LEGO 11018 Classic Creative Ocean Fun Bricks Box, Building Toys Kids With 6 Mini Builds Set Of Ship, Submarine, Seahorse And Turtle Animal Figures

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As a link to sustainable knowledge development and community enrichment, the scientist- rural community partnership within the IMIsEE project also includes ecomusicological interventions. Ecomusicology is a key approach for this research and considers the relationships between culture, nature, music/sound, humans and to cross transdisciplinary boundaries. For Allen ( Reference Allen and Gallagher2012), the educational benefits of ecomusicology include six key areas in the field: ecology and acoustic ecology/sound-scapes, biology and biomusic, anthropology and ethnomusicology, history and musicology, and sustainability and cultural studies of music. As one of the few ecomusicology projects currently underway in South Africa, a large part of this research is the exploration of the parameters of ecocritical musicology evaluated through TCE representations, including sounds, songs, music, fables, life-stories, handicrafts and individual narratives. This collection of TCE will be disseminated using various sonic approaches such as digital story-telling, podcasts, film documentaries, plays, poems, songs and digital soundscapes, co-created by the scientists, community members and musicians. Impact is expected to result in a sustainable interest in the community’s role in maintaining an ecologically efficient coastline as well as establishing the importance of Indigenous knowledge systems as a contemporary agent in societal reinvigoration. These outcomes will further create opportunities for transgressive teaching and learning (Allen, Reference Allen and Gallagher2012; Lotz-Sisitka et al., Reference Lotz-Sisitka, Wals, Kronlid and McGarry2015). Sea Sounds - get your little ones immersed in musical play for World Ocean Day! To do this, you could get some drums and shakers out and allow children to create sounds on the theme of the ocean. This will be greatly beneficial for their creative thinking and self-expression.

You might wonder, what does researching fun facts and data about the ocean have to do with writing about oceans accurately? Considering the importance of water to human life, it is very helpful to know how to write about oceans and other water sources accurately in your writing.

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Writing accurate and creative descriptions is important, particularly in creative writing. You want to show and not tell the reader about the plot’s scenery. Write a story about a submarine navigating the bottom of the Mariana Trench to search for deep sea treasure Try a story about a sailor trapped in the middle of the ocean and being stalked by a magical blue whale. There are endless ways to write about the ocean and doing so will help you improve your ocean writing skills. More Ocean Writing and Related Resources Here are some essay writing prompts for writing about oceans. These prompts will help you become better at ocean writing and might even help you improve your writing grades.

Write an adventurous story about a free diver trying to find real-life treasure at the very bottom of the ocean floor. This review is original and is not under consideration for publication elsewhere, nor has it been previously published. In addition, you’ll find some fictional pieces that beautifully incorporate the ocean into the story – sometimes as a character – like Ernest Hemingway’s critically acclaimed novel, The Old Man and the Sea. Line 14 – suggest changing the word constraints to ‘challenges’ or similar. Climate change impacts may not necessarily always be constraints.The ocean has always been a source of wonder and inspiration. It has been described in countless ways by poets, travelers, scientists, and dreamers alike. Lines 124 - 128: Again, there are a lot of normative statements (i.e. “should”) in here that may not be reflective of social preferences or follow from evidence provided in the paper or relevant citations. Perspective pieces are more compelling when it is clear that there is an obvious need for something the authors are arguing for. This paper summarizes the case for a broader thinking of shoreline protection to include indigenous knowledge and proposes a research project around this. Lines 257 - 265: The paper up to this point has been framed as a call to include indigenous knowledge (line 257), but here there is also a call to have non-indigenous people “recognize indigenous cultural values.” This is echoed in lines 288 - 290. These are not the same thing. This paper sidesteps the issue of “is indigenous knowledge valuable because it enhances NBS for everyone, or is it valuable because it enhances aspects of NBS that indigenous people value?” The answer to this could be both, but there seems to be conflation of these two throughout without actually bringing this up at any point (also lines 392 - 395; 491 - 492). It could be worth thinking through this to make the paper clearer.

Indeed, our vision for inclusive and sustainable Indigenous performing arts pedagogies builds on transgressive learning. Through transgressive and eco-creative learning approaches, in parallel to the co-creation of the nature-based structures, researchers regularly engage with knowledge bearers, educators and learners to generate new forms of eco-knowledge and learning material through the science, arts and music. Researchers closely document testimonials throughout the co-design, manufacturing and testing of the nature-based structures. These interactions form the core mediators among all objectives of the research and will be translated into shared TCEs as transgressive pedagogical tools for communicable science. Transgressive eco-creative pedagogical intervention are aimed to empower the community and revalue Indigenous ways of knowing and being by giving the knowledge bearers agency as well as by disseminating the developing knowledge in accessible and creative ways. The value and sustainability of this kind of knowledge and pedagogical approach is incalculable. Pedagogically, the development of Indigenous and transgressive learning approaches adds to the emerging data on STEAM (Science, Technology, Engineering, Arts and Mathematics) learning education, a proposed goal of curriculum development (Barajas-López and Bang, Reference Barajas-López and Bang2018; O’Connor, Reference O’Connor, Corbett and Gereluk2020). Small world play is fantastic for children to engage with ideas, settings and topics through imaginative thinking. Small world play is great for children to explore different ideas through role play. Line 25 – give global average rate of Sea level rise (Ipcc 2019) rather than saying levels have increased significantly Lines 12 - 33: What is this? This seems like a methods paragraph, but is the first thing in the paper. Is it an abstract? Transgressive practices: Merging Indigenous knowledge, traditional creative expressions and scientific knowledgeYeppers. Using our list ofocean writing ideascan help you — and writers of all ages and skill levels — improve your ability to create amazing descriptions of oceans. Lines 128 - 131: Designing solutions to allow urban shorelines to enhance/recover these functions potentially comes at a social cost - wouldn’t a more efficient approach be to balance the value of these functions against the cost of restoring them? If someone has never seen or been to the ocean, they may struggle to describe it accurately in their writing. Yet, that doesn’t mean they can’t learn more about it.