‘Art is a tricky word’
                                              (Pelo 2016, p. 1)

        ‘Art can be a way of thinking, feeling, imagining, relating, and expressing. Art can be a way to be in the world’
                                              (Pelo 2016, p. 1)

“By ‘language’, we do not mean to imply that an art form can communicate very specific linguistic meanings.[...] Rather, we mean that each art form communicates meaning in different ways”
                                              (Roy et al. 2015, p. 11)

"Clay transforms itself over and over as it comes into friction with things, and with us. Clay never stays the same. It collects things. It morphs. Its attachments transform it, and us."
                                    _{(Pacini-Ketchabaw et al. 2017, p. 59)}

"Clay tells other stories in the forest than the ones it tells at the river, which are different again from the stories it tells in the atrium."
                                     _{(Pacini-Ketchabaw et al. 2017, p. 61)}

Clay comes from the earth: ancient, organic, substantial. It smells cool and dark.
                                                   _{(Pelo 2016, p. 92)}

The first encounter of children with clay is essential as we imbed the thinking of the organic origin of clay so that children can connect their play material to their surroundings, the world they are living in.A big block of clay where children could use their whole legs, arms, and bodies to engage with is recommended. ‘Clay is not just clay’. We can keep making conversation with children about what clay is transformed into, or what other materials they use to transform it.

  ‘paper wove itself into our lifeworlds’
                                _{(Pacini-Ketchabaw V et al. 2017, p. 30)}

• This encourages us to think with the material, move with the material, ‘dream with paper’, ‘and see things in the way paper lives in the world’.
• This is introduced by Davies (2014) as ‘emergent listening’ (Davies, cited in Pacini-Ketchabaw V et al. 2017, p. 30). By doing this, we could open up endless new and unexpected ways of knowing and being. By ‘emergent listening’, we learn to talk the same language as the paper. 

‘Do children need the suggestion of a face shape to work on or is it better to give them a rectangle?’. 

Paper with a variety of textures, words, colours, and images will be provided. Children will get the chance to pick their favourite story book. And from these provided resources, children can pick one page in the book and retell the story in their ways speaking ‘the language of paper’. For example, they can recreate the bear in ‘We’re going on a bear hunt’.
Constantly making conversation with children about their thoughts triggered by the process is important.

‘We were covered. We uncovered. We recovered from the covering and the uncovering’
                                           _{(Pacini-Ketchabaw V et al. 2017, p. 34)} 

“allowing oneself to become undone is a crucial condition for learning”
                                         _{(Atkinson cited in Pacini-Ketchabaw V et al. 2017, p. 40)} 

We could offer children the same resources such as charcoal and paper. But instead of displaying them on the table where it triggers an obvious play cue to use it as ‘drawing instrument’, we could offer them on the ground on a big piece of newspaper or any paper that is not ‘white paper’. Outdoor space will be advantageous as children have access to natural loose parts. It would be worth observing how children encounter these materials and how they use charcoal to encounter other materials.

"What are the rituals, rhythms, and tempo of painting?" 

“Paint is always open to creation and always sustaining the relations and ecologies of emerging assemblages.”
                                      _{(Pacini-Ketchabaw V et al. 2017, p. 8)}

Invite children to collect things that they would like to paint on or used it to paint with. It could be natural loose parts such as leaves, rocks, branches, etc. or paper, newspaper, their bodies, art smock, etc. Paint will be displayed on a low surface outdoor and let children freely engage with it. After play cleaning is also offered.

The intersections of body, dance, and painting, stretching the possibilities and feeling a sense of the lived/living relationships of body-material, surface-and-space.
                           _{(Pacini-Ketchabaw V et al. 2017, p. 9)}

As we are all born to be musical at birth, children in any age group will be successfully involved in this learning experience. Depending on the age group, movement and more complex context songs are included. 
Children could dance to the music played on the digital devices or simply sing, and clap their hands to make beat by the educators. Changes to the lyrics could potentially be introduced as children start to develop their vocabulary. Educators initiate the movement and invite children to join. 
Attention to all children as they join in should be considered. Why are they joining in? Why do they leave? Do they like this song? Have they already known the vocabulary used? 
Most importantly, children get to choose the song the would like. Songs that have oversimple, repetitive lyrics or hidden curriculum should be carefully considered.

Since birth, children demonstrate that they have a voice, that they know how to listen, and that they want others to listen to them
                                        _{(Rinaldi 2009, p. 237).} 

The child has a hundred languages
(and a hundred hundred hundred more)
but they steal ninety-nine
                                        _{(The hundred languages of children)}

Exploration activities using light can stimulate critical thinking skills in children.
                             _{(Mahshulah et al. 2020, p. 1)}

Natural light is great for children to learn about the science concept as they observe the sky, cloud, and rain movement.The formation of a rainbow is what often interests children. Make conversations with children about their thoughts on the rainbow. Have they noticed the rainbow? Why is there a rainbow? Colours on the rainbow? Any stories they have heard before about the rainbow?If there’s no rainbow, we can create it by using a hose that has a nozzles option and making the water drop the smallest to the sunny area. By moving it around, we would be able to see the rainbow. Children can also be encouraged to draw the rainbow they see. This can trigger children’s thinking in the colour order of the rainbow. 

The research results found that there was a misconception in the understanding of children under the age of 10 so they experienced confusion and assumed that light was a lamp and some other electronic objects such as televisions, LCDs and other artificial light sources.
                             _{(Boyes & Stanisstreet, cited in Mahshulah et al. 2020, p. 787)}

There is no one of a place or something that is not touched by the light.
                             _{(Mahshulah et al. 2020, p. 787)}