Namibian Indigenous Communities Reflecting on Their Own Digital Representations.

Indigenous communities' narratives have all too often been created, documented, curated and digitalized by aliens. This digital othering has created widely disseminated images and perceptions of indigenous communities which are neither authentic, nor in line with what the communities consider a valid or worthwhile representation of themselves or their cultural heritage. This has led to misconstrued and stereotypical perspectives by outsiders about indigenous communities. Technological interventions with indigenous communities to promote their sovereignty, while sometimes challenging, have opened critical debates around communities' self-determination of digital representations of their own cultural identities and heritage. We have entered into a dialogue with two Namibian indigenous communities, who have been our design partners on technology projects aimed at safeguarding their own cultural heritage on their own terms. We are reporting from our long-term ovaHimba collaborator who has engaged in a reflection about the preservation of his traditions triggered by our joint digitalization efforts. Moreover, in response to the widespread stereotyping of members of San communities in contemporary Namibia, that directly influences their cultural identity; we have co-constructed a video conversation between Namibians and a rural San community. In this way, the remote community could consider outsiders' perceptions, reflect upon and actively re-construct their digital self-representation. We discuss community reflections, self-representation and digital empowerment in the context of digitalization efforts

A hermeneutic inquiry into user-created personas in different Namibian locales

Persona is a tool broadly used in technology design to support communicational interactions between designers and users. Different Persona types and methods have evolved mostly in the Global North, and been partially deployed in the Global South every so often in its original User-Centred Design methodology. We postulate persona conceptualizations are expected to differ across cultures. We demonstrate this with an exploratory-case study on user-created persona co-designed with four Namibian ethnic groups: ovaHerero, Ovambo, ovaHimba and Khoisan. We follow a hermeneutic inquiry approach to discern cultural nuances from diverse human conducts. Findings reveal diverse self-representations whereby for each ethnic group results emerge in unalike fashions, viewpoints, recounts and storylines. This paper ultimately argues User-Created Persona as a potentially valid approach for pursuing cross-cultural depictions of personas that communicate cultural features and user experiences paramount to designing acceptable and gratifying technologies in dissimilar locales

User-created persona: Namibian rural Otjiherero speakers

Persona is a communicative artefact for usability that currently functions under the umbrella of User-Centred Design (UCD). Since we argue usability methods differ across cultures, this project presents a cross-cultural research probe on persona generated by indigenous Otjiherero speakers in Namibia. The objective is to find out how participants in this milieu take on, understand and portray persona artefacts, what goals of User Experience (UX) emerge from the inquiry, and whether the artefacts created simulate or differ from those in literature. Tentative methods scaffold from benefits attained by persona in the attempt to advance persona technical communication in cross-cultural design. This experience report presents initial findings on narrative content, rhetorical preferences, and the physical layout of persona artefacts as so-far constructed by Otjiherero speakers in rural Namibia. The report draws to a close reflecting on present challenges and advances, and indicating upcoming pathways

Reconceptualising Personas Across Cultures: Archetypes, Stereotypes & Collective Personas in Pastoral Namibia

The paucity of projects where persona is the research foci and a lack of consensus on this artefact keep many reticent about its purpose and value. Besides crafting personas is expected to differ across cultures, which contrasts the advancements in Western theory with studies and progress in other sites. We postulate User-Created Personas reveal specific characteristics of situated contexts by allowing laypeople to design persona artefacts in their own terms. Hence analysing four persona sessions with an ethnic group in pastoral Namibia –ovaHerero– brought up a set of fundamental questions around the persona artefact regarding stereotypes, archetypes, and collective persona representations: (1) to what extent user depictions are stereotypical or archetypal? If stereotypes prime (2) to what degree are current personas a useful method to represent end-users in technology design? And, (3) how can we ultimately read accounts not conforming to mainstream individual persona descriptions but to collectives

A Critique of Personas as representations of "the other" in Cross-Cultural Technology Design

A literature review on cross-cultural personas reveals both, a trend in projects lacking accomplishment and personas reinforcing previous biases. We first suggest why failures or incompleteness may have ensued, while then we entice a thoughtful alteration of the design process by creating and validating personas together with those that they embody. Personas created in people's own terms support the design of technologies by truly satisfying users' needs and drives. Examining the experiences of those working "out there", and our practises, we conclude persona is a vital designerly artefact to empowering people in representing themselves. A persona-based study on User-Created Persona in Namibia contrasts the current persona status-quo via an ongoing co-design effort with urban and rural non-designers. However we argue persona as a design device must ease its implicit colonial tendency to and impulses in depicting "the other". Instead we endorse serenity, mindfulness and local enabling in design at large and in the African context in particular

Mapping the Unmappable?

How can we map differing perceptions of the living environment? Mapping the Unmappable? explores the potential of cartography to communicate the relations of Africa's indigenous peoples with other human and non-human actors within their environments. These relations transcend Western dichotomies such as culture-nature, human-animal, natural-supernatural. The volume brings two strands of research - cartography and »relational« anthropology - into a closer dialogue. It provides case studies in Africa as well as lessons to be learned from other continents (e.g. North America, Asia and Australia). The contributors create a deepened understanding of indigenous ontologies for a further decolonization of maps, and thus advance current debates in the social sciences

Mapping the Unmappable? Cartographic Explorations with Indigenous Peoples in Africa

How can we map differing perceptions of the living environment? 'Mapping the Unmappable?' explores the potential of cartography to communicate the relations of Africa's indigenous peoples with other human and non-human actors within their environments. These relations transcend Western dichotomies such as culture-nature, human-animal, natural-supernatural. The volume brings two strands of research - cartography and "relational" anthropology - into a closer dialogue. It provides case studies in Africa as well as lessons to be learned from other continents (e.g. North America, Asia and Australia). The contributors create a deepened understanding of indigenous ontologies for a further decolonization of maps, and thus advance current debates in the social sciences

Community-based co-design of a crowdsourcing task management application for safeguarding indigenous knowledge

Teaching indigenous knowledge (IK) to African youth has become more complicated due to a variety of reasons such as urban migration, loss of interest in it, the dominance of scientific knowledge and the technological revolution. Therefore, there is a considerable movement towards using technologies to safeguard IK before it becomes obsolete. It is noteworthy that research conducted and software development perspectives being used are mainly based on Western worldviews that are inappropriate for African socio-cultural contexts. IK holders are often not in charge of the digitisation process and merely treated as subjects. In this study, we explored a suitable development approach of a crowdsourcing task management application (TMA) as an auxiliary tool for safeguarding IK. Moreover, the study sought to provide an opportunity for the indigenous communities to make requests of three-dimensional (3D) models of their traditional objects independently. The delivered traditional 3D models are imported into the communities' IK visualisation tools used by the IK holders to teach the youth about their cultural heritage. The main objective of this study was to ascertain how the indigenous rural communities could appropriate a foreign technological concept such as crowdsourcing. This brought about our first research theme: investigating the necessary conditions to establish and maintain beneficial embedded community engagement. The second theme was to determine the suitable methods for technology co-design. Thirdly, to discover what does the communities' appropriated crowdsourcing concept entail. We applied a consolidated research method based on Community-based CoDesign (CBCD) extended with Afrocentric research insights and operationalised with Action Research cycle principles of planning, action and reflection. CBCD was conducted in three cycles with Otjiherero speaking indigenous rural communities from Namibia. Reflections from the first cycle revealed that the rural communities would require unique features in their crowdsourcing application. During the second cycle of co-designing with the ovaHimba community, we learnt that CBCD is matured through mutual trust, reciprocity and skills transfer and deconstructing mainstream technologies to spark co-design ideas. Lastly, in our third cycle of CBCD, we showcased that communities of similar cultures and knowledge construction had common ideas of co-designing the TMA. We also simulated that the construction of traditional 3D models requires indigenous communities to provide insight details of the traditional object to minimise unsatisfactory deliverables. The findings of this study are contributing in two areas (1) research approach and (2) appropriation of technology. We provide a synthesis of Oundu moral values and Afrocentricity as a foundation for conducting Afrocentric research to establish and maintain humanness before CBCD can take place. With those taken as inherent moral values, Afrocentricity should then solely be focused on knowledge construction within an African epistemology. For the appropriation of technology, we share codesign techniques on how the indigenous rural communities appropriated the mainstream crowdsourcing concept through local meaning-making. CBCD researchers should incorporate Afrocentricity for mutual learning, knowledge construction, and sharing for the benefit of all

Oudano as praxis: archives, audiotopias and movements

Several Namibian studies have looked at Oudano as an expansive Oshiwambo and Rukwangali concept that implies utterances of play, performance, and performativity in spheres of culture, sports, religion, and politics. This thesis offers experiments that explore the critical usefulness of Oudano. I embark on these experiments in a deliberately undisciplined way, crossing media, time periods, ethnicities, geographies, and emphasising embodiment and mobility. In the process I show how Oudano is a practice of critical orientation in various respects, by looking at cultural work that questions institutional constraints and exclusions. This study departs from the disjuncture between cultural work that is authorised by hegemonic national heritage discourse and unauthorised cultural work in action, offering other ways of knowing with different aims that slide into the cracks, between and outside of power. The disjuncture endorses structural disparities that are a direct result of a cultural hegemony, its aims and exertion of power. I was motivated by a deep anxiety caused by Namibia's post-apartheid dominant epistemologies that fundamentally exclude indigenous and subaltern methods of knowledge production. This thesis was aimed at finding a range of conceptual and methodological approaches for critical consciousness and radical imagination across place and time. I made a choice to focus on a set of ‘unrelated objects' which include my cultural practices and those of other cultural workers in Namibia. African queer and performance theories are interfaced with Oudano to demonstrate the relatedness of these objects. The objects gathered and analysed in this study were given status of archive to point to their role of memory making in social and cultural movements. Methodologically, I relied on Archival research and Practice-as-Research (P-aR) to interweave my (performance and curatorial) practice and historical research. The thesis is a collection of six papers divided in two movements which offer specific insights about the various objects of analysis. These objects include lino-cut prints, rock art, colonial photography and sonic archives, performance art, museum theatre, site-related performance, jazz, struggle music, HipHop, Kwaito, Shambo, documentary film, orature, oral history, protest action, as well as curatorial practice. Given its epistemic potential, Oudano is a generative approach of decolonising our understandings of performance cultures. Through close reading and listening to works of Oudano produced in Namibia, I demonstrate how people have historically practiced Oudano to construct audiotopic imaginations and build social movements. While this offers decolonial lessons for both performance and archivality, Oudano is an indigenous framework of preserving and queering knowledge. In that sense, a queer understanding of Oudano exceeds geo-political and ethnic borders, signifying how it has historically accompanied historic migrations of artists and material culture, as well as activists and non-normative ideas. By reading Oudano across time allowed this study to interrupt periodisation, showing Oudano's potential as a trans-temporal practice. Overall, this study contributes to the long- existing gap of performance studies as a field in Namibian studies. It pays attention to overlooked archives of cultural work, most of which have hardly received any scholarly attention. The thesis exceeds my disciplinary training of drama and theatre, demonstrating Oudano as an intellectual praxis that is leaky, slippery, and undisciplined