Vogelstein, L., Brady, C., & Hall, R. (2019). Reenacting mathematical concepts found in large-scale dance performance can provide both material and method for ensemble learning. ZDM – Mathematics Education, 51(2), 331–346.
The article explores how groups of learners (quartets) can develop mathematical understanding by reenacting and remixing large-scale choreographed performances, specifically from the 2016 Rio Olympic Games opening ceremony. The researchers argue for a "design research" approach that forages for public media, like professional dance, and uses it as a "mathematical playground." By viewing video clips and then using their own bodies and simple props (like elastic bands) to recreate the patterns they saw, participants engaged in "intercorporeality." This process allowed them to explore complex concepts like symmetry, transformations of quadrilaterals, and the properties of triangles through a hybrid of dance and mathematics. The authors suggest that reenactment acts as a bridge between the physical performance and formal mathematical notation.
Stop 1: My first stop was on page 334, where the authors discuss "foraging" in public media for performances with mathematical potential. This shifted my thinking because I usually look for math in textbooks or pre-made manipulatives. The idea that a massive dance performance could be a "text" to be dissected and reenacted is powerful. It tugged on my sleeve because it suggests that our world is full of "found" mathematics that we just haven't learned to "read" or "perform" yet. It makes me wonder what other cultural performances, like sports plays or marching bands, could be used as rigorous math curriculum.
Stop 2: I paused again at the discussion of "intercorporeality" on page 339. In previous readings, we've looked at how an individual’s hands or movements help them think. Vogelstein and her team go further, showing how four people holding a single elastic band must coordinate their bodies to "become" a rectangle. This stop was significant for me because it highlights that math can be a team sport. In my classroom, students usually work on their own papers or in small group projects. Here, the "proof" of a rectangle’s properties isn't written, and it is felt through the tension of the band and the physical positioning of four different people.
Stop 3: The final stop that got my attention was on page 344, where the authors describe reenactment as a "supplemental" way to move toward abstraction. They aren't saying dance replaces formal math, but that it provides a necessary "material" experience before the symbols. This is a crucial distinction for a secondary teacher. Often, we jump straight to the symbols (like a^2 + b^2 = c^2) or use visuals to develop the mathematical proof of the formula. This paper suggests that if students first "reenact" the relationships between the sides of a triangle with their peers, the formula becomes a summary of an experience they’ve already had, rather than a foreign language they have to memorize.
A Question I Wonder
The researchers used professional choreography as the starting point for the students. What would the “story” of mathematics look like if the students were challenged to choreograph their own original dance based on a specific geometric theorem, rather than reenacting a choreography that has already been done? How would this fill the gap for students who are too self-conscious to move their physical bodies in front of the class?
Hi Kabula,
ReplyDeleteThank you for this wonderful piece. I believe challenging students to choreograph their own original dances based on geometric theorems would transform the abstract world of mathematics into a personal journey leading to creativity. The goal here isn't to create a polished, full-length performance like that of professional dancers, as even small, guided movements can encourage students to express themselves and make complex ideas more tangible. For students who may feel shy or self-conscious, teachers can offer prompts and scaffolding that simplify the geometric concepts into manageable, easy-to-follow actions. I still recall the Maths class we had with Susan two Wednesdays ago outside the Scarfe building. Although we were all adults, most of us were like, "What are we doing here?" But when she started giving us prompts, we all participated and arrived at our destination, which was identifying the parabola.
Additionally, working in collaborative groups alleviates the pressure of individual performances, enabling students to support one another and share the responsibility for their presentations. This collaborative approach not only minimizes the fear of making mistakes but also fosters a nurturing environment. Here, the emphasis is placed on understanding mathematical relationships through movement. As students engage in this interactive exploration, they build both their confidence and enthusiasm while effectively linking their physical experiences to abstract concepts. This method not only enhances their grasp of mathematical ideas but also celebrates creativity and self-expression.
Hi Kabula, I really enjoyed your reflection and your stops this week. What a beautiful way to phrase it—that our world is full of “found” mathematics that we just haven’t yet learned to “read” or “perform.” That line really resonated with me! You highlight the importance of perspective—how learning to notice the different ways mathematics manifests in our everyday lives can fundamentally shift how we see the world. Once we begin to attune ourselves to these patterns, structures, and relationships, mathematics feels less like something confined to a classroom and more like something lived, embodied, and culturally situated. That shift in perspective feels super powerful.
ReplyDeleteI think your question is incredibly creative. I can imagine that it would feel challenging for many students, and to support them, it might be helpful for teachers to offer a few mathematical starting points or options to “dance out.” Personally, I would find it difficult to begin from nothing, so having some conceptual anchors —like symmetry, transformation, pattern, sequence— or mathematical concepts of the chapter could make the task feel more accessible.
For students who are more self-conscious, they could take on a stronger role in the choreographing process. As you mentioned, dance—like learning—is a collaborative endeavour. There are choreographers, videographers, composers, editors, and designers involved in bringing a piece together. If some students feel uncomfortable being physically expressive, meaningful mathematical work could still happen through structuring the movement, mapping spatial pathways, analyzing timing, or documenting the piece visually.
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