The music activity is influenced by Hanna’s (2013) idea of the atelier as a space for creativity and Bond’s (2013) emphasis on child-led music-making. The movement activity reflects Wilson’s (2012) view that nature play supports confidence, physical literacy and imagination, while the shadow play drama builds on Meyers & Berk's (2014) research showing how imaginative play strengthens self-regulation and storytelling skills. Together, these activities transform ordinary materials and spaces into a “third teacher.” (Bond, 2013), encouraging children to collaborate, experiment and develop a meaningful connection with nature and Country.

Movement: Children are invited to explore balance and coordination along a “log,” using cardboard and props to imagine crossing a river.

Drama: Children are invited to use their bodies and shadows to act out scenes from nature, experimenting with movement and storytelling.

Materials:

• Rain stick

• Spoons

• Glass containers

• Water bottle

• Stick

Steps:

1. Invite the child to close her eyes and imagine sitting in a park. Ask: “What can you hear? Birds? Leaves? Water?”Introduce the idea of making music inspired by nature.

2. Offer instruments and allow her to choose one, exploring its sound freely.

3. Support her in creating a simple “soundscape” (e.g., bird calls, flowing water sounds) at her own pace.

4. Play together: use hand signals to start, stop, or layer sounds, bringing the “park” to life.

5. Reflect together: “Which sound was your favourite? What story could this sound tell?”

The child eagerly shared her observations, saying, “I hear bird, I hear butterfly,” and was curious about each instrument. She explored rhythm and texture, shaking a water-filled container and saying, “I like this,” showing engagement and imagination.

2.What did not go as expected?

I planned for a collaborative soundscape, but I expected to guide it more closely. Instead, the child confidently led us, directing me and Freeda to hold instruments and creating her own playful ensemble. This showed her leadership and deep engagement.

3. What might you do differently next time?

Next time, I would shift this activity outdoors to integrate real nature sounds, allowing children to “jam” with birds, wind, and water. Being immersed in nature would deepen listening skills, spark creativity, and make the experience even more inspiring.

4. How might you use this growth in your future practice as ECE educator?

This experience showed me how music can naturally spark leadership, collaboration and creativity. Moving forward, I want to plan more open-ended music experiences where children can lead, experiment and compose together using simple materials. This reflects Hanna’s (2014) idea of the atelier as a creative space that encourages child-led exploration and expression.

Materials:

• Long rectangular cardboard strip to act as a “log”

• Sticks to create a “flowing river”

• A leaf for carrying

Steps:

1. Invite the child to imagine crossing a river on a log. Model safe balancing by holding arms out like wings.

2. Slowly walk along the “log,” narrating: “Step by step, I feel the log under my feet.” Emphasise calm, steady movement.

3. Encourage the child to cross in her own style and at her own pace, offering support if needed.

4. Add challenges: invite tiptoeing, crawling, or sideways walking; use sticks to represent a “rushing river.”

5. Give her a leaf to carry and invite her to pretend to be an animal or bird crossing the river.

The child engaged fully with the setup, exploring balance and imaginative play. She carefully crossed the “log,” crawled across and made “scared” sounds, showing awareness of risk while demonstrating confidence. The activity successfully supported gross motor development and creativity.

2.What did not go as expected?

Instead of immediately crossing, she “jumped into the water” and swam, expanding the play scenario. She narrated roles, invited me to cross, offered her hand and added rewards like “breakfast,” which turned a simple balance task into a rich dramatic experience.

3. What might you do differently next time?

I would incorporate different speeds and rhythms of soundscapes to enrich imaginative scenarios and encourage more dramatic storytelling.

4. How might you use this growth in your future practice as ECE educator?

This reflection showed me how movement activities can spark storytelling, empathy and role-play. In the future, I want to create environments that encourage exploration, safe risk-taking and teamwork, supporting children’s physical skills and imagination through responsive, child-led experiences. This aligns with Wilson’s (2008) emphasis on nature play as a way to build confidence, creativity and a strong connection to the environment.

Materials:

• Torch

• Fabric, sticks to create shapes

Steps:

1. Darken the space and shine a torch at the wall. Invite the child to wave her hands and notice how her shadow changes.

2. Experiment together: “How can we make it big? How can we make it small?” Encourage her to explore moving closer or further from the light.

3. Offer props like fabric or sticks to create new shapes, inviting her to imagine animals, trees or other elements from nature.

4. Work together to act out simple scenes (e.g., bird flying, tree swaying). Invite her to narrate or add sound effects.

5. Reflect: “What was your favourite shadow shape? How did your story change when you moved the torch?”

She was highly engaged, experimenting with shadow size and proudly saying, “I’m bigger!” She used fabric creatively, acted as a monster and even breakdanced, making herself into a truck with sound effects. Together we built scenarios: she “scratched” my tree, became a bird with colourful fabric and created a “sun” with the torch, chasing its shadow. She requested a spooky story to act out, leading the play.

2.What did not go as expected?

I had planned for a nature-focused activity, but her imagination was wonderfully unrestricted, she breakdanced and created a “truck” shadow. When I acted and invited her to narrate, she instead moved the torch, exploring how shadows shifted. This unexpected curiosity highlighted her agency and interest in experimenting rather than following adult-led prompts.

3. What might you do differently next time?

Next time, I would play a soundscape in the background to enrich the sensory experience and create a stronger connection to nature. I will also talk less and observe more, allowing the child to lead and explore shadows without unintentionally directing her play.

4. How might you use this growth in your future practice as ECE educator?

This session highlighted the power of imaginative experiences, showing how drama fosters creativity, agency and storytelling. I’ll use these insights to design responsive, child-led activities, reflecting Meyers and Berk's (2014) view that make-believe play builds self-regulation, confidence and narrative skills.

Bond, V. L. (2013). Follow and facilitate: What music educators can learn from the Reggio Emilia approach. General Music Today, 27(1), 24–28. Sage. https://doi.org/10.1177/1048371313497591

Edwards, C., Gandini, L., & Forman, G. (Eds.). (2011). The hundred languages of children : The reggio emilia experience in transformation. Bloomsbury Publishing USA. https://ebookcentral.proquest.com/lib/vu/detail.action?docID=820317

Hanna, W. (2014). A Reggio-Inspired Music Atelier: Opening the Door between Visual Arts and Music. Early Childhood Education Journal, 42(4), 287–294. https://doi.org/10.1007/s10643-013-0610-9

Meyers, A., & Berk, L. (2014). Make-believe play and self-regulation. In L. Brooker, M. Blaise, S. Edwards (Eds.) Make-believe play and self-regulation (pp. 43-55). SAGE Publications Ltd, https://doi.org/10.4135/9781473907850.n5

Wilson, R. A. (2008). Children, creative play, and the natural environment. In Nature and young children: Encouraging creative play and learning in natural environments (pp. 1–18). Routledge.