When I walk the paths of Jells Park at dusk, I am surrounded by a peaceful and energetic atmosphere.People are walking dogs, walking, running, and flying kites.Birds fly in the air or stay on the grass to rest. The sunlight shines through the leaves on the ground, like a golden picture. In my ears are the sounds of people talking, the chirping of birds, and the rustling of leaves in the wind. These sensory experiences evoked memories of my childhood—at that time, I often ran in nature and imagined stories.

I began to imagine what it would be like if I were a children playing here. Maybe I'll pretend I'm a bird flying over a lake? Or a forest explorer looking for hidden treasures under the leaves? These thoughts made me realize how a natural space like Jells Park can really make the imagination come alive.

My main result is a one-minute video that captures this field in rich detail: Human movement (walking, running), sound (birds, voices), light and shadow changes. These are exactly the "temporal artistic languages" mentioned in our courses: the embodiment of sound, movement and drama.

Combined with the reading of Wilson (2007), I understand that the natural environment can support children's creative play because it provides open materials and sensory rich experience. Jells Park, just as Wilson described it, became a space of freedom, imagination and exploration. My observations are also consistent with those of Meyers and Berk (2014)- They emphasized that imaginative play could help children develop self-regulation and cooperation skills.

For my creative work, I chose the format of podcast storytelling, taking the listener into a game at Lake Jells with the tone of a child. This approach helps me capture the imaginative and performative nature of children's play. By adding sound effects such as bird calls and footsteps on the grass, I tried to restore the immersive nature atmosphere I felt in the park. I used childlike language to guide the audience on a fictional journey, which reflects how young children naturally blend reality and imagination while exploring the outdoors.

The sounds, intonations and narrative rhythms I use are intended to reflect the two artistic languages of drama and sound, and through verbal cues (like run with me) show elements of movement. This imaginative storytelling approach is highly consistent with the point made by Wilson (2018), The natural environment supports children's creative play by providing open materials and opportunities for expression. As he says, children are naturally drawn to exploring, imagining and constructing meaning, they play with natural elements such as branches, leaves and open Spaces. The game worlds I build in the podcast are a response to this idea

This experience made me realize how important it is to give children free time to explore in nature. Seeing the birds, hearing their calls, and the way people interact with the park made me realize the endless possibilities for creative play in nature. In my future early childhood practice, I hope to design more outdoor experiences that are less structured and encourage children to explore, imagine and play freely.

Inspired by Wilson (2018), I now recognize that nature is not only the background of play, but itself a participant in play. It evokes a child's sense of movement, sound, telling, and wonder. I will try to introduce more natural materials (such as branches, stones, leaves) into my teaching as "loose parts" to explore, Quiet observation moments will also be arranged to allow children to connect with the site through their senses. It also echoes the concept of "belonging" - when children return to the same place multiple times and sense changes over time, they develop a deeper emotional connection to the land, this is very important in early childhood education and is consistent with First Nations perspectives on education.

In addition, I will also more consciously observe how children use the artistic language of sound, movement and drama in the outdoors. These temporal artistic languages are not only ways to express creativity, but also an important way for children to understand emotions, build relationships, and develop self-identity through interaction with the environment.

Meyers, A. B., & Berk, L. E. (2014). Make-believe play and self-regulation. In L. Brooker, M. Blaise, & S. Edwards (Eds.), The SAGE handbook of play and learning in early childhood (pp. 84–95). SAGE Publications Ltd. Retrieved from https://vucollaborate.vu.edu.au/content/enforced/1816406-ECE2008-1-2023-HWB-151670/the-sage-handbook-of-play-and-learning-in-early-childhood%20(1)%20(1).pdf?ou=2150918