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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 algorithms 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 teaching 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.
