Abstract
Improvisatory processes are considered synonymous with play, offering only second-best solutions to art and design problems. The role of improvisation in visual art processes is not widely discussed academically. This paper draws on a case study situated in Namibian art worlds to reflect on the role of improvisation in fluid and complex design and art processes. In Namibian contexts, improvisation is closely related to how artists and designers work instead of only being 'play', as improvisatory processes often respond to pressing demands and notions of having to do what needs to be done to sustain livelihoods. This paper documents and learns from the experiences and stories of Namibian art and design practitioners. The connective role of improvisation in design moments, allowing practitioners to negotiate multidirectional processes, often result in becoming unstuck in art and design processes. A holistic approach to improvisation, based on the understanding of lived experiences and actions within environments in which resources are utilised to solve design problems and build new experiences, is explored. Additionally, through improvisatory processes, learning is stimulated through new experiences that come about by utilizing the available resources within a given environment.
Highlights
The Sarantou and Miettinen improvisation framework emphasizes that improvisatory processes are driven by a motivation for discovery by utilizing the factors of time and thereness, judgement and evaluation, intuition, experience and skill, experimentation and risk, recognition and promisingness, process and knowing in action, change and multidirectionality [1]
The paper reflects on the stories and experiences of the purposively selected Namibian artist-designers who practice in this world, next to my own work, past and ongoing experiences of more than twenty-five years
This paper explores a holistic understanding of improvisation through art and design processes
Summary
The Sarantou and Miettinen improvisation framework emphasizes that improvisatory processes are driven by a motivation for discovery by utilizing the factors of time and thereness, judgement and evaluation, intuition, experience and skill, experimentation and risk, recognition and promisingness, process and knowing in action, change and multidirectionality [1]. This paper is based on my fifteen years of practical design experience in the Namibian art and design ‘world’ [5], and a decade of fashion design lecturing at the University of Namibia. My 2011 PhD field study focused on postcolonial identities in Namibian art and design. The paper reflects on the stories and experiences of the purposively selected Namibian artist-designers who practice in this world, next to my own work, past and ongoing experiences of more than twenty-five years. This paper draws on my ongoing experiences as a researcher in global and geographically marginalized art and design settings. Over a period of five years, from 2011 until 2016, experienced craftspeople, designers and artists were interviewed to gain deeper insights into improvisatory practices and its role in their ways of work. The participants were de-identified in the collation of the data and presentation of this research
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