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2.5 MULTI-SENSORY LEARNING THROUGH ARTS 29
an exploration of the complexity of genetics with regard to ancestry, aging, and
diversity (Mtangi, 2006). Palindrome is another dance company that has adapted
science to dance. Some pieces of their works are DNA (1981), TRIO (1989), and
Möbius Band (1995) (Wechsler, 1997). Fishwick and his colleagues" (Fishwick,
Diehl, Prophet, & Lowgren, 2005) work on aesthetic computing shows how algo¬
rithms and coding can be approached in terms of visual models with an artistry
that provides alternative ways to understand computation.
In the case of the above-presented stage performances, professional artists
provided the artistic elements. These productions demonstrate how science
can be viewed as thematic element for dance performances. Further we present
examples of how teachers who are not dance specialists or musicians implement
the principles of multi-sensory learning through arts.
2.5.1.2 Arts in science classrooms
Combining mathematics and dance concepts, the Math-Dance programme
makes it possible for audiences to experience a physical sensation of the abstract
concepts of mathematics. Responding to requests coming from schools, they
have extended their programme from the stage to classrooms. The Math-Dance
project addresses teachers and students from primary grades to secondary and
college level (Schaffer et al., 2001). The Dancing the Words research project
aimed to develop children’s language and conceptual understanding through
dance lessons linked to their science curriculum (Moelwyn-Hughes, 2003).
In several New Mexico schools, teachers combine mathematics with teach¬
ing music and dance. Their experience shows that these two areas have much
to offer to each other. Mathematics and music share a concern with numbers
and patterns of change. In music and dance, these patterns are called rhythm,
they said (Eisenhower SCIMAST, 1998). In Teaching Science in the Primary
Classroom, the authors described how their students role-played solids, liquids,
gases, aspects of sound, etc. (Ward, Hewlett, Roden, & Foreman, 2005). Chavey
(1996) teaches algorithm analysis through song analysis.
According to Schaffer et al. (2001), the science—art combination is strongly
recommended: (1) when a concept needs to be comprehended mentally, physically,
and emotionally; (2) for the infusion of energy and excitement that can make
students more receptive to learning; (3) in order to reach out to students that are
mainly kinaesthetic learners. They stated that having a kinaesthetic experience
of an abstract concept is very helpful in comprehending what that abstract is.
They observed that students who generally are not very focused were highly
engaged in lessons that integrated dance, and they enjoyed it. Since we have
been applying multi-sensory methods in teaching-learning algorithms, we have
smiling students at CS classes.