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Artefact- Yan Yen Reservoir Park- Water waves involving our senses and trees being in a magnific place of birds concert. 

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Artefact- Yan Yen Reservoir Park- Water waves involving our senses and trees being in a magnific place of birds concert. 

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Creative Response- Podcast Creative journey with my senses through Yan Yen Reservoir Park

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Creative Response- Podcast Creative journey with my senses through Yan Yen Reservoir Park

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Creative Response- Transcription of podcast

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Creative Response- Transcription of podcast

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Analytical response- Part 1- Starting my Parallaxis journey through Yan Yen Reservoir

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Analytical response- Part 1- Starting my Parallaxis journey through Yan Yen Reservoir

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In creating my Parallaxis through Yan Yen Reservoir, I used the perception of senses to create a podcast that inspired people to know the place from a different point of view and use my senses profoundly. In this process, when I was walking and experiencing the space for almost three hours, I opened my mind and spirit to be free and curious as the children are. It reminded me of the idea of Wilson (2007) when he said that children could follow their curiosity while playing to feel nature and create their games with the most immersive experience. Based on that, when I visited the place, I was genuinely open to letting my adult face behind me express and experiment freely.

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Analytical Response- Part 2-  It is not just an old tree! It is an ants sanctuary. 

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Analytical Response- Part 2-  It is not just an old tree! It is an ants sanctuary. 

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The first provocation based on the old tree was part of my process to concentrate and feel the drama of the space. The drama counts us the story of the Tree in the area discovering new ways to be alive. The tree is not growing with green leaves and roots but is reinventing ways to welcome a massive population of ants and continue her existence cycle. As Hamm (2015) said, when we understand the land's cosmologies, we feel the Aboriginal people's deep connections with the land. In this process, when I look into this tree and see how it is part of a complex narrative process and understand the Aboriginal meaning behind this element. Allowing me to observe the tree and think about the drama that I could capture from this was a way to establish the invitation for people coming to listen to my podcast.

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Analytical Response- Part 3- Dancing with the waves- Felling the fluid movement in my body. 

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Analytical Response- Part 3- Dancing with the waves- Felling the fluid movement in my body. 

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For the second provocation, I imagined a dance/movement game based on observing the movement of water and wind. As a pregnant woman about to give birth, seeing this enormous amount of water and the wind's influence stimulates me to connect my inside waters/waves with this reserve. So I danced, listening to nature's sounds, and with my eyes closed, I tried to make waves using my muscles, arms and legs, starting from small movements to the most intense and big ones. I tried to capture the mimesis of water waves. For me, movement and dance are a kind of body expression language. We can dance using music, without music, following sounds and lights and using our body to express ideas, feelings, emotions and ideas. I remembered the video Mutton Bird from Bangarra Education Resources, an excellent example of the use of movements in performance in connection with nature. In that exercise, I intended to talk and motivate people to Move and dance to express themselves without judging ideal performance. It is a way to encounter their physical intensity.

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Analytical Response- Part 4- Deep listening the Birds Orchestra- Connection with nature and with the most genuine way to understand/create sounds. 

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Analytical Response- Part 4- Deep listening the Birds Orchestra- Connection with nature and with the most genuine way to understand/create sounds. 

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The last provocation I registered from my podcast was with me as a constant soundtrack during my dance and drama experiment—the Birds Orquestra. I was walking to the park and many species from this sanctuary talked with me, or talked about me between themselves?... When I opened my heart to be part of a deep listening exercise, I saw these sounds as an incredible orchestra. I recognised different patterns and melodies that come on tunes that I could never say are out of tone. They completed the sounds of each other in harmony, and when the wind blew up, and the rain started to be strong, the birds reacted in a particular way to demonstrate their music. I referenced the Video Dadirri - Uangunmerr (2017) thinking about the importance of listening, observing and creating a deep connection with nature. In my podcast, I did it by challenging people attending to pay attention in details and interact with the sounds by singing or playing, following their hearts.

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Analytical Response- Part 5- My aesthetic appreciation of nature.

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Analytical Response- Part 5- My aesthetic appreciation of nature.

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During this exercise, I was connected with the reflections that Roy et al. (2015) provoked in the article “What are the arts and what they do?” More than just thinking about a performance that could include nature’s elements I went deeply into one experience that promoted me the critical reflection necessary to have an aesthetic appreciation of nature and also of the possibilities of engagement of music, dance and drama with this. It was essential to me as a teacher and as a human being to exercise my perception and my capacity of artistic creation as a way of expression.

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Analytical Response- New version including all elements from the Matrix 08/03/2023

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Analytical Response- New version including all elements from the Matrix 08/03/2023

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In the process of the creation of my Parallaxis though Yan Yen Reservoir I used the perception of senses to create a podcast that inspired people knowing the place by a different point of view use my senses in a deeply way. In this process when I was walking and experience the space for almost three hours, I open my mind and spirit to be free and curious as the children are.

To experiment the drama I allowed myself to go deeply in one provocation based on the old tree present in the park I was part of my process to concentrate and feel the drama of the space thinking about the story of this tree. Hamm (2015) said when we are understanding the cosmologies of the land we are going in the process of feeling the deep connections that the Aboriginal People have with the land. In this process when I look into this tree and see how it is part of a complex process of narrative and understand the Aboriginal meaning behind this element.  I felt connected with the tree and really concentrated in find my answers about the story of that tree and of the space. It gives me the sense of connection it the space I could fell the smell of the old tree and hear the silence walking for the group of million of ants. I also felt at the beginner I had difficult to start and concentrate because I was using my brain in an adult  way and not allowing myself to explore. When I relaxed I was absorbed with the experience and enjoyed the practice. The drama experience makes me remember that I used to talk with trees and flowers in my grandma huge backyard and how it makes me an adult connected with herbs, nature and aware of my role in preservation of this planet.

For the second experience related to dance/movement of the movement of water and wind, I danced listening the nature’s sounds and with my eyes closed I tried to make waves using my muscles of arms, legs and starting from small movements to the most intense and big ones. I remembered the video Mutton Bird from Bangarra Education Resources that was an wonderful example of use of movements in performance in connection with the nature.  In that exercise my intention was talk and motivate people to Move and dance as a way to express without any judgment of ideal performance. It is a way to encounter their own physical intensity. As a pregnant woman about to give birth I felt this huge amount of water and the influence of the wind stimulates me connect my inside waters/waves with this reserve. I danced listening the nature’s sounds and with my eyes closed I tried to make waves using my muscles of arms, legs and starting from small movements to the most intense and big ones I tried to capture the mimesis of water waves. It provokes my senses of feeling my body and my hearing of the water inside and outside me. This experience provoked me to be present in the space and I observed my body was alive and in the following  hours I continued thinking and connected with the experience. The dance experience makes me remember my experience doing concerts with my brother when we were young. At this time we live in a countryside and did not have access to big theatres and we dance with the animals observing cats and imitating them in the most natural way.

In the last experience related to music I explored the observation of Birds orquestra exercising deep listening and my own creation of sounds. I open my heart to be part of a deep listening exercise I was able to see this sounds as an incredible orquestra. I recognised different patterns and melodies that comes on tunes that I could never say that are out of tone. For my musical experimentation I made some references with the video Dadirri thinking about the importance to listen, observe and create a deep connection with nature. In my podcast I did it by challenge people that are listening to pay attention in details and also interacting with the sounds by singing or playing following their hearts. I felt my body was listening in a full intensity. When I open my heart to be part of a deep listening exercise I was able to see this sounds as an incredible orquestra. I could imagine how it could be develop this practices with children in our everyday practices. It could create a huge impact in their perception of the space/art and life. The musical and l experience was rich, I connected with my memories of childhood when I used to sing with animals and create my own language with them.

This practice will affect my practice allowing me to think about artistic languages we use as a teachers in childcare sometimes are not explored with the potential it could be. Music, movement/dance and drama can be part unlimited of our life and enjoyed freely all the time. As a ECE teacher I pretend to incorporate this kind of idea in my practice conducting practices of playing and listening to consider the songs/music as a part of the melody of nature.

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Bangarra Dance Theatre.  (2015). Bangarra Education Resources Mutton Bird, Youtube, Viewed 24 February 2023, https://youtu.be/o-PV98Oshkc

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

ISSN: 0833-7519

Roy, D. Baker, W. & Hamilton, A. (2015). ‘What are the Arts and what do they “do”?’, Teaching the arts: early childhood and primary education, 2nd edn, Cambridge University Press, Port Melbourne, VIC, pp. 11–13.

ISBN: 9781107433670

Uangunmerr, M.R. (2017). Dadirri, Dadirri Inner Deep Listening and Quiet still Awareness. Available at: https://vucollaborate.vu.edu.au/content/enforced/1752123-ECE2008-1-2023 H1B1-148814/Dadirri_Handout.pdf?_&d2lSessionVal=FclYqLXcGlOAcwArNdDMPgtYu&ou=1752123 (Accessed: February 21, 2023).

Wilson, R.  (2007). Children, creative play, and the natural environment, in R. Wilson (edn) Nature and Young Children: Encouraging Creative Play and Learning in Natural Environments, Routledge. Ch 1, pp 1-18.