Abstract
During the late 1990s, the Papua New Guinean Department of Education introduced a new elementary school mathematics curriculum that utilised the country’s rich and diverse cultural traditions. The resulting changes saw patterns, one of a family of practices related to the decorative arts, take on a prominent role as a tool for understanding number, space, time, measurement, all of which form the basis of mathematics. Drawing primarily on the author’s own anthropological fieldwork, this chapter examines the culture of pattern in community life in order to understand its selection as a cultural resource for mathematics learning. It will demonstrate that while pattern is not spoken about, people are nevertheless especially adept at engaging with it. Since Papua New Guinea is full of patterns, and pattern plays such a robust role in the mathematics curriculum, the chapter demonstrates how pattern can be understood as an expression of the mathematical mind at work.
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Notes
- 1.
The Yupno cord, kirugu, could be compared to the Inca knotted cord, quipu, a focus of study in the field of ethnomathematics by Ascher and Ascher (1981) and Urton (2003). Both cord devices use mnemonic devices tied into the main thread to schematise and give order to cultural knowledge. They both play important roles in encoding and transmitting cultural memories.
- 2.
- 3.
One interesting exception—although not in the field of anthropology—is Schiralli’s work on the meaning of pattern (Schiralli 2007). Drawing on the work of anthropologist Bateson and art historian Gombrich, Schiralli argues that because of pattern’s ubiquity and its significance in various disciplines, it merits further attention within mathematics, one that returns to the roots of the subject. He does so by examining the relation between pattern and number in the school of Pythagoras.
- 4.
Goetzfridt (2008) has compiled a bibliography of Pacific ethnomathematics.
- 5.
A figure-ground relationship is a design where the figure defines the ground and the ground defines the figure; the two elements are inseparable. It forces the viewer to shift from one element to the other, but not both simultaneously. The face/vase illusion is an example of this.
- 6.
See Were (2003) for a more in-depth analysis of the relation between the various motifs.
- 7.
Affinal relations are based upon marriage e.g. son-in-law.
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Were, G. (2012). From the Known to the Unknown: Pattern, Mathematics and Learning in Papua New Guinea. In: Forgasz, H., Rivera, F. (eds) Towards Equity in Mathematics Education. Advances in Mathematics Education. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-27702-3_38
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