Jurnal Elemen, 11.
, 828-844.
October 2025 https:/doi.
org/10.
29408/jel.
Wura Bongi Monca dance as a promising context for fostering problem-solving skills in learning set theory Khairullah 1,2.
Rully Charitas Indra Prahmana 1,2*.
Nur Robiah Nofikusumawati Peni 1,2 Department of Mathematics Education.
Universitas Ahmad Dahlan.
Yogyakarta.
Indonesia Ethno-RME Research Center.
Universitas Ahmad Dahlan.
Yogyakarta.
Indonesia Correspondence: rully.
indra@mpmat.
A The Author.
2025 Abstract The Wura Bongi Monca dance embodies the philosophical values of Bima culture, which can be contextualized to facilitate students' understanding of abstract mathematical concepts, such as set theory.
Although most ethnomathematics research has focused on concrete elements such as geometric shapes and numerical patterns in cultural practices, little attention has been given to how cultural values can support the teaching of abstract topics.
Yet, local traditions hold significant potential to provide meaningful contexts for such learning.
This study addresses that gap by investigating the traditional Bima dance Wura Bongi Monca as a contextual learning resource to introduce set theory and enhance students' problem-solving skills.
Problem-solving is a key mathematical competency, indicating conceptual understanding, critical thinking, and the ability to apply knowledge in new situations.
It also serves as a benchmark for evaluating the impact of culturally contextualized instruction.
Using an ethnography approach including literature review, field observations, and interviews with cultural experts, the study interprets the symbolic meanings of Gerak Wura, the dance's core movements, and connects them to set theory concepts.
The findings demonstrate that dance can foster conceptual understanding and cultural awareness, support culturally responsive mathematics education while preserving local heritage and providing insights for innovative instructional design.
Keywords: ethnography.
problem-solving skills.
set theory.
Wura Bongi Monca How to cite: Khairullah.
Prahmana.
, & Peni.
Wura Bongi Monca dance as a promising context for fostering problem-solving skills in learning set theory.
Jurnal Elemen, 11.
, 828-844.
https://doi.
org/10.
29408/jel.
Received: 19 July 2025 | Revised: 4 September 2025 Accepted: 9 October 2025 | Published: 31 October 2025 Jurnal Elemen is licensed under a Creative Commons Attribution-ShareAlike 4.
0 International License.
Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni Introduction Mathematics education in Indonesia continues to face critical challenges, particularly in the dominance of a normative-dogmatic instructional paradigm.
This approach tends to portray mathematics as an abstract and decontextualized discipline, disconnected from studentsAo sociocultural realities.
Consequently, students often struggle to develop deep, meaningful, and conceptually rich understandings of mathematical ideas (Ernest et al.
, 2016.
Valeeva et al.
One of the most pressing outcomes of such pedagogical disconnection is the persistently low level of studentsAo mathematical problem-solving abilities, as consistently reported in national studies and international assessments such as PISA and TIMSS (Hadi et al.
, 2023.
Hasanah et al.
, 2019.
OECD, 2.
A particularly evident manifestation of this issue arises in studentsAo difficulties with foundational mathematical content, such as set theory.
Recent studies .
Hendriyanto et al.
) have documented significant epistemological obstacles among students in grasping basic set-theoretic concepts, including notation, classification, and the comparison of sets.
Students often exhibit limited ability to transfer conceptual understanding to non-routine or higher-order problem-solving contexts.
This is concerning given the foundational role of set theory in the structure of mathematics: all mathematical objects and formal systems are ultimately rooted in set-theoretic foundations (Maddy, 2.
and understanding set theory is essential for engaging with more advanced topics across mathematical domains.
Despite its significance, literature analysis reveals a critical gap in the availability of effective, contextually rich pedagogical strategies for teaching set theory.
For instance.
Fischbein and Baltsan .
documented conceptual misunderstandings among teachers in contextualizing set theory.
More recently.
Akar and Iksal-Bostan .
highlighted a substantial misalignment between the intended curriculum and the actual content delivered in classrooms, resulting in learning barriers that negatively affect studentsAo problem-solving Furthermore.
Indonesian mathematics education suffers from a persistent scarcity of culturally relevant instructional resources.
Many educators rely on conventional, lecture-based teaching methods emphasizing rote memorization and procedural fluency, thereby reinforcing an abstract and disconnected vision of mathematics (Prahmana et al.
, 2025.
Valeeva et al.
This instructional climate often renders mathematics irrelevant to students lived experiences, further diminishing engagement and conceptual understanding.
To address these challenges, recent research has highlighted the potential of integrating local cultural elements into mathematics instructionAian approach grounded in ethnomathematical theory.
Ethnomathematics enables learners to develop mathematical understanding through cultural practices that are familiar and meaningful to them, fostering both cognitive engagement and affective connection (Khasanah et al.
, 2025.
Prahmana & Istiandaru, 2021.
Pujiastuti et al.
, 2.
Cultural artifacts, such as traditional games, architecture, and geometric patterns, have been widely explored in Indonesian ethnomathematics research (Alghiffari et al.
, 2024.
Radiusman et al.
, 2021.
Wiri et al.
, 2.
Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
However, the pedagogical potential of traditional danceAiparticularly as a medium for teaching abstract concepts such as set theoryAiremains underexplored.
Traditional dance, as a rich form of cultural expression, embodies mathematical structures, spatial patterns, and symbolic representations that can be effectively leveraged to introduce and contextualize mathematical concepts.
Prior studies have demonstrated the integration of traditional dancesAisuch as the Balinese dance (Apsari & Abrahamson, 2024.
Radiusman et al.
, 2.
, the Zapin and Kuda dances (Abdullah et al.
, 2.
, the PedAoOa dance of the Sabu community (Wiri et al.
, 2.
, and the crazy Bamboo dance supported by GeoGebra classroom (Mataheru et al.
, 2.
Aiin mathematics instruction, including the development of culturally responsive teaching materials.
Within this framework, the Wura Bongi Monca dance of the Bima community in West Nusa Tenggara presents distinctive potential for illustrating set-theoretic concepts through culturally grounded movement patterns and symbolic gestures.
However, to date, no research has explored the pedagogical use of Wura Bongi Monca in the context of set theory instruction.
This study addresses this research gap by investigating the integration of the Wura Bongi Monca traditional dance into the teaching of set theory within the Indonesian mathematics The research aims to explore how the elements of Wura Bongi Monca can be mathematically interpreted to represent set-theoretic concepts, examine how this cultural integration supports studentsAo understanding and problem-solving in set theory, and contribute to the development of culturally responsive mathematics education practices.
The novelty of this study lies in its representation of traditional dance movements as visual and conceptual models of sets, thereby offering a meaningful, affectively engaging, and culturally relevant instructional strategy.
This approach also serves the dual purpose of enriching studentsAo mathematical understanding and preserving local cultural heritage through integrative Methods This study employs a qualitative ethnographic approach to explore the cultural dimensions of the traditional Wura Bongi Monca dance and its relevance as a contextual medium for learning set theory.
Ethnography was chosen because it enables researchers to gain a deep understanding of cultural practices from an insider .
perspective, and it supports the interpretation of symbolic and structural elements in traditional dance as potential representations of mathematical concepts, particularly set theory (Creswell & Poth, 2016.
Spradley, 1.
In this study, the ethnographic approach is applied through several systematic steps: .
participatory observation of the Wura Bongi Monca dance performance in its original cultural context.
in-depth interviews with cultural practitioners and local cultural educators to obtain perspectives and symbolic meanings of each dance element.
documentation and interpretation of the movement structures, group formations, and dance attributes that relate to set theory concepts.
qualitative analysis of the data to identify mathematical representations emerging from these cultural elements.
The main focus of this study is to conduct an in-depth analysis of the components of the Wura Bongi Monca dance that Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni symbolically and structurally represent fundamental concepts in set theory, such as membership, relationships between sets.
The research was conducted in two culturally significant locations in Bima.
West Nusa Tenggara.
Indonesia: Sanggar Pasole Sila, located in Bolo Subdistrict, and the Bima Sultanate Museum (ASI Mboj.
in the city of Bima.
Participants were selected purposively, consisting of the head and sole choreographer of Sanggar Pasole Sila, and a Bima cultural expert with extensive knowledge of traditional dances, including Wura Bongi Monca.
The selection was based on their cultural authority and expertise, ensuring the acquisition of rich, authentic, and meaningful data (Patton, 2.
These key informants were deemed essential for uncovering the historical and symbolic values embedded in the dance, which could be contextualized as foundational elements in the teaching of mathematical set theory.
Data in this study were collected through three main methods: participatory observation, visual documentation, and in-depth interviews.
Participatory observation was conducted directly during practice sessions and live performances of the Wura Bongi Monca dance to observe spatial formations, movement patterns, group dynamics, and the use of attributes by the dancers.
The observation instrument was organized in a structured observation sheet with indicators including the form and direction of movements, floor patterns and group formations, use of dance properties or attributes, and interaction among dancers within the cultural context.
Visual documentation, in the form of photographs and video recordings, was used as supporting data to facilitate structural and symbolic analysis of the dance elements.
Meanwhile, in-depth interviews were conducted with two key informants: the head of the dance studio .
enior dance.
and a Bima cultural expert.
The interview instrument was designed as a semi-structured interview guide with indicators covering the philosophical meanings behind dance movements, cultural values embedded in the attributes and formations, the process of transmission and preservation of the dance, and the potential of the dance for development as a learning medium.
These three methods were employed in a triangulated manner to obtain a comprehensive and in-depth understanding of the relevance of the Wura Bongi Monca dance in representing mathematical concepts, particularly set theory.
To enhance the educational relevance of the findingsAo triangulated interviews were also conducted with a local mathematics teacher to obtain pedagogical insights and validate the feasibility of integrating dance elements into mathematics instruction.
Methodological and source triangulation was employed to enhance the trustworthiness and credibility of the data, through cross-verification of observations, interview accounts, and visual evidence (Denzin.
All interviews were audio-recorded, transcribed verbatim, and subsequently analyzed to identify implicit and explicit references to set theory concepts.
The data were analyzed using a qualitative interpretive approach, involving the examination of field notes, interview transcripts, visual recordings, and relevant literature.
The goal of analysis was to identify mathematical elements, particularly those related to set theoryAi such as grouping, classification, intersections, and disjoint setsAiembedded within the choreographic structure of the Wura Bongi Monca dance.
A coding scheme was developed to map dance components to mathematical representations.
Triangulation of data sources, and Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
analytic strategies was employed to ensure validity by cross-referencing emerging themes across interview narratives, observational records, and scholarly references.
The study adhered to ethical research principles as outlined by Chenhall et al.
Written informed consent was obtained from all participants prior to interviews and visual Participants' identities were anonymized in all research outputs to preserve Furthermore, cultural sensitivity was maintained throughout the research process, ensuring that traditional practices were respected and not disrupted during observations or interviews.
Finally, researchersAo reflexivity was maintained throughout the study to account for potential biases stemming from the researchersAo academic background in mathematics Acknowledging the influence of personal academic assumptions, the researchers actively engaged in self-reflection and remained open to indigenous perspectives.
Reflexivity was operationalized by documenting personal responses and interpretive reflections during fieldwork and by regularly consulting with participants to verify interpretations.
This approach was crucial in maintaining the integrity of cultural representations while ensuring accurate mapping between traditional dance practices and the abstract principles of set theory.
Results This study explores the traditional dance Wura Bongi Monca, a cultural performance commonly showcased during various ceremonial events by the Bima community.
The dance consists of distinctive movements rooted in the legacy of the Bima Sultanate, along with additional choreography developed by local dance studios.
By recognizing the philosophical meanings embedded in both the royal-origin movements and those adapted by the studios, this research seeks to contextualize cultural expressions within mathematical conceptsAispecifically, set The following sections present the findings of the exploration, highlighting the connections between traditional dance movements, set theory concepts, and the philosophical values inherent in the dance.
Introducing the concept of universal set through the Wura Bongi Monca dance In mathematics, a universal set is defined as a set that contains all elements under discussion within a particular context.
In the context of the Wura Bongi Monca dance from Bima, there are two primary movement categories: traditional movements originating from the Sultanate of Bima, and choreographic innovations from dance studios such as Sanggar Pasole.
For example:
Set A = Movements from Sanggar Pasole Sila Set B = Movements from the Bima Sultanate Therefore.
Universal Set S = {X | X is a movement in the Wura Bongi Monca danc.
Figure 1 provides students with a contextual understanding of universal sets through local As Rosa and Orey .
emphasizes, culturally contextualized mathematics instruction helps students develop a deeper conceptual understanding.
Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni Figure 1.
The traditional movements of the Wura Bongi Monca dance form a universal set Furthermore.
Table 1 presents several essential terms and movements associated with the traditional Wura Bongi Monca dance of Bima.
Indonesia.
Each term is derived from the Bima language and carries symbolic meanings that reflect cultural values such as respect, hospitality, prosperity, and harmony.
Table 1.
Key terms and movements in the Wura Bongi Monca dance of Bima culture Term 1 Nemba Definition In the Bima language, nemba signifies greeting, respect, and reverence.
the context of dance, it represents a gesture of honour toward visiting guests, reflecting the Bima communityAos belief that guests are dignified figures and bearers of blessings.
Tau Bongi Literally refers to the act of placing rice into a container.
Within the dance, it symbolizes prosperity, fertility, and the blessings of BimaAos land.
Pata Angi Interpreted as social bonding, encompassing kinship, mutual recognition, and mutual assistance.
Lenggo Doho Derived from lenggo (AuhighA.
and doho (AusittingA.
In the dance, this movement expresses the highest respect to guests in a seated position.
Weha Ao Derived from weha ao (Auto receive/escortA.
and bunti (AubrideA.
In the Bunti dance, it signifies escorting the bride with grace and honor, preceding the ritual of scattering rice as a symbol of blessing.
Lenggo Kidi Derived from lenggo (AuhighA.
and kidi (AustandingA.
In the dance, this movement represents the utmost respect for guests in a standing position.
Wura Bongi Derived from wura (Auto scatterA.
and bongi (AuriceA.
Wura Bongi Monca refers to the scattering of rice as an expression of gratitude for BimaAos abundant natural harvests.
Sanggar An art community in Bima dedicated to teaching and preserving the Wura Pasole Sila Bongi Monca dance.
This group frequently performs at cultural events, weddings, and ceremonies to welcome honoured guests.
Bunga Satako A dance movement style developed by Sanggar Pasole Sila.
It symbolizes a stalk of flower, representing kindness, hospitality, and beauty in both speech and action.
Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
Term Definition 10 Nemba Akhir Denotes the dancersAo final gesture of respect in the Wura Bongi Monca performance toward honored guests or the audience.
11 Lampa Luu Literally means Auto walk into a room.
Ay In the dance, this movement symbolizes the beginning of an event, emphasizing that every entrance should be made with humility and respect for others.
12 Lele Wana Derived from lele (AutiltedA.
and wana (AusideA.
This movement highlights the grace and hospitality of Bima women.
13 Lele Kui Derived from lele (AutiltedA.
and kui (AuleftA.
This movement similarly embodies the grace and hospitality of Bima women.
14 Paleo A movement in the Wura Bongi Monca dance characterized by placing the hands upon the shoulders.
15 Lele Bali Bae A dance movement symbolizing balance and harmony.
16 Lampa Losa A movement meaning Auto walk out,Ay indicating the conclusion of the dance and the final expression of respect to guests and the audience.
Introducing the concept of disjoint Sets through the Wura Bongi Monca dance Two sets are considered disjoint if they have no elements in common and are both non-empty.
Within the performance practices of Sanggar Pasole Sila, there is a clear separation between the introductory and core movements, with no overlapping elements.
For instance:
Set C (Introductory Movement.
= {Nemba.
Tau Bongi.
Pata Angi.
Lenggo Doh.
Set D (Core Movement.
= {Weha Ao Bunti.
Lenggo Kidi.
Wura Bong.
Sets C and D are disjoint: C O D = OI Figure 2 helps students comprehend the concept of disjoint sets by showing that Sets C and D share no common elements.
Figure 2.
The introductory and core movements in the Wura Bongi Monca dance as disjoint sets Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni Furthermore.
Lipka et al.
, in their culturally based mathematics education approach in Alaska, underscore the importance of integrating local knowledge as a foundation for developing formal mathematical concepts.
Mathematically, this is expressed as:
C = {Nemba.
Tau Bongi.
Pata Angi.
Lenggo Doh.
D = {Weha Ao Bunti.
Lenggo Kidi.
Wura Bong.
Therefore.
C O D = OI (C and D are disjoint set.
Introducing the concept of subsets through the Wura Bongi Monca dance In the context of the Wura Bongi Monca dance, particularly in the concluding segment performed by Sanggar Pasole, certain movements can be identified as subsets of the universal set of movements as illustrated in Figure 3.
Figure 3.
The closing movements in the Wura Bongi Monca dance forming a subset Here, students are introduced to the concept of subsets: E OI S, read as "E is a subset of S", because every element in E also belongs to the universal set S.
For instance, the subset of closing movements includes:
{} OI E
{Nemba Akhi.
OI E {Bunga Satak.
OI E {Nemba Akhir.
Bunga Satak.
OI E A set E is considered a subset of S if and only if every element of E is also an element of assert that contextual cultural approaches such as this can facilitate studentsAo understanding of formal mathematics through more accessible and relatable means.
Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
Introducing the concept of intersection through the Wura Bongi Monca dance The intersection of two sets refers to a set containing all elements that are common to both sets in the version of the Wura Bongi Monca dance originating from the Bima Sultanate, certain movements such as Nemba appear in both the opening and closing segments.
For example:
F = {Nemba.
Lampa Lu.
G = {Nemba.
Weha Ao Bunt.
F O G = {Nemb.
This concept introduces students to the idea of intersection as a representation of similarity amidst diversity as shown in Figure 4.
DAoAmbrosio .
emphasized the importance of recognizing mathematical structures within cultural practices a core tenet of ethnomathematics.
Figure 4.
The intersection of opening and closing movements in the Sultanate version of the Wura Bongi Monca dance Introducing the concept of complement through the Wura Bongi Monca dance The complement of a set consists of all elements in the universal set that are not in the given For example:
Universal Set S = {Lampa Luu.
Nemba.
Lele Wana.
Lele Kui.
Lele Bali Bae.
Paleo.
Lampa Los.
Set H = {Lele Wana.
Lele Kui.
Lele Bali Bae.
Pale.
Therefore.
Hu = {Lampa Luu.
Nemba.
Lampa Los.
This concept helps students grasp the idea of exclusion within a larger set, enhancing their abilities in categorization and systematic thinking illustrated in Figure 5.
Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni Figure 5.
The core movements in the Sultanate version of the Wura Bongi Monca dance illustrating set complement Historical and cultural values of Bima as enhancers of studentsAo affective knowledge in preserving cultural diversity The Wura Bongi Monca dance from Bima transcends aesthetic expression by embodying profound historical and philosophical values.
As part of BimaAos cultural heritage, the dance reflects the communityAos worldview, social systems, and Islamic values internalized over time.
When incorporated into mathematics educationAiespecially in introducing set theory conceptsAithe dance functions not only as a contextual medium but also as an affective educational instrument that reinforces studentsAo cultural identity and tolerance for diversity.
emphasized the critical role of affective dimensions in fostering emotional engagement between students and culturally meaningful content.
By recognizing and interpreting cultural symbols embedded in dance movements, costumes, and choreography, students develop not only cognitive understanding of abstract mathematics but also empathy, respect, and pride in their local culture.
Interviews with Bima cultural experts identify five primary philosophical values in Wura Bongi Monca that can be instilled in students presented in Table 2.
Embedding these philosophical values within mathematics instruction provides an avenue for students to engage in reflective learning.
At the conclusion of a lesson, educators are encouraged to facilitate student reflection that connects mathematical conceptsAisuch as subsets or intersections to the cultural values embedded in the movement sequences and attire of the Wura Bongi Monca dance.
This approach deepens the relevance of mathematical learning by creating a bridge between abstract logical reasoning and sociocultural understanding.
Such integration resonates with perspective on ethnomathematics, which advocates for mathematics education that reflects and honors local cultural practices.
In doing so, it promotes Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
intercultural awareness and humanistic values within mathematics instruction.
Thus, culturally contextualized mathematics learning through traditional dance media like Wura Bongi Monca not only enhances studentsAo cognitive understanding but also strengthens their affective connection to their cultural identity.
This is essential in fostering a generation of learners who are not only academically competent but also socially responsible and committed to the preservation of national cultural heritage.
Table 2.
Philosophical values embedded in the traditional Wura Bongi Monca dance Term 1 Wura Bonggi Monca 2 Opening Movements 3 Core Movements 4 Closing Movements 5 Bajo Bodo .
ance Philosophical Meaning Symbolizes fertility and blessings in the land of Bima, community prosperity, and the dignity of hospitality.
It emphasizes the value of silaturahmi .
ocial harmony and bondin.
in Islamic culture, represented by the color monca .
Embody respect and the significance of nurturing relationships among people, upholding human dignity.
Represent the hospitality and gentleness of Bima women in welcoming esteemed guests, who are viewed as symbols of honor.
Reflect the kindness extended to the general public and highlight the deep respect given to all individuals.
Symbolizes unity, harmony, and aesthetic beauty, captivating the audience through visual coherence and elegance.
The implications of this study indicate that integrating local culture into mathematics education can serve as a transformative approach for the future of education.
This approach not only enriches curriculum design with socially relevant contexts but also fosters the development of a more inclusive, reflective generation of learners with strong cultural awareness.
Therefore, further research is recommended to develop culturally based learning models from various regions in Indonesia that can connect local values with a wide range of mathematical concepts, in order to build an education system that is adaptive to diversity and global challenges.
Discussion Mathematical understanding is deeply linked to the social and cultural context in which learners are situated (Rosa & Orey, 2.
Mathematics is innately interconnected with everyday human activities and cultural expressions, encompassing a wide range of applications, from routine calculations and classification tasks to artistic forms, such as traditional dance (Radiusman et , 2.
Furthermore.
Apsari and Abrahamson .
make a significant contribution to geometry education through the development of Geometry Resources in Dance (GRiD), a lowcost diagrammatic floor mat grounded in Balinese dance practice.
Their study demonstrates how GRiD supports students in constructing and interpreting auxiliary lines by engaging in embodied, multimodal, and socially mediated reasoning.
This pedagogical approach bridges Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni perceptual-motor experiences with formal geometric argumentation, thereby deepening studentsAo conceptual understanding of geometric principles.
Traditional dance has the potential to serve as a starting point or context for creating learning designs for elementary and middle school children.
Furthermore, research by Sulistyawati et al.
identified seventeen mathematical concepts embedded within the exploration of the Remo dance, specifically through its elements of movement, costume accessories, and accompanying musical instruments.
Their study demonstrated an almost perfect level of reliability.
These findings indicate that the cultural context of the Remo dance holds significant potential as a source for mathematics instruction, particularly in designing learning activities, developing instructional materials, and constructing assessment instruments.
In the context of this research, the Wura Bongi Monca dance from Bima serves not only as a cultural expression but also incorporates mathematical structures into its movement This dance exemplifies mathematical elements through movement components performed by a group of dancers, which are then represented in set theory concepts, such as universal sets, disjoint sets, subsets, intersections, and complements of sets.
Incorporating local cultural elements into mathematics education enables students to recognize mathematics as a fundamental aspect of their cultural traditions (Novikasari et al.
, 2.
The integration of cultural contexts into mathematics education facilitates the connection between students lived experiences and abstract mathematical concepts (Pujiastuti et al.
, 2.
This approach is consistent with the principles of contextual learning, which emphasize linking academic content to studentsAo immediate environments (Ergene et al.
, 2020.
Fadilah et al.
Moreover, embedding cultural contexts in mathematics instruction has been shown to strengthen studentsAo problem-solving abilities (Yanti, 2.
Given IndonesiaAos diverse and rich cultural heritage, such an approach holds significant potential for fostering meaningful mathematics learning within the national educational context.
Susanti and Ulum .
highlight that the mathematical concepts illustrated in the Beskalan Putri Malang dance encompass geometric transformations, including translation, rotation, reflection, dilation, and transformation composition.
This finding makes the dance a valuable resource for contextual mathematics learning for high school students.
Furthermore, research by Abdullah et al.
developed a teaching module that integrates the Zapin and Kuda Kepang dances with isometric transformations.
The findings of this study reveal the potential for integrating elements of traditional dance into mathematics education to foster deeper engagement and academic success, underscoring the need for innovative teaching approaches in secondary education.
In the context of this research, especially in Bima, there has not been much exploration of traditional dance as a learning resource, therefore, the Wura Bongi Monca dance can be an alternative as a context in mathematics learning related to the material of universal sets, disjoint sets, subsets, intersections of sets, and complements of sets.
Additionally, integrating local culture into mathematics education helps preserve intangible cultural heritage.
This approach allows students to engage not only in learning mathematics but also in appreciating and maintaining their cultural identity.
Thus, utilizing traditional dance as a teaching medium is a meaningful way to preserve culture while simultaneously enhancing the quality of mathematics education.
Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
Several studies have demonstrated that the integration of set theory concepts into culturebased mathematics education carries significant theoretical and practical implications (Prahmana & Istiandaru, 2021.
Ylmaz, 2.
The Wura Bongi Monca dance serves as a cultural medium that illustrates various set operations, including the universal set, subset, intersection, disjoint set, and complement.
The use of dance movements as concrete objects facilitates students' understanding of abstract mathematical concepts by linking them to cultural experiences and identities.
Practically, incorporating local culture promotes contextual and meaningful learning.
Introducing set theory through the grouping of Wura Bongi Monca dance movements helps students understand mathematical symbolism and notation while understanding the cultural meanings underlying these structures.
Context-based learning approaches, such as the mathematics in cultural context studied by Lipka et al.
, have demonstrated that indigenous students achieve better learning outcomes when mathematics is taught within culturally relevant contexts.
Theoretically, this integration enriches mathematics pedagogy by bringing sociocultural dimensions into the learning process (Prahmana, 2.
Theories of situated learning and culturally relevant pedagogy support the idea that learning is most effective when it is grounded in the social and cultural realities of students (Ladson-Billings, 1995.
Lave & Wenger, 1.
In this context, the Wura Bongi Monca dance serves not only as an illustrative tool but also as a representative structure of community practices that reflect classification, sorting, and relational systems consistent with basic set theory concepts.
Thus, the application of Wura Bongi Monca in the teaching of set theory not only diversifies pedagogical strategies but also affirms mathematics as a cultural practice.
Such integration aligns with (D'Ambrosio, 1.
view on ethnomathematics, which promotes mathematics education that acknowledges and values local cultural practices.
This approach fosters intercultural awareness and humanistic values in the teaching of mathematics (Prahmana, 2.
Therefore, culturally contextualized mathematics learning through traditional dance media such as Wura Bongi Monca not only impacts students' cognitive understanding but also strengthens their affective connection with their cultural identity.
This is essential for cultivating a generation of learners who are not only academically competent but also socially responsible and dedicated to preserving their national cultural heritage.
Conclusion This study highlights the pedagogical potential of integrating the traditional Wura Bongi Monca dance into the teaching of set theory through an ethnomathematical lens.
By leveraging the representational elements inherent in the dance, students were able to develop a more concrete and culturally meaningful understanding of fundamental set theory concepts, including universal sets, intersections, subsets, disjoint sets, and complements.
The integration of cultural artifacts facilitated not only cognitive engagement but also affective development, as students connected mathematical ideas with philosophical values embedded in the dance, such as silaturahmi .
ocial harmon.
, respect, gentleness, and unity.
These findings underscore the Khairullah.
Rully Charitas Indra Prahmana.
Nur Robiah Nofikusumawati Peni value of culturally contextualized instruction in fostering studentsAo conceptual understanding and promoting culturally situated mathematical problem-solving abilities.
Despite these contributions, the research is not without limitations.
The study was conducted within a specific cultural and geographical contextAinamely, the Bima community in West Nusa TenggaraAiand employed a qualitative ethnographic methodology.
As such, the findings are inherently context-dependent and may not be readily generalizable to other regions or cultural settings.
Moreover, while the study provided in-depth insights into the intersection of cultural practices and mathematics learning, it did not include quantitative assessments of student learning outcomes or comparative analyses with conventional instructional approaches.
These methodological constraints call for caution in extrapolating the results and suggest the need for more comprehensive empirical validation in diverse educational contexts.
To advance the field, future research should pursue cross-cultural comparative studies that explore the transferability and scalability of ethnomathematics-based pedagogies across different cultural groups and educational levels.
Longitudinal investigations are also warranted to examine the enduring impact of culturally responsive mathematics instruction on studentsAo cognitive development, particularly in relation to mathematical reasoning and problem-solving.
Furthermore, the incorporation of digital technologiesAisuch as interactive multimedia representations of traditional cultural practicesAimay enhance the accessibility and appeal of ethnomathematical content.
From a policy perspective, it is imperative that curriculum developers and educational stakeholders support the integration of local cultural knowledge into mathematics instruction through inclusive policies, resource allocation, and collaboration with cultural experts and community members.
Such efforts are essential for fostering an equitable and culturally sustaining mathematics education landscape in Indonesia and beyond.
Acknowledgment The authors would like to express their sincere gratitude to Universitas Ahmad Dahlan and to the Directorate of Research and Community Service (Direktorat Penelitian dan Pengabdian kepada Masyarakat.
DPPM) of the Ministry of Higher Education.
Science, and Technology (Kemdiktisainte.
for their invaluable support, facilitation, and provision of research funding.
Conflicts of Interest The authors declare no conflict of interest regarding the publication of this manuscript.
addition, the authors have completed the ethical issues, including plagiarism, misconduct, data fabrication and/or falsification, double publication and/or submission, and redundancies.
Funding Statement This research was funded by Directorate of Research and Community Service (Direktorat Penelitian dan Pengabdian kepada Masyarakat.
DPPM) of the Ministry of Higher Education.
Science, and Technology (Kemdiktisainte.
under contract numbers 126/C3/DT.
00/PL/2025.
12/LL5-INT/AL.
04/2025.
and 099/PTM/LPPM.
UAD/V/2025.
Bongi Monca dance as a promising context for fostering problem-solving skills in learning set .
Author Contributions Khairullah: Conceptualization, writingAeoriginal draft, methodology, formal analysis, editing, investigation, and visualization.
Rully Charitas Indra Prahmana: Supervision, validation, formal analysis, writingAereview & editing, and visualization.
and Nur Robiah Nofikusumawati Peni: Supervision, validation, writingAereview & editing.
References