# data[].attributes.body
This video captures at Parliament Reserve to a local park, showcasing the temporal arts. The footage pans across swaying trees and a trickling stream, with sounds of rustling leaves and bird sounds. My footsteps on gravel and a playful twirl reflect movement/dance, while pointing to a tree as the “king of the forest” and flowers as “pirate treasure” evokes drama. This artefact embodies my imaginative game as a forest explorer, inspired by the natural environment.

# data[].attributes.attachment_link.title
visit country ParlIANMENT- S8111227- DUC BAO NGOC DANG

# data[].attributes.body
“Hi, friends! I’m the forest explorer, and this is my magic forest! That big tree over there? It’s the king of the forest, singing with the wind! I dance with the leaves, spinning like this! [Describe: ‘I twirl and wave my arms like falling leaves.’ Look, this flower is my pirate treasure from my ship adventure! Come play in my forest—it’s the best!”

This 1.0-minute soundscape, created in Audacity, blends natural sounds from my Parliament Reserve with a dramatic storytelling podcast. It begins with rustling leaves and birds chirping (music), layered with my footsteps on gravel to represent movement/dance. In a childlike voice, I narrate: “I’m a forest explorer! The big tree is the king, singing with the wind. I dance with the leaves, spinning like this! These flowers are my pirate treasure!” The audio ends with stream sounds, reflecting calm. This response captures my imaginative game, linking to Wilson’s (2007) idea of nature-inspired play.

# data[].attributes.attachment_link.title
creative response - video - Duc Bao Ngoc Dang - s8111227

# data[].attributes.body
Engaging with Place

My On Country Visit, Parliament Reserve to a local park was a sensory and imaginative journey that illuminated the temporal arts - music, movement, and drama- in early childhood education. Spending 20 minutes in the park, I engaged all senses: I heard birds chirpingand leaves rustling, smelled damp earth, saw sunlight filtering through trees, felt the rough texture of flowers, and sensed the breeze’s coolness. These sensations sparked a make-believe game where I was a “forest explorer.” A gnarled tree became the “king of the forest” (drama), its swaying branches inspired a twirling dance (movement), and the natural soundscape of wind and water formed a symphony (music). Emotionally, the experience felt joyful and grounding, evoking childhood memories of climbing trees and inventing stories. I wondered how children might similarly use natural spaces to create their own narratives.

This experience connects to unit content, particularly Wilson (2007), who argues that natural environments provide “open-ended materials” like rocks and leaves, fostering creative and symbolic play (p. 2). My flowers, imagined as pirate treasure, mirrors this,serving as a prop for dramatic storytelling. The uneven gravel prompted spontaneous

movement, aligning with Wilson’s (2007) view that natural surfaces encourage physical development (p. 3). Hamm’s (2015) concept of “walking with place” further enriches this,

emphasizing sensory engagement with the environment to create stories (p. 56). My game reflects Week 2’s focus on contemporary Aboriginality, where the land is a living

entity, inspiring movement (dance-like steps) and drama (narratives tied to place). These connections highlight how the temporal arts intertwine in nature-based play, fostering aesthetic and poetic experiences.The main artefact (video) captures this interplay: the rustling leaves and birdsong create a musical backdrop, my twirling and footsteps embody movement, and pointing to the tree as a “king” adds drama. The creative response (audio) extends this by layering sounds and narration, reflecting Wilson’s (2007) idea that natural soundscapes motivate imaginative exploration (p. 2). Hamm’s (2015) emphasis on storying reconciliation inspired the narrative’s connection to place, as I imagined the park as a magical world, much like children do. This experience informs my future practice in early childhood education. I aim to design activities that integrate music, movement, and drama in natural settings, such as

guiding children to create soundscapes with leaves or act out stories using trees as props. This contrasts with structured indoor activities I’ve observed, which often limit

open-ended creativity. However, challenges include limited access to natural spaces in some settings, requiring adaptations like bringing natural materials indoors. Week 2’s

drama of place suggests ensuring inclusivity by adapting activities for diverse learners, such as tactile props for sensory exploration. By fostering nature-based play, I can

support children’s holistic development and cultural connection to place, aligning with philosophical perspectives from the unit.

In conclusion, my On Country Visit revealed how music, movement, and drama converge in nature to spark creativity. Linking sensory experiences to unit readings

underscores the value of place-based pedagogies, guiding my practice to create rich, multidisciplinary experiences in early childhood settings.

Reference List

Hamm, C. (2015). Walking with place: Storying reconciliation pedagogies in early

childhood education. Canadian Children, 40(2), 56–66.

https://research.ebsco.com/linkprocessor/plink?id=26024c46-924d-32e9-a217-a228a5b86642

Wilson, R. (2007). Children, creative play, and the natural environment. In R. Wilson (Ed.), Nature and young children: Encouraging creative play and learning in natural

environments (pp. 1–18). Routledge.