REPORT

DESIGN

ABSTRACT

This research report focuses on design activism and its impact during an environmental/social change. With COVID-19, it created an time of urgency for designers to convey important information. Design Activism has grown over the years and can change matters dealing with environmental, social, politic and economic issues (A. Fuad-Luke: 2009). Around December 2019, the Coronavirus erupted, however was an unidentified virus. Ever since this outbreak it spread across boarders affecting the world economically and even emotionally. South Africa hit hard lockdown, level 5 March 2020 and people were demanded to stay out home. During the lockdown timeframe, many designers had an important task and that was to create a positive impact. This was forming into design activism: speaking up for the rightful truth, changing society’s beliefs and values in order to achieve the best possible outcome economically. This paper covers how design activism has risen, yet again in 2020.

There are 222 publications for design activism dated around the 1970’s to 2015 (Cetin, 2016). Many researchers, such as Sara Qarizada, wrote books on Design Activism in 2020. The shift designers endured recently was during COVID-19 and during this time, design activism was resurrected. South Africa has many socioeconomic groups therefore creates many challenges to design across these barriers. To understand this paper and its research further, interviews are to be conducted with design companies that work with change within South Africa as well as what designers know of design activism and how South Africa challenges them.

Within this report, data was collected between two sample groups through Zoom interviews due to the circumstances of COVID-19. Gaps were identified within South Africa through governmental issues and lack of resources throughout the analysis phase. Designers expressed their challenges designing through social barriers which resulted in South Africa facing a lack of exposure around COVID.

“To anyone who is trying to play their part in making this world a better one, No act is too small..”
- Qarizada, 2020

1. INTRODUCTION

Design activism, as a concept, has been on the rise as designers are starting to get involved and are speaking up about serious matters ( Fuad-Luke: 2009 ). During COVID-19, designers have used their voices to convey a message to society on how they can prevent this outrageous global pandemic. Designers had to find ways to communicate serious scientific, medical information and social issues to the public using visual media. This has entailed careful consideration of the design of the information while bearing the educational aspect in mind. Designers have a major role to play as activists; designers of South Africa need to understand.

Moving from designing posters and billboards to online platforms to spread awareness globally, designers have had to create a quick but efficient manner to help the public to understand complex information about the sudden spread of the COVID-19 virus (Jacob, 2020; Hitti, 2021). In fact, designers found new ways to collaborate with one another to find effective designs to create and motivate people to stay at home and to help them understand the importance of knowledge of COVID-19, they therefore had to become an active voice within society (Vizard, 2020).

It was found that there has been an important role for designers during these desperate and urgent times as organisations needed help and support, as Raylene Yung states, “There’s a huge opportunity here for designers to contribute at all levels of government response” (Vizard, 2020). The solution has been to exchange information in the most simple way for the majority to understand, taking into consideration factors such as, varying levels of education, while trying to make a serious threat into something that can be preventable. It was found that visual data/visual imagery was more effective than just text therefore infographics, illustrations and comics came into play, as they were the fastest way to help people understand (Jacob, 2020; Kearns, 2020).

11. PROBLEM STATEMENT

With COVID-19 rising in the early stages of 2020, the world is suffering immensely in all aspects. Vizard states that complex information of the pandemic had to be dispersed to the public. Design activists are to play a huge role in creating awareness, changing values and beliefs. With design activism, it can cause a positive impact in the way the public can perceive serious matters. In a country such as South Africa where many suffered from social injustice. This begins to become challenging. Design activists of South Africa need to understand how to challenge an environmental change while understanding social barriers and economic differences.

1.2 RESEARCH AIMS, OBJECTIVES & QUESTIONS

This research aims to uncover the inequalities within South Africa and what design activists can do to challenge barriers. The objectives are to find sampling groups than can help uncover the aims lead with interviews.

MAIN QUESTION

How has the role of a designer as an activist changed in responding on multiple levels whilst communicating important information during a social/environmental change?

SUB QUESTION

1.2.1. What is the significance of design activism for designers?

1.2.2. What are the challenges for design activists in designing inclusively in SA as an unequal society?

1.2.3. How can designers design across social and economic barriers during a pandemic?

2. LITERATURE REVIEW

This literature review covers the importance for designers to identify and understand social change while identifying gaps and limitations on how graphic design can convey a correct and powerful message. Not only is this research based on design activism as a whole but parts from South Africa regarding its cultural mix. South Africa has been severely affected by apartheid resulting into many different values, beliefs and socio-economic areas. A designer is expected to understand the power they have in being able to move people while creating an impact on people’s beliefs, views and attitudes (Rezai & Khazaei, 2017). Society changes constantly and so designers are expected to evolve with it, “To anyone who is trying to play their part in making this world a better one, No act is too small..” (Qarizada, 2020). In the case of COVID-19, design activism has taken place as designers used their tools for online platforms to convey an important message (Bichler & Beier, 2016). Short sentences

2.1 What is the significance of design activism?

“Design activism is generally defined as representing design’s central role in (1) promoting social change, (2) raising awareness about values and beliefs (e.g., in relation to climate change, sustainability, etc.), or (3) questioning the constraints that mass production and consumerism place on people’s everyday life” (Bichler & Beier, 2016: 11.2). Whereas Qarizada (2020:35) states that, “Design activism is all about designers using their design skills for activism. A common concept among design researchers who discuss the topic of design activism is the combination of disruption and aesthetics to create an impact”. Qarizada’s (2020) definition is less direct and more vague as it does not identify what the characteristics of design activism are when compared to Bichler and Beier’s (2016) definition.

“If design would be a person, would it be a 'mature adult taking responsibility for its actions' or a ' whining adolescent, insecure and struggling to come to terms with the outside world' and argued for the latter being the case” (Rezai & Khazaei, 2017: S3518). Rezai & Khazaei’s (2017) argue that design activism is currently increasing in the design community and deals with case studies in poorer countries. The research struggles to reflect the topic question but answers what designers have done for social change and who the influential figures are for the design activism movement.

From what was gathered, Beier and Bichler (2016) unravel why and what design activism is in an easier literature whereas Qarizada(2020) phrased it in an intermediate understanding. Therefore, all authors literature is relevant to this topic however depending on the level of understanding Qarizada’ (2020) in a broader perspective. However, Qarizada (2020) did not consider readers who are not educated about the topic and builds her literature assuming a previous understanding.

“The awareness-to-action gap is not only a problem in the graphic design for social change space, but it is continuous problem for any cause trying to motivate individuals to take action within society” (Qarizada, 2020: 43). Qarizada (2020) argues that there is a grey area between understanding what the current problem is and that designers aren’t sure how to convey it in a manner to not persuade but encourage people to make a change. In addition, it is important for designers to understand the definition of ‘design activism’ otherwise they will not portray the public’s needs or desires for social change “If designers are ignorant on the topic they are designing for, this will be reflected in the outcome,” (Qarizada, 2020: 4). Bichler and Beier (2016) argues that, “Design activists challenge this role of design as a marketing tool, because it favours the economic gain of a few over the interests of others (e.g., communitarian, civic, social, environmental) and thus acts socially divisive and environmentally destructive.” (Bichler & Beier, 2016:11.2). Meaning if a designer only considers their social factors, they could possibly jeopardise other social factors whereas it is key for a designer to have a holistic view.

2.2 What are the challenges for design activists in designing inclusively in SA as an unequal society?

“At the same time, things are always subject to change in one direction or another with or without designers' presence.” (Rezai & Khazaei, 2017: S3519). Social problems are constantly developing and evolving with or without the presence of designers. In essence, everyone should be aware of social change, and everyone should understand it from designers to the public as well. This way, a designer can work with people of different values and beliefs. Qarizada (2020) agrees by stating that, “Society is not static – it is constantly changing, which is seen through the difference in worlds between our parents and ours.” (Qarizada, 2020: 32)

Qarizada (2020) states, “Understanding social change can provide the insight needed to be able to make connections between the characteristics of both social
change and graphic design,” (Qarizada, 2020: 32) highlighted the importance of social change interlinking with graphic design. In addition to her statement, “It can also help in identifying limitations and gaps in social change efforts,” she emphasises that the fundamentality of social change can help designers make a successful change.

“The awareness-to-action gap is not only a problem in the graphic design for social change space, but it is continuous problem for any cause trying to motivate individuals to take action within society” (Qarizada, 2020: 43). Qarizada (2020) argues that there is a grey area between understanding what the current problem is and that designers aren’t sure how to convey it in a manner to not persuade but encourage people to make a change. In addition, it is important for designers to understand the definition of ‘design activism’ otherwise they will not portray the public’s needs or desires for social change “If designers are ignorant on the topic they are designing for, this will be reflected in the outcome,” (Qarizada, 2020: 4). Bichler and Beier (2016) argues that “Design activists challenge this role of design as a marketing tool, because it favours the economic gain of a few over the interests of others (e.g., communitarian, civic, social, environmental) and thus acts socially divisive and environmentally destructive.” (Bichler & Beier, 2016:11.2). Meaning if a designer only considers their social factors, they could possibly jeopardise other social factors whereas it is key for a designer to have a holistic view.

“Jorge Frascara finds that by organizing visual communication in society and by being concerned with the efficiency of communication, graphic design has a social impact—and therefore a social responsibility” (Bichler & Beier, 2016: 11.3). Bichler and Beier (2016) stated that graphic designers are socially responsible for acting on social change and it is expected of them to raise awareness. “Designers have the power to be of service to the readers through informative design instead of simply pushing their own agenda on them through persuasive design” (Qarizada, 2020: 38). Gathering from what Qarizada (2020) and Bichler & Beier (2016) stated, designers should be aware of their social responsibility and that they have the ability to convey visual social messages to the public. “As the role of design has been expanding over time, responsibility and area of influence of designers in confronting society has also been changing” (Rezai & Khazaei, 2017: S3516). Rezai and Khazaei (2017) argued that designers should be aware of social impact as we face bigger problems every day and we need designers to create a positive impact on wicked problems. Designers are expected to be flexible and to embrace change. To elaborate, designers need to understand that it is their job to convey messages to the public during a desperate time.

“Social design seeks solutions and improvements to enhance people’s lives and create a sustainable society by applying design principles to social issues.” (F. Hoffer, P. Laliberté, T. Gross, 2013: 27) Hoffer, Laliberté and Gross is of the opinion that social design can challenge a problem within an unequal society, “The challenge of de-normalising inequality through innovative communication techniques and widespread engagement is an appropriate one for a social design approach” (F. Hoffer, P. Laliberté, T. Gross, 2013: 27).

“Addressing the research gap through in-depth research could lead to creating a
deeper connection with the audience, which could ultimately place designers in a better position to empower their audience to act.” (Qarizada, 2020: 5) within this statement, Qarizada (2020) unravels how to meet society’s social needs intricately. The figure below visualises the process of reducing the awareness-to-action gap resulting in empowerment of social change of the public. This would be a form of a challenge to designers to help understand and overcome designing in an unequal society.

Figure 1: Graphic Design as an Outlet for Social Change (Qarizada, 2020: 5 ).

By doing so, a designer can understand the social change and therefore backlash and jeopardy from other social groups can be avoided. “This is where it is important for graphic designers to understand that we need to design with humility,” (Qarizada, 2020: 4).

2.3. How can designers design across social and economic barriers during a pandemic?

“By communicating and organizing information in a visual way, it tends to the need of obtaining the right information at the right place and time in a way that is optimally intelligible.” (Bichler & Beier, 2016: 11.5). Bichler and Beier (2016: 11.3) showed ways of campaigning to break away from social barriers, “The campaign was directed at the public in order to pressure decision makers,” . Bichler and Beier (2016) and Qarizada (2020) both agree that designers can assist the public to make the decision of unlearning what they know. However, Qarizada (2020) also spoke about a design method through research to help with social barriers of education. Bichler and Beier (2016: 11.6) argued that visual imagery is much easier for most to perceive the ‘bigger picture’, “In this project the designer’s role is to organize and visualize information about a complex process supported by using aesthetics that appeal to the receiver”.

A research paper written by Stokke states, “South African state faces severe challenges in including and transforming a racially and socially fractured and polarised society.” Where he argues that South Africa is being challenged with speaking to majority. “South Africa is a historically colonised, multiracial, multicultural country with significant socio-economic inequalities” Kopano (2015: 54) states that South Africa is mixed with many different groups, “Presidency in South Africa sees social cohesion as: a useful prism through which we can gain insight into how South Africa functions” Kopano (2015: 47) suggests social cohesion will help majority of different groups to feel like an understanding and empathetic community. Stokke and Oldfield (2004: 6) states, “Mandela Park Anti-Eviction Campaign (MPAEC) has been the weekly community meeting with large numbers of residents attending” referring to a local campaign movement, “The community meetings discuss the problems facing the community and make decisions about strategies and activities” This campaign creates major awareness and understanding on post-apartheid strains. In this way, encouraging campaigns within communities that were affected can create social cohesion in reference to Stokke and Oldfield (2015: 11). In addition, there has been campaigns focused within our communities to overcome grey areas due to apartheid. Fuad-Luke (2009) states, “Activists tend to gather around social movements, interest groups around specific causes, a set of beliefs or perceptions that something is unjust, dangerous or of concern to future generations.” (Fuad-Luke, 2009: 20) Considering that activists, holistically, can ‘walk in other shoes’ by getting involved with communities to understand the problem and circumstances.

As seen in the Bichler and Beier (2016) report, they show examples of visual impacts eg. Comics and campaigns which impact on social topics.

“South African state faces severe challenges in including and transforming a racially and socially fractured and polarised society.”
- Stokke & Oldfield

Graphic Design for the Real World? Visual Communication’s Potential in Design Activism and Design for Social Change. Artifact, 3(4), p.11.6 (Bichler & Beier, 2016)

“Even design schools tend to frame their work as educating employees for the ‘creative industries' rather than as educating change agents” (Rezai & Khazaei, 2017: S3517). Rezai and Khazaei (2017) stated that design schools/universities can help future designers break barriers by addressing issues of social change and inevitably designers could easily adapt to a social change and perhaps understand social barriers of education levels of the public to address serious matters such as the COVID-19 pandemic. “Towards the problematic of the social and toward the public realm in design implies the need to reconsider what design is about – its objects and, perhaps more fundamentally, its subjects,” (Rezai & Khazaei, 2017: S3532). Rezai & Khazaei (2017) argued that design industries need to educate designers to understand that design is more than what meets the eye, eventually there will be a change and designers will have to reconsider what they are producing. Fuad-Luke includes a diagram followed by, “Of great importance is how the activists frame their beliefs/perceptions as this contributes to defining their purpose or goal-orientation and hence their intention achieved through specific actions to reach the goal” (Fuad-Luke, 2009: 20).

Figure 10: Fuad-Luke, A., n.d. Design Activism. London: Earthscan.

Luke (2009) and Qarizada (2020) reference diagrams of a similar thought process of thought process that motivates activists. In addition, Fuad-Luke (2009) states, “Personal motivation may embrace needs, desires, goals, a certain philosophical approach, or other intrinsic factors” (Fuad-Luke, 2009: 18).

Design activism has risen in 2020 taking on COVID-19. Designers have to take into account social change and have to display design activism by using case studies, various methodologies and visual imagery. Designers are under obligation to not just understand how to design but to make sure that they understand the working of society and their target audience and to influence positive change.

Looking into literature will help maintain a structured research process. Following methods that is most fitting for the type of subject. In this next section, methods, methodologies, and sample groups will be introduced.

4. RESEARCH FINDINGS

THEMATIC ANALYSIS

Analysing the data collected involved a process of revising what was recorded in writing and audio. All participants from each group were given codes to make the research simple and easy to understand. Within the data, a lot of similarities were record however, there were also many differences. The participants had a lot of personal struggles and own opinions to add in. The data was then simplified by finding key themes and sections of the participants answers were taken down in order to identify relationships between the participants’ answers.

Throughout the process keywords were found throughout the data, mostly focusing on ‘design activism’, ‘issues’, ‘challenges’ and ‘design during COVID. A few participants gave efficient data to certain questions however, only one of the participants managed to answer the question correctly from the designer’s point of view. The social justice NGO managed to give incite in general problems within South Africa therefore gathering their data and comparing it to designers could make a successful solution towards the research question. Designers that aren’t working as an activist but practicing had similar data compared to a working activist – reflecting on what the social justice NGO gave incite on within South Africa, the working activist (designer from design company) knew how to tackle issues within South Africa and breaking barriers.

Once more, the themes were revised and simplified to be put into an infographics poster and data collected from type of the participants were also simplified. The similarities were made which made it easier to put into visual elements. A graph and pie chart were created for the theme “Projects focused on COVID” and another visual element for “Challenges”.

The analysis phase of the data collected is to uncover themes, differences and similarities between all participants. 4 groups of participants were interviewed via zoom, Whatsapp call and questionnaires used from google forms. Data was collected for designers who were involved with activism within their own interests, a design company who specialises in design activism and a social justice organisation within South Africa.

The figure below was a diagram created to show the segmentation of the participants as well as the coding proccess.

3. RESEARCH DESIGN, METHODOLOGY & METHODS

3.1. METHODOLOGY

Face-to-Face Interviews – Qualitative Semi-structured Interviews
Alternative: Qualitative questionnaires

As a result of the COVID-19 pandemic and it’s limitations, moving forward with online surveys would be easier in comparison to face-to-face however a face-to-face interview would be ideal considering the research challenge. Face-to-face interviews can allow opportunities as if the participant doesn’t understand the question properly, it can be explained in present which allows clarity of a question and could hinder confusion of the challenge. Using face-to-face interviews will result in sharpened and precise data and with consideration of time-consumption the groups of participants would be much smaller (Olusegun, 2002). Face-to-face interviews can help researchers understand different perspectives and literacy in relation to the research problem (Brouneus, 2014). It can help with deeper understanding as the questions could later result in open-ended as it can be broadened from the main question. Face-to-face interviews can allow a researcher to witness body-language compared to online surveys or forms where there is no indication of interest or confusion of the participant (Mathers, N., J Fox, N. and Hunn, A., 2000).

In addition, semi-structured interviews that allows open-ended questions will be conducted but to attempt the interview to be less time-consuming, the questions asked will be shortened and simplified.

Over the years interviews has changed over centuries, it became a more complexed practice as it can be considered as surveys, case study or a life story. It is difficult to get a clear description of where and when it originated as interviews could also be considered conversing with someone else although research of Howard, W Odum and Katharine Jocher did a Social Research in 1929 could assume it has been since the early 1900’s and possibly earlier (Platt, 1999). However with specifically face-to- face interviews, it seemed to be the most important and popular before the 1970’s (Jennings, 2005). Interviews are used often for social science research purposes and most of the time security and comfortability is the best setting such as a meeting-room, coffee shop, school or even online such as skype or zoom (Hunter Dunning, 2019).

“Interviewing is an important method of data collection in research in health and medicine, and plays a role in many research studies, especially where data on experiences or beliefs is needed” ( Mathers, N., J Fox, N. and Hunn, A., 2000) states Mathers J Fox, N and Amanda Hunn while Brouneus says, “In-depth interviewing is a unique method for studying the micro-processes of armed conflict and peace; it provides depth, detail and individual perspectives to complex events” (Brounéus, 2011). All authors argue that interviews can uncover a complexed topic and considering the research problem, interviews can unravel a lot of important information of what designers have done when conveying important information while considering the various literacy skills/levels of the public. “Interviewing covers structured, semi-structured and unstructured or qualitative approaches” (Mathers, N., J Fox, N. and Hunn, A., 2000) Mathers, J Fox and Hunn states that it is a qualitative methodology and unravel information in either open-ended or closed ended questions depending on what type of interviews suit the subject.

However, qualitative questionnaires would be a good alternative considering a company which is always busy and can’t make the interview. In 1835, questionnaires were invented for statistical knowledge within Europe. Questionnaires were invented for the sole purpose of psychology to understand children and their minds.

3.2. METHOD

As stated above, this research will make use of a semi structured interview. Questions for participants will be developed prior to the interview and in a language that is easy to understand for the participants.

During the semi structured interview, each participant group will have a different set of questions and will be interviewed individually. 4 people will be interviewed from the public participant group and 2 from the young designers. The way the participants will be recruited will be through personal connections or finding people in CPUT university however, these participants must fill the requirements as mentioned prior. The semi structured interview will consist of only open ended questions, resulting in qualitative data being collected. This data collected will need to be coded in order to identify patterns and similarities in the answers of the participants. The thematic theory of analysis will be used to code and analyse the qualitative data.

Thematic theory of analysis is advantageous as it allows the researcher to consider the frequency of codes as well as the meaning or context of the responses which reduces the complexity of qualitative analysis (Marks & Yardley,2004: 6). Thematic analysis has no standardised categories which enables the researcher to create code that is tailored to answering the research question.( Marks & Yardley, 2004) However in saying this, due to the non-existing codes prior to the data being collected, the coding process can become very time consuming (Marks & Yardley,2004: 9).

There are a number of weaknesses of a semi structured interview. Namely, the intended or unintended influence the interviewer caused by the physical presence being felt by the participant. Another disadvantage could be that participants may feel forced to respond to questions based on sensitive information that they may not wish to reveal. With these factors being considered, the unwanted influence of the interviewer is maximised and may lead to collection of inaccurate data (McIntosh & Morse 2015:7).

Just as stated before, for an alternative plan, questionnaires will be placed within this research in case of any interviews requests that cannot be met due to the interviewees schedule. Questionnaires will be done in ‘Google Forms’.

3.3. SAMPLE & RECRUITMENT

Sample Group 1:

Design Change Companies/Organisations

Non-probability, Quota

Within South Africa there are many companies and designers that try to create positive impacts. Finding an industry that has experience within the field of activism will be crucial for accurate information. The location of the industry can be located anywhere around South Africa. These design industries should have change or activism as their best interest that works with social change but through design. The industry should seek change and helping people to make society closer to equality. History of these traits are required to unravel the main question, which is, What role has design activism played during the global Covid-19 pandemic?

Designers

Non-probability, Convenience sampling

Focusing on young designers. Targeting the young and alerted ages of 20-28, male and female, to understand from a bigger gap to discover whether design activism plays a toll on their mindsets during a social change. Targeting university students or working seems to be more accurate for this challenge as they seem more inclined as to understanding art or messages portrayed from designers. This group will be recruited from Cape Town. Ideally to have the most accurate results, finding younger people of 20-28 that has social platforms and is in touch with the digital realm.

With this group of 6 participants, just like the designers, the digital realm can be used as recruitment as mentioned prior. This way the characteristics of the participants will be fulfilled as they need to use social media religiously. Young people especially, use social media every day.

With this participant group, 2 industries will be interviewed with at least 1 person for a face-to-face interview. No group interviews will take place. However, this participant group will be asked slightly different questions. The two companies will differentiate by:

Design and change
Designers

Sample Group 2 :

Social Justice Companies

Non-probability, Quota

Companies that focus on social justice will help cover the social changes within South Africa. These companies can have traits of working with communities and prioritising change in an unequal society. Most social justice companies within South Africa have worked with communities during COVID-19. These companies can help this reports research in terms of the shift within South Africa.

3.4. RESEARCH ACTIVITIES

The research activity will be focused on interviews with both sample groups around South Africa. Due to COVID-19, zoom calls will be an alternative option. Interviews can provide and accurate information to the subject.

3.5. ETHICS

The face-to-face interviews will be held in a public space therefore a consent form wouldn’t be required however one will be conducted either way (USC Libraries, n.d.). The consent form will need to contain the individuals name and signature in order to proceed the interview but if a participant declines the opportunity it should be respectfully understood. If a researcher does not consider ethical protocols it may result in consequences hence why it should be aiming to be harmless (Brouneus, 2014). The ethical standards of the interviews will be untainted and will remain confidential unless the participant grants permission that their name can be utilised in the data (Jones and Bartlett Publishers, n.d.: 1 ). If the interview ever reaches the point to where the participant feels sensitive to a topic it will be removed from records of the interview (USC Libraries, n.d.: 1). The questions for the interview will need to be written up without possible discomfort of other and the interviewee can withdraw from the interview anytime (USC Libraries, n.d.: 1). When considering security, it occur in a peaceful and safe location where both the interviewee and interviewer feels at ease with their surroundings. Before choosing the location, the participant will be asked if they’re comfortable with the location being private or public (College Research Ethics Committee, 2002).

Time-consumption of the interviewee will be consider and limited as it could tire them. With regards of the current COVID-19 pandemic, each individual that will be interviewed will be allowed to follow COVID-19 protocols, the safety precautions will be in place as nobody will be harmed during the course of the interview.

Introductory letter for the collection of research data:

My name is Ms Imra Toefy, I am registered for the Advanced Diploma at the Cape Peninsula University of Technology (Student number: 1998877453).

My research project is titled:

Design Activism during the global COVID-19 pandemic within South Africa.

The research seeks to uncover how South African design activists can work across social barriers, the challenges of working with and across social barriers. The interview will be qualitative, and semi-structured. The interviewee can choose a Zoom online or a face-to-face meeting, especially taking COVID-19 protocols into account.

A sample of questions:

• Do you take the awareness to action gap into consideration when designing?
• What challenges do designers face when designing in an unequal society such as South Africa?

Supervisor: Lara Nieuwenhuis, Bruce Snaddon
Cape Peninsula University of Technology, South Africa
E-mail: SnaddonB@cput.ac.za

In order to meet the requirements of ethical research practice it is critical to state the expected benefits and risks associated with taking part in this study:

Benefits: Research can help future designers of South Africa on the approaches of design activism.
Risks: No physical, emotional and psychological risks have been identified.

All participant will be asked to sign an informed consent form prior to engaging with/ taking part in a research activity. Please feel free to ask as many questions about the study as you like. Participation is voluntary and you can stop taking part at any time.
For further clarification on this matter please contact either the supervisor identified above, or the researcher personally.

Yours sincerely
Imra Toefy

Email: toefyimra@gmail.com
Contact Number: +27614258187

3.6. INTERVIEW SURVEY QUESTIONS

Sample Group 1: Design Studio’s

1. What year was your studio founded ?

2. What was the motivation to create a studio that engages with social change within South Africa?

3. What kind of projects and services does your company concentrate on? Do you actively go out and identify issues to work on?

4. What projects have you worked on that deal with COVID-19 ?
If you didn’t do COVID-19 work, what projects were done during
this pandemic?

5. What challenges do designers face when designing in an unequal society such as South Africa?

6. How do you manage to work across social barriers in COVID-19 times?

7. How can we ensure that a target audience understands important health related information during a pandemic?

8. How does your studio identify which issues are urgent to deal with?

9. How difficult is it to do collaborative work with communities in pandemic times?

Do you have any further comments?

Sample Group 1: Visual Communication Designers:

1. How would you define “Design Activism”?

2. Would you say that designers use societal needs as a motivation behind their designs?

3. Do you think societal needs or a designers belief is a motivation throughout activism?

4. During the COVID-19 pandemic, did you witness designers shedding light on the pandemic?

Do you think that the designers in South Africa successfully provided important information to the public?

5. How do you think designers can work across social barriers during challenging times such as COVID-19?

6. It’s found that a lot of designers have lost touch with designing with purpose, do you think that younger designers are connecting with activism?

7. What do you think the challenges are for designers conveying important and urgent messages to the public of South Africa?

8. What more can be done to assist activism?

Sample group 2:
Social justice NGO’s :

1. When was “Social Justice Coalition” founded?

2. Did you commission the services of designers within your projects?
Do you think designers could lend importance?

3. What was the motivation to create an NGO that engages with social change within South Africa?
4. What campaigns have you focused on during COVID?

5. What projects or campaigns have you focussed on during the COVID-19 pandemic?

6. What challenges did South Africa face during the COVID-19 pandemic regarding our unequal . society?

7. How can we ensure that different socio-ecnomic groups can understand important medical information sent out to the public during a time of urgency?

8. How difficult was it to collaborate with communities during COVID-19
How did you manage?

Do you have any further comments?

4.1. THEMES

4.1.1. DEFINING DESIGN ACTIVISM

Design activism was a theme that was constantly spoken of throughout the process of the interviewing phase. Since design activism is the center of this research, this question was mandatory to test the participants knowledge of the topic.

Majority of all participants provided a clear understanding of their understanding of the topic. With design activism being the main concept of the research topic it was the most common theme within this phase and a lot of similarities of the answers from the participant was found. DEG1 states, “solving issues” which is true however it was a vague explanation and did not fulfil the potential of the question. DEG1 pointed out a strong term “solving issues”, design activism is can not assist in solving an issue but to fight social (as well as environmental) challenges by influencing others to perceive or do things differently (Rogers, 2019). DEG2 states, “speaking up for something” and DEG3 states, “change values and beliefs and to assist in problem solving”. DEG3 had a clear and accurate understanding of the definition. Just as Rogers perceived design activism to be, it does not directly change the issue/problem that is addressed but can help change people’s behaviour towards the issue/problem.

Throughout the analysis “design activism” as a concept, can be complexed to define as it can have different meanings to many participants, Cetin states that, “Design activism serves as an umbrella term that incorporates many design approaches which share the aims defined” (Cetin, 2016: Abstract page). Design activism has been changing through many design disciplines over the years considering that there are many areas of design and in addition it is still carrying the definition of activism with all of it. This can cause tension between the two definitions of “design” and “activism” and once it is combined it can cause ambiguity to many different people (Fuad-Luke, 2009: 1).

In conclusion, the participants did not thoroughly understand the true intention of design activism, it was very loose definitions for people who are practising something so challenging or perhaps the definition is too difficult to understand. In future, for South Africa in specific, there should be courses to follow up on design activism. In fact, it should be an on-going practice as design activism evolves over-time regarding social matters. In today’s day and age, we can not force people to do something, however we can try to suggest that it is better a different way.

4.1.2. LIMITATIONS ON DESIGNERS DURING COVID-19

It was found there are many problems within South Africa due to the destruction of apartheid that lead to inequalities. There are many problems that are unsolved, there is a huge language and educational barrier. This creates a huge complexed issues for designers who need to design across social barriers. In order to understand this, we need to uncover what we are able to. This was a common theme throughout the data collected and many of the participants spoke about this issue. Lack of resources within South Africa could play a huge toll on not only designers but the people of society.

Through this area, similarities were found between 3 participants. DCC1, DEG1 and SJN1 mentioned that they lacked resources during COVID. DCC1, who is a specialised design activist, mentioned that their company lacked funding and equipment. Their company had to focus on other projects that could assist in saving their business during the pandemic as the government was unable to fund them with money on projects focused around COVID awareness. However, the National Health Department of South Africa had media campaigns in their best interest and proceeded to fund selected design companies but faced fraud in. “Two contracts amounting to approximately R 176 million (i.e. R 141 million in respect of the NHI media campaign and the approximately R 35 million quotation that was accepted in respect of the Covid-19 media campaign)” (SIU, 2021) SIU, ‘Special Investigated Unit’, a governmental organisation that fights against corruption within South Africa, investigated the former minister of health in June 2021. Dr. Zweli Mkhize influenced the director general to appoint ‘Digital Vibes’ for the media campaigns in 2019. In 202, he pushed to appoint Digital Vibes to work on the COVID-19 campaigns. Therefore, there was a gap in funding these design companies entangled with corruption and fictitious companies. SJN1 showed a relationship of similarity to DCC1, and stated that their company’s zoom meetings can be impossible on some days due to shortage of data and equipment. DEG1 stated, “internet access” where they unravelled a problem of designers during COVID-19. They elaborated by explaining their line of work and how difficult it can be because of their internet being slow, when they try to surf the web for information on COVID, it becomes tedious waiting for pages to load.

This data was specifically for designers within South Africa, many found it difficult to design through social barriers because they lacked the resources needed to design through COVID. Indirectly, this could’ve cause South Africa’s population to suffer from exposure during this time as designers struggled to produce projects around COVID whether its within communities or the internet. The poorer communities are in need for exposure and with a result of the apartheid, South Africa is still seen as a segregated country (Stokke; Oldfield, 2015).

Throughout this analysis, it was uncovered that designers themselves felt that they did not have the resources to design through social barriers. Design companies for change had to prioritise their businesses as it could’ve lead them to be at risk if they did not make money therefore they could not do extra work because they did not receive funds from the government/NGO’s. Designers themselves need to be utilised during this time and there was a huge opportunity lost within South Africa from their lack of resources.

4.1.3. CHALLENGES DESIGNING THROUGH SOCIAL BARRIERS

The challenges was a theme that most participants had something to say about, whether it was personal challenges or challenges they have heard from other activists. Some participants dove into a South African point of view, taking into account what state South Africa is in. There are challenges for designers to work across social barriers and even through design companies may work alongside of justice organisations, this still is a challenge for designers to create understanding and simple but strong messages. South Africa has many different socio-economic groups that can be very difficult to understand all the factors surrounding a community. During a time of pandemic, such as COVID, there was a huge urgency for designers to create messages.

DEG2 and DEG3 had similar answers. DEG3 stated, “Valid information and educating yourself before designing” as a result of the pandemic, lots of untrue information was being leaked. However, there are many sources that set out a set of principles one can practise in order to make sure that information is valid. When it comes to urgent times like the pandemic, it causes researchers/designers and many others to feel vulnerable however they need to act as fast as they can. There are existing practices, guidance, findings and recommendation a researcher can follow in order to find valid information (Fell, M.J, 2020). As a designer, it is their duty to research information before letting it out to the public.

In contrast, DCC1 stated, “navigating the inequalities as a designer can be difficult” and then adds on “working across social barriers is extremely limiting”. DCC1 mentioned that because of all the layers within an issue, it can be complicated to work through barriers. They then add on that language is one of the major key factors, and that it can become tough to design through the layers of an issue. “Addressing the research gap through in-depth research could lead to creating a deeper connection with the audience, which could ultimately place designers in a better position to empower their audience to act.” (Qarizada, 2020: 5) Qarizada states something similar to DEG3 – designers need to educate themselves on the problem and then they can find ways to make action. It should be prioritised by the designer to understand the gaps within the issue that they are working with and understand the community if it is a social issue. In most cases, looking at past project’s success can help with current ones. To elaborate, looking at previous campaigns within communities and trying to uncover where there were gaps can help in making new successful campaigns.

To be present within a community can help a designer understand what issues a social group faces, this can help the designers build empathy and detach from their personal life to connect with others (Fuad-Luke, 2009). However, there becomes a huge gap within the language barriers, perhaps that is what DCC1 is implying. Considering there are estimated to be eleven different languages within South Africa, working within a community could include at least three. This could be difficult to build campaigns catered to just one language and jeopardise another language group.

4.1.4. PROJECTS FOCUSED ON COVID-19

Projects focused on COVID-19 awareness within communities was found to be one of the main findings within this research. This area focused on investigating the amount of projects done around COVID within South Africa. “There’s a huge opportunity here for designers to contribute at all levels of government response” (Vizard, 2020) Vizard reports that many designers had to respond to COVID-19 and had to be the voice for the public. Participants included design activists, design company and a social justice organisation. Designers found the need to act on COVID by creating posters, billboards, flyers or any sort of media to create awareness for the public (Jacob, 2020; Hitti, 2021).

DCC1 and SJN1 stated that they haven’t done anything COVID related as they reduced the amount of interactions, and as stated before the limitations of resources. Regarding the investigation within South Africa as stated before and the impact of COVID, this was out of these companies hands. DCC1 could not fulfil their passion of awareness within communities, or in this case nationally, as there were no funds to do so. DCC1 focused on other companies that outsourced them, focusing on other issues that were not related to COVID. SJN1 were involved in South African food packaging during COVID but that was about it. The focus of SJN1 during COVID, was working with their ongoing cases to fight for justice which they are currently still busy with. With the result of COVID, SJN1 decided to plead their cases to help a specific community which the government often neglects. Social media was flooded with COVID awareness posters, illustrations, motion graphics and infographics according to DEG1 and DEG2. Facebook and Instagram would consistently have COVID awareness visualisations as it is a platform that majority of the public used during times of quarantine and lockdown.

The retail sector implemented COVID regulation and guidelines ranging from signages and signages. Icons such of masks, sanitiser and symptoms of COVID was not a foreign language to the eye because it was commonly used to convey a mandatory action. DEG3 mentioned that whenever they would go to the mall, it was flooded with COVID information. DEG3 worked alongside a retail company that was in desperate need for COVID protocol designs, this company was at a great demand to reopen in level 3 but could not proceed without visual awareness within their shop. DEG3 stated that majority of their work during COVID was to assist retail companies.

Unfortunately, not many projects around COVID were done by big companies due to bigger factors that is beyond them however, designers still managed to fulfil their duty with other work. Designers took advantage of using social platforms to spread awareness to their public, which they did successfully. People all over the internet can interact, repost and disperse the work being produced by designers – this sends visual messages out the public. Retail designs can assist consumers to change their behaviour by using visual messaging, consumers could leave the mall with more knowledge than they had before entering the mall.

5. CONCLUSION &

RECCOMMENDATIONS

What role has design activism played during the global Covid-19 pandemic?

Design activism through social barriers has been an on-going challenge for South Africa. Throughout research, it was uncovered that South Africa was unable to launch COVID-19 campaigns due to one of the huge factors is the fraud that took place in governmental territory. NGO’s do not have enough funds to proceed with awareness projects which results to many communities being left in the dark causing them to be vulnerable to the virus. There seemed to be a huge loss of opportunity and a grey area that remains within South Africa around COVID, it is assumed that retail awareness is enough but only a small portion of South Africa’s population often go to malls. In addition, validity of information was also a factor but during a time of emergency.

Inevitably, a large population of South Africa was excluded during COVID regarding the awareness on COVID although designers have managed to design over social platforms and using malls as their messages but as mentioned earlier, only a small portion of the population go to malls. Nearly 49.2% of South Africa’s fall under the poverty line (Bittar, 2020). In result the main research question, “What role has design activism played during the global Covid-19 pandemic within South Africa?” was a difficult question to answer as it was found to be a challenge that could not be fulfilled as South Africa is a layered society and the South African government were facing unfortunate events.

If there were more time, more interviews could’ve been conducted as well as adding follow up interviews including the communities who were excluded. It was identified that there is currently a huge gap within South African’s wealth and communities had to suffer from a lack of knowledge. However, there is also a gap with design companies for social change determining how to work across social barriers – designers should feel obligated to induce what a community is feeling by implementing workshops within the communities. Design companies should also work alongside of social justice organisations as they often work with community leaders to understand what their gaps are. This could help designers identify the gaps and challenges that different communities are facing. There was an opportunity that was lost from South Africa and this causes an on-going mistrust between the government and the public. COVID-19 campaigns should be designed for communities who need education and exposure, South Africa should be determined to give these communities the care that they need. This is an on-going pattern that South Africa seems to face, the rich steal from the poor. There was awareness for those who can afford it but not for those who can’t.

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