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During my park visit, I saw tall native trees grew upward, while vibrant flowers gave bursts of colour along the creek’s edge. The water flowed slowly, carrying a calm rhythm with the wind. In the centre of the creek stood a huge trunk, weathered and tall, I called Elder, arms wide like a guardian. At the creek's edge, a half-sinking log drifted silently, Shadow I named. Around them, the flowers swayed together as The Chorus, infused the scene with life, rhythm, and light. These three Th Elders, The Shadow and The Chorus stood out as main character in my experience.

The place by the flowing creek helped me reflect how music, dance, and drama emerged if I slowed down. I found music in The flowing water and bird calls; swaying flowers and my breath felt like dance; the tall trunk, the half-hidden floating log, and the flowers turned into characters in a story. Inspired by Dadirri's deep listening I stopped and listened slowly, I noticed layered sound and sensations. I realised I became a child, curious, imaginative and brave in this play of music, movement and story instructed by environment, the teacher.

Victor Wooten’s concept of music being lived language helped me view the creek’s sounds as invitations to answer, not directions to follow. Wilson reminds us that children being busy, observant, and imaginative notice possibilities that adults often miss, and they naturally change those details into play and meaning. Strolling barefoot on uneven ground made me aware of rhythm and balance, echoing Dance Teaching Ideas which encourages children to investigate what feels “easy” or “difficult.” These readings matched my experience: music, movement, and drama were already present around us waiting to be noticed. My experience of moon while driving and the Lantern in China (unit of ECE 2006) to decorate tree reminded me how light can change mood and memory. Vecchi's interview about Malaguzzi’s idea of the atelier connect this well: spaces rich in ingredients and possibilities help children to invent their own paths of expression and communication.

Teaching relies on this. Children grow confidence, inventiveness, and emotional literacy when they are given time and space to listen, move, and dream. I must create events that welcome these languages: to slow down for deep listening; to provide surfaces and objects altering movement; to encourage open-mindedness; and to provide easy dramatic cues. Children use music, dance, and drama to convert inquiry into education and turn a venue for discovery.

I plan to implement a “A Listening tour to story” experience in Early childhood education. Children begin with a break in outdoors, listening deeply Dadirri's spirit. After observing wind, birds, footsteps or car horns, we simulate these beats using loose parts and own body percussion. Children then bring drama into play, assuming roles such as “the tall tree,” “the snaky road,” or “the roaring cars.” Through this, sound transforms into music, movement becomes dance and play turns to storytelling.

My practice can be designing an atelier-inspired corner with pathways of various textures like mats, grass, or sand trays combining scarves and fabrics where movement and imagination meet. Children move around them exploring bodies feeling, noticing what is “easy” or “difficult,” then combining these actions into simple group dances. This can naturally lead into drama, where they picture being “the tree elder swaying in the breeze” or "The zigzag road slithering quietly" “the cars roaring wildly.” With my memory of lanterns and moonlight, I might also include torches and chiffon scarves for children explore shadow play, allowing light its own part in their stories.

In both practices, inclusivity is vital. Thinking about children with special need who are  sensitive to sound, motion, or light I may provide flexible choices like dimmed lights, soft materials, quiet corners, or sunglasses to ensure every child engages in ways that feel safe. This approach respects Malaguzzi’s view of the atelier: places where children show themselves freely and adults learn from their experiences.

Reflecting on this, I visualise how children naturally use music, dance, and drama as language to make sense of the world. Offering time, space, and materials for exploration allows me to nurture these ideas which not only improve creativity but also help them develop confidence, resilience and meaningful connection with themselves and land.

• Dance Teaching Ideas. (2020, June 7). Creative Dance for Early Childhood |. Dance Teaching Ideas. https://danceteachingideas.com/creative-dance-movement-for-toddlers/

• Gandini, L 2012, ‘The atelier: a conversation with Vea Vecchi’, in C Edwards, L Gandini & G Forman (eds), The hundred languages of children: the Reggio Emilia experience in transformation, 3rd edn, ABC-CLIO, LLC, pp. 303–316.

• Ungunmerr-Baumann, M.-R. (2002). Dadirri -A Reflection By Miriam -Rose Ungunmerr-Baumann. https://www.dadirri.org.au/wp-content/uploads/2015/03/Dadirri-Inner-Deep-Listening-M-R-Ungunmerr-Bauman-Refl1.pdf

• Wilson, R. A. (2018). Nature and young children: encouraging creative play and learning in natural environments (3rd ed.). Routledge.

• Wooten, V. (2013). Music as a Language: Victor Wooten at TEDxGabriolaIsland [YouTube Video]. In YouTube. https://www.youtube.com/watch?v=2zvjW9arAZ0