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https://youtube.com/shorts/euku3gt5pB4

In the video, the camera moves over an open area, and it captures slowly moving leaves in the wind, flickering light on the branches and subtle natural sounds in the background that sum up. The movement of air, leaves, and a low background noise is rhythmic and simultaneously soothing and dynamic. The video offers room for the spectator to listen intensely.

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Wilson (2007) refers to the way a natural place has numerous loose parts for children's creativity allowing for imaginative play. While loose parts are well understood as material, Wilson (2007) also proposes that sound is a possible loose part. When working on my own artefact whilst recording the 46-second video for Ferntree Gully Reserve, the sounds of the environment became a playfully harmonious concert. The rustling of the leaves was like Clap. The trees were whispering a background hum. The birds were singing and made the soloist effect of an orchestra. The various textures, rhythms and tones interplayed and created a distinct rhythm which held my attention.

In my creative work – the dramatic monologue as spoken by a 3–4 year old child – the environmental sounds were made sense of with the support of creative imagination. The birds were not just chirping; they became the orchestra. The rustling leaves were made sense of as clapping in approval of an action or character. This showed how children access the discourse of sound/music and impose their own meaning. Reading Wilson (2007) made me realize how children's discourse of sound/music makes it possible for them to use layers of rhythm, tone and texture for play by moving their meaning. Wilson (2007)'s example of children putting music without the use of an instrument in a lesson suggests children have the capacity to make nature an open-ended score and construct their own music from natural characteristics of a place. What this has teaching potential for me as a practitioner is that I now see sound walks and listening games as methodologies that have the potential to extend children's musical and imaginative experience of place.

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Looking at my own artefact, I realized how much movement there was. Although I wasn't included on the video, the trees swung side to side, ripples kept on the lake, shadows spread and danced on the earth. There were subtle movements, but they produced a certain rhythm for the entire landscape. When I gave my dramatic monologue (performed as a 3–4 year old), I felt like I was rowing and wobbling and balancing and moving with the rest of the world. My body in a way was moving with the place, but it wasn't recorded on the camera.

This made my mind recall Edwards, Gandini, and Forman's (2011) hundred languages of children. Movement is included among those languages, among children's ways of making sense of the world. A child will not necessarily have to explain in words. They may instead dance like a tree, stomp like thunder, or run like the wind. Those movements are a way of speaking, a way of linking the visual to the kinesthetic.

I would consider how children would have more freedom of movement in responding to nature. Perhaps it would be dancing to the rhythm of the rain, making "shadow dances," or mimicking slow and quick movements they observe in the world. Movement is another way of being heard and another way of being spoken.

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The most potent aspect of my creative response for me was the drama. In the video, the mountain is present, the lake shimmers, the trees frame the space, and so on. In my monologue, these aspects of the space are no longer scenery but characters. The mountain is the gentle giant, the lake is a magic mirror, the trees are a live studio audience clapping along to the finale. Delivering the monologue as a child added to the sense of playfulness and liveliness, of being part of the story.

As Hamm (2015) elaborates in the piece, "walking with place" entails "educators and children taking respectful and responsive relationships with Country" (par. 6). I was reminded of that idea at the end of my story. I didn't just play with the mountain and the lake; I expressed gratitude. The act of showing gratitude made me aware of how drama is at its most fun and its most profound. Drama calls upon children to dream, play, laugh, make the world a playground. By such acts, drama may also teach children how to have reverence and responsibility for those places they play on.

Using nothing more than voices and imagination, children are able to create the landscape into a stage. More significantly, by virtue of such, they may learn that the stage itself, i.e., land, sea, trees, etc., is alive and should be appreciated.

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Edwards, C., Gandini, L., & Forman, G. (Eds.). (2011). The hundred languages of children : The reggio emilia experience in transformation. Bloomsbury Publishing USA.

Hamm, C. (2015). Walking With Place: Storying Reconciliation Pedagogies in Early Childhood Education. Canadian Children, 40(2), 56–66.

Wilson, Ruth, and Ruth Wilson. Nature and Young Children : Encouraging Creative Play and Learning in Natural Environments, Routledge, 2007. ProQuest Ebook Central, h