In the context of stomping on leaves, Wooten's theoretical perspective could suggest that by encouraging children to listen deeply to the sounds of the leaves crunching underfoot, they are developing their inner ear and becoming more attuned to the sounds around them. By paying attention to the sounds they are creating, they can become more aware of the patterns, rhythms, and nuances of sound, which can help them develop their musical abilities and overall auditory perception.

Miriam-Rose Ungunmerr is an Australian Aboriginal elder and educator who developed the concept of "Deep Listening" in relation to Indigenous education. Deep Listening involves listening to everything around us with a sense of quiet still awareness, which involves both active listening and a sense of being present in the moment.

In the context of stomping on leaves, Ungunmerr's theoretical perspective could suggest that by encouraging children to stomp on leaves with a sense of quiet still awareness, they are developing a deeper connection to their environment and the sounds around them. By being fully present in the moment and actively listening to the sounds of the leaves, they are developing a sense of reverence and respect for the natural world, which can be beneficial for their overall well-being and development.

Overall, both Wooten and Ungunmerr's theoretical perspectives emphasize the importance of deep listening and awareness of sound in children's development, and the activity of stomping on leaves can provide a fun and engaging way for children to develop these skills.

What went as expected :
The children enjoyed the activity and found it engaging.
The sound of stomping on leaves have produced a sensory experience that was interesting to the children.
The children have learned about cause and effect, as they saw how their actions (stomping on leaves) produced a particular sound.

What did not go as expected:
Some children not have been interested in the activity or may not have found it engaging.
The location of the activity may not have been suitable for stomping on leaves, such as if the leaves were few,and in a narror road making it difficult for all children to participate.

What might be done differently next time may include:
Incorporating other elements into the activity to make it more engaging, such as encouraging the children to create different rhythms and patterns with their stomping or including a storytelling component.
Choosing a location that is more suitable for the activity, such as a dry, open space with plenty of leaves available.

What went as expected:

The children were able to use their imagination to pretend to be a worm that lives inside a tree.
The activity encouraged movement and physical play, which helped the children to develop gross and soft motor skills.

What did not go as expected:

Some children not have been interested in the activity 
What might be done differently next time:

Adapting the activity to suit the needs of all children, such as providing alternative movements or making the activity accessible for children with disabilities.
Being mindful of cultural appropriateness and adjusting the activity accordingly, such as consulting with cultural advisors or elders to ensure that the activity is respectful and appropriate for all children.

In this context, it is possible to draw a correlation between children's play pretend tree is our house and Cooper's ideas about beauty as a way of knowing. Children's imaginative play and their creation of a treehouse can be seen as a way of engaging with and transforming their environment, as they explore and experiment with different ways of being and living. Their play can also be seen as a way of experiencing beauty, as they create and interact with their own vision of a beautiful space.

In this way, children's play can be seen as a form of inquiry and a way of constructing knowledge, in line with Cooper's argument that beauty is a way of knowing. By engaging with the world around them through play, children are able to explore, experiment, and create their own understanding of the world, including the beauty and wonder they perceive in it.

In the context of children's play pretend tree is our house, the child playing the role of the artist can be seen as having an important role in the play. The artiste, in this case, is responsible for imagining, designing and creating the treehouse. They may have a specific vision in mind and may work with other children to bring this vision to life.

Overall, the artiste's role in play pretend tree is our house is important in terms of creating a space for exploration, experimentation, and self-expression. Their artistic vision and creation can help to bring the play to life, and may provide an opportunity for other children to engage with their own creativity and imagination.

What went as expected in children's play pretend tree is our house:

The children were able to use their imagination and creativity to create a play scenario where they could pretend to live in a treehouse.
The play allowed the children to engage in collaborative and cooperative play, working together to build and play in the treehouse.
The children may have learned about different concepts such as space, shelter, and community through their play.
What did not go as expected in children's play pretend tree is our house:

The play have been disrupted by external factors such as noise, and limited time 
Some children have had different ideas about what the treehouse should look like or how it should be built, leading to disagreements or conflicts.

What i might do differently next time in children's play pretend tree is our house:

Encourage open communication and collaboration among the children to help resolve any conflicts or disagreements that may arise during the play.
Provide additional support or guidance to children who may be struggling to fully engage in the play or express their ideas and creativity.

Session 2:
The distinction between hearing and deep listening was eye-opening for them. It made them realize how often they hear things without truly listening, and how important it is to practice deep listening not just with children, but with all the people around them. This session inspired them to practice deep listening in their daily life and appreciate the beauty in everyday sounds.

Session 3:
The session on drama brought back childhood memories of using their imagination to create their own dramas with whatever materials were available to them. They shared how they use storytelling in their own teaching practice to create engaging experiences for children through the use of intonation, artistry, and imagery.

Session 4:
The session on music as a tool for learning reminded them of the incredible power of music to engage and stimulate young children. They talked about the spontaneous joy and participation that occurs when music is used in the classroom, and how it can contribute to children's brain development and overall well-being.

Session 5:
Connecting with place through music, movement, and drama was seen as a way to help children develop a sense of belonging, history, and relationship with the world around them. They appreciated the article on creative play and the natural environment, as it reminded them of the importance of introducing young children to the wonders of the natural world and encouraging them to wonder and explore.

Session 6:
The session on movement and the video clip about The Atelier school without walls made them think about the importance of providing children with a safe, open environment where they can explore and experiment without restrictions. The article "Nature as a dance partner" reminded them that sometimes the simplest experiences can be the most meaningful and impactful for children's learning.

Session 7:
The imagination play of the journey to Healsville was a highlight for them. They saw it as a wonderful example of how drama can be used to foster problem-solving, imagination, teamwork, and fun in children. It reminded them of the importance of allowing children to use their imaginations to create their own stories and experiences.

Session 8:
The session on combining all languages (music, movement, drama) was seen as a way to encourage creativity and innovation in children. The video on creating Foley art was inspiring and showed how children can create a musical experience with minimal resources. 

Overall, the integration of music, movement, dramatic art and Aboriginal perspectives in early childhood education can create an engaging and holistic learning experience for children, while also promoting cultural awareness, respect and understanding.
 
As a child, I was always fascinated by music and drama. I remember spending hours singing along to my favorite songs on the radio and putting on impromptu performances for my family. When I had the opportunity to participate in a school play, I jumped at the chance. The experience was both exhilarating and nerve-wracking, but I loved every minute of it.

As an adult, I continued to pursue my love for music and drama by going to karaoke place and joining dance class.It was a great way to meet new people and explore my creative side. I also found that the skills I developed in music and drama translated well to my professional life, helping me to communicate more effectively and work collaboratively with others.

As an educator, I have incorporated music and drama into my teaching practice to engage children in learning and promote their social and emotional development. I love seeing how excited the children get when we sing songs or act out stories together. It's a great way to help them learn new concepts and develop important skills like communication and problem-solving.

what i can improve: