productions, pp. 1–4, viewed 11 November 2022, <http://www.dadirri.org.au/wp-content/uploads/2015/03/Dadirri-Inner-Deep-Listening-M-R-Ungunmerr-Bauman-Refl1.pdf.>

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Video: Singing with Parrots II ECE2008 Assesment 2

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Hanna, W 2014, ‘A Reggio-inspired music atelier: opening the door between visual arts and music’, Early Childhood Education Journal, vol. 42, no. 4, Springer Netherlands, pp. 287–294, viewed 12 November 2022,

<https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1036230&authtype=shib&custid=s1145751>.

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 11 November 2022, <https://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=117176256&site=eds-live&authtype=shib&custid=s1145751>

Latour, B. 2004, How to talk about the body: The normative dimension of science, Body & Society, 10(2–3), 205–229

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 10 November 2022, <https://search.ebscohost.com/login.aspx?direct=true&AuthType=shib&db=afh&AN=44491104&site=ehost-live&custid=s1145751>

Ungunmerr-Baumann, MR 2002, Dadirri: inner deep listening and quiet still awareness, Emmaus Productions, pp. 1–4, viewed 11 November 2022, <http://www.dadirri.org.au/wp-content/uploads/2015/03/Dadirri-Inner-Deep-Listening-M-R-Ungunmerr-Bauman-Refl1.pdf.>

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After reading "Walking With Place: Storying Reconciliation Pedagogies in Early Childhood Education" by Catherine Hamm, I began to think about places in different ways that would open up a space to explore through the languages ​​of sound, movement, and drama and also the history of the land and its commitment to "recognize the Aboriginal people as the first people of this land and whose voices have held and continue to perpetuate the stories of unique in place, belonging and ritual” (Victoria University - Pedagogical College, 2014). When I read the descriptions of the place in reading, I could imagine spirits coming down and creating volcanoes, rivers, and trees, I began to picture myself walking in the grasslands, closing my eyes to focus on using my senses to feel better. I tried to imagine that grasslands can “live and think.” Thinking with the concept of the place thinking provides the opportunity to place Aboriginal ways of understanding at the heart of understanding the places where we live. Instead of looking at the environment in a naive or romantic way, we can think about questions like these: What kind of plants, animals, and other people are here with us? What can you do to see, hear and feel in this place? For children, walking with place can encourage creativity, resourcefulness, and curiosity — all skills learned through children's dynamic interactions with each other and connections with the world around them. Through place, children interact with the environment to create optimal conditions for visual, auditory, and aesthetic learning for young children. Children can develop abilities in the areas of the language of sound, movement, and even drama. Learning through walking conducted outdoors improves behavior and engagement in learning more than in a classroom setting in purpose-built rooms.

Reference:
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 11 November 2022, <https://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=117176256&site=eds-live&authtype=shib&custid=s1145751>

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With my own creativity and love for music, I used the parrot's cry to create a new sound that made me feel like music. Also for children, music is often part of their play. Impromptu singing, sound exploration and dancing are often evident. When children play, they often imitate the behavior of others and then use their own ideas to develop their game further. This is one of the reasons why play is seen as central to children's learning.
Studies of children's invented songs have been shown the use of tonal centers and clear tonal, melodic, and rhythmic structures (Davidson, 1994; Moog, 1976; Whiteman, 2001). Studies of children's free musical play have shown that children will be more deeply engaged over long periods of time and show greater persistence than is often evident in teacher-led group music-making (Littleton, 1998; Smithrim, 1997). As a music educator, my goal has traditionally been towards the development of children's musical skills.
"Research is increasingly showing that humans are innately musical beings (Trehub, 2001), and therefore it is crucial that all children are given a musically enriched environment to bring out the musicality with which they were born. During early childhood, music is not just about nurturing talent; it is about a holistic approach to exploring the world in musical ways." (Niland, A 2009)

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 10 November 2022, <https://search.ebscohost.com/login.aspx?direct=true&AuthType=shib&db=afh&AN=44491104&site=ehost-live&custid=s1145751>.