As in the Sunshine class, the familiar song structure was adapted from one of their class songs, ‘Walking through the jungle’ by Stella Blackstone. This particular song was selected because children were often observed singing it spontaneously during transitions or classroom tasks, indicating a strong sense of familiarity and enjoyment. This familiarity helped support the integration of new concepts into the co-created storybook. The lyrics the children composed reflected their personal preferences and included action-based elements to encourage peer engagement. For example, as they sang about walking through corridors or dancing in the classroom, they began to recognise and refer to their peers’ favourite spaces and actions, thereby strengthening social bonds and shared group identity.

Here are the adapted lyrics to the tune of ‘Walking through the jungle’ by Stella Blackstone (with pseudonyms used for confidentiality):

Making friends in Rainfall, making friends in Rainfall,
Who do you see? Who do you see?
I see my friends in Rainfall, smile, smile, smile! Smiling at me.

Drawing at the table, drawing at the table,
Who do you see? Who do you see?
I think I see Nabilah, draw, draw, draw! Drawing at the table.

Jumping in the gym, jumping in the gym,
Who do you see? Who do you see?
I think I see Afif, jump, jump, jump! Jumping in the gym.

Walking through the corridor, walking through the corridor,
Who do you see? Who do you see?
I think I see Kai Qin, walk, walk, walk! Walking through the corridor.

Dancing in the classroom, dancing in the classroom,
Who do you see? Who do you see?
I think I see Debra, dance, dance, dance! Dancing in the classroom.

Skipping through the void deck, skipping through the void deck,
Who do you see? Who do you see?
I think I see Aryan, skip, skip, skip! Skipping through the void deck.

Sliding down the slide, sliding down the slide,
Who do you see? Who do you see?
I think I see Arkash, slide, slide, slide! Sliding down the slide.

Playing with the toys, playing with the toys,
Who do you see? Who do you see?
I think I see Hannah, play, play, play! Playing with the toys.

Reading at the corner, reading at the corner,
Who do you see? Who do you see?
I think I see Darren, read, read, read! Reading at the corner.

Having fun in EIPIC, having fun in EIPIC,
Who do you see? Who do you see?
I see my friends and teachers, having fun with me!

The children’s collaboration with the therapists in creating the lyrics prompted not only individual expression but also shared decision-making, negotiation, and co-construction. During group discussions, children listened to one another’s ideas and sometimes suggested changes or added lines based on what a peer had shared. For example, after Afif named the gym as his favourite space, another child excitedly proposed adding jumping actions to match Afif’s activity. This type of responsive engagement illustrated how the children were not only contributing their own ideas but also building upon and validating their peers’ contributions.

The creative process sparked conversations about favourite spaces, activities, and hobbies, revealing both shared interests and unique preferences. Children began to notice commonalities, such as a mutual love for playgrounds or drawing, and these discoveries often led to playful exchanges or affirming gestures, such as mimicking each other’s dance moves or referencing a classmate’s line in the song. This interplay reflected early forms of collaboration, where children adjusted their participation in response to others, deepening peer connections.

As they co-created the storybook and participated in group actions, the children demonstrated increasing levels of engagement and cooperation. They returned to their work with enthusiasm, referenced their peers’ parts during the singing, and showed pride in the collective product. Teachers observed that children became more aware of one another’s actions and interests, often pointing them out during sessions and in classroom routines. One teacher shared, “I feel like time always goes by so fast during the session,” reflecting the shared enjoyment and group cohesion that emerged through the process.

The programme contributed to improved group dynamics as the children gradually shifted from working side-by-side to working with one another. As their comfort and familiarity grew, so did their willingness to wait for their turn, offer help, and participate in group decisions, such as choosing the order of song verses or instruments for the recording.

Through the co-creation of the book, children also learned important skills such as turn-taking, collaboration, and contributing ideas in a group setting, skills vital for school readiness. The action-based learning reinforced concepts of peer awareness and friendship, making these skills more tangible and accessible. These moments of co-construction, mutual recognition, and joint participation reflected early foundations of collaboration within a supportive, therapeutic environment.

Discussion

Through the two group vignettes discussed here, Creative Connections demonstrated how the integration of art and music therapies as creative arts modality can effectively support the challenges faced by children with developmental difficulties, particularly in areas of self-awareness, social interaction, and peer relationships. It also highlights how the multisensory nature of the programme allowed for individualised expression while fostering key developmental skills that are often challenging for children with developmental difficulties. For instance, one of the primary developmental challenges for children with ASD is the difficulty in expressing emotions and understanding social cues. Creative Connections offered children the opportunity to explore their identities and communicate their preferences in ways that felt more comfortable and accessible than traditional verbal communication. Self-awareness and intra-personal development were observed in moments where children expressed clear preferences, made creative choices, or took ownership of their contributions. This process allowed for a deeper connection with their inner selves, enhancing their self-awareness. For example, children like Yun Zhi, who had been non-verbal, showed increased participation as they began to hum along and engage with their peers through the shared creation of the song. This indicates that the use of music and art can support expressive language development, even for children who struggle with verbal communication.

Next, the act of contributing to a group project, particularly one that emphasised shared interests and actions, allowed children to learn about and acknowledge each other’s preferences while reinforcing a sense of belonging. Teachers from both classes expressed how children eagerly looked forward to the sessions and the opportunity to express themselves creatively, through the process of art-making, and singing and dancing along to their singable book. This enthusiasm for the creative process and repeated revisiting of the singable book signalled not only engagement but also a growing connection to the group and ownership of the shared creation.

Finally, the creation of these personalised singable books and having them made into a video showcased during the centre’s year-end graduation celebrations have further reinforced a positive sense of self and developed the children’s confidence and self-esteem. The children took pride in their creations, as evident by repeatedly returning to the singable book and requesting for the song to be played following the end of the project. This was especially evident in the Rainfall class, where the completed video and book served as a symbolic graduation gift, pieced together by the therapists and shared with each child’s family as a memento of the shared memories created during the programme and at the early intervention centre.

Therapeutic containment was carefully upheld throughout this process. While parental consent was obtained at the programme’s outset, children’s continued assent was monitored and respected. Their active and joyful engagement, such as singing along during playback, pointing to their own and peers’ parts, and asking to view the video again, was taken as meaningful expression of willingness and ownership. No child was required to participate in the final showcase if they expressed discomfort or lack of interest. Instead, participation was guided by each child’s readiness, ensuring the experience remained empowering, respectful, and aligned with the therapeutic aims of the programme. Given the positive outcomes observed, Creative Connections presents a promising model for supporting the progress of children with developmental difficulties, contributing meaningfully to their school readiness and overall social inclusion.

Conclusion

Creative Connections demonstrated the potential of integrating art and music therapies within early intervention settings to support the developmental needs of children with developmental difficulties. By fostering self-expression, peer awareness, and early signs of emotional adaptability such as improved turn-taking, group participation, and tolerance of sensory input, the programme provided a supportive environment for children to build stronger social bonds and a clearer sense of self. These outcomes highlight the effectiveness of a structured, multi-sensory approach in early intervention. Ultimately, this programme illustrates how an interdisciplinary, therapist-led directive can promote interpersonal skill development and support children in navigating the relational demands of classroom settings. This lays important foundations for school readiness and inclusion.