My experience at the Maribyrnong River during Assessment 2 completely shifted this perspective. Sitting quietly by the water, listening to the rustle of leaves, birdsong, and the gentle flow of the river, I began to notice music was everywhere! Not in notes or instruments, but in the sounds of nature itself. Creating riverbank castles and later using sounds to inspire play helped me realise that music is about listening, feeling, and connecting with the environment around you. I drew on Miriam-Rose Ungunmerr’s (1988) concept of Dadirri, which emphasises deep listening and being present, allowing creativity and imagination to emerge naturally.

Victor Wooten’s (2014) TED Talk really resonated with me. He compares learning music to learning a language as a child, doing so freely, without judgment, and through active participation. He says, “Just by playing music from the early years, we can pick up on it…you remain free with how you talk; no one ever made you feel bad when learning your language” (0:49–1:07). This made me realise that music doesn’t have to be about skill or perfection. It’s simply about exploring the vibrations around and how you can express yourself with it.

The river orchestra activity brought this idea to life. Nicki was able to listen, interpret, and recreate sounds through instruments, showing that music is accessible for everyone and can be a deeply creative and personal experience. This has changed the way I will approach music in my future teaching. I now see it as a language of expression, something all children can engage with freely, in ways that reflect their imagination, experiences, and environment.

What did not go as expected? - With only one ‘child’, the activity felt limited. The idea of layering sounds into an “soundscape” was harder to achieve without multiple participants, so the full effect of the group soundscape couldn’t be realised.

What might you do differently next time? - Next time, I would involve a larger group of children so that each child could represent a different sound simultaneously, creating a fuller and more dynamic soundscape.

How might you use this growth in your future practice of early childhood education? -  This experience reminded me of the importance of group collaboration in sound and music activities. In the future, I will design experiences that encourage children to listen deeply, use both natural and recycled materials creatively, and work together to build shared soundscapes. This approach supports not only musical exploration but also social connection, imagination, and respect for place.

Overall reflection - Engaging with the unit has shifted my perspective of music from being about songs and rhythm to understanding it as a language of listening, expression, and connection. My on-country experience by the Maribyrnong River showed me how natural soundscapes, like birds, wind, and water, can become the foundation for creative play. Through the “river orchestra” activity, I saw how children can use instruments to interpret and represent the sounds they hear, turning listening into a creative and relational act. I also realised that this type of experience can be highly inclusive for children who are hard of hearing or blind. By exploring vibrations and physical sensations produced by instruments, children can feel the music even without hearing it, and those with heightened senses, like children who are blind, can engage deeply with rhythm, texture, and sound in a meaningful way. This experience highlighted that music is not separate from place but co-created with it, and as a teacher, I will encourage children to engage in deep listening and sensory exploration before creating sound, so their music-making reflects both their imagination and their connection to the environment.

The Shadow Movement activity resonates with principles of Dance Movement Therapy (DMT) and environmental engagement as explored by Banerjee (2021). DMT emphasises that movement is a form of expression that connects the body, mind, and environment, using metaphors drawn from nature to guide motion. For example, moving like a river encourages sustained, gentle movements that enhance postural control, while imagining waves allows larger, more expressive gestures (Banerjee, 2021). This approach aligns with my observation that movement can be both structured and improvisational, responding to sensory cues from the environment, like a river soundscape. Engaging with this unit also reinforced the importance of creating psychologically safe spaces for movement, Carl Jung’s notion of humans being deeply connected with nature as a source of emotional and creative energy (Banerjee, 2021). By integrating natural metaphors and encouraging imaginative movement, children can explore self-expression, develop body awareness, and cultivate confidence in their abilities. 

This activity, combined with my personal reflections and theoretical grounding, has deepened my understanding of movement as an inclusive, relational, and expressive tool in early childhood education.

What did not go as expected? - Tom was a little nervous at the start and very in his head about how to move, needing some encouragement to relax into the activity.

What might you do differently next time? - I would include more warm-up movement prompts to help children like Tom feel confident from the start. Adding more lightweight props to create grander and more exaggerated figures to spark more engagement in the activity.

How might you use this growth in your future practice of early childhood education? - This experience showed me how pairing children with an educator or peer in movement can support creativity, confidence, and social interaction. I will design shadow and movement activities that gradually build engagement and allow for shared exploration.

Overall reflection - This shadow movement activity highlighted how movement and music can be explored as a creative, expressive language. I noticed how participating together in the mirroring exercises helped Tom feel more confident and relaxed, supporting his engagement and imagination. The activity also reinforced that movement experiences can be adapted to suit different abilities, for children with lower mobility, props like scarves or fabrics can be moved with hands, arms, or even feet while seated, and shadows can be created using smaller body parts or objects. Music and soundscapes can guide timing and rhythm, allowing all children to participate meaningfully. This experience has deepened my understanding of movement as inclusive, sensory, and relational, and I will continue to design activities that allow all children to express themselves creatively, regardless of physical ability.

Research shows that pretend play in natural settings helps children develop creativity, problem-solving, coordination, and social-emotional skills (Wallin, ‘Let’s play outside’,  2019). Using open-ended props like sticks, leaves, and stones encourages children to explore and invent in ways that are unique to them, which reflects the Reggio Emilia philosophy of the environment as the “third teacher” (Edwards, Gandini & Forman, 1998). The EYLF also supports this, highlighting the importance of fostering agency, creativity, and collaboration through play (Outcome 4: Children are confident and involved learners, Outcome 5: Children are effective communicators).

By setting up a river space with natural props and soundscapes, children can choose roles, respond to prompts, and co-create a story with the environment and materials. My experience with Nicki showed me that when children are given this freedom, they take the lead, engage deeply, and show their creativity in ways adults often underestimate. This activity reinforced for me that dramatic play is not just acting, it’s a powerful way for children to explore their identities, each other, and the world around them.

What did not go as expected? - I thought the activity might need more adult scaffolding, but Nicki showed strong independence and creativity. However, I realised I could have provided a wider range of props and fabrics to support more role choices and costume creation.

What might you do different next time? - Next time, I would bring more open-ended props such as different coloured fabrics, crowns, or scarves so that children can have a greater variety of character options.

How might you use this growth in your future practice of early childhood education? - This experience reinforced that children thrive in dramatic play when they are given freedom and agency, supported by rich, open-ended props. In my future practice, I will set up dramatic play invitations where the environment and materials co-create the story with the children. I will also encourage children to take leadership roles in shaping the play, recognising their imagination and competence as drivers of learning.

Overall Reflection - Engaging with the unit has reshaped my perspective of drama from being a structured performance to recognising it as a spontaneous and relational form of play where children explore identity, imagination, and place. Through my dramatic play activity by the ‘river’, I saw how easily a child could embody a role and let the story unfold naturally, showing that drama is not about scripted outcomes but about co-creating meaning with the environment, props, and peers. This experience highlighted the power of open-ended materials and space to inspire children’s creativity, and I now see drama as an essential way for children to experiment with roles, problem-solve, and express themselves in ways that support both their social and emotional development.

Banerjee, S. (2021, August 18). The environment as a tool for patient-centred care: A bridge between physiotherapy and Dance Movement Therapy. Clinical Practice, Environmental Physiotherapy. https://environmentalphysio.com/2021/08/18/the-environment-as-a-tool-for-patient-centred-care-a-bridge-between-physiotherapy-and-dance-movement-therapy/ 

Lark Wallin, M. (2019, June). Let's play outside: The importance of pretend play in natural settings. The Playful Learning Network. https://www.communityplaythings.com/resources/articles/the-importance-of-pretend-play-in-natural-settings#:~:text=When%20children%20are%20given%20the%20time%20and%20space%20to%20play,to%20cognitive%20and%20linguistic%20growth. 

Ungunmerr-Baumann, M. R. (1988). Dadirri: Inner deep listening & quiet still awareness. [PDF]. https://vucollaborate.vu.edu.au/content/enforced/1816406-ECE2008-1-2023-HWB-151670/Dadirri_Handout%20(1)%20(1).pdf?ou=2253526 

Victor Wooten. (2014). Music as a language [TED Talk].https://www.youtube.com/watch?v=2zvjW9arAZ0