Because this research is situated in the context of emerging technologies and challenges their impact on African culture, part of the study has examined how such technologies could take on an active role in making textile design more instrumental to sustain cultural values. Entering the field of smart textile, the research draws inspiration from the work of designers such as Kristi Kuusk who has pioneered various ways of layering digital narrative into the fabric of cloth and textiles through mobile technology (Kuusk, 2016). Having witnessed the increasing use of first generation smart phones in rural villages of southern Mozambique myself, these smart textile designs which can be accessed through QR code readers and augmented reality apps should at least be considered when investigating the future of African print fabrics.
Another aspect of mobile technology is the emergence of digital social networks. Going back to Eicher’s definition of culture as ‘human-made material items and patterns of thought, feeling, and behaviour shared by members of a group who regularly interact with one another’ (Eicher, 2008:36), one may ask the question if such interaction has to be grounded in the context of a specific place. In a world that is increasingly connected through digital networks other kinds of virtual communities are beginning to emerge. In a global context communities are no longer necessarily bound by place but increasingly by their intentions. Etienne Wenger calls these communities of practice that are ‘connected through a sustained pursuit of a shared enterprise’ (Wenger, 1998:45).
Because of the evident popularity of social media networks amongst the younger generation in the local community where I undertook field research, I chose to include the investigation of social media services such as Facebook and Instagram to explore virtual communication hubs around African print fabrics. These experiments have been very challenging due to issues that emerge from limited access and unequal distribution of such services. In addition they often exclude the older generation who are still amongst the few who practice their living heritage traditions. Bearing these issues in mind but building on improved user accessibility in the future this research has explored social media as a potential platform to actively engage communities in discussion around new and meaningful cloth designs. Although ‘Social media cannot substitute the embodied performance of intangible cultural heritage practice, ..[it] can involve stakeholders from different communities and audiences in the revitalization of heritage by providing a space for communication, dialogue and negotiation.’ (Stuedahl and Mörtberg in Giaccardi, 2012:122).
Design output
In exploring design as a tool to facilitate the construction of cultural values through communication – investigated both with and without the use of technologies – this research has resulted in four different design prototypes…continue reading
The role of technology
Because this research is situated in the context of emerging technologies and challenges their impact on African culture, part of the study has examined how such technologies could take on an active role in making textile design more instrumental to sustain cultural values. Entering the field of smart textile, the research draws inspiration from the work of designers such as Kristi Kuusk who has pioneered various ways of layering digital narrative into the fabric of cloth and textiles through mobile technology (Kuusk, 2016). Having witnessed the increasing use of first generation smart phones in rural villages of southern Mozambique myself, these smart textile designs which can be accessed through QR code readers and augmented reality apps should at least be considered when investigating the future of African print fabrics.
Another aspect of mobile technology is the emergence of digital social networks. Going back to Eicher’s definition of culture as ‘human-made material items and patterns of thought, feeling, and behaviour shared by members of a group who regularly interact with one another’ (Eicher, 2008:36), one may ask the question if such interaction has to be grounded in the context of a specific place. In a world that is increasingly connected through digital networks other kinds of virtual communities are beginning to emerge. In a global context communities are no longer necessarily bound by place but increasingly by their intentions. Etienne Wenger calls these communities of practice that are ‘connected through a sustained pursuit of a shared enterprise’ (Wenger, 1998:45).
Because of the evident popularity of social media networks amongst the younger generation in the local community where I undertook field research, I chose to include the investigation of social media services such as Facebook and Instagram to explore virtual communication hubs around African print fabrics. These experiments have been very challenging due to issues that emerge from limited access and unequal distribution of such services. In addition they often exclude the older generation who are still amongst the few who practice their living heritage traditions. Bearing these issues in mind but building on improved user accessibility in the future this research has explored social media as a potential platform to actively engage communities in discussion around new and meaningful cloth designs. Although ‘Social media cannot substitute the embodied performance of intangible cultural heritage practice, ..[it] can involve stakeholders from different communities and audiences in the revitalization of heritage by providing a space for communication, dialogue and negotiation.’ (Stuedahl and Mörtberg in Giaccardi, 2012:122).
Design output
In exploring design as a tool to facilitate the construction of cultural values through communication – investigated both with and without the use of technologies – this research has resulted in four different design prototypes…continue reading