Sustainability Folio

Protecting Our Oceans from Plastic Pollution

An arts-integrated inquiry unit exploring how primary students can investigate ocean plastic pollution through Humanities (HASS), Visual Arts, and the Sustainability and Aboriginal & Torres Strait Islander Histories and Cultures cross-curriculum priorities.

Illustration of discarded plastic bottles and debris floating underwater, lit by sunlight from above.

Welcome to this annotated education portfolio, exploring how inquiry-driven, arts-integrated teaching can help primary students engage with the global challenge of ocean plastic pollution. Across Humanities, Visual Arts, and the Sustainability and Aboriginal & Torres Strait Islander Histories and Cultures priorities, it grounds ecological literacy in empathy, curiosity, and creative practice.

Saleha Nadeem Master of Teaching (Primary and Secondary) Primary Specialisation: English, TESOL/EAL Deakin University

About this portfolio

This portfolio documents an annotated inquiry built around a single "big idea," ocean plastic pollution, and explores it through three lenses: the humanities and social sciences, the visual arts, and classroom practice for Year 5–6 students. It brings together an area of inquiry, a critical response to two contemporary artists working with marine plastic, an original artwork created in response to the same issue, and a curriculum-aligned plan for using this material in a primary classroom.

Use the navigation above, or the section summaries below, to move through the portfolio.

01

Area of Inquiry

The issue of ocean plastic pollution, the rationale for choosing it as a teaching focus, and the open inquiry questions that frame the unit, supported by a mind map of the topic's cross-curricular connections.

Read the inquiry →

02

Exploring the Arts

A critical response to Aurora Robson's The Great Indoors and Erub Arts' Ghost Net Art, followed by the process and artist's statement for an original woven-plastic sculpture, "Caught."

View the arts exploration →

03

Development for Primary Students

How this inquiry meets the Australian Curriculum's HASS and Arts learning areas, the Sustainability and Aboriginal & Torres Strait Islander cross-curriculum priorities, and the limitations to plan for.

See the curriculum links →

Big Idea: An estimated eight million tonnes of plastic enter the world's oceans every year. Because plastic is one of the most familiar materials in a child's daily life (lunchboxes, toys, packaging), it offers an unusually accessible entry point into a global environmental crisis that can otherwise feel too abstract or distant for young learners to grasp.

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About

About Me

A short introduction to the person behind this portfolio.

I am a researcher and educator completing my Master of Teaching (Primary and Secondary) at Deakin University, specialising in English and TESOL/EAL. My work is grounded in making global issues tangible and meaningful for young learners through inquiry-based, arts-integrated teaching practice.

Researcher & Educator Master of Teaching (Primary & Secondary) English & TESOL/EAL Deakin University

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Part 1

Area of Inquiry

The issue, the rationale for choosing it, and the open questions that frame this unit of learning.

The Issue

Plastic pollution in oceans and waterways is the sustainability issue at the centre of this inquiry. An estimated eight million tonnes of plastic enter the world's oceans every year. It does not biodegrade within any time frame meaningful to human life; instead, it breaks into smaller and smaller fragments, entering food chains as microplastics and accumulating in marine animals, ecosystems, and eventually in the seafood people eat.

For primary-aged children, plastic is one of the most familiar materials in daily life: it is in lunchboxes, toys, and packaging. This makes it an unusually accessible entry point into a global environmental crisis that can otherwise feel too abstract or distant for young learners to grasp.

Rationale

Plastic pollution was chosen as the focus "big idea" for three reasons, each grounded in this unit's readings on education for sustainability (EfS).

First, Taylor, Quinn and Eames (2015) argue that EfS matters at the primary level because young learners are inheriting environmental problems they did not create, and that building the knowledge and disposition to respond should be central to primary schooling rather than an optional add-on. Plastic pollution is a clear, concrete case through which to build that disposition: its cause (everyday consumption) and its consequence (visible harm to marine life) are both directly observable by children, unlike more abstract sustainability issues.

Second, it connects naturally across learning areas: science (materials and decomposition), geography (ocean currents and the global movement of waste), and civics (who is responsible for managing waste), which Noble (2015) identifies as a strength of using a single, tangible issue to anchor cross-curricular HASS learning. Noble demonstrates how education for sustainability in primary school HASS can be developed through examining environmental challenges and evaluating community responses, rather than isolating sustainability as a separate subject.

Third, Henderson and Tudball (2016) demonstrate that youth action for sustainability is most effective when children are given genuine opportunities for democratic and participatory citizenship, rather than simply being told about a problem. Plastic pollution offers many entry points for real, primary-appropriate action (reducing single-use plastic, organising a clean-up, redesigning packaging), which supports this participatory approach rather than leaving students as passive recipients of bad news.

This issue matters to me personally because a documentary about the Great Pacific Garbage Patch changed how I viewed plastic. I was shocked to learn that an everyday item such as a plastic water bottle could end up inside a seabird thousands of kilometres away. Since then, I have tried to reduce my plastic use, although I still sometimes choose plastic packaging out of habit. I want to explore this gap between awareness and action honestly with students, rather than suggesting that I have solved it.

Jenkins (2015) argues that effective education for sustainability integrates theory with practice: inquiry should not simply transmit facts about an issue but build students' "action competence" (their capacity and disposition to act) through open, student-negotiated questions rather than a fixed unit of content delivered by the teacher. Murdoch (2015) adds that authentic inquiry begins with genuinely puzzling questions that do not have a single, findable answer, and that can sustain investigation over time. This is why the inquiry questions below are framed as open provocations rather than closed factual prompts, and why in an actual classroom they would be revisited and extended in response to students' own curiosities rather than answered once and closed off.

Inquiry Questions

These questions move from the concrete and observable (where our rubbish goes) toward the systemic and ethical (who is responsible, what can genuinely be done), consistent with Jenkins' (2015) emphasis on building both understanding and action competence through inquiry, rather than understanding alone.

Where does the plastic we use each day go after we discard it?
How does plastic end up in the ocean, even in places far from the coast?
What happens to marine animals and ecosystems when they encounter plastic waste?
Why is plastic so difficult for the environment to break down?
Who is responsible for reducing plastic pollution: individuals, companies, or governments?
What could our class, school or family do to reduce the plastic we use and throw away?

In a real classroom, I would present these alongside a provocation such as a short video of a seabird autopsy revealing plastic fragments, or a collection of plastic items found at a local beach, and invite students to add their own questions before investigating.

Mind Map

The mind map below illustrates the breadth of concepts, questions, people, places, and artefacts connected to this big idea. It maps five key branches: Science & Systems, Human Impact, Arts Expression, Inquiry Questions, and Cross-Curriculum Connections, demonstrating how this topic can be explored through multiple disciplinary lenses.

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Part 2

Exploring the Big Idea Through the Arts

Responding as an audience to two contemporary artists, then making an original work in response to the same issue.

As Audience / Responding

Artist 1: Aurora Robson, The Great Indoors

Aurora Robson is a Canadian-born, multimedia artist based in New York who transforms plastic debris (much of it discarded PET bottles and packaging otherwise destined for landfill) into large-scale sculptures and immersive installations (Robson, n.d.). Her installation The Great Indoors used cut and reassembled plastic bottles to construct an immersive tunnel of abstract, organic forms resembling deep-sea creatures and micro-organisms, lit from within with LEDs to give the discarded material a sense of life (Rice Gallery, n.d.).

Installation view of Aurora Robson's The Great Indoors, showing translucent coral- and pink-toned sculptural forms made from recycled plastic bottles suspended from the ceiling of a gallery. — Aurora Robson, *The Great Indoors* (installation view).

The Great Indoors: Aurora Robson
https://youtu.be/Q_NS1pJQfVc?si=I4VA7jydmMc24PSw

Robson (as cited in Espinosa, n.d.) describes her practice as being about "subjugating negativity and shifting trajectories," treating plastic waste as "a viable art material" rather than only as a symbol of environmental harm. Her intention is explicitly future-positive: she wants viewers to leave with a sense of creative possibility rather than despair, using the same material that causes the pollution problem to build something that provokes wonder.

I looked at images of The Great Indoors on Robson's website, and what struck me immediately was the colour: these glowing, translucent forms in blues and greens that looked almost like jellyfish or coral. It took me a moment to realise they were made from the same kind of plastic bottles I throw in my recycling bin. That shift in perception is what made the work powerful for me: one moment I was looking at something beautiful, the next I was recognising the material as waste.

I chose this work because it does not lecture the viewer. It does not say "plastic is bad" in a heavy-handed way. Instead, it says "look what this material can become," which feels like a more generous entry point for children.

Viewpoints frame: Structural (cut plastic bottles reassembled into organic forms) Viewpoints frame: Materials (waste treated as a legitimate sculptural medium)

Engaged through the Australian Curriculum Viewpoints (ACARA, n.d.).

See the original work

Artist 2: Erub Arts, Ghost Net Art

Erub Arts is a collective of Torres Strait Islander artists on Erub (Darnley Island), who since 2010 have woven large sculptural works (turtles, sharks, frigate birds, coral) from "ghost nets": commercial fishing nets lost or abandoned at sea that wash up on Erub's shores and are estimated to kill more than 200 marine species (Australian National Maritime Museum, n.d.). Between 2004 and 2014 alone, more than 14,000 ghost nets were removed from Erub's coastline (Australian National Maritime Museum, n.d.).

A sea turtle sculpture woven from ghost net rope in teal, orange, and yellow, made by Erub Arts. — Erub Arts, ghost net sculpture (sea turtle).

Erub Arts: Ghost Net Work
Australian National Maritime Museum: Ghost Nets of the Ocean

The artists apply traditional Torres Strait weaving techniques to this reclaimed material. Each sculpture is intended to "evoke the interconnection between the ocean, the Torres Strait Islanders and caring for Country" (Australian National Maritime Museum, n.d.), which distinguishes this work from Robson's individual studio practice: Ghost Net Art is a community practice grounded in an ongoing, specific relationship to Sea Country, not a general statement about plastic waste.

I looked at the Australian National Maritime Museum's online exhibition of Erub Arts' ghost-net sculptures, and the piece that stayed with me was a giant turtle woven from bright green and blue net fragments. What I noticed first was the scale: it was much bigger than I expected, and the colours were surprisingly vibrant for something made from discarded fishing gear. But what really struck me was reading that the artists work together as a community, that the nets are collected from their own beaches, and that the weaving techniques are traditional.

This is not art about the ocean made by someone in a city studio; it is art made by people whose Country is the ocean, using materials that have invaded their home. I chose this work because it connects the environmental issue to Indigenous knowledge and community practice in a way that feels authentic rather than added on.

Viewpoints frame: Cultural (expression of Torres Strait Islander relationship to Sea Country) Viewpoints frame: Structural (traditional weaving adapted to marine debris)

Engaged through the Viewpoints framework (ACARA, n.d.).

See the original work

As Artist / Making

My son's quiet wonder at a fishpond inspired this artwork; primary children, including those with special needs like my son, love water and fish, and we must protect them.

Artwork: "Caught"

Medium: Woven plastic form (single-use plastic bags, bread tags, wrappers, six-pack rings, collected and bound into a fish shape) Dimensions: 25 × 15 cm

A fish-shaped sculpture suspended from a thread, woven entirely from clear and coloured single-use plastic, including bread tags, netting, and a black six-pack ring around its midsection. — Figure 3. Final artwork: "Caught."

Process Documentation and Annotations

My creative exploration of ocean plastic pollution began with a question: could I make something that embodies the problem rather than just illustrating it? I wanted the material itself to be the message: the finished piece should be physically made of what it is warning against.

Refinement 1: Collection

Over two weeks, I collected every piece of soft single-use plastic my household generated: soft drink bottles and their wrappers, bread bags, fruit netting, chip packets, six-pack rings, and plastic wrapping from online deliveries. I kept them in a green bag and then in a box under my kitchen sink, and by the end of the fortnight the box was overflowing. This collection phase was itself a provocation; I was shocked by how much plastic one person accumulates without noticing. I photographed the full box before sorting the materials by colour and texture.

A bag full of collected plastic bottles and wrappers.

Plastic waste stored in a plastic tub ready for sorting.

A cardboard box overflowing with soft plastic waste under a kitchen sink.

Refinement 2: Material testing

I tested three methods for transforming plastic into a workable material. First, I tried cutting the bags into long strips and twisting them into cord, like making yarn from fabric. This worked for the thinner bags but the thicker wrappers kept snapping. Second, I tried weaving the strips on a simple cardboard loom. This held together but looked too neat, almost like a craft project rather than an artwork about pollution. Third, I tried a freeform binding technique, wrapping and knotting the plastic strips around a wire armature. This gave me the irregular, tangled texture I was looking for: it looked caught, trapped, which matched the concept. I photographed each test and kept notes on what worked.

Three material tests laid out on a table: twisted plastic cord, a woven cardboard-loom sample, and a freeform bound wire sample, alongside handwritten observation notes.

Refinement 3: First draft

Using the binding technique, I created a first draft of a fish shape: a simple oval body with a tail, wrapped in overlapping layers of blue and green plastic strips. I chose a fish because it is immediately recognisable to children and because it represents the marine life most directly affected by plastic pollution. However, when I stepped back from it, the shape was unclear: the plastic layers were too thick and the fish looked more like a tangled ball than a creature. The colours were also too harmonious; I had unconsciously arranged the blue and green strips to look pretty, which undermined the serious message.

A tangled, egg-shaped bundle of blue and green woven plastic strips: the first draft of the fish sculpture, with an unclear form.

Refinement 4: Refinement

Based on my own reflection and feedback from a peer, I made three changes. First, I stripped back some of the layers to reveal the wire frame underneath, which created negative space and made the fish shape more readable. Second, I deliberately added strips of red, orange, and clear plastic (colours that do not occur naturally in fish) to create visual discomfort and signal that this creature is made of something foreign. Third, I left some plastic ends loose and frayed rather than tucking them all in, because the messiness communicated entanglement better than a tidy finish. I also incorporated an actual six-pack ring fragment around the fish's midsection, making the threat literal.

A clearer fish-shaped sculpture made of silver wire frame with red, orange and clear plastic strips, and a black six-pack ring fragment around its midsection.

Refinement 5: Final work

In the final version, I added smaller details: bread tags for scales, a piece of clear netting for a fin, and a single black bread tie for the eye. These small elements reward close looking: a child who examines the piece closely will recognise familiar objects, which makes the connection to their own plastic use immediate. The fish hangs from a thread, suspended as if caught in a net or floating in water, which adds a sense of vulnerability and movement. The final piece is called "Caught" because the fish is both caught in plastic and caught by the viewer's gaze: we cannot look away from what we have made.

The completed sculpture 'Caught': a fish woven from clear and coloured single-use plastic, hanging from a thread against a plain background. — Figure 2 / 3. Process documentation and final artwork: the five stages of "Caught."

Artist's Statement: "Caught"

With "Caught," I wanted to make a piece where the material and the message are inseparable. The fish is made entirely from plastic waste I collected in two weeks: waste that would otherwise have gone to landfill or potentially ended up in a waterway. By turning that waste into a creature that appears to be trapped and struggling, I am asking the viewer to recognise their own role in the story. This is not a fish in a natural ocean; it is a fish made of the things we throw away.

I was directly inspired by Erub Arts' Ghost Net Art, particularly their woven marine sculptures made from discarded fishing nets. While my piece is much smaller and uses different materials, the principle is the same: take the pollutant and transform it through traditional craft techniques into something that speaks back to the problem. I want to acknowledge Erub Arts explicitly as an inspiration for the weaving/binding approach, while being clear that my materials, scale, and context are my own. I am not Torres Strait Islander, and my relationship to the ocean is different from theirs; this piece is my own response to a shared environmental crisis, not an appropriation of their cultural practice.

My hope is that a child looking at this piece would first recognise the shape (a fish), and then, on closer inspection, recognise the materials: "That is a bread bag. That is a six-pack ring. I have seen those before." That recognition is the moment of connection I am aiming for.

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Part 3

Development for Primary Students

Suitable year level, curriculum alignment, and the limitations to plan for in the classroom.

Suitable Level and Curriculum Alignment

This inquiry into ocean plastic pollution, paired with the arts explorations of Aurora Robson and Erub Arts, is well suited to Year 5–6 students (typically ages 10–12). At this stage, students possess the cognitive capacity for abstract reasoning, systems thinking, and ethical reflection required to engage meaningfully with global environmental issues that operate across distance and time (Shepardson & Hirsch, 2019/2020). They can understand that a plastic bottle discarded in their suburb may eventually affect a marine ecosystem thousands of kilometres away, and they can begin to evaluate multiple perspectives on responsibility and action.

Meeting the Humanities (HASS) Curriculum

AC9HS5K04

Under the Australian Curriculum (Version 9.0), Year 5 HASS/Geography content descriptor AC9HS5K04 requires students to examine "the influence of people, including First Nations Australians and people in other countries, on the characteristics of a place." Ocean plastic pollution sits directly within this requirement: students can investigate how coastal and marine environments influence human settlement, fishing, and recreation, while also examining how human management or mismanagement of waste influences the future of those environments. Students could compare a coastal Australian community (e.g. a Torres Strait Island community affected by ghost nets) with another place experiencing plastic pollution, examining causes, consequences, and community responses.

Noble (2015) argues that HASS is well placed to hold this kind of integrated, issue-based learning because it draws together the social, political, and environmental dimensions of a problem rather than isolating them into separate subjects. In this inquiry, the HASS strand allows students to move beyond scientific facts about decomposition rates toward questions of equity, responsibility, and governance, asking not just "what is happening?" but "who is affected, and who should act?"

Meeting the Arts Curriculum

The Australian Curriculum: The Arts (ACARA, n.d.) organises Visual Arts learning in Years 5–6 around four interrelated strands: exploring and responding, developing practices and skills, creating and making, and presenting and performing.

AC9AVA6E01 AC9AVA6E02 AC9AVA6D01 AC9AVA6C01 AC9AVA6P01

Responding

Analysing Aurora Robson's immersive installations and Erub Arts' woven ghost-net sculptures maps directly to the Responding strand, where students "evaluate how representations communicate artistic intentions" across cultures, times, and places (ACARA, n.d.). Robson's individual studio practice and Erub Arts' community-based Sea Country work offer contrasting models of artistic response, allowing students to compare and evaluate how representations communicate artistic intentions across cultures, places and contexts (AC9AVA6E01, AC9AVA6E02).

Making

Creating a woven or bound form from collected single-use plastic maps to both the Developing practices and skills strand and the Creating and making strand. With primary students, this can be scaffolded as a class collective project: students collect soft plastic from their lunchboxes over one week, then cut, thread and bind the material into small forms inspired by (but distinct from) Erub Arts' technique. This process requires students to experiment with materials, refine techniques, plan their design, and create an artwork that represents ideas about plastic pollution (AC9AVA6D01, AC9AVA6C01). Documenting and annotating the creative process further supports students in developing an understanding of their own artistic intentions and reflecting on their practice.

Presenting

Students can share their finished works in a class exhibition or school "Ocean Action" display, addressing the Presenting and performing strand (AC9AVA6P01).

Meeting the Sustainability Cross-Curriculum Priority

The Australian Curriculum structures Sustainability around four organising concepts: Systems, World Views, Design, and Futures (ACARA, n.d.). This inquiry addresses all four.

Systems is explored through ocean currents, food chains, and the movement of plastic waste from land to sea.
World Views is examined through the contrast between Robson's Western studio-activist perspective and Erub Arts' Torres Strait Islander relationship to Sea Country: two fundamentally different ways of understanding human responsibility to the ocean.
Design is embedded in the Making task, where students must design a creative response using the pollutant itself as material.
Futures is addressed through the final inquiry question about what action students could take.

Jenkins (2015) argues that the Futures concept is best built through "action competence": real, achievable action rather than abstract worry. Henderson and Tudball (2016) reinforce this by demonstrating that youth action for sustainability is most effective when children are positioned as democratic participants rather than passive recipients. This is why Part 3 activities should culminate in concrete, primary-appropriate action such as a single-use plastic audit, a class commitment to reduce packaging, or a letter to local council, rather than ending with discussion alone.

Connecting to Aboriginal and Torres Strait Islander Histories and Cultures

The Australian Curriculum's Aboriginal and Torres Strait Islander Histories and Cultures priority is structured around three aspects: Country/Place, Culture, and People (ACARA, n.d.). This inquiry connects powerfully through all three.

Country/Place is addressed through Erub Arts' Ghost Net Art, which is made on Erub (Darnley Island) from nets that wash up on Torres Strait shores, a direct, place-based response to marine pollution that emerges from a specific Sea Country.
Culture is present in the weaving techniques themselves, which apply traditional Torres Strait practices to contemporary environmental material.
People is represented by the artists as community members whose work is collective rather than individual, and whose practice is grounded in custodial responsibility.

Wooltorton, Collard, Horwitz, Poelina and Palmer (2020) caution that place-based Indigenous methodology cannot be reduced to a single lesson or artefact study; it depends on building genuine, ongoing relationships with specific Country and the people who hold knowledge of it. Applied to a primary classroom, this means a teacher should not treat Erub Arts as a stand-alone "multicultural" add-on, but should connect the inquiry to the specific coastline, waterway, or Sea Country nearest the school, and where possible involve local Traditional Owners or an Aboriginal and Torres Strait Islander education officer directly. Preston (2015) reinforces this by arguing that place-based education in the Australian geography curriculum is only meaningful when it engages with an actual, specific place rather than a generic case study.

Judson (2020) offers one practical way to do this through a "walking curriculum": a structured walk to a local beach, river mouth, or stormwater drain, framed as an inquiry into what is found there and whose Country it is, rather than an incidental excursion. For this ocean plastic inquiry, a walking curriculum might involve students documenting plastic waste at a local waterway, photographing it, and mapping its likely journey to the ocean, connecting their immediate place to the distant Sea Country of Erub Arts.

Limitations and Challenges

One significant challenge I anticipate is avoiding tokenism when teaching the Aboriginal and Torres Strait Islander Cross Curriculum Priorities (CCP). It would be easy to show images of Erub Arts' ghost-net sculptures, describe them as "beautiful," and move on. But that would be superficial and disrespectful. Wooltorton et al. (2020) emphasise that Indigenous knowledge must be engaged with as living, ongoing, and specific to place, not as a decorative addition to a Western-framed unit. The real work is in building ongoing relationships with local Aboriginal communities and letting their knowledge shape the inquiry, rather than bolting it on as a "cultural" activity.

Another challenge is managing the emotional weight of the issue for young children. Shepardson and Hirsch (2019/2020) note that teaching about environmental crises requires careful attention to students' developmental levels, ensuring that content is honest without being overwhelming. Images of dead marine animals entangled in plastic can provoke eco-anxiety rather than action if not framed carefully. As a teacher, I would balance the severity of the problem with tangible, hopeful actions students can take, following Jenkins' (2015) emphasis on building action competence rather than despair.

Finally, there is the practical challenge of time and resources. A genuine inquiry with arts integration, community consultation, and a walking curriculum takes significantly longer than a textbook unit. Henderson and Tudball (2016) argue that this time is necessary for democratic, participatory learning, but I recognise that primary teachers work within tight timetables. I would need to advocate for the curriculum time to do this properly, perhaps by integrating the inquiry across multiple learning areas simultaneously, rather than rushing through the creative or community-engagement components.

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Reference List

References

All sources cited throughout this portfolio, in APA 7th style.

Australian Curriculum, Assessment and Reporting Authority (ACARA). (n.d.). The Australian Curriculum: The Arts. https://australiancurriculum.edu.au/f-10-curriculum/the-arts/

Australian Curriculum, Assessment and Reporting Authority (ACARA). (n.d.). Cross-curriculum priorities: Sustainability. https://australiancurriculum.edu.au/f-10-curriculum/cross-curriculum-priorities/sustainability/

Australian Curriculum, Assessment and Reporting Authority (ACARA). (n.d.). Cross-curriculum priorities: Aboriginal and Torres Strait Islander Histories and Cultures. https://australiancurriculum.edu.au/f-10-curriculum/cross-curriculum-priorities/aboriginal-and-torres-strait-islander-histories-and-cultures/

Australian National Maritime Museum. (n.d.). Ghost nets – message of sustainability. https://www.sea.museum/en/first-nations/ghost-nets-message-of-sustainability

Espinosa, A. (n.d.). From plastic debris to sculptures: Aurora Robson. Luxiders. https://luxiders.com/aurora-robson/

Henderson, D. J., & Tudball, E. J. (2016). Democratic and participatory citizenship: Youth action for sustainability in Australia. Asian Education and Development Studies, 5(2), 146–161. https://doi.org/10.1108/AEDS-09-2015-0051

Jenkins, K. (2015). How to teach education for sustainability: Integrating theory and practice. In N. Taylor, F. Quinn, & C. Eames (Eds.), Educating for sustainability in primary schools: Teaching for the future (pp. 33–43). Sense Publishers.

Judson, G. (2020). A walking curriculum. Education Canada, 60(2), 8–9.

Murdoch, K. (2015). The power of inquiry. Seastar Education.

Noble, K. (2015). Education for sustainability in primary school humanities and social sciences education. In N. Taylor, F. Quinn, & C. Eames (Eds.), Educating for sustainability in primary schools: Teaching for the future (pp. 117–132). Sense Publishers.

Preston, L. (2015). The place of place-based education in the Australian primary geography curriculum. Geographical Education, 28, 41–49.

Rice Gallery. (n.d.). Aurora Robson: The Great Indoors. http://www.ricegallery.org/aurora-robson

Robson, A. (n.d.). Large scale sculpture + installation. Aurora Robson. https://www.aurorarobson.com/sculpture-installation

Shepardson, D. P., & Hirsch, A. S. (2019/2020). Teaching climate change: What educators should know and can do. American Educator, 43(4), 18–23.

Taylor, N., Quinn, F., & Eames, C. (2015). Why do we need to teach education for sustainability at the primary level? In N. Taylor, F. Quinn, & C. Eames (Eds.), Educating for sustainability in primary schools: Teaching for the future (pp. 1–11). Sense Publishers. https://doi.org/10.1007/978-94-6300-046-8_1

Wooltorton, S., Collard, L., Horwitz, P., Poelina, A., & Palmer, D. (2020). Sharing a place-based Indigenous methodology and learnings. Environmental Education Research, 26(7), 917–934. https://doi.org/10.1080/13504622.2020.1773407

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