Wednesday, March 27, 2024
Saturday, March 23, 2024
Week 10: Activity Reflection
This week, I engaged in the practice of
Coast Salish weaving and successfully crafted a pouch by using ropes. I created a slanted
design with parallel lines and then digitized it by uploading on to the DESMOS computer program and
explored the slope and equations of the slanted lines and their relation with each other.
Friday, March 15, 2024
Week10: Reading Andrea Hawksley (Bridges 2015) Exploring ratios and sequences with mathematically layered beverages
Summary:
The given
paper was a part of Bridges 2015 where the author Andrea
Johanna Hawksley describes the workshop which explores the mathematical concepts of ratios, fractions,
and integer sequences through the creation of layered beverages. By varying the
ratios of ingredients like sugar, flavorings, and water in each layer,
participants can visually and experientially understand mathematical
principles. The workshop is divided into two main parts: exploring ratios with
simple two-layered beverages and delving into integer sequences with more
complex, multi-layered drinks.
In the
first part, participants learn about ratios and fractions by creating beverages
with different sweetness levels in each layer. This involves understanding how
changing the relative unit volumes between layers affects the overall density
and sweetness ratio of the beverage. The workshop encourages hands-on
calculations and taste testing to reinforce learning.
The second
part focuses on exploring integer sequences through layered beverages with many
layers. Participants use sequences like arithmetic progressions or the
Fibonacci sequence to determine the proportions of ingredients in each layer,
creating drinks with increasing or decreasing sweetness levels. By
experimenting with different sequences, participants can observe how the
mathematical relationships translate into flavor experiences.
The
construction of layered beverages involves following specific steps to ensure
each layer is poured correctly onto the ice to maintain separation and visual
appeal. The workshop provides examples, such as Fibonacci lemonade, with
precise ingredient proportions for each layer. Participants can also explore other
sequences like Lucas's numbers. In all such sequences, the ratio between
adjacent numbers approaches the golden ratio. The
workshop demonstrated how mathematical concepts are inherent in everyday
activities and it can inspire others by the basic ideas of teaching math
through layered drinks and try creating other mathematical foods.
Stops:
1. When a
large number of layers are used, the proportion of flavorings can increase
according to various monotonic integer sequences, for example, the Fibonacci
sequence. (p.519)
The above quote expands the possibility of trying different learning activities like using the Fibonacci sequence in baking by using the chocolate proportion in the proportion of the Fibonacci sequence. Using the Fibonacci sequence in this way can lead to an interesting progression of flavors, as the amount of flavoring increases more rapidly with each layer. This concept demonstrates how mathematical sequences can be applied creatively in cooking to achieve different taste experiences based on the number of layers or servings. Students can work with different recipes and not only engage in the hands-on learning experience but can learn the skill of cooking and baking too.
2. Fractions
can seem illogical and hard to conceptualize. This workshop gives a fun way for
students to practice calculating fractions in an unorthodox setting using a
sense seldom used in mathematics classrooms. (p. 523)
I agree with the statement that fractions sometimes feel illogical and hard to conceptualize. One interesting exercise I used to do with the students is where I
used to ask students to bring their favorite flavored drinks and determine the
amount of sugar in each. Students used to be tasked with determining the amount
of sugar in one serving of their drink and then figuring out the total grams of
sugar in the entire bottle. Initially, let's say they found that one serving contains 28
grams of sugar. To determine the total sugar content in the bottle, students
must first recognize that the bottle contains 14 ounces, approximately
equivalent to 414 mL, with "about 2" servings per container. Students
may employ various methods such as doubling the serving amount, calculating
sugar per ounce, or using ratios to scale up the sugar content from one serving
to the entire bottle. By working independently or in groups and sharing their
approaches, students engage in critical thinking and mathematical
problem-solving skills while understanding the importance of accurately
interpreting nutritional labels and serving sizes.
in the future, I am eager to use beverage activities with my students to explore and teach integer sequences and ratios to my students.
Question:
Could you
share any hands-on activities you've employed in teaching or experienced as a
student that relate to ratios and sequences?
Monday, March 11, 2024
Week 9 Reading: Radakovic, Jagger & Zhao: Writing and reading multiplicity in the uni-verse
2024-03-09
Reading Reflection
Summary:
The article "Writing and
Reading Multiplicity in the Uni-verse: Engagements with Mathematics through
Poetry" discusses the intersection of mathematics and poetry through the
analysis of two poems, "A Love Letter” by Nanao Sakaki and "My
Universe" by the author Nenad, and the subsequent engagement with
mathematical poetry by students.
The poem “A Love Letter” beautifully
encapsulates various circles of existence, from the intimate to the cosmic. For
instance:
·
Within a circle of one meter, you sit, pray, and sing.
·
Within a circle ten thousand kilometers large, you walk somewhere
on Earth.
·
Within a circle a million kilometers large, you embrace galaxies
and the whole universe
Inspired by
Sakaki’s poem, Nenad penned his poetic reflection, titled “My Universe.” In
this response, he weaves mathematical themes into his personal experiences:
·
Within a circle of one meter, he sits alone, listening
to classical music.
·
Within a ten-kilometer circle, he visits friends and
their daughter.
·
Within a circle 100 thousand kilometers large, he
waves goodbye to the satellites.
·
Within a circle a million light years large, he
embraces galaxies and the entire universe.
Simultaneously, Susan was teaching an
elementary mathematics teaching methods course. She sought ways to engage her
anxious teacher education students with mathematics. Together with Nenad, they
explored mathematical poetry, discussing its themes and structures. Their
experiences led them to incorporate mathematical poetry into their teaching
practices. They explore the personal,
authentic, and emotive nature of poetry in expressing mathematical concepts. The
article reflects on the interpretation and meaning-making of poetry,
challenging the formalist approach and advocating for the multiplicity of
meanings in mathematical poetry.
Stops:
1. According to Derrida, meanings are
not stable but are instead caught up in the endless play of relations and differences
between signifiers (words) and signified (concepts). This play is dependent on
the reader and the reader’s prior uses and understandings of and experiences
with those signifiers and signified. (P.4)
In poetry, meaning is not fixed but
is constantly shifting due to the interplay between words and concepts,
influenced by the reader's subjective interpretations and past experiences.
Mathematical poetry can benefit school children by illustrating the fluid
nature of meaning in both mathematics and language. By engaging with
mathematical concepts through poetic expression, children can develop a deeper
understanding of abstract ideas. This approach encourages creativity and
critical thinking, allowing students to explore mathematical concepts from
multiple perspectives, thereby enriching their learning experience.
Question
My question is what are some
ways of incorporating problem-solving through poetry and How prepared are you
as a teacher to integrate poetry and mathematical models to foster recognition
of patterns, creative problem-solving, strategic thinking, and time-saving
methods across subjects?
Saturday, March 9, 2024
Week 9 Activity Reflection
Fib poems:
A poem of 6 lines whose syllable line count follows the first 6 numbers of Fibonacci sequences: 1, 1, 2, 3, 5, 8.
Susan
Math
Muse
Susan
Passion craft,
numbers, dance, and play
in her hands, learning finds its way
Guiding minds, motivates, inspires us through each bright day.
Home
Love
joy
shared time
climbed trees high
echoes of laughter
in my home, where memories lie.
Stargazing Symmetry
in
dark
the night's
vast canvas
stars twinkle in sync,
forming constellations divine,
a polynomial of stars in the sky align.
Tuesday, March 5, 2024
Week 8: Activity Reflection
Activity: Malke Rosenfeld's Math on the Move
Clap Hands: A Body-Rhythm Pattern Game
I and Renu tried the activity with kids and other people. it was an engaging activity, where children could design the rhyme or dance pattern during the game. To adapt the rhythmic clap hands activity to fit my math curriculum, I would integrate it into a lesson focused on patterns, sequences, and mathematical reasoning. First, I would connect the rhythmic patterns to mathematical sequences, discussing how sequences are formed and identifying patterns in nature and around them. Then, I would encourage students to create rhythmic patterns using clapping, snapping, or other dance movements, emphasizing the mathematical structure behind their creations by using this activity. Students could also explore how changing the tempo or adding/subtracting elements alters the pattern, reinforcing mathematical operations and transformation concepts. Additionally, I would incorporate discussions on spatial reasoning by having students visualize and map out their patterns on grids or through movement in physical space. Throughout the lesson, students would engage in hands-on activities, collaborative exploration, and reflective discussions to deepen their understanding of mathematical patterns and sequences creatively and experientially.
Sunday, March 3, 2024
Week 8 Reading: Sarah - Marie Belcastro & Karl Shaffer (2011) Dancing Mathematics and the Mathematics of Dance.
2024-02-29
Reading Reflection
Summary:
The article "Dancing Mathematics and the Mathematics of Dances" explores the intriguing intersection between mathematics and dance, highlighting how mathematical concepts influence and are embodied in various aspects of dance choreography. The authors, Sarah-Marie Belcastro and Karl Schaffer, both mathematicians and dancers, delve into the various connections between these seemingly disparate disciplines. It discusses how dancers intuitively apply mathematical principles like symmetry and pattern to create aesthetically pleasing movements and formations. Hence in the given paper authors have given examples of the interplay between mathematics and choreography.
The work of Rudolf Laban in modern dance is cited as an example of explicit mathematical theory applied to choreography. Furthermore, the article describes how choreographers draw inspiration from mathematical ideas to create dances, often blurring the boundaries between mathematics and artistic expression.
It also
discusses the role of rhythm and sound in dance, showcasing how mathematical
patterns contribute to the complexity of dance compositions. Additionally, the
article touches upon the practical applications of mathematics in choreography,
such as organizing movements and spatial arrangements. It emphasizes the
interdisciplinary nature of dance and mathematics, enriching both fields
through creative exploration and collaboration.
Activities "TO TRY"
I have tried a few of the activities outlined in the paper.
- How can a "hexastar" be folded at the vertices to form a cube? an octahedron? two tetrahedra?
I used some toothpicks and Play-Doh to make the structure of the hexastar and then tried to make a cube, an octahedron, and two tetrahedra by folding the vertices and connecting them with the Play-Doh.
2. Try to make a cube with a partner, each person using the thumb and first two fingers of each hand.
3. Walk the borders of a square forward and backward turning through the internal angle how many rotations will you perform.
To walk the
borders of a square forward and backward, turning through the internal angles, I
performed a total of 8 '90-degree' rotations.
Stops:
- Each dance tradition has its own characteristic way of using mathematical concepts. (pg. 80)
The diverse ways dance traditions incorporate mathematical concepts illustrate the universal language of mathematics and its profound influence on human expression and creativity. Like in Indian classical dance forms Bharatanatyam uses mathematical structures, such as Fibonacci sequences or geometric progressions, enhancing the aesthetic appeal and symmetry of the performance. whereas in African dance tradition, dancers convey mathematical concepts of symmetry, balance, and harmony through rhythmic patterns and spatial arrangements, reflecting the interconnectedness of their community and environment.
Questions:
How can educators in Asian culture, where
dance holds significant cultural and artistic value, incorporate dance as a
medium for teaching mathematical concepts? Furthermore, how can parents be actively
involved in recognizing the mathematical language inherent in dance and
its potential to enhance their children's mathematical understanding?
Another question is how might we assess student learning and understanding when incorporating dance into math lessons. What types of assessments would be appropriate for evaluating both dance skills and mathematical comprehension?
Wednesday, February 28, 2024
Draft Proposal
Exploring Math
Concepts through Bharatnatyam Dance Form
“Incorporating music,
art, role-playing, and games into the curriculum” made the lessons engaging to
learners.” (Iyengar,2015). As educators, consider how to best facilitate
understanding (Gerofsky,2015) poses an intriguing question: “When learners are
approaching a new mathematical topic, would it be helpful for them to hear a
mathematical relationship, to touch it, or to know it through movement?” These
perspectives made us incorporate innovative teaching methods through dance that
cater to individual learning needs.
Objective:
Classical dance forms like Bharatanatyam, Kuchuppudi, Kathak,
Mohiniyattam represent culture and tradition of people through different
stories. In this project we aim to integrate math and classical dance forms to
generate embodied math learning which helps students to get more connected to
math ideas, especially geometry. Concepts like angles, geometry, parallel lines
symmetry, pattern, transformation and coordinate plane can be taught by these
classical dance forms in an outdoor setting.
Grade Level: Elementary and Primary
Level
Project components
Introduction to classical dance forms especially we are taking basics of Bharatanatyam, a popular dance form of state Tamilnadu, India.
Explanation of various geometrical shapes formed through hand movements
in Bharatanatyam, including triangles, right angles, line segments, diagonals,
half circles, circles, diamonds, obtuse, and acute angles, polygons, coordinate
planes and points etc.
Comparison with different dance forms like Ballet, Tutting, and Latin Dance.
Outdoor Geometry Activities:
Engage students
in outdoor activities to visualize and understand geometric concepts. Create
large-scale shapes on the ground using ropes or chalk to represent angles,
parallel lines, and coordinates. Encourage students to create their own steps
and dance positions.
Coordinate Plane and
Graphs:
Introduce the
coordinate plane using outdoor spaces. Relate dance movements to coordinates,
allowing students to see the connection between their body positions and points
on a graph.
We have found
different articles related to math and arts.
Bibliography
Mannone, M., & Turchet, L.
(2019). Shall We (Math and) Dance? In MCM (pp. 84–97). Springer
International Publishing. https://doi.org/10.1007/978-3-030-21392-3_7
This paper explores the intersection of
mathematics, computation, and music, investigating the potential of
mathematical principles in enhancing dance experiences. Maria Mannone and Luca
Turchet delve into how mathematical concepts can be applied to music and dance
to create innovative and engaging performances, posing the question,
"Shall We (Math and) Dance?"
Alida Anderson
(2015) Dance/Movement Therapy's Influence on Adolescents' Mathematics,
Social-Emotional, and Dance Skills, The Educational Forum, 79:3, 230-247, https://doi.org/10.1080/00131725.2015.1037512
This paper explores the
intersection of mathematics and music, focusing on the influence of
dance/movement therapy on adolescents' mathematical, social-emotional, and
dance skills.
Taeao, S., &
Averill, R. (2021). Tu'utu'u le upega i le loloto—cast the net into deeper
waters: Exploring dance as a culturally sustaining mathematics pedagogy. The
Australian Journal of Indigenous Education, 50(1), 127-135.
doi:https://doi.org/10.1017/jie.2019.17
This paper is about the innovative use of dance as a pedagogical tool in teaching mathematics, particularly in culturally diverse contexts. It examines how integrating dance into mathematics education can support cultural sustainability and enhance learning outcomes.
Radford, L. (2009). Why Do Gestures
Matter? Sensuous Cognition and the Palpability of Mathematical Meanings. Educational
Studies in Mathematics, 70(2), 111–126. https://doi.org/10.1007/s10649-008-9127-3
Radford's paper explores
the significance of gestures in mathematics education, arguing that they play a
crucial role in facilitating the understanding and embodiment of mathematical
concepts. Through the lens of sensuous cognition, it examines how bodily
movements and tactile experiences contribute to the palpability and
comprehension of mathematical meanings.
Schaffer, K., Stern, E. &
Kim, S. (2001). Math dance with Dr. Schaffer and Mr. Stern: Preliminary
edition. Santa Cruz, CA: MoveSpeakSpin.
This paper discusses the
Whole-body mathematics and movement activities for the K-12 classroom, the
studio, and the stage. Enables students to experience symmetry, shape, pattern,
combinatorics, aesthetics, and storytelling as unifying concepts in mathematics
and dance.
Gerofsky, S. (2013, July). Learning
mathematics through dance. In Proceedings of Bridges 2013: Mathematics, Music,
Art, Architecture, Culture (pp. 337-344).http://archive.bridgesmathart.org/2013/bridges2013-337.html
This paper discusses how
the expressive medium of dance can enhance understanding and engagement in
mathematical concepts, offering insights into interdisciplinary pedagogical
strategies
Kalpana, I. M. (2015).
Bharatanatyam and mathematics: Teaching geometry through dance. Journal of
Fine and Studio Art, 5(2), 6-17.
This mixed methods
study informed by is designed to recommend a framework for exploring how Asian
Indian students can learn basic geometric shapes through Bharatanatyam. The
study investigates dance movements called adavus, cultural relevance,
integration of elements from dance and geometry, and the implementation of
alternate strategies such as dance instruction to teach and learn basic
geometric shapes.
Belcastro, S. M.,
& Schaffer, K. (2011). Dancing Mathematics and the Mathematics of Dance. Math
Horizons, 18(3), 16-20. Taylor & Francis, Ltd. on behalf of the Mathematical
Association of America.
https://doi.org/10.4169/194762111X12954578042939
This paper explores how mathematical principles underlie different dance
forms, revealing the interconnected nature of these two disciplines. Through an
exploration of movement, patterns, and geometry in dance, the authors present a
distinctive perspective on the manifestation of mathematical concepts in the
artistic realm of dance, promoting a cross-disciplinary understanding for both
math enthusiasts and dance lovers.
Wilson, R., & Wolfson, J. (Year). Mathematics and Dance: Notes from
an Emerging Interaction. Notices of the American Mathematical
Society, 68(11), 1926-1929.
In this
paper, the authors discuss the growing connection between math and dance. They
share observations on how these two areas are starting to collaborate and
highlight interesting connections.
Leandro, C. R. (2018).
Interdisciplinary working practices: Can creative dance improve math? Research
in Dance Education, 19(1), 74-90. https://doi.org/10.1080/14647893.2017.1354838
In this paper, the
author explores the potential of creative dance to enhance math skills through
interdisciplinary working practices. He investigates how integrating
creative dance into education could positively impact mathematical learning,
offering insights into the potential benefits of combining artistic and
mathematical approaches in teaching.
Stern, E. (2021).
Pattern Play: The Case for Dance in College Mathematics and Beyond. Journal
of Dance Education, 21(3), 158-167. https://doi.org/10.1080/15290824.2021.1939357
This paper explains
the integration of dance into college mathematics education. Exploring the link
between pattern recognition in dance and mathematical concepts, the paper makes
a case for incorporating movement-based approaches to enhance mathematical
understanding in college settings and beyond.
Monday, February 26, 2024
Week 7: Activity Reflection
This week, I opted for Sarah Chase's
"Dancing Combinatorics: Phases and Tides" activity, and I decided to
try it out with my daughters Zainab and Yumna using 3x4 dance sequences.
after
creating the movements, I noticed that along with symmetry and pattern, angles
can be taught best by using whole-body movements.
Another method involved Zainab clapping every 4 beats while Yumna clapping every 3 beats. Consequently, they repeated the claps simultaneously after 12 beats, illustrating the concept of multiples, factors, least common multiple, and number patterns. Algebraic variables can also be introduced such as 4m and 3n, leading to form an equation of synchronized point.
Graphical
illustration of Beat Activity: A
star shows 3 beats and a circle shows 4 beats and can be seen that both beats
can overlap after 12 sequences.
Curriculum Sketch:
Issues/ Guiding Questions:
How can we effectively engage students in mathematical concepts through embodied learning activities like dance, rhythmic beats, and hand movements?
The Story:
The story of exploring
mathematical concepts like multiplication and patterns through Sarah Chase’s
dance movements and sequences in Math Classroom.
Integrating Embodied Learning & Other Learning:
Embodied learning
techniques are seamlessly integrated into the curriculum, allowing students to
physically engage with mathematical concepts. Through dance clapping and hand
movements, students embody abstract mathematical ideas, fostering a deeper
understanding through kinesthetic experiences.
Possible Extensions:
Students collaborate to create dance and rhythmic sequences, experimenting with different beats and patterns to learn multiplication. Students can use dance to explore concepts like symmetry, transformations, and graphs. Students can use rhythmic beats to make algebraic expressions and equations.
Implementing the Curriculum:
Introduction: Introduce the
concept of multiples, symmetry, and transformation through Sarah Chase’s dance
form.
Embodied Learning
Activities: Engage students in dance and hand movement sequences, guiding them
to discover patterns and synchronization points.
Reflection &
Discussion: Facilitate reflective discussions to consolidate learning,
encouraging students to articulate their understanding of mathematical concepts.
Extension Activities:
Provide opportunities for students to extend their learning in Algebra and
graphs through creative projects, cultural explorations, and interdisciplinary
connections.
Assessment: Assess student
understanding through performance tasks, collaborative projects, and, allowing
for multiple forms of expression and evaluation.
Week 7: Reading "Riley et al: Movement-based mathematics without compromising learning"
02-25-2024
Weekly Reflection
Summary:
The paper explores the
implementation and impact of the EASY Minds program, which integrates physical
activity into mathematics education in primary schools. Both student and
teacher perceptions were examined to understand the program's potential, challenges,
and outcomes.
The study was conducted in
grade 5/6 classes across eight public schools in New South Wales, Australia.
Students were randomly assigned to either the intervention (n=6) or control
(n=4) groups. Teachers in the intervention group received one day of professional
learning, a resource pack containing physical activity-promoting equipment, and
sample lesson ideas aligned with the NSW mathematics syllabus. They were
instructed to incorporate movement-based learning into their mathematics
lessons at least thrice weekly over six weeks. The control group continued with
their regular mathematics program. Focus group methodology was used for student
samples due to time constraints and the potential for group interaction to
elicit valuable insights. A total of 66 Grade 5/6 students participated in 11
focus groups. Semi-structured discussion frameworks were developed by the
research team for both student focus groups and teacher interviews.
Some key findings include,
- Students and teachers reported increased enjoyment and enthusiasm for mathematics. Movement-based lessons enhanced students' social, emotional, physical, and cognitive development.
- The program addressed issues of engagement and disinterest in traditional mathematics instruction. Teachers required additional preparation and creativity but were confident in continuing with the program.
- Professional development and resource support were crucial for successful implementation.
Stops:
Most students perceived their teacher as having enjoyed the program either due to
having liked to "try something a bit different", teaching in new ways, or (more commonly
mentioned) not having had to attend to so many discipline problems (e.g., students talking
and being off-task, general behavior problems) both during outside and classroom time.
"I think Mrs. G has enjoyed it too because … she's not so stressed because we're
doing something we enjoy, not something that we're going to run off and talk if
she's not looking at us. So, I reckon she's pretty happy with that. We're not
making so much noise and stuff inside the classroom."
The comment
from a student about the teacher, Mrs. G, enjoying the program because it
reduced discipline problems is particularly insightful. It underscores the
importance of creating a positive and engaging learning environment where
students are motivated to stay focused and on task. It also emphasizes the role
of the teacher in facilitating such an environment.
Reflecting
on my past experiences as a teacher in a traditional school, I recall the
challenges of maintaining student focus and enthusiasm, especially during math
lessons. The monotony of the same curriculum and repetitive worksheets often
left me feeling uninspired. Reading about programs like EASY Minds and how they
improve student learning and engagement is encouraging. It makes me want to
explore different teaching techniques and include more activities that involve
movement in my lessons.
However, during the
weekend, when conversing with some of my colleagues from Saudi Arabia, it
became apparent that fully incorporating movement-based learning into the
classroom seemed impractical for them. They cited challenges such as the need to meet curriculum requirements and lack of teacher training in this regard.
Question
My question is how do you think movement-based learning could be adapted to suit different classroom settings, considering factors like curriculum requirements?
Wednesday, February 21, 2024
Week 6: Activity Reflection
From the 2014 Bridges conference, I chose the artwork by John Arden Hiigl (1943-2017), a painter, teacher, and humanist. As an artist and thinker, he was largely inspired by the oeuvre of Richard Buckminster Fuller. John's artwork has contributed to Fuller's exploration of the geometry of space uniquely and brought synergetic arts onto a new level.
Chrome
203 shows twelve groups of three '3/4 squares'. Each group of three '3/4
squares' is enclosed, or contained within a white square, which itself is
enclosed within a black square. These three '3/4 squares' groups are
translated vertically and horizontally. Of course, any of these
fractal-like series of '3/4 squares' can continue indefinitely or to the limit
of one's drawing instruments.
The following is my replica of Chrome 203,
I arranged sixteen sets of '3/4 squares' on an inch of paper. I used two different versions in alternating rows and these sets of squares are enclosed in a white square which is further enclosed in a blue square. These sets of three '3/4 squares' are translated vertically and rotated by 90 degrees. The piece has visible vertical lines of symmetry. these fractal-like series of '3/4 squares' can continue indefinitely or to the limit of the space of one's drawing tool.
Reference
Monday, February 19, 2024
Reading Week 6: Dylan Thomas & Doris Schattschneider (2011) Dylan Thomas: Coast Salish artist, Journal of Mathematics and the Arts, 5:4, 199-211, DOI: 10.1080/17513472.2011.625346
02-19-2024
Weekly Reflection
Summary:
The
article delves into the rich cultural heritage of the Coast Salish people,
focusing on their traditional arts and the revival of their artistic traditions
in the modern context. It also highlights the historical significance of Coast
Salish art forms such as spindle whorls, carvings, and woven crafts, integral
to their culture and identity. The narrative also discusses the impact of
colonization and urbanization on traditional Salish communities, leading to the
decline of their artistic practices. The paper provides a comprehensive
overview of Coast Salish artist Dylan Thomas's artistic journey,
emphasizing his mastery of mathematical concepts within the context of Coast
Salish art and his ability to bridge cultural divides through his creative
expressions.
Thomas's
artistic endeavors, particularly his tessellation works such as "Salmon
Spirits" and "Infinity," showcase his fusion of Salish design
motifs with mathematical precision. Drawing inspiration from the tessellation
techniques of M.C. Escher, Thomas adeptly incorporates rotational symmetry and
intricate patterns to create visually striking compositions. The discussion
provides insights into the meticulous process of designing tessellations and
the mathematical principles underpinning them.
Thomas's exploration extends beyond tessellations to encompass other
traditional Salish art forms, such as houseposts. His conceptual designs,
exemplified by "Ravens Housepost" and "Eagles Housepost,"
demonstrate his reverence for Salish cultural heritage while offering
innovative interpretations of traditional motifs.
Moreover,
Thomas's artistic evolution includes a cross-cultural exploration of mandalas,
inspired by Eastern philosophies and sacred art traditions. His piece
"Mandala" reflects a harmonious blend of geometric precision and
Salish symbolism, highlighting his work's interconnectedness of diverse cultural influences.
Finally,
Thomas's print "Infinity" is a culmination of his artistic
exploration, drawing parallels to Escher's geometric tessellations while
incorporating Salish design elements. Through his innovative approach to
artmaking, Thomas not only pays homage to his cultural heritage but also
transcends boundaries, showcasing the universal language of art and
mathematics.
1. "Art itself is one of the only practices that can be found in all cultures. Art is one of the things that makes us human, and bridging different cultural art forms helps me to feel the unity of humankind." (pg. 208)
When my
daughters began attending their new school here three weeks ago, their teacher
welcomed them with a simple yet profound directive: to express themselves
through drawing or painting. Recognizing that they were transitioning from different
cultural backgrounds, the teacher cleverly utilized ART as a means to
facilitate their integration. By encouraging creative expression from the
outset, she aimed to bridge cultural differences and create a sense of
belonging for them. This seemingly small gesture had a significant impact,
highlighting the power of art to transcend boundaries and foster inclusivity.
It underscored how ART can serve as a universal language, bringing people
together and making them feel understood and valued, regardless of their
cultural origins.
In today's interconnected world, the sentiment that "art is one of the only practices found in all cultures" holds true more than ever. From traditional paintings and sculptures to digital media and street art, artistic expression transcends geographical and cultural boundaries. Through platforms like social media and international art exhibitions, people from diverse backgrounds can share and appreciate artistic creations from around the globe. This exchange not only fosters cultural understanding and appreciation but also serves as a powerful tool for fostering unity among humanity.
2. "I simply called the image infinity. The idea is that theoretically this ever-diminishing pattern of salmon could go on forever, but due to the limitations of human ability, it cannot be fully realized. Where the image finally stops represents the limitations of human skill and the emptiness at the center represents the infinite possibilities of nature." (pg. 209)
I stopped while going through the piece "Infinity" and wondered how I could relate it to different perspectives of nature and disciplines whether it can be an exploration of the cosmos or mathematical concepts like infinity. Despite significant advancements in technology and space exploration, our understanding of the universe remains limited. The emptiness at the center of the image can be likened to the uncharted territories of space that lie beyond our current capabilities. Thus, the artwork serves as a metaphor for the boundless mysteries of the cosmos and infinity and the humbling realization of our limitations in unraveling its infinite complexities.
Questions:
1. How can we as educators foster a collaborative learning environment where students can share their cultural backgrounds and perspectives through art in tessellation, symmetry, transformations, and geometrical patterns?
2. Reflecting on the relationship between mathematics and art, what interdisciplinary approaches can be used in the multicultural classroom to deepen the understanding of both disciplines and promote cultural exchange?
3. What are some potential challenges or limitations as an educator one can feel while incorporating indigenous art into a mathematics classroom?
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2024-02-29 Reading Reflection Summary: The article "Dancing Mathematics and the Mathematics of Dances" explores the intriguing i...