This experience needs a few materials and resources including: 4 dinosaur dolls, the setting of the lake (set up), and the story. Educators can introduce this experience during group time with the children by telling the story using the dolls in front of the class. To further encourage dramatic play, children can be encouraged to come up and help be the characters. In addition, the concept of the story and the discussion after help children understand the significance of including others. Moreover, the flexibility to include children in deciding the characters’ names as well as how the story ends better provides an engaging and empowering experience for children. Educators can ask questions like ‘What do you think the 3 dinosaurs should do to make the dinosaur with two legs feel included?’ or ‘How do you think the dinosaur feels right now?’ From there, children can collaborate with the educator to figure out the best way to create the ending. 

In relation to the EYLF, interactive story-telling and dramatic play is highly encouraged to support children’s holistic development. The story and dolls allow children to learn from the characters’ perspectives and build understanding about the importance of inclusiveness. Particularly, in Outcome 1: Children have a strong sense of identity, this experience provides children with the opportunity to respect one another and to critically consider their actions (Department of Education and Training [DET], 2009). Also, mentioned in Outcome 5: Children are effective communicators, literacy capabilities are developed as children share their thoughts and feelings about the story and characters (DET, 2009). 

This experience allows children to explore social issues by taking on different roles. Using dramatic play is a powerful means to explore problems such as, inclusion, because children can “step into another’s shoes” to make more sense (Sinclair, Jeanneret, & O’Toole, 2018, p. 110). It is also open-ended because children get to imagine and decide how the ending of the story can be which supports creativity. Children can also express their ideas and feelings from the group discussion in which educators can use questioningas a teaching strategy. The use of questioningis recognized as one significant way to improve children’s cognitive and reflective thinking skills (Moore & Hansen, 2012). It is also a good way for educators to know how children respond to a concept and what they understand (Moore & Hansen, 2012). On the other hand, to support children with visual and hearing impairments, the educator may ask them to sit at the front so they can hear and see better. Furthermore, children who cannot sit quietly for a particular period of time may be involved in the drama and act out one of the characters. After the group time, the resources can be put out for children to engage in free-play and explore their imagination. This will create a play-basedlearning approach for children to manipulate the dolls provided and be involved in dramatic play. As stated in Dunn & Stinson (2012, p. 116), “They have the opportunity to recognise imaginative acts and appreciate how these acts may be shaped into dramatic events that communicate meaning to others.”

This experience involves children’s ability to cut, paste, and collage the paper crafts provided. The materials needed are white A4 papers, colored papers cut into square or rectangle shapes (red, blue, yellow), black-colored papers cut into lines, scissors, and glue sticks. Beforehand, all the materials needed will be placed in the middle of the tables in containers for easy access. Also, to introduce the experience, the children will be shown the original painting, be explained that the painting consists of 3 primary colors and that the students can create their own collage inspired by the painting. From this, the children will be able to know the 3 primary colors (blue, red, yellow) to create other colors (orange, green, purple). 

Through this experience, students in F-1 are able to put in application their skills and knowledge to create their own artwork and communicate creative ideas (Victorian Curriculum and Assessment Authority [VCAA], n.d.). Students are also introduced to different artists, such as, Piet Mondrian. As stated in VCAA (n.d.), “Learning in Visual Arts involves students making and responding to artworks, drawing on the world as a source of ideas.” In particular, students in Level D or students with additional needs, are able to familiarize themselves with shapes, lines, and colors to create an artwork and to self-express (VCAA, n.d.). 

This particular experience improves Visual Arts literacy as it incorporates a few elements for students to develop, such as, line, shape and colors (Dinham & Chalk, 2018). It is an open-ended experience as it allows children the freedom to use their imagination and creativity to collage the components to create their artwork from blank. Before the children gets their time to do the experience, a short and succinct demonstrationwith oral explanation of the activity will help clear things up, especially students with additional needs. According to Moore & Hansen (2012), demonstration is effective when teachers want to save time, demonstrate appropriate way of using tools, as well as to visually indicate an abstract idea. Students also appear to make more sense and be more engaged when demonstrationis used (Moore & Hansen, 2012). The visual demonstration will also be helpful to students with ADHD, autistic disorder, and hearing problems (Dinham & Chalk, 2018). Additionally, to further support inclusive environment, for children with visual disabilities, the materials provided can be differentiated by texture. Then, to foster creativity, students will be given time to collage and create while the teacher steps back, observe, and to only provide help when needed (Griffiths, 2018). Nevertheless, it is important to consider positioning the students with additional needs closer to the teacher to assist them. Subsequently, the teacher can observethe language the students use or methods if they will cut the papers to make smaller or shorter pieces. As stated in Griffiths (2018, p. 21), “Taking time to listen to the children and offer comments and suggestions, …more interested in the process of the children’s work and the language they used to explain that process.”

 

This experience needs preparation to make the ‘movement dice’ from reused materials, like cardboard box and unused colored papers, as well as a big texter and a glue stick. First, stick the blank colored papers on each side of the box. Then, write down any movement for the children to do. For instance, ‘spin in a circle’ or ‘wiggle your hips’. This is a great activity to develop children’s physical activity as well as cognitive ability to follow instructions. Additionally, this outdoor experience can be implemented during play time with support from educator. Educators can invite a few children at the beginning to spark other children’s interest to join in the experience. Of course, it will be more engaging and fun if music is involved. It is also important to keep in mind that if children are no longer interested, they are allowed to leave the experience. 

In relation to the EYLF, dance is particularly highlighted in Outcome 3: Children have a strong sense of wellbeing in which it is recognized to develop spatial awareness as well as gross and fine-motor development (DET, 2009). Furthermore, in Outcome 2: Children are connected with and contribute to their world, children are able to acknowledge the importance of connecting with others and be involved in a community (DET, 2009). Especially, in showing empathy and awareness to include others with additional needs. 

This creative movement experience is a play-basedlearning activity for children aged 3 to 4 in which they can learn many skills and still have fun. Through this dance experience, children learn to be aware of their movements when surrounded by others as well as to follow instructions. Moreover, this experience uses an intentional teachingapproach in which children learn about the language used as they engage in the elements of dance. According to Dow (2010), children develop a range of different skills, such as, physical, social, emotional, and cognitive skills, which are enhanced when they engage in dance experiences. To support learning, educators can encourage children to move by modellingthe movements and showing enthusiasm. Also, to enhance creativity, educators can consider diverse music genres that involves children’s different music tastes and cultural heritage (Sinclair et al., 2018). Through this, children should be given opportunities to explore different movements according to their interests. Most importantly, to include children with physical disabilities, they can move other parts of the body, such as, shoulders and arms (Dow, 2010).  For children with listening difficulties, visual cues would be very helpful. Children with additional needs can even be an active participant by throwing the dice for other children. Hence, promoting inclusion to the learning environment. 

These photographs were taken during my second primary school placement when the students from Foundation-Year 1 class were doing visual arts inspired from a panting called ‘Composition’ by Piet Mondrian.

The photographs were taken during class in week 4 about dramatic play when Lucas brought a few resources for dramatic play to class and I came up with a story about inclusion.

The photographs were taken on my very first early childhood placement in a 3-4 years old room. It was an activity I planned for the children that involves movement and dancing. 

The photograph is my understanding of ‘media arts’ which can be used to represent understanding and involves ICT practices. 

This is a visual arts and music learning experience in which children decorate their own Aboriginal clapping sticks and follow the beat of an Aboriginal music. The materials needed to make the music instrument include wooden sticks, paint, and cotton buds (optional) for decoration. Furthermore, the resource needed is a Youtube video of an Aboriginal song (https://www.youtube.com/watch?v=nYW2MHmmp_0) for the children to learn about and listen to. On the other hand, the experience may be introduced during group time where children are explained about Aboriginal culture, particularly the clapping sticks music instrument. Then, children will decorate their own clapping sticks with the paint and cotton buds on a table that is already set up. After all children have decorated, there will be another group time in which everyone listens to the Aboriginal music and follow the beat using their musical instruments. 

This creative arts experience takes into account children’s learning and development holisticallyas it focuses on a range of different skills as well as their overall wellbeing. When young children are engaged in playing musical instruments, their brain is developed even more and they learn many different skills, such as, cognitive, social, as well as physical skills (Malburg, 2012). In particular, this rhythmic experience promotes self-control and improves listening as well as fine-motor skills (Malburg, 2012). Moreover, this experience incorporates a play-basedlearning approach as children develop their senses and sense of agency to investigate their surroundings and other culture. To support creativity, children should be able to self-inquire the different musical elements that clapping sticks have to offer and they do not have to stick to the song video if they are no longer engaged. As stated in Dinham & Chalk (2017, p. 221), “Music offers a rich and engaging context for learning and development.” Additionally, to encourage inclusive practice, children who have listening difficulties can develop these skills by feeling the vibration of the sound on the speaker or making use of visual cues, like rhythm cards. 

The photograph is a learning experience from my arts learning journal which involves children making Aboriginal clapping sticks and keeping a musical beat. 

This flexible experience involves children’s ability to use ICT to represent understanding of a concept by making a digital poster using DesignCap (https://www.designcap.com/poster/kids.html) and can be integrated in many learning areas. This website enables children to design their own creative posters with a diverse selection of templates and editing tools. Of course, the resources needed are laptops or iPads as well as the concept that is being taught. For instance, exploring important issues like global warming. At the beginning, the teacher can have a group time and have discussions about global warming as well as show students how to navigate through the software. Then, students can be put into groups of three or four so they can collaborate with one another. It is important to keep in mind that teachers explain the importance of safe ICT use and supervise students at all times. After that, teachers can use a projector for the groups to present their posters to the whole class. Hence, this experience provides rich opportunities for learning different skills and concepts. 

In relation to Australian Curriculum, students learn to design their own artwork to convey understanding of a concept to other people. Also, they utilize media technologies to take photos, create images, put in written information, and design their artwork (Australian Curriculum Assessment and Reporting Authority [ACARA], n.d.). Furthermore, students can make a response to other artists’ media artwork and acknowledge it (ACARA, n.d.). 

As the need for ICT literacy becomes more of a demand every day, it is significantly important for children to learn digital literacy and build fluency upon it (Sinclair et al., 2017). Children’s multimodal literacy capabilities and skills to use ICT is further enhanced when they interact socially with a purpose.  According to Dinham & Chalk (2018), through poster making, children can acquire the skills to put together images and narrative while designing the look of the poster using technology. In particular, this experience follows a process-driven approach in which children focus on the processes of creating their digital posters. They will learn to use and navigate the digital tools and resources to show understanding of a concept. Furthermore, the experience also implements a collaborative learning approach in which students work together in groups to discuss understanding through multimodal text and create posters to develop social skills. To support creativity, teachers should give students enough time to design the aesthetics of their posters. Also, teachers should acknowledge students who already have previous knowledge and encourage them to help their peers. As mentioned in Wright (2012, p. 170), “The role of the teacher was self-evaluated as being collaborative and not the only source of information.”

To promote inclusivity, children can make posters that provides factual information so all children feel a sense of purpose. Also, they can make posters about other cultures so that the learning experience is inclusive. Moreover, students who finds it hard to apply fine-motor skills might find the process of making digital posters easier with the sophisticated tools. 

Australian Government Department of Education and Training [DET]. (2009). Belonging, Being & Becoming: The Early Years Learning Framework for Australia. Canberra: DET. Retrieved from https://www.acecqa.gov.au/sites/default/files/2018-02/belonging_being_and_becoming_the_early_years_learning_framework_for_australia.pdf

Cecil-Fizdale, S. (1991). Teaching Creative Dance and Movement for Young Children. In S. Wright (Ed.). The Arts in Early Childhood. (pp. 124-136). New York: Prentice Hall

Dinham, J. & Chalk, B. (2018). It’s Arts Play: Young Children Belonging, Being and Becoming Through the Arts. South Melbourne, VIC: Oxford University Press

Dow, C. (2010). Young Children and Movement: The Power of Creative Dance. YC Young Children, 65(2), 30-34. Retrieved October 29, 2019, from https://search-proquest-com.ezproxy.lib.swin.edu.au/docview/197650365/fulltextPDF/7CF41DCE529A4168PQ/1?accountid=14205

Dunn, J. & Stinson, M. (2012). Dramatic Play and Drama in the Early Years: Re-Imagining the Approach. In S. Wright (Ed.). Children, Meaning-Making and the Arts. (pp. 115-134). Frenchs Forest, NSW: Pearson Australia

Griffiths, F. (2018). Supporting Children’s Creativity Through Music, Dance, Drama and Art: Creative Conversations in the Early Years.Abingdon & New York:Routledge

Malburg, S. (2012). Using Preschool Musical Instruments for Increased Learning. Retrieved 4 November, 2019, from https://www.brighthubeducation.com/preschool-crafts-activities/123294-making-music-in-the-classroom/

Moore, K. & Hansen, J. (2012). Effective Strategies for Teaching in K-8 Classrooms. USA:SAGE Publications

Sinclair, C., Jeanneret, N., O’Toole, J. & Hunter, M.A. (2017). Education in the Arts. (3^rded.) South Melbourne: Oxford University Press

Victorian Curriculum and Assessment Authority [VCAA]. Victorian Curriculum Foundation-10. (n.d.). Learning in Visual Arts. Retrieved 28 October, 2019, from https://victoriancurriculum.vcaa.vic.edu.au/the-arts/visual-arts/introduction/learning-in-visual-arts

Wright, S. (2012). Children, Meaning-Making and the Arts. Frenchs Forest, NSW: Pearson Australia