This reminded me of what we learnt about Dadirri—the practice of deep listening and connecting with nature. That is exactly what I sought to achieve. Moreover, evidence suggests our sensitivity to interoceptive signals can determine our ability to regulate emotions (Robson, 2021, paragraph 2). Also, in my lake experience, I felt these two kinds of listening intertwined. And my feelings of calm, curiosity, and joy happened at the same time as the sounds of birds singing and trees swaying. This is exactly the experience I want to create for children in the activity.

1. Have the children sit in a circle. Play them my recording of birdsong by the lake.

2. Ask them what sounds they hear.

3. Then tell them the birds are singing and invite the children to sing along with me.

4. Let them listen once, then sing the simple ‘La-la-la’ part together, followed by everyone singing together.

Materials: Bird calls recorded on a mobile phone, a speaker for playback, musical instruments (if needed)

1. Show children a picture of my tree and ask how they think it might move when the wind blows.

2. Give each child a lightweight scarf to help them visualize the “wind”.

3. Guide them through a story: ‘Let us all curl up like little seeds,’ then have them crouch down. ‘Now grow into tall trees’ – stand up together. ‘A gentle breeze blows, let us sway our branches’ – ‘Now the wind is strong’ – then dance freely.

Materials required: Picture of a tree, a bundle of lightweight scarves or ribbons, some calming music.

2.    Movement   Swaying and dancing like branches in the wind. Guiding children to express themselves through physical play that mirrors their surroundings.

3.   Drama   Encouraging children to engage in storytelling, role-play and imagination, where they might become lakes, trees or birds.

1. Tell them the story behind my song, describing it as a magical lake where the water, trees, and birds can all play together.

2. Invite them to take on roles within the story, developing the plot as they wish.

Adult listened attentively to the recorded bird calls. When asked about what they heard, they were able to think carefully and respond thoughtfully. They actively engaged in singing and quickly picked up the ‘la la la’ prompt. if children attended, I think they would have responded with excitement, perhaps mimicking the bird calls in more amusing ways and adding their own spontaneous variations. This might have informed the activity through child-led creativity.

2. What did not go as expected?

Adult responses were more rational. They described the bird calls in detail rather than inventing or storytelling. I had anticipated more playful interaction. if were children, I believe they would have started chirping and tweeting with such enthusiasm they might have been impossible to stop, potentially making the session a bit chaotic. I would need clearer cues and rules, such as ‘Raise your hands, it's the little bird teacher's turn to sing now!’ to manage their energy.

3. What might you do differently next time?

I would incorporate visual cues, such as pictures or videos of birds, to spark imagination, particularly when working with children. For younger participants, I would simplify the singing segment and potentially introduce interactive instruments like rattles to enhance engagement and enjoyment.

4. How might you apply this learning in your future practice of early childhood education? (Perhaps a reference?)

This experience reminded me that participants' age significantly impacts classroom effectiveness. For adults, this activity helps foster reflective listening; for children, it encourages imaginative play and emerging communication skills. As Miriam-Rose Ungunmerr explains: "In our Aboriginal way, we learnt to listen from our earliest days. We could not live good and useful lives unless we listened. This was the normal way for us to learn – not by asking questions. We learnt by watching and listening, waiting and then acting" (1988, p. 2). This approach must be tailored to the specific age group of children involved. In future, when designing activities, I shall give more careful consideration to who my audience is, considering the children's age group and what their most natural responses might be. I shall then adjust my plans, ensuring the activity is both enjoyable and runs smoothly. Through observing, listening and waiting, I can create learning experiences that are both engaging and meaningful.

The adults I worked with were keen to take on roles and improvise, which brought the story to life. They enjoyed connecting with nature through playful drama, even though they were no longer children.

2. What did not go as expected? Some adults were bit hesitant, it rather unusual to pretend to be birds or trees. However, I imagine children would more quickly embrace this imaginative play.

3. What might you do differently next time? Next time, I shall introduce simple props early on, such as scarves or leaves, to help participants slip into their roles more easily. For the children, I might also use background music to create a more immersive atmosphere.

4. How might you use this growth in your future practice of early childhood education?

This activity helped me realise the power of storytelling and role-play in supporting children's identity, confidence, and creativity. in future, I shall include more open-ended dramatic experiences, encouraging children to become co-creators of stories rather than merely following instructions. This activity has profoundly demonstrated the immense power of storytelling and role-play in supporting children's identity, confidence, and creativity. Moving forward, I shall incorporate more open-ended dramatic experiences, encouraging children to become co-creators of stories rather than merely performers following instructions. This aligns with the EYLF perspective that children are active participants in their learning. More importantly, Vygotsky's (1967) theory provides a foundation for this practice, positing that pretense affords young children their greatest opportunity to become self-regulated and responsible. (1967, as cited in Brooker, Blaise & Edwards, 2014, p.4).

She was able to employ them fluidly to convey the rhythms of the wind. This aligned with my expectation that adults would engage in a calm, reflective manner. if were children, I imagine their responses would be more energetic.

2. What did not go as expected? The adults were somewhat reserved during the “dance freely” session, contrary to my expectations. Without my leading with exaggerated movements, their activity largely remained confined to “swaying arms,” with little willingness to engage their whole bodies. The entire activity felt more like “following instructions,” lacking the wild, spontaneous creativity one might expect from children.

3. What might you do differently next time?

For children: I suspect the opposite would occur. The issue wouldn't be ‘holding back’ but rather ‘keeping them contained.’ The moment I said ‘dance freely,’ they'd likely dash about the room. I'd need a fixed drumbeat signal to start and end the dancing, balancing creativity with orderly management.

4. How might you apply this learning to your future practice in early childhood education? (Perhaps a reference?)

This experience highlighted how participants' ages shape activity outcomes. For adults, it fosters reflective listening; for children, it nurtures imaginative play and communication skills. In Ashley Bowman's video, the speaker shared how her premature daughter explored the world through movement and imaginative play (TEDx, 2018), demonstrating that physical interaction can be joyful and developmentally enriching. Similarly, in my reflections, movement experiences provide young children with a safe space to explore their bodies and surroundings. In future practice, I will design gently guided activities allowing children to express themselves while feeling secure.

This experience has transformed my perspective on the role of music, movement and drama in early childhood education. Initially, I saw these arts merely as “add-ons” to the curriculum, but now I recognize them as vital pathways for children to connect with their environment, express themselves, and co-create meaning. Through my rural experiences, I realized that nature itself offers a rich curriculum if we listen deeply. By transforming the sounds, sights, and stories of Edwardes Lake Park into creative experiences, I came to understand that art is not separate from nature.

A significant part of shaping my growth was Ungunmerr's (2017) description of Dadirri. The concept of deep listening transformed how I approach music and teaching: not merely hearing sounds, but listening to children's voices, their moving bodies, and their imaginative narratives. This insight will continue to guide me in designing artistic experiences that respect children's creativity and their connection to country.

Meyers, A. B., & Berk, L. E. (2014). The SAGE handbook of play and learning in early childhood. SAGE Publications Ltd.

Movement, sound, play | artifact dance project | tedxtucson. (2018, March 20). Www.youtube.com. https://www.youtube.com/watch?v=HrgpeuPbp-I

Robson, D. (2021, August 15). Interoception: The hidden sense that shapes wellbeing. The Guardian. https://www.theguardian.com/science/2021/aug/15/the-hidden-sense-shaping-your-wellbeing-interoception

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