This research considers the possibility of a locally-centric design education curricula in Amman, Jordan by investigating the philosophies, theories, practices and models of curriculum and pedagogy most appropriate for design education. It describes perceptions of design and examines the possibilities for shifting these perceptions to move towards transforming design education. Jordan is a neopatriarchal society, and education re-enacts the dominant structures of the state within curriculum and pedagogy centred on the authority of the educator. This thesis argues for a decolonised design education based on a student-centred pedagogy drawn from the process and praxis curriculum models - a design education and design otherwise. Working with a range of designers, students and educators, it investigates the potential of these actors to contribute to the development of a pedagogy for design education in Jordan that is relevant to the milieu and locality. It poses the following questions: What philosophies, theories, practices, models of curriculum, and pedagogy are appropriate?; What potential shifts could this require and create?; How do we shift perceptions? This qualitative research uses interviews, focus groups, and design charrettes for data collection. Through participation and engagement with people that have most at stake in design education - designers, design educators and design students - I argue for an emancipatory design education that reflects on design beyond its traditional service-provider definition. Drawing on scholarship from design and education studies, and literature from fields such as history, decolonial studies, architecture and urbanism, political science, economics and philosophy, I argue for a curriculum model and student-centred pedagogy that considers design's role in society. Literature on Arab higher education is preoccupied with reforms to help the Arab region build a knowledge-society without considering the role of curriculum models and pedagogy nor addressing power structures. In addition, within design, little literature exists on the Arab region or Jordan, leaving its design culture(s) largely undocumented. My thesis investigates design education in higher education in Jordan by concentrating on models of pedagogy and curriculum and provides an overview of Jordan's contemporary design culture.
Schultz, Tristan, Abdulla, Danah, Ansari, Ahmed, Canli, Ece, Keshavarz, Mahmoud, Kiem, Matthew, Martins, Luiza Prado de O., Vieira de Oliveira, Pedro J. S., and Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för kulturantropologi och etnologi
Design and Culture. 10(1):1-6
Subjects
Humanities and the Arts, Arts, Design, Humaniora och konst, and Konst
'Decolonizing: The Curriculum, the Museum, and the Mind' tries to identify where we're at and where we might be going vis-à-vis the idea of decolonizing - better, the process of decolonization - in higher education, museums and galleries, and the ongoing legacies of colonization that shape structures and infrastructures, policies and protocols, mentalities and behaviours, and minds and bodies.
The article talks about a discussion with artists Rima Chahrour and Michel Ayoub who discuss the stereotyping of Arab artists and their project The Freaks.
ADULT education workshops, PARTNERSHIPS in education, 21ST century art, and CURATORS as artists
Abstract
An interview with Jack Persekian, curator and founder of the Jerusalem'based Al-Ma'mal Foundation for Contemporary Art, is presented. Persekian discusses the main programs of the institution, which are workshops, educational partnerships, and artist residence. He explains the preparations for the Riwaq Biennial.
ENTERTAINERS, HOSTILITY, PERFORMANCE art, and PREJUDICES
Abstract
An interview with Joseph Shahadi, interdisciplinary/performance artist, is presented. When asked the presence of hostility toward performance art, he replied that the prejudice is opposed to gaining too much knowledge. He said he experienced a lot of conflict in the way his approach and the approach of his colleagues differ which might be caused by his being older, an artist and an Arab. He also said that his lips and eyebrows were always made fun of especially when he was a kid.
An interview with Salma Tuqan, contemporary Middle Eastern curator at the Victoria & Albert Museum, is presented. When asked how she got into curating, she replied that she studied History of Art and practiced her degree. She said that her favorite show is the Pakistan Pavilion at Art Dubai as the art was interesting, thought provoking with subtle political tone. She also said that some exhibitions are controlled by diplomatic decisions, thereby not in the hands of the curator.
An interview with brothers Cherif and Ramy Makram, creators of the furniture brand &CAIRO, is presented. When asked why Cairo, Egypt is an inspiration, Cherif Makram explains that the first collection was about what Cairo meant to people from different backgrounds. Rami Makram shares that visiting Cairo is not just a physical journey but a strong emotional and spiritual experience as well. He also opines that Cairo has so many layers that could be unraveled.
An interview with Design Jordan product design head Therwah Abdelhaq is presented. When asked about the background of the firm, he discloses that the company aims to bring positive social change through the use of product innovation. Described as a client-based service provider, he explains that the services being offered by the firm varies depending on client needs. He also talks about the use of recyclable materials for environment-friendly design projects.
This research considers the possibility of a locally-centric design education curricula in Amman, Jordan by investigating the philosophies, theories, practices and models of curriculum and pedagogy most appropriate for design education. It describes perceptions of design and examines the possibilities for shifting these perceptions to move towards transforming design education. Jordan is a neopatriarchal society, and education re-enacts the dominant structures of the state within curriculum and pedagogy centred on the authority of the educator. This thesis argues for a decolonised design education based on a student-centred pedagogy drawn from the process and praxis curriculum models - a design education and design otherwise. Working with a range of designers, students and educators, it investigates the potential of these actors to contribute to the development of a pedagogy for design education in Jordan that is relevant to the milieu and locality. It poses the following questions: What philosophies, theories, practices, models of curriculum, and pedagogy are appropriate?; What potential shifts could this require and create?; How do we shift perceptions? This qualitative research uses interviews, focus groups, and design charrettes for data collection. Through participation and engagement with people that have most at stake in design education - designers, design educators and design students - I argue for an emancipatory design education that reflects on design beyond its traditional service-provider definition. Drawing on scholarship from design and education studies, and literature from fields such as history, decolonial studies, architecture and urbanism, political science, economics and philosophy, I argue for a curriculum model and student-centred pedagogy that considers design's role in society. Literature on Arab higher education is preoccupied with reforms to help the Arab region build a knowledge-society without considering the role of curriculum models and pedagogy nor addressing power structures. In addition, within design, little literature exists on the Arab region or Jordan, leaving its design culture(s) largely undocumented. My thesis investigates design education in higher education in Jordan by concentrating on models of pedagogy and curriculum and provides an overview of Jordan's contemporary design culture.
The article presents an interview with design professor Brian, photographer Mohamud and businessman Ahmed who discusse the Halal Hotdogs project in the U.S. which seeks to use food as a tool for community engagement by merging the all- American hot dog with the halal practice.
DOMESTIC architecture, HOUSE construction, COLOR, COMPLEXITY (Philosophy), and INTERIOR decorators
Abstract
An interview with Egyptian-Canadian designer Ibraheem Youssef is presented. Based in Cambridge, Massachusetts, Youssef speaks about how raw nature inspired the design of his residence. He discusses the conflict of complexity and simplicity in his design philosophy. He also explains how certain color casts a certain character to a living space.
An interview with Lebanese artist Sandra Ghosn, an illustrator and a graphic designer, is presented. When asked to name some inspiring Arab illustrators, she names Lama Zaide, Zena El Khalil and Jean-Marc Nahas. Ghosn relates the difficulties she has faced as an Arab illustrator and the influence of Lebanese society and culture in her work. She also reveals Paris, France, Prague, the Czech Republic and Beirut, Lebanon as her favorite cities.
