Culturally Situated Design Tools: Dotted Circles Exemplar version 2

aka Tribal Modernism
aka ethnocomputing

It begins like this:

and develops into this:

This began as an exploration of a good way to teach maths to the indigenous. It has turned into an integrated curriculum approach with maths as one of the important elements. The elements of integration include art, aboriginal culture, technologies including digital technology, maths and story telling

A powerful idea from indigenous culture is the circle. This was highlighted by Chris Matthews at the final session of ATSIMA 2018 (Aboriginal and Torres Strait Islander Mathematics Alliance).

The numbers (1), (2), (3) and (4) on the diagram refer to particular interfaces within the overall picture. I’ll use those interfaces to describe the approach in more detail.

(1) The interface between Indigenous Dotted Circle Art and Ascend to the Concrete.

The dotted circles are prominent in western desert aboriginal art (Papunya Tula) dating back to the early 1970s. I was surprised to discover the assertion in a couple of books by Ian McLean that aborigines invented the idea contemporary art. It makes for interesting history and I’ll have to summarise that story at another time. Dotted circle art in indigenous culture is a powerful theme, not tokenistic. Ian McLean coins the term "tribal modernism" to describe the growth of the Papunya Art movement:

The Western Desert painters remain committed to their tribal traditions. They did not abandon them for the promises of Westernism but instead insisted on the contemporaneity of their tribalism. This is perhaps the greatest shock of the art movement from an artworld perspective: it is tribal modernism. Thus it challenges the self-defining paradigms of both Western modernity and the artworld.
- Rattling Spears, p. 121

The following example comes from a public poster about NAIDOC week:

(2) The interface between Maths of the Circle and Ascend to the Concrete.

Mathematical abstraction is often cited as a pinnacle of Westerm culture.

However, some authors have presented original interpretations. Ascend to the concrete comes from the philosophy of Marx. Andrew Pickering’s mangle analysis of Science speaks of the dynamic interaction between the material (machines) and humans. Epistemological pluralism, where the bricoleur approach is recognised as both valid and powerful, comes from Papert and Turkle.

By mathematical abstraction I mean, pi = circumference / diameter and the other formulae that flow from that. Mathematical abstraction is powerful, I agree with that. However, it is also a double headed beast. To abstract a circle, as in a textbook maths representation, is to oversimplify the richness of real circles found in art and nature.

Rather than dry as dust textbook maths I strive here for material based, hands on, models that will engage, motivate and educate. The long term goal is to teach maths and the computer coding of maths. But dry abstractions, learn C = 2piR, then plug in the values and get the correct answer, often does not engage or promote meaningful understanding.

How do we make the derivation of pi more concrete? One good way is the rope activity. Walk out 7 steps along a rope being held by a partner. Then walk around your partner in a circle counting your steps. If you get 44 steps then you have an approximation for pi (44/14 = 22/7). Repeat this process for different radii. Notice that the value of C/2R or C/D is always roughly the same. Why is that?

Moreover, a sprite on the computer sits at the boundary between the abstract and the concrete, a visible thing, almost tangible. Program it to move in a circle. That is abstract. Then see the sprite move in a circle. That is concrete. Add some colour and other effects, such as lumpy dots. That is enriched concrete or artistic concrete with an underlying abstraction. We have ascended to the concrete.

Snap! program estimating pi by measuring circumference and diameter

(3) The interface between Maths of the Circle and Indigenous Dotted Circle Art

How do we make the maths artistic and the dotted circle art mathematical? This can be done with computer programs such as Turtle Art, Scratch or Snap! There are various ways to draw circles on the computer. A good way to do a dotted circle was to start in the centre, lift the pen, move radius, put the pen down, draw the dot, lift the pen and return to the centre. Then turn a little and keep repeating the process. Computers are fast, one of their great strengths, so it doesn’t take long.

I spent a fair bit of time experimenting with colours of both dots and background and how to do lumpy dots, more in keeping with the art form. I am doing this for the user but the how to can be read in the code. The art and maths intermingle in a transparent process.

I got this far trying to imitate the above NAIDOC poster using Turtle Art:

(4) In the middle of the three rings above is a sweet spot, I hope. As I develop my understanding of the 3 teething rings the sweet spot becomes sweeter

My interpretation of ascend to the concrete in this context goes like this: It refers to a journey from the first exposure to a concept (eg. the circle) to an exploration of its properties (eg. pi) and then returning to the concrete circle in the world armed with a theory to put into practice (eg. understanding and using computer code to draw interesting and artistic circles)

Although it's not in the teething rings above digital technology is a wonderful device to present the abstract concretely. As well as that digital has become / is becoming the new dominant medium since you can arguably develop more powerful, more flexible and more evocative representations than in previous mediums. I have to qualify that though. Papunya Tula art is far more evocative than the puny representations I have developed so far digitally. Rather than trying to duplicate Papunya Tula art I have moved to the position of using aspects of it as inspiration to develop a new form of digital art. Each has its own strengths and weaknesses.

Here is a summary of the approach. Take a powerful idea from indigenous culture and represent it using a variety of technologies! Start with the cultural theme so that the technology serves and enables different forms of expression of the culture. ie employ and mobilise the motivational aspect that comes with tapping into personal culture. Then use technology (both digital and non digital) to make the abstract ideas within the powerful idea more concrete.

We end with an enriched circle, a rich art form. Not traditional art. Nor an abstract disembodied circle. Rather a form which has elements of both abstract maths and traditional aboriginal art. Call it indigi_maths_art. Call it tribal modernism, a mongrel of the traditional and the modern. It’s part of the work of cultural extension.

PERFORMANCE TAKES PRECEDENCE OVER REPRESENTATION

In an earlier version of this essay I talked about representing the circle in various ways. Since then, I’ve been persuaded by Pickering that real knowledge arises through performance and representation is an after the event disembodied abstraction.

Performance is real time interaction between humans and machines to achieve a goal specified by the humans. This is a difficult path marked by resistance and accommodation to that resistance. Teachers understand this and are continually modifying their lesson plans to better fit the needs of their students. For Pickering, this is the true nature of scientific knowledge. It is part objective, part relative (or subjective) and part historical. Science is material, not just knowledge. Historically, this is true. Galileo used the telescope to help start a scientific revolution. Machines were at the heart of the Industrial revolution. Galileo’s work was dramatic performance. I am taking Pickering’s insight to help map out a performance based educational pathway. The modern machine that can assist us the most is the computer.

One goal is to master the user interface, to use the computer effectively. In developing this app I want it to be easy enough for the naive user to create interesting art quickly. And I want it to be open and transparent so the user can readily look under the hood to see how it was made.

Another goal is to teach computer coding. Computer coding has become more popular, largely through the lead provided by  Scratch. Nevertheless, not all students find this easy or are led to more complex coding. Even though block coding is easier than text coding still not all students become engaged with it. This is partly a cultural issue.

To learn to code is an arduous, sometimes difficult process and the cultural image of the highly skilled computer geek is a barrier to overcome here. Why would an indigenous student want to learn to code? The answer or pathway offered here is that it provides an opportunity to create some interesting and culturally relevant art forms. Hopefully, that might enhance engagement and learning further.

Tinkering or tuning is an important part of the learning process for both teacher and student. Humans tune the machines. The machines tune the humans. This process operates on me as the developer of this software app. Does it engage the student and help achieve the long term goal of teaching maths? A curriculum is an instrument too. Try the activities, see if they succeed. They will succeed for some but not for others. Then tweak them, think of new activities. This is a never ending developmental process. One goal was to teach the maths of the circle. Pi stuff. Are we succeeding?

Some of the many possible performances (previously I said representations) with which I have made some progress so far include:

• The art itself (dotted circle theme). I have looked at the art and bought some books about it. I've yet to actually do the art myself but am looking for that opportunity
• Language English: Tell the story of the Papunya Tula art movement and find out what the circles represent
• Humans with rope, make a dotted circle or just a circle. This can be used to estmate pi concretely.
• Snap! program estimating pi by measuring circumference and diameter.
• Turtle art: For artistic effects and special fast primitives, such as arc, with the 2 inputs of angle and radius, arc: angle radius, see first iteration of a NAIDOC week poster using Turtle Art
• Scratch application, see dotted_circles_version_1
• Scratch: Cloning circles. I've done this in other contexts and it could be adapted to this context.
• Snap! and Scratch compared: Hal Abelson's objective ("programs must be written for people to read, and only incidentally for machines to execute") can be achieved more readily with Snap! than with Scratch. See a comparison between Scratch and Snap!
• Snap! application, see dotted_circles_4

This artwork was made with the Scratch application, dotted_circles_version_1 Click on the link and do your own performance.

This artwork was made with the Snap! application, dotted_circles_5 Click on the link and do your own performance.

Another Snap! application work of art:

Here are some more possibilities which I have thought of but haven't attempted to implement yet:

• Language Pintupi / Luritja: introduce some
• App Inventor: dotted circle with one phone or many phones
• Photography: Show some pics of dotted circle art, perhaps from overhead using a drone
• Robot (which robot?) draws the dotted circle
• Microbit: Use radio to send a message around a circle (what message, can it be interactive? A message about the Papunya art movement)
• E-Textiles: dotted circles on a beanie
• Circuit Playground Express: it’s already a circle
• Chibitronics: circuits on paper

There are a lot of ideas here. I'm sure that more could be added by others with knowledge of the three themes: dotted circle art, the maths of the circle and theories which make the abstract more concrete.

THEORETICAL REFERENCES

Rattling Spears: A History of Indigenous Australian Art (2016) by Ian McLean
Ch 5 The Invention of Indigenous Contemporary Art outlines the history of the Papunya Art movement through the lens of “tribal modernism” (p. 121)

How Aborigines Invented the Idea of Contemporary Art: Writings on Aboriginal Contemporary Art (2011). Edited by Ian McLean.

For more background on Marx’s theory of ascending to the concrete to see:
Dialectics of the Abstract and the Concrete in Marx’s Capital by Evald Ilyenkov

Epistemological Pluralism and the Revaluation of the Concrete (1992) by Sherry Turkle and Seymour Papert

Culturally Situated Design Tools (CSDT) by Ron Eglash and co

Many cultural designs show how math and computing ideas are embedded in indigenous traditions, graffiti art, and other surprising sources. These “heritage algorithms” can help students learn STEM principles as they simulate the original artifacts, and develop their own creations.

NB. The recommendation to study Andrew Pickering comes from a Ron Eglash article, so I am indebted to him for that as well.

The Mangle of Practice: Time, Agency and Science (1995) by Andrew Pickering (download the whole book)

Andrew Pickering offers a new approach to the unpredictable nature of change in science, taking into account the extraordinary number of factors: social, technological, conceptual, and natural that interact to affect the creation of scientific knowledge. In his vie w, machines, instruments, facts, theories, conceptual and mathematical structures, disciplined practices, and human beings are in constantly shifting relationships with one another "mangled" together in unforeseeable ways that are shaped by the contingencies of culture, time, and place

digital innovation in secondary education

The Education and Health Standing Committee (a committee of the Western Australian Legislative Assembly) is conducting an inquiry into Digital Innovation in Secondary Education. (link)

The inquiry will consider:

1. How digital innovation can assist secondary students to learn anything, anywhere, anytime
2. The role of digital technology in addressing secondary student engagement and retention
3. How digital innovation can increase equity of opportunity in secondary education
4. The potential for digital technology to cater to the needs of high performers and at-risk learners in secondary education
5. Challenges to implementation, including provision of digital infrastructure, resources and technical support

In July this year I roughed out some notes addressing these criteria.

Overarching statement:
Computers can be both instrumental and epistemological vehicles for certain powerful ideas / dispositions and hands on practices which can be delivered to those who have missed out (aka the digital divide)

1) Rapid but twisted evolution of the computer revolution

Although computers are everywhere, the hardware, software, applications, programming languages and the practices and theories of educational computing continue to evolve rapidly which makes it hard to keep up to date.

Experts and movements (the new Coding Movement, the Maker Movement) do exist and are very helpful but they don’t always agree. The existence of the vigorous Coding and Maker Movements outside of schools indicates that often schools are not doing the job and also that these movement are highly engaging for many students.

2) The powerful ideas and dispositions

Seymour Papert’s original concept (1) was about using computers to transform the way knowledge developed in the learner’s mind. The subject domain of geometry could be restructured to make it more accessible, meaningful and fun for the learner (aka “hard fun”).

Some powerful ideas can be clearly identified:
eg. debugging of code or working to improve a prototype through repeated iterations requires persistence and is a form of looking at mistakes. There is general agreement of the educational importance of that.

Other powerful ideas arising from computer science can be identified and ways found for them to be taught. However, what history has shown is that the most important thing here is setting up learning environments where an invitation to develop powerful ideas will emerge naturally, rather than being forced. See next section.

Although there has been exaggeration, historically by some, of what can be achieved with computer based learning environments, nevertheless, the practices in most schools falls well short of what could be achieved.

ACARA’s Digital Technology curriculum (2) does outline some of the powerful ideas (as outcomes) but doesn’t explain how to achieve them. Effective teacher training exists through the CSER MOOCs site (3).

The history since computers entered schools shows there are widely different claims and approaches about the best way for them to be used. Some authors have done a good job of sorting through this. To do a thorough review of this literature is an arduous but possible task.

Three game changers have been identified by Sylvia Martinez and Gary Stager: coding, physical computing and fabrication. (4)

Collaboration has been identified as part of the desirable culture (Yasmin Kafai/ Quinn Burke (5)) and some software and learning sites have built that into their workings (eg. Collabrify software (6), Scratch3.0 website with their Remix feature(7))

Various names have been assigned to summarise the powerful ideas. These include computational thinking, computer science, computational literacy, computational participation. This theorising is an ongoing process in a relatively new curriculum area. Consensus has not yet been achieved. It is an important discussion which does need to be further analysed and understood.

3) Learning environments

Experience shows that for most students powerful ideas are not learned by force. A more effective approach is to make them conspicuous in the learning environment (by good choice of hardware, software and learning environment) so that their development is encouraged.

For most students, the powerful ideas will only arise from thoughtfully constructed learning environments, a powerful curriculum delivered by teachers who understand the issues.

Such environments have been developed and trialled in the past (eg. Turtle geomety, “Instructional Software Design Project” (8)) and this is ongoing.

Some excellent modern curricula have been developed, eg. Scratch 3.0 curriculum by the Harvard School of Education (9). Some general principles of what works and what should be encouraged can be stated, eg. collaborative work, project work which is personally and socially meaningful with long time slots.

Whole school change / integrated curriculum (STEM / STEAM) is difficult for a variety of reasons:
(a) School leadership may not understand the issues deeply
(b) Teacher training has not kept up with the computer revolution.

Nevertheless, focused change based on teacher enthusiasts is possible. The structural reform which works well involves personally and socially meaningful projects (preferably an integrated STEAM curriculum), sufficient time to develop them with teachers trained who understand the issues (learning environment, hardware, software, child psychology and cultural issues for indigenous students)

4) Cultural focus

Learning environment can be enhanced meaningfully for indigenous learners using Culturally Situated Design Tools. Some exemplary work has been done by the group led by Ron Eglash in the USA over a long time frame (10)

I have developed a few exemplars along similar lines (11)

Much more could be done along these lines. The conditions for success have been outlined in the publications of Eglash et al.(12)

5) Hardware and software

The growing list of hardware to choose from highlights the need for informed evaluation: includes Makey Makey, Arduino, Little Bits, Ozobot, Micro:bit, Chibi Chip, Circuit Playground Express, Lilypad, Bee-Bot, Dash and Dot, Sphero, Edison, Drones, etc.

Some of the important principles have been articulated by those who have developed the best construction kits (13). They include:

• Design for designers – use kits that encourage building and tinkering (iterate, iterate and iterate again)
• Low floor (easy to begin use), wide walls (diversity of possible projects including multimedia) and open windows (collaboration)
• Make powerful ideas obvious but not forced
• Minimalism often works better than feature creep
• You can do quite a lot with a little bit of programming
• Eat your own dogfood (don’t ask students to use software and hardware you don’t like using yourself)

With these principles in mind some of the hardware and software I recommend are Scratch3.0, Turtle Art, Makey Makey, the micro:bit, MakeCode, the Hummingbird:bit and App Inventor (not a prescriptive list)

6) Nuts and bolts

Computers in schools and related hardware is a significant budget item. Many schools have difficulty acquiring sufficient network managers / maintenance staff. Teacher training lags behind the potential of what can be achieved.

REFERENCE
(1) Papert, Seymour. Mindstorms
(2) ACARA Digital Technologies
(3) CSER MOOCs
(4) Martinez, Sylvia and Stager, Gary. Invent to Learn
(5) Kafai, Yasmin and Burke, Quinn. Connected Code
(6) Collabrify apps
(7) Scratch 3.0
(8) ISDP
(9) Scratch 3.0 curriculum
(10) Eglash, Ron et al site
(11) Kerr, Bill
a) Turtle Art design
b) Indigenous icons
c) Arrernte language app
(12) Eglash, Ron et al publications
(13) Construction kits article

Proposal for an Australian Indigenous Version of Culturally Situated Design Tools

It is widely recognised that much effort and dollars have been spent on “closing the gap” between indigenous and non indigenous Australians without a great deal of success. Various proposals across the full range of educational methodologies have been proposed and implemented; from Noel Pearson’s Direct Instruction at the Instructionist end of the educational spectrum to Tyson Yunkaporta’s “8 ways” at the cultural end.

I offer the following as a positive contribution to this frustrating dialogue.

The idea is to marry indigenous culture with computer coding and other subject domains (art, maths, science etc.). This is an idea borrowed from the work of Ron Eglash and others in the USA drawing deep themes from African and Native American cultures. This approach has been called ethnocomputing or "Culturally Situated Design Tools".

The rationale includes these points:

1) Deep design themes, not trivial.
In the exemplar given below the circle, for instance, is a deep design theme found in aboriginal culture. One thing that needs to be avoided here is trivial adjustments to the curriculum such as counting boomerangs or didgeridoos in arithemetic class.

2) Emic (inside) cultural origins not etic (outside) origins
Building trust is a central issue. That requires permission, in this case, to emulate indigenous art as well as building rapport with the students. Educators are aware that building relationships is central to all good education.

In this case we employ the circle and line motif which is a feature of aboriginal art. The maths which arises from this art form is of emic origins, from inside the culture.

3) Dynamic, not static, culture
Culture is a dynamic entity, not static. For example, new media, eg. acrylic, were introduced by Geoffrey Bardon in the 1970s at Papunya. In this dynamic tradition, the computer provides another creative and flexible medium.

The fundamental goal here is to empower student’s sense of ownership over computing, maths and other subject domains through the use of a culturally enriched computer medium. The appeal is not so much to cultural pride but to the ability to explore and improvise with interesting and deep materials at the interface of culture, maths and computing, to create new hybrids in both machines and people.

An example:

Circle and line is a frequent motif of aboriginal desert art. I’ll illustrate this theme with some art works by Clifford Possum Tjapaltjarri (1932-2002).

The circles can represent a wide range of things. They could be places where ancestral beings emerged from the ground, camped, performed ceremonies or rested after they had spent their energy.

Alternatively, they might represent a particular waterhole, campsite, dance ground, sacred site or some person, object, plant or animal which is the focus of attention. Or underground honey ant chambers, as shown in this work:

Or again, they might represent connections between people, different moieties or different kin groups

The lines may be straight or meandering. They could represent the tracks taken by Dreamtime beings, or humans. Sometimes footprints are included, or the tracks of different animals, or a digging stuck thrust into the ground, or the passageways of the honey ant chambers.

THE COMPUTER MEDIUM

Computer coding is a flexible medium which enables multiple ways to represent circles.

Using Scratch or Snap! we can code the circle in various ways. The code enhances our understanding of the circle and how it can be represented in this medium. This can be done with dots or an unbroken line. To build tools that will do justice to the indigenous art work does take a lot of thought, research, collaboration and design effort. The tools also have to be usable initially by a novice to computer coding. To design all of this becomes complex, so the designer needs to be a good coder with a good understanding of the cultural form too.

I am part way through this process using Scratch and will then move on to developing a Snap! version. Here is one of the Scratch products showing some (not all) of the variable settings:

I have published my scratch project, indigenous_circles, here

Initially, the goal here is to build an application to draw circles with dots. There are many variables involved to make it satisfactory to the indigenous user: background colour; dot colour, saturation and brightness; circle radius; radius increment for next circle; dot size; dot spacing; should the dots be perfect circles or lumpy?; number of rings. The application has to be easy for a novice coder to use. And flexible enough to build a wide variety of diverse artistic products.

The computer medium is particularly well suited to craft regular or repeated or symmetrical themes. These themes are often found in aboriginal art. This forms a good starting point. Where other themes are present the images can be imported into the design. For example, go to this page and scroll down for a sheet of icons or symbols used in Papunya Central Desert art.

Probably, the most suitable program to use (following the example of Eglash) is Snap! due to it’s user friendliness (block coding) and power (ability to write custom procedures).

KNOWN PROBLEMS

For this proposal to work known problems have to be overcome and a number of other essential practicalities are required. I’ll briefly list some of the issues here:

• permission from the minority culture
• building a bridge, both sides need to come to the party
• opportunity to work with that culture intensively
• a team of people (culturally aware educators and computer coders) to pursue these ideas
• school cultures have been slow to take up innovative computing
• organisation of time, space and technology in a way that will work be it in a formal school or outside of school setting

OTHER THEMES

As well as indigenous art other themes which could be explored include language, kinship systems, astronomy, fire and water. Some of these themes have been presented in an integrated curriculum at Indigenous Knowledge. The approach advocated here is different with its use of computer coding to unite the different subject domains. Over time the possibilities and potential power of computer use in schools has diversified and increased.

This article only acts as an introduction into what could develop.

UPDATE (August 25th: I've created a new Scratch Studio, Indigenous Art Motifs

UPDATE (August 23rd: I found this a Scratch Studio called "Indigenous Art" by kmwilson who has been developing high quality work around these themes for a few years now.

REFERENCE:
Ron Eglash, Audrey Bennett, Casey O’Donnell, Sybillyn Jennings, Margaret Cintorino. Culturally Situated Design Tools: Ethnocomputing from Field Site to Classroom (2006)

Morphy, Howard. Aboriginal Art (1998), pp. 121-3

Snap! Build Your Own Blocks

Indigenous Knowledge (Teaching resources)

my evolving mangle -> ethnocomputing

Harel and Papert (1) argue that some materials are better with regard to the following criteria:

• appropriability (some things lend themselves better than others to being made one's own)
• evocativeness (some materials are more apt than others to precipitate personal thought)
• integration (some materials are better carriers of multiple meaning and multiple concepts)

For many years, I've been working in, struggling with, three (at least) different domains. As a first approximation let's call them social justice, learning theory and computing.

All of them evolve, both in reality and my understanding of them. In this particular iteration I'll change the names significantly to indigenous culture, powerful ideas and tangible hardware / constructionist software. This matches my present context (Alice Spring / indigenous learners) and goals (to help facilitate their learning).

What is the mangle? This comes from a Ron Eglash et al article (2), which in turn comes from a 1995 book by Andrew Pickering (3). The idea is that science is neither a transparent window into truth nor a relative truth. It is somewhere in between. Culture, nature and technology combine in a never ending spiral to produce science. At every point there is resistance. Something doesn't work, tweak it to make things fit better. We tweak our cultures, we tweak our theories and we tweak our technologies to overcome the resistance.

So this is a brief overview of where I am at, how I got there and where it is heading.

Indigenous culture: Parts of indigenous culture (eg. dot paintings) can be represented with algorithms. Contemporary indigenous art is not the same as traditional art. It has evolved (4). Indigenous students are often more engaged when offered the opportunity to represent their culture using the computer (5). These themes can be deep, not dressing up the dog / trivial.

Powerful ideas: This was central to Seymour Papert's initiative (6). That maths could be restructured in both a powerful and engaging way and hence made more accessible to those who had missed out. This does require some considerable, thoughtful input from the teacher in designing a learning environment that works. Examples: Turtle Geometry as designed by Seymour and allies (7); Idit Harel's Instructional Software Design Project (8)

How has this evolved? As it turns out some of Seymour's claims, eg. transfer to other learning domains, were exaggerated.(9) Nevertheless, within more limited domains the ideas remain powerful. And in broader domains you can do a lot with a little. (10)

This requires a lot of work to sort through but I feel some authors and curriculum writers have come close. (11, 12)

Tangible hardware / constructionist software: The hardware has become smaller and more interesting (eg. the micro:bit, the Hummingbird:bit are two favourites amongst many to choose from) and spawned a new movement: The Maker Movement. The software has become more user friendly (block coding) and diverse. I think Sylvia Martinez and Gary Stager are on the right track when they identify three game changers: Fabrication, Physical Computing and Coding (13)

The evolution in the hardware/software area has been phenomenal.

PUTTING IT ALL TOGETHER

I've only recently discovered "Culturally Situated Design Tools" which do offer at least in part a way to make the transition. Ron Eglash is probably the key person here. He goes back a long way and I'm a little bewildered and sad that I didn't discover him earlier. So, it fits well too with the laws of ignorance, we don't know what we don't know (but someone out there might know).

TED talk: The fractals at the heart of African Designs
Legacy items: Teaching math and computing through culture

This approach could be adapted effectively to indigenous ed here in Australia. I've recently used Turtle Art to emulate a NAIDOC poster (here) and listed the skills and dispositions required / learnt.

It needs a lot more work. But it is a very rich area where three different forces are both evolving and intersecting: indigenous culture + STEAM + computer science as a discipline. I think it's doable, each of the 3 big areas enriches and feeds off the others.

REFERENCE:

(1) Harel, I. & Papert, S. (1990) Software Design as a Learning Environment. Interactive Learning Environment, 1, 1-32
(2) Eglash et al. Culturally Situated Design Tools: Ethnocomputing from Field Site to Classroom (2006)
(3) Pickering, Andrew (1995) The Mangle of Practice: Time, Agency and Science
(4) McLean, Ian (Editor). How Aborigines invented the idea of contemporary art (2011)
(5) Indigenous icons activity
(7) Kerr, Bill. Papert's Ideas: Mainly from Mindstorms (1991)
(8) Kerr, Bill. Educational Software: Designed by Kids for Kids (1994)
(9) Tedre, Matti and Denning, Peter. The Long Quest for Computational Thinking (2016)
(10) How to evaluate construction kits: ten design principles
(11) Kafai, Yasmin and Burke, Quinn. Connected Code: Why Children Need to Learn Programming (2016)
(12) Karen Brennan, Laura Peters, and Alexa Kutler. Creative Computing Curriculum Guide (Scratch 3.0)
(13) Martinez, Sylvia and Stager, Gary. Invent to Learn: Making, Tinkering and Engineering in the Classroom (2nd Edition, 2019)