• Children close their eyes and listen to a short audio clip (or your vocal recreation) of the river which I explored in my AT02 (e.g., flowing water, bird calls, wind in trees).

• They respond using body percussion or simple instruments (drums, shakers, sticks) to layer their own interpretation of the soundscape.

• Aboriginal context—This is similar to how the Aboriginal community would play their own music. Using the natural environment to create their sound. And using this to create their own story.

• Drawing on my AT02 reflection, I invited children to move like the elements of place I experienced (e.g., swaying trees, rippling river, crashing waves).

• Alternate between free expressive movement and guided prompts (“Can you be a soft breeze?” “Can you move like a crashing branch?”).

• Aboriginal Context—This relates to the traditional dances of the Aboriginal communities, as they have various different styles to tell different stories or learn about their own history.

• Children roleplay elements of my place (tree, rock, bird, water).

• Use storytelling to set the scene, then encourage children to act out a short drama together (e.g., the tree offers shade, the bird sings, the river carries everyone along).

• Can extend with a “freeze-frame” moment to capture key parts.

• Aboriginal Context - This activity can also acknowledge that Aboriginal and Torres Strait Islander peoples have long shared stories of Country, where trees, rocks, birds, and rivers are seen as living beings with deep cultural, spiritual, and ecological connections.

Children were immediately engaged when I asked them to close their eyes and “listen with their whole bodies.” They picked up on the rhythm of the water sounds and eagerly used body percussion and simple instruments to mimic or layer responses. I noticed strong focus and curiosity, especially as they began to combine sounds into a shared soundscape.

What did not go as expected:

Some children found it difficult to stay quiet during the initial listening period and began experimenting with their instruments before the group had settled. This created a sense of noise rather than careful listening in parts.

What I might do differently next time:

I would give clearer structure to the “silent listening” moment, perhaps using a visual cue (holding up a blue scarf as “river time”) to signal when it is time to listen and when it is time to play. I would also include a closing moment of stillness to help children reflect on the soundscape they created together.

How this influences my future practice:

This experience showed me that children are capable of interpreting complex sound environments, not just repeating rhythm. In future, I will use soundscapes as a regular tool for exploring place, emotions, and stories through music.

What did not go as expected:
When I invited children to move like “crashing waves” or “falling branches,” the energy level escalated quickly and some children became boisterous, bumping into one another. It was difficult to bring them back down into calm, flowing movements afterwards.

What I might do differently next time:
I will scaffold clearer transitions using music — for example, soft flute sounds for flowing, steady drumbeats for crashing. This would give children an aural guide for regulating their movements and energy. I might also introduce a small space of reflection in between phases, encouraging children to pause and take a deep breath before shifting to the next movement style.

How this influences my future practice:
This highlighted the importance of pacing and scaffolding in movement experiences. I learned that movement is not only physical play but also emotional regulation, and I want to embed this awareness into everyday routines such as transitions or group gatherings.

What did not go as expected:
Some children were hesitant to perform or felt shy about acting out in front of peers. A few chose very passive roles (e.g., “I’m a rock that doesn’t move”) and remained disengaged while others acted.

What I might do differently next time:
I would encourage those children by scaffolding entry points — e.g., suggesting that rocks could rumble, or that rivers could whisper. Using small props (scarves for water, sticks for trees) might also help hesitant children to participate with confidence.

How this influences my future practice:
Drama revealed itself as a powerful way for children to think with their bodies and emotions. I now see the value of incorporating small drama invitations into group times and story-telling, especially for fostering empathy and deeper connection to place.

The music activity showed how children listen and co-create soundscapes, supporting not only rhythm and creativity but also language, memory, and emotional awareness. The movement session highlighted the joy of embodying natural elements, where children explored flowing and crashing motions while also learning about emotional regulation and expressive agency. The drama activity demonstrated the power of imagination, as children collaborated to embody trees, rivers, or rocks, fostering empathy, cooperation, and narrative thinking.

Together, these experiences revealed that the arts are not isolated activities but interconnected pathways that help children engage with their environment in embodied, relational ways. They support cognitive, social, and emotional development while strengthening children’s sense of belonging and identity. This process has changed my practice: I now see the arts as vital languages for children’s learning and will embed them more intentionally into daily routines and play experiences.