Volume 7, Issue 4, April – 2022 International Journal of Innovative Science and Research Technology

ISSN No:-2456-2165

Use of Mathematics in Deuda Naach:

Logic and Geometry
Bhim Bahadur Rokaya
Mid-West University Central Campus of Education
Teaching Faculty of Mathematics Education

Abstract:- The geometric shapes seen in the body along with the dance in teaching to promote engagement and
movements in the very popular Deuda Naach (Naach learning in spatial, rhythmic, structural and symbolic aspects
means dance in Nepali language) of the Karnali region of of mathematics. Any dance enhances students' intimacy with
Nepal and the arguments used in the Deuda song show mathematical subjects and arouses interest in mathematics
the experimental, logical, and creativity of mathematics. and ultimately, real mathematics is learned.Dance has been
The major concern of this article is to explorethe use of considered as an aesthetic experience and practice for
mathematics on Deuda Naach in the Karnaliregion and centuries.It has been an entertaining work of art which has
it can be used in the teaching-learning process in been transporting the gratitude and knowledge from the
mathematics class. A qualitative research design was generation to generation. History says dance covers a wide
used to collect the information and interpret it. application areas and scopes by demonstrating applicability
Specifically, Deuda Naach improves the mathematics in areas such as psychology, counseling, and medicine
skills, logical skills, creativity, and critical thinking of (Chodorow, 2013). For instance, dance has been used in
students. Also, it enhances the motor skills, socio- treating depression, teaching languages and mathematics,
emotional level, and motivation of students. Deuda enhancing physical well-being and sound health. This
players (players refer to the dancers dancing in Deuda transparently shows that dance has multiple purposes and
songs) make different geometrical shapes according to utilities because in addition to its aesthetic appeal, it has
the different rhythms of Deuda songs. The body established therapeutic, cognitive and instructional benefits
movement and the steps of the foots of kheladi for the people and society. These facts established that
(players/dancer) are more interesting and meaningful “Incorporating music, art, role-playing and games into the
for geometry teaching. On the other hand, singing Deuda curriculum” help in making the lessons engaging to learners
songs along with DeudaNaachmakes it more interesting (Cook, et al, 2013). Following the essence of the learning
and mathematicallylogical as mathematical and through the systematic body movement i.e. dancing, it can
geometrical references are used in songs. be claimed that the integration of math and dance might be
cognitively beneficial to children who are familiar with
Keywords:- Body movement, geometrical shapes, rhythm, math and dance concepts because “cognition is the emergent
synchronized, kinesthetic outcome of dynamic and adaptive sensorimotor interactions
with the social and physical environment” (Semin& Smith,
I. INTRODUCTION 2013, 125).
The inter-relationship between math and arts was Westreich (2000) also recommends dance to teach
prevailing from the historical time in different civilizations. math because dance is an engaging modality. It may help
History is evident to prove math and arts having a collateral students to visualize a problem. In addition to this, dance
historical relationship since ancient times (Shaffer & Stern, can be an attractive medium to help visual and kinesthetic
2010). In some instances, ancient Greeks and Egyptians learners from where they can be able to understand the basic
knew about the golden ratio which they applied into the geometric shapes such as squares, rectangles, triangles etc.
design of famous monuments like the Great Pyramid and the That meansany dance can be used to teach basic knowledge
Parthenon. Leonardo Da Vinci and Mc Escher; world of abstract concepts of mathematics and students would be
famous painters used mathematical techniques and notions learn mathematical concepts using their intuition along with
to complete their work. Similarly, dance and music also dance. The use of dance and mathematics to more familiar
were never far from the mathematical dependency (Watson, and real life situations would be more effective which would
2005). Dance and music widely demonstrate the certainly remove the stigma of the field and preserve it from
interdependency of math and arts by using the mathematical being dry and inaccessible (Devichi&Munier, 2013).
elements of time, tempo, and measure in music and in the Conversely, the mathematical concepts can be used
counting of beats in choreographic movements of dance consciously to create dance as well. Many choreographers
(Westreich, 2000). usually create pieces based on their intuition and
Dienes (1973, 2004) presented an approach on experiences. They are very aware of the principles they are
effective teaching of mathematical structures from the early applying and things that could help to speed up the creative
grades using games, manipulative stories and dance in order process. However, some of them might decide to structure
to understand mathematical concepts. He also explored the the whole piece in terms of count and formation
use of dance among students in order to support the learning progressions which are the basics of mathematics and decide
of curricular mathematics. Similarly, Watson (2005) the whole choreography set within those constraints. That’s
suggested the use of kinesthetic experiences incorporated how dance and math had been inter-relating and

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Volume 7, Issue 4, April – 2022 International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
interdepending with one another and further can be carried math learning including mathematical concepts such as,
out in the teaching of mathematics by creating the state of "congruence, symmetry, transformation, angles and degrees,
impression and expression. attributes, pattern recognition, symbols, and mapping on a
coordinate grid.”
II. DEUDA NAACH
Zuckerbros (2011) describes the teacher should
Deuda songs and Deuda dances are very popular in the encouragethe students to learn concepts of geometry,
Karnali and Far Western regions of western Nepal.Deuda geometrical configuration, and directionto recreate the
dances and songs are danced and sang at local festivals and dance. Similarly, Rosenfeld (2013) uses dance to teach her
formal and informal events.Deudadanceis used to exchange school students to learn different types of geometrical
happiness or to express one's thoughts and feelings to others shapes and configurations. She helps her students to
(KPPC, 2019).In Deuda dance, male-male, female-female or understand how math is not just a figurative depiction, but it
male-female of any age, are asked questions on different is a thought process. On the other hand, by creating an
topics in the form of Deuda song.The Deuda dance, which is environment for students to dance and make them dance,
played with the movement of the footsteps and the they will create more ideas of different geometric shapes
flexibility of the hips in a circular form by joining hands to and figures while they are dancing (Jiesamfoek, 2012).
hands, is a logical debate throughout the song(Acharya
&Paudel, 2020).According to local Deuda players, Deuda According to McCarthy-Brown (2014, 128), “dance is
dance involves physical exercise as well as enhancing an expression of culture and through dance, cultural
logical powers because the answer to the question asked by traditions are preserved, lived, shared, and explored.” Along
the other side has to be answered immediately through with cultural preservation, it is also established that dance
Deuda song which develops creativity. can be utilized to teach math; however, there is no specific
study on DeudaNaachand math. To establish a relationship
There are no rules as to who and who may participate between one domain to another domain,dance plays an
in Deuda, who can sing Deuda song and play DeudaNaach, important role in creating practical knowledge as well as
can participate at one group. It is performed by group of developing mathematical ideas and making clear
male and female or male and male or female and female mathematical concepts(Brillon, 2014; Steedman, 2000).
(Acharya &Paudel, 2020). Number of male and female are They claimed that the learner builds new knowledge based
gathered together, make a circular chain of players and start on his/her understanding of the object or world and the
singing Deuda dance. Through this Deudadance, people also interaction with the materials presented. Teaching geometric
express their feelings, sorrow and happiness to each other shapes through different types of dance is more effective for
which helps them to be released from their grief (KPPC, students to grasp the skill set quickly as compared to
2019). teaching traditional methods of lecturing and through chalk
dusters work (Jensen, 2000).
III. RESEARCH QUESTION/ OBJECTIVES
V. THEORETICAL FRAMEWORK
The overall objective of this study is to explore the
mathematical concepts used in DeudaNaach, which includes The study is based primarily on Gardner's theory of
and practices dance, songs, and body movement. More multiple intelligence.Similarly, Vygotsky's social
specifically, the objectives of the study are related to the constructivism has also taken equally importance.In
exploration of the impact of Deuda dance on students’ constructivism, teachers and students stand as a meaning
different domains. Consequently, the main research question maker who gives contextually based meaning to each
is formed as follows: other’s words and actions as they interact
 What mathematical domains are used in DeudaNaach? (Cresswell&Cresswell, 2018). Learning is directly
 What types of mathematical logics are used in Deuda associated to our connection with other people. Our
songs? Cultures, our communities, our families, our peers, and our
 How to use DeudaNaach in teaching-learning process in acquaintances impact our learning.Every Knowledge is
mathematics class? socially constructed and children learn when they get a
contact with the outer environment either verbally or
IV. LITERATURE REVIEW observantly. Vygotsky’s theory is one of them that regards
social interaction between peers and adults as an important
There is a deep relation between dance and aspect in creating meaning-making sense and conveying
mathematics. Every steps of each dance is related to culture within the shared context (Vygotsky, 1997).
mathematics (Brillon, 2014; Rosenfeld, 2013).But there According to social constructivist Vygotsky, knowledge is
were no studies that looked at teaching geometry utilizing constructed in two ways in the social context. Firstly, social
DeudaNaach. Different research has shown that every dance interactions influence the nature of knowledge that is
can be integrated in teaching mathematics in the classroom constructed and the process of individual users to construct
while teachers explore “a meaningful way to encourage that knowledge (Watson, 2001). Thus the constructions are
students to consider alternatives to traditional teaching” socially centered in value, process of understanding,
(Cook et al., 2013, 598). Also, the new approaches to teach constructing meaning, and making sense. The children’s
the problems number theory by using dance with body construction of knowledge is not from only individuals but
movement is more suitable (Dale, 1946). In addition,
Rosenfeld (2013, 211) claims that every dance facilitates

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Volume 7, Issue 4, April – 2022 International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
also the content, the context, and the interaction with more VII. DATA COLLECTION PROCEDURE AND
others. LIMITATION

Gardner defines intelligence as a “bio psychological Qualitative researches use the information from the
potential to process information that can be activated in a people about their experiences, ideas and beliefs. The
cultural setting to solve problems or create products that are researcher in this study adopted participant observation, face
of value in a culture” (Gardner, 2000, p.28).He identifies to face interview and photographs to get primary data. But
eight different kinds of intelligence howeverthe researcher the researcher had collected secondary data from different
in this researchfocusesonly on three types of intelligence. articles, journals, books and other published and
Every human being has different kinds of intelligence unpublished documents. This study is limited in Karnali
(Gardner, 2010). According to Gardner, bodily-kinesthetic State. All the data and information are taken through
intelligence, logical-mathematical intelligence, and musical DeudaKheladi. Surkhet is the head quarter ofKarnali State.
intelligenceare important intelligence. The body movements In KhullaManch, Surkhet, DeudaNaach is held 1st and 15th
of the students, the music of the songs, and the logical of each month in terms of Nepali calender. All the Deuda
questions and answers in the songs work to enhance the players of Karnali State gathered there and start
effective learning of the learners (Stanford, 2003). DeudaNaach. So researcher is concentrated to Surkhet.

VI. METHODOLOGY VIII. FINDINGS

To explore the mathematical concepts which are used Different shapes and configurations of geometry are
in DeudaNaach, researcher adopted a qualitative research associated with the body movement of the Deuda dance.The
process. Qualitative research is an inquiry process that movement of the legs, the position of the hands, and the
explores and seeks to understand a social or human problem flexibility of the hips give a clear concept of different shapes
(Creswell & Creswell, 2018). Also, they focused that of geometry in the school level. The researcher himself has
qualitative methods are the methods concerned with the been directly involved in the Deuda dance, which is held on
completely naturalistic interpretation of phenomena in terms the open stage of Surkhet on the 1st and 15th of each month,
of people’s experiences. Likewise, Frankel and Wallen and in the various festivals and cultural programs of Jumla,
(2003) stated that qualitative research provides an Kalikot, Dailekh, Mugu, Humla and Dolpa.The body
understanding of the entire situation or phenomenon that movements of the Deuda players participating in the Deuda
tells the story rather than determining cause and effect. dance and the logic of the songs they sing seem to have
ample mathematical concepts.The researcher participates in
My choice of the qualitative inquiry process will also DeudaNaachseveral times and took individual interviews
be based on the fact that it will be informed and guided by with selected Deuda players from where following
the constructivist paradigm, which will be the theoretical information are obtained.
framework of the study. The constructive paradigm holds
that meanings and knowledge are socially constructed by Deuda singer Ram Bahadur Budha (Jumla) said "in
individuals involved in the research situation (Creswell past days, Deuda dance was played only for entertainment
&Poth, 2018). The meanings are varied and multiple and are between youth (Theta-Theti, Chhotta-Chhotti). Youth went
negotiated socially and culturally as individuals interact with at secluded place from village and playDeuda dance there.
each other in society (Aminesh&Asl, 2015). The basic Nowadays, Deuda dance has been playing for multi-
meaning of gathering data are observation and interview purpose, not only for entertainment. It is used for social
including the field notes, documents, books, tape records, awareness, entertainment, tourism, politics etc."
diaries and so on.
Deuda singer Pusparaj Shahi (Kalikot) said "Deuda
The collected information analytically interpreted by can be played in a huge group of people. The body
using holistic perspectives. The main objective of the movement and the steps of the foots of kheladi
qualitative research is to analyze and interpret the situation, (players/dancer) are more interesting and meaningful for
phenomenon, problem and event in accordance to personal geometry, on the other hand, singing songs at the time of
contact and insight of researcher. Therefore, this research Deuda dance makes it more interesting and mathematical
was conducted on the basis of qualitative research. The logics are also used in songs. Not only the use of
objective of this study is to explore the use of mathematics mathematical logic, they also sing songs from different
in Deuda Naach and it can be used as a teaching method in fields at the time of Deuda dance such as politics,
mathematic class. The information and sources needed for mathematics, religious, love, social awareness, education
the study were based on primary and secondary sources of etc."
data. Primary data was collected from field survey, face to
face interview with respondents, participating observation, There is a circular chain of players and they take their
photographs and video record. Similarly, secondary data one or two footsteps. Men and women both get joined in this
was collected from different journals, books and related dance and they started singing simultaneously, that is also
published and unpublished documents. called "Juhari" on their own word.
 There are a lot of similarities in every dance. They all use
angles, geometric shapes, line segments, parallels, right
angles etc.

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Volume 7, Issue 4, April – 2022 International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
 In Deuda dance, they make geometrical shapes with co-  The players make different angles and geometrical shapes
players’ (co-dancers’) body, such as circles, curves, with their legs, foots, hands and other body movements.
triangles, semicircles etc.  InDeuda, players must be counting their steps constantly
 There are five elements of Deuda dance. They are in order to keep time with the music and rhythm. If anyone
mathematical logic, space, time, movement and energy. miss a beat, he/she will no longer be able to be
 Players make different geometrical shapes according to the synchronized with the other players.
different rhythm of Deuda songs.

Fig. 1: Some photos of DeudaNaach, playing Deuda in different rhythm of song

Fig. 2: Diagrammatic representation of footsteps of DeudaNaach

Deuda singers Laxman Singh (Kalikot), Purna Prasad Dui dunaachaar, chaardunaaaath, aathdunaa sola
Dhital (Jumla), Hari Bahadur Rokaya (Mugu) and bhai
LalitThapa (Dailekh) said some Deuda songs as: Tin junalaai sola syaupaanchpadi yak sheshrahi
(Two two ja four, four two ja eight and eight two ja
Chhachhabarhachhaathara, chhathapyochubisa sixteen
Taabhayaugharbaribaaja, kyamaanaulatisa Sixteen apples divided by three persons, each gets
(Six six twelve and six eighteen again add six twenty- five and remaining one)
four Paanchsayabhedaakobagaal dui junagwalaa
You are already married what you love me) Din raatabalekobaleidailekhjwalaa
Paanchpandabsayabhaaikaurab Krishna kata tira (Five hundred flocks of sheep, two shepherds
Kohunaankaskahunchhora Karan jastabira Always burning flames of fire in Dailekh)
(Five Panndav and hundred Kaurav, whose side be
Krishna?
Who and whose son vir Karan?)
Tin bhujatinaichhankonasabaikonaapsaathi
Jannelepuraskaarpaaunenajanne le laathi
(Three sides, three angles and each angle sixty
degree
Who know get award and don't know get stick)

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Volume 7, Issue 4, April – 2022 International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
IX. CONCLUSION [6.] Cook SW, Yip T, Meadow S (2013). Gestures, but not
meaningless movements, lighten working memory load
Teaching geometry through chalk and dusters by just when explaining math. Lang. Cognit. Processes
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