Graphic design as an instrument of identity assertion for indigenous peoples: the case of the Tapiskwan project

Abstract

This study examines the potential contribution of graphic design practice to the assertion of the cultural identity of indigenous peoples. A graphic design intervention may be about increasing the power of self-representation of ‘invisible’ or misrepresented groups, enabling them to convey a recognizable identity, particularly through the use of visual symbols. We argue that this is not a matter of Western designers co-creating logos with indigenous stakeholders. A graphic design approach should encourage a collective reflection about the essential features that mark the identity of an indigenous community – in order to align contemporary representations with their cultural heritage and aspirations. This paper presents a five-year collaboration between designers and members of the Atikamekw Nation (Quebec, Canada). In this project, named Tapiskwan, we developed a methodology of graphic design workshops to enable Atikamekw artisans and youth to discover the value of their traditional symbols as meaningful forms of representation in the contemporary world.

Keywords:

• Graphic design
• indigenous cultures
• identity assertion
• representation
• visual symbols
• Atikamekw Nation
• workshops

Notes

1. Poynor, “First Things First.”

2. Castells, Power of Identity, 37.

3. Gutman, “Introduction,” 3–4.

4. UNESCO (United Nations Educational, Scientific and Cultural Organization) is a specialized agency of the United Nations responsible for coordinating international cooperation in education, science, culture and communication (https://en.unesco.org).

5. UNESCO, Cultural Diversity, 141.

6. Frascara, “Graphic Design.”

7. Tyler, “Shaping Belief.”

8. Mafundikwa, Afrikan Alphabets.

9. Moss, "Cultural Representation,” 375.

10. UN, Indigenous People.

11. Kirmayer et al., “Mental Health,” 3.

12. Guindon, “Technology, Material Culture.”

13. Salazar, “Self-Determination”; Willow, “Cultural Revitalization.”

14. Vencatachellum, Designers Meet Artisans.

15. Christen, “Tracking Properness.”

16. Wang, “Rethinking Authenticity”; Yang, "Ethnic Tourism.”

17. Cole. "Beyond Authenticity,” 944.

18. Borges, Design + Artesanato; Hill, “Indigenous Culture”; UNESCO, Cultural Diversity.

19. Bousquet, “Tourisme, Patrimoine et Culture.”

20. Hill, “Indigenous Culture”; Yang, “Ethnic Tourism.”

21. Cunha, “Culture” and Culture.

22. Sahlins, “Anthropological Enlightenment.”

23. UNESCO, Cultural Diversity, 8.

24. Ibid., 5.

25. Appadurai, Modernity at Large, 13.

26. UNESCO, Cultural Diversity, 39.

27. Weaver, “Indigenous Identity,” 242.

28. Castells, Power of Identity, 8.

29. Moss, "Cultural Representation”; UNESCO, Cultural Diversity.

30. Castells, Power of Identity, 8.

31. Toomey, "Empowerment and Disempowerment.”

32. Weaver, “Indigenous Identity,” 244.

33. Idem.

34. Castells, Power of Identity, 8.

35. Ibid., 10.

36. Moss, "Cultural Representation,” 375.

37. Ibid., 390.

38. Taylor, “Politics of Recognition.”

39. Ibid., 25.

40. Freire, Pedagogia do Oprimido; UNESCO, Cultural Diversity.

41. Moss, "Cultural Representation,” 375.

42. Sahlins, “Two or Three Things,” 402.

43. Santo, “Inuit Media”; Simonard, « Je me présente ».

44. Simonard, « Je me présente ».

45. Mafundikwa, Afrikan Alphabets.

46. Carey, “From the Outside,” 56.

47. Mafundikwa, Afrikan Alphabets, 9.

48. Carey, “From the Outside,” 58.

49. Ibid., 57.

50. Freire, Pedagogia do Oprimido.

51. Awashish, “Economie sociale.”

52. Poirier, “The Atikamekw.”

53. Jérôme, "Jeunesse, musique et rituels.”

54. Poirier, “The Atikamekw,” 135.

55. Awashish, “Economie sociale.”

56. Jérôme, "Jeunesse, musique et rituels”; Poirier, “Change, Resistance.”

57. Awashish, “Economie sociale.”

58. Three articles present the evolution of our collaboration with Atikamekw artisans and cultural stewards and the development of Tapiskwan approach: Marchand & Leitao (2014) “Design as a Means of Empowerment in Native Communities”; Leitao, Marchand & Sportes, “Constructing a Collaborative Project”; and Leitao et al., “Tapiskwan Project.”

59. Appadurai, Modernity at Large.

60. Blankenship, "Outside the Center,” 26–27.

61. Borges, Design + Artesanato, 145.

62. Ibid., 143.

63. Awashish, “Economie sociale.”

64. Borges, Design + Artesanato, 144; Thomas, “Design, Poverty,” 54–56.

65. Borges, Design + Artesanato, 143.

66. Mafundikwa, Afrikan Alphabets.

67. The original interviews were in French.

68. Taylor, “Politics of Recognition,” 26.