Journal articles on the topic 'Decolonising design practice'

The #FeesMustFall and #RhodesMustFall student protests accelerated the call for a decolonised higher education space. Much complexity and debate exists around the notion of a decolonised curriculum, how to frame it, describe it and/or enact it. Within this debate, the positionality and identity of individuals who design, implement, and evaluate curricula are important. The purpose of this article is to reflect on how theory-informed pedagogical reflections can assist in our understanding of decolonisation. The four educator reflections include our personal accounts of pedagogical philosophies, methodologies, and practices. A major focus is social work, which aims to enhance the well-being of all persons especially the disadvantaged, the marginalised and the voiceless. Through belonging to a community of practice, we embarked on the process of articulating our voice, positionality, and identity and how this informs our teaching, which is both personal and political within a South African higher education context. We provide our ways of knowing regarding how we (try) to contribute to social justice and equity ideals. We conclude with our consolidated view on an envisioned, decolonised education in the global South context. We recommend an approach that values ongoing, collective reflection, critical questioning, and agitation of how a decolonised curriculum can be envisaged. The contribution that this article makes is in the value of collective reflection, coupled with embracing personal stories/biographies to theorise decolonisation.

The challenges of finding more productive ways of teaching and learning in Australian Indigenous Studies have been a key focal point for the Australian Indigenous Studies Learning and Teaching Network. This article contributes to this discussion by drawing attention to new possibilities for teaching and learning practices amid the priority being given to the more practice-oriented educational approaches for future professionals and the cultural competencies of all students and staff. We explore courses sequenced as Indigenous Studies Majors and discuss two different conceptualisations for framing teaching and learning in Indigenous Studies courses — decolonising theory and cultural interface theory — and the implications for some of the teaching and learning practices they facilitate, including the positioning of students and the development of dispositions for future professional practice. We suggest that those academic teams who structure course sequences in Indigenous Studies have a role to play in experimenting with shifts in teaching and learning frameworks and the design of course sequences to encourage approaches that are more focused on developing students’ breadth and depth of knowledge of the field, as well as their capacities for deeper engagements with Indigenous thought and the scholarly disciplines.

Architectural education in India is largely envisioned as a technical-vocational course, leading to humanities-related courses like history, to remain alienated from students as well as practitioners. History of Architecture is a core subject in Bachelor of Architecture as per regulatory guidelines, but the program level outcomes are often limited to stylistic study of standard sets of examples of monumental structures from the past. This trend can be traced back to the colonial episteme started during the British programme of instruction and is ingrained in the educational system. This study enquires into the current state of history education at the undergraduate level in architectural schools in India and examines the continuing impact of colonisation on our production of knowledge. This is done by analysing the content of the architectural history curricula of colleges in India and discussions with academic practitioners who have been teaching the subject in those institutions. Unpacking the curricula and their influences on teaching, brought out the perpetuation of colonial biases embedded in architectural history education. The study argues that a well-designed history curriculum has the potential to contextualise design education and create critically aware architects, and thus take a step towards decolonising the practice itself.

Digital technologies in the modern world are impacting on all cultures, including Māori. Tertiary institutions are actively deploying digital technologies in their teaching and learning practices. The relationship however between Māori student engagement in technology-enhanced learning and digital skills, remains largely unexplored. The landscape is further complicated by the fragmentation of online study and the move to micro-credentials. Concurrently Te Whare Wānanga o Awanuiārangi is being challenged to provide whānau, hāpu, iwi, associated communities and industry with self-motivated, knowledgeable, multi-skilled graduates who can understand and apply identified capabilities in a variety of contexts. This presentation will: challenge current educational frameworks based on cognitive, social and pedagogical approaches explore cultural conceptuality focused on the Ranga Framework in particular cultural self-efficacy in blended learning environments the role of culture and context in holistic assessment design This presentation will conclude by arguing that the concept of ‘cultural-self’ ensures all learners as active participants in the learning process, know who they are, where they have come from and why all of that really matters. References Bolstad, R., & Gilbert, J. (2012). Supporting future oriented learning and teaching: A New Zealand perspective.Wellington: Ministry of Education. Clayton,J., (2019) Digital Course Design and Deveopment Platform for Micro-credentials – a Cultural Self Approac, Positioninal Paper. Whakatāne: Te WhareWānanga o Awanuiārangi. Clayton, J., (2018), Keynote Address: The entrepreneurial mindset and cultural-self, implications and for teaching and learning, Tianjin City Vocational College, Tianjin, China Doherty, W. (2012). Ranga Framework – He Raranga Kaupapa. In Conversations of Mātauranga Māori (pp.15-36). Wellington: New Zealand Qualifications Authority. Durie, M. (2004). Ngā Kāhui Pou: Launching Māori Futures. Wellington: Huia Publishers. Crook, C., Harrison, C., Farrington-Flint, L., Tomas, C., & Underwood, J. (2010). The impact of technology: Value-added classroom practice. BECTA. Falloon, G. (2010). Learning objects and the development of students' key competencies. Australasian Journal of Educational Technology , 26 (5), 626-642. Mead, H, (2003). Tikanga Māori: Living by Māori Values. Wellington: Huia Publishers. Ngāti Awa Deed of Settlement to Settle Ngāti Awa Historical Claims, 2003 extracted from: https://www.ngatiawa.iwi.nz/cms/CMSFiles/File/Settlement%20Documentation/NgatiAwaDoS-Schedules.pdf Pihama, L. (2010). Kaupapa Māori Theory: Transforming Theory in Aotearoa. He Pukenga Kōrero. 9(2), 5–14. Smith, G.H. (1997). The development of kaupapa Māori: Theory and praxis. Unpublished Doctoral Thesis, University of Auckland: Auckland. Smith, L.T. (1999). Decolonising methodologies: Research and indigenous peoples. London: Zed Books. Underwood, J. (2009). The impact of digital technology: A review of the evidence of the impact of digital technologies on formal education. BECTA.

Purpose The purpose of this paper is to deal with the Eurocentric conceptualisation of “risk” which reinforces rent-seeking language, culture and practices of doing business that are alien to non-European societies. This paper also attempts to engage with Eurocentric methods and strategies that sustain hegemony in international business by promoting “risk” and perpetuating “uncertainty” within the non-European business culture. Such territoriality within basic conceptualisation of in international business is central to manufactured “risks” that reinforces crisis, while state deals successfully or fails to deal with it, the global corporations extract resources and expand their capital and market base in non-European societies while doing business. This paper is divided into two parts: the first part presents the philosophical basis of risks and its historical foundations and the second part deals with the neo-colonial business methods, languages, cultures and strategies which are Eurocentric by nature. This paper argues that manufacturing risk is the Eurocentric business strategy. Design/methodology/approach This paper draws its methodological lineages to nonlinear historical narrative around the concept and construction of the idea and language of “risk” and “uncertainty”. This paper follows discourse analysis (Fairclough, 2003) to locate the way in which the Eurocentric concept of risk was exported and incorporated within the language of international business in non-Western business traditions. While engaging with conceptual discourses, it focusses on the power of language in the process of conceptualisation where “authority comes to language from outside” (Bourdieu, 1991, p. 109). As a result of which the concept does not reflect the objective reality of non-European business culture and its uniqueness while assimilating it within the Western European theoretical traditions of “risk and uncertainty” in international business practice. Findings The understanding of risk in business within the non-European context needs new ways of conceptualising risk. The updated version of Eurocentric theories, languages and methods of international business and associated risk narrative can never be a starting point. The duality of philosophy in which “economic growth” and “backwardness” measures progress and reduces human experience and objectives of business to seek and expand profit. The starting point of any theoretical analysis on risk in doing business in non-European societies must acknowledge the specificities of their context in terms of local ideas, knowledge, history, language and methods of business practice which is different from Europe. Originality/value This paper outlines the Eurocentric conceptualisation of “risk” which reinforces rent-seeking language, culture and practices of doing business that are alien to non-European societies. It engages with the Eurocentric methods and strategies that sustain hegemony in international business by promoting “risk” and perpetuating “uncertainty” within the non-European business culture. Such territoriality within basic conceptualisation of in international business is central to manufactured “risks” that reinforces crisis; while state deals successfully or fails to deal with it; the global corporations extract resources and expand their capital and market base in non-European societies while doing business. This paper is divided into two parts: the first part presents the philosophical basis of risks and its historical foundations; the second part deals with the neo-colonial business methods, languages, cultures and strategies which are Eurocentric by nature. This paper argues that manufacturing risk is the Eurocentric business strategy. This paper argues for a new language, a new method and a new strategy of doing business by decolonising the discipline of international business.

This paper problematises the dominance of global north perspectives in landscape architectural education, in South Africa where there are urgent calls to decolonise education and make visible indigenous and vernacular meaning-making practices. In grappling with these concerns, this research finds resonance with a multimodal social semiotic approach that acknowledges the interest, agency and resourcefulness of students as meaning-makers in both accessing and challenging dominant educational discourses. This research involves a case study of a design project in a first-year landscape architectural studio. The project requires students to choose a narrative and to represent it as a spatial model: a scaled, 3D maquette of a spatial experience that could be installed in a public park. This practitioner reflection closely analyses the spatial model of one student, Malibongwe, focusing on his interest in meaning-making; the innovative meaning-making practices and diverse resources he draws on; and his expression of spatial signifiers of the Black experiences portrayed in his narrative. This reflection shows how Malibongwe’s narrative is not only reproduced in the spatial model, it is remade: the transformation of resources into three-dimensional spatial form results in new understandings and the production of new meanings.

IntroductionMainstream Australian mental health services are failing Aboriginal young people. Despite investing resources, improvements in well-being have not materialised. Culturally and age appropriate ways of working are needed to improve service access and responsiveness. This Aboriginal-led study brings Aboriginal Elders, young people and youth mental health service staff together to build relationships to co-design service models and evaluation tools. Currently, three Western Australian youth mental health services in the Perth metropolitan area and two regional services are working with local Elders and young people to improve their capacity for culturally and age appropriate services. Further Western Australian sites will be engaged as part of research translation.Methods and analysisRelationships ground the study, which utilises Indigenous methodologies and participatory action research. This involves Elders, young people and service staff as co-researchers and the application of a decolonising, strengths-based framework to create the conditions for engagement. It foregrounds experiential learning and Aboriginal ways of working to establish relationships and deepen non-Aboriginal co-researchers’ knowledge and understanding of local, place-based cultural practices. Once relationships are developed, co-design workshops occur at each site directed by local Elders and young people. Co-designed evaluation tools will assess any changes to community perceptions of youth mental health services and the enablers and barriers to service engagement.Ethics and disseminationThe study has approval from the Kimberley Aboriginal Health Planning Forum Kimberley Research Subcommittee, the Western Australian Aboriginal Health Ethics Committee, and the Curtin University Human Research Ethics Committee. Transferability of the outcomes across the youth mental health sector will be directed by the co-researchers and is supported through Aboriginal and non-Aboriginal organisations including youth mental health services, peak mental health bodies and consumer groups. Community reports and events, peer-reviewed journal articles, conference presentations and social and mainstream media will aid dissemination.

Education in Oceania continues to reflect the embedded implicit and explicit colonial practices and processes from the past. This paper conceptualises a cultural approach to education and leadership appropriate and relevant to the Republic of the Marshall Islands. As elementary school leaders, we highlight Kanne Lobal, a traditional Marshallese navigation practice based on indigenous language, values and practices. We conceptualise and develop Kanne Lobal in this paper as a framework for understanding the usefulness of our indigenous knowledge in leadership and educational practices within formal education. Through bwebwenato, a method of talk story, our key learnings and reflexivities were captured. We argue that realising the value of Marshallese indigenous knowledge and practices for school leaders requires purposeful training of the ways in which our knowledge can be made useful in our professional educational responsibilities. Drawing from our Marshallese knowledge is an intentional effort to inspire, empower and express what education and leadership partnership means for Marshallese people, as articulated by Marshallese themselves. Introduction As noted in the call for papers within the Waikato Journal of Education (WJE) for this special issue, bodies of knowledge and histories in Oceania have long sustained generations across geographic boundaries to ensure cultural survival. For Marshallese people, we cannot really know ourselves “until we know how we came to be where we are today” (Walsh, Heine, Bigler & Stege, 2012). Jitdam Kapeel is a popular Marshallese concept and ideal associated with inquiring into relationships within the family and community. In a similar way, the practice of relating is about connecting the present and future to the past. Education and leadership partnerships are linked and we look back to the past, our history, to make sense and feel inspired to transform practices that will benefit our people. In this paper and in light of our next generation, we reconnect with our navigation stories to inspire and empower education and leadership. Kanne lobal is part of our navigation stories, a conceptual framework centred on cultural practices, values, and concepts that embrace collective partnerships. Our link to this talanoa vā with others in the special issue is to attempt to make sense of connections given the global COVID-19 context by providing a Marshallese approach to address the physical and relational “distance” between education and leadership partnerships in Oceania. Like the majority of developing small island nations in Oceania, the Republic of the Marshall Islands (RMI) has had its share of educational challenges through colonial legacies of the past which continues to drive education systems in the region (Heine, 2002). The historical administration and education in the RMI is one of colonisation. Successive administrations by the Spanish, German, Japanese, and now the US, has resulted in education and learning that privileges western knowledge and forms of learning. This paper foregrounds understandings of education and learning as told by the voices of elementary school leaders from the RMI. The move to re-think education and leadership from Marshallese perspectives is an act of shifting the focus of bwebwenato or conversations that centres on Marshallese language and worldviews. The concept of jelalokjen was conceptualised as traditional education framed mainly within the community context. In the past, jelalokjen was practiced and transmitted to the younger generation for cultural continuity. During the arrival of colonial administrations into the RMI, jelalokjen was likened to the western notions of education and schooling (Kupferman, 2004). Today, the primary function of jelalokjen, as traditional and formal education, it is for “survival in a hostile [and challenging] environment” (Kupferman, 2004, p. 43). Because western approaches to learning in the RMI have not always resulted in positive outcomes for those engaged within the education system, as school leaders who value our cultural knowledge and practices, and aspire to maintain our language with the next generation, we turn to Kanne Lobal, a practice embedded in our navigation stories, collective aspirations, and leadership. The significance in the development of Kanne Lobal, as an appropriate framework for education and leadership, resulted in us coming together and working together. Not only were we able to share our leadership concerns, however, the engagement strengthened our connections with each other as school leaders, our communities, and the Public Schooling System (PSS). Prior to that, many of us were in competition for resources. Educational Leadership: IQBE and GCSL Leadership is a valued practice in the RMI. Before the IQBE programme started in 2018, the majority of the school leaders on the main island of Majuro had not engaged in collaborative partnerships with each other before. Our main educational purpose was to achieve accreditation from the Western Association of Schools and Colleges (WASC), an accreditation commission for schools in the United States. The WASC accreditation dictated our work and relationships and many school leaders on Majuro felt the pressure of competition against each other. We, the authors in this paper, share our collective bwebwenato, highlighting our school leadership experiences and how we gained strength from our own ancestral knowledge to empower “us”, to collaborate with each other, our teachers, communities, as well as with PSS; a collaborative partnership we had not realised in the past. The paucity of literature that captures Kajin Majol (Marshallese language) and education in general in the RMI is what we intend to fill by sharing our reflections and experiences. To move our educational practices forward we highlight Kanne Lobal, a cultural approach that focuses on our strengths, collective social responsibilities and wellbeing. For a long time, there was no formal training in place for elementary school leaders. School principals and vice principals were appointed primarily on their academic merit through having an undergraduate qualification. As part of the first cohort of fifteen school leaders, we engaged in the professional training programme, the Graduate Certificate in School Leadership (GCSL), refitted to our context after its initial development in the Solomon Islands. GCSL was coordinated by the Institute of Education (IOE) at the University of the South Pacific (USP). GCSL was seen as a relevant and appropriate training programme for school leaders in the RMI as part of an Asia Development Bank (ADB) funded programme which aimed at “Improving Quality Basic Education” (IQBE) in parts of the northern Pacific. GCSL was managed on Majuro, RMI’s main island, by the director at the time Dr Irene Taafaki, coordinator Yolanda McKay, and administrators at the University of the South Pacific’s (USP) RMI campus. Through the provision of GCSL, as school leaders we were encouraged to re-think and draw-from our own cultural repository and connect to our ancestral knowledge that have always provided strength for us. This kind of thinking and practice was encouraged by our educational leaders (Heine, 2002). We argue that a culturally-affirming and culturally-contextual framework that reflects the lived experiences of Marshallese people is much needed and enables the disruption of inherent colonial processes left behind by Western and Eastern administrations which have influenced our education system in the RMI (Heine, 2002). Kanne Lobal, an approach utilising a traditional navigation has warranted its need to provide solutions for today’s educational challenges for us in the RMI. Education in the Pacific Education in the Pacific cannot be understood without contextualising it in its history and culture. It is the same for us in the RMI (Heine, 2002; Walsh et al., 2012). The RMI is located in the Pacific Ocean and is part of Micronesia. It was named after a British captain, John Marshall in the 1700s. The atolls in the RMI were explored by the Spanish in the 16th century. Germany unsuccessfully attempted to colonize the islands in 1885. Japan took control in 1914, but after several battles during World War II, the US seized the RMI from them. In 1947, the United Nations made the island group, along with the Mariana and Caroline archipelagos, a U.S. trust territory (Walsh et al, 2012). Education in the RMI reflects the colonial administrations of Germany, Japan, and now the US. Before the turn of the century, formal education in the Pacific reflected western values, practices, and standards. Prior to that, education was informal and not binded to formal learning institutions (Thaman, 1997) and oral traditions was used as the medium for transmitting learning about customs and practices living with parents, grandparents, great grandparents. As alluded to by Jiba B. Kabua (2004), any “discussion about education is necessarily a discussion of culture, and any policy on education is also a policy of culture” (p. 181). It is impossible to promote one without the other, and it is not logical to understand one without the other. Re-thinking how education should look like, the pedagogical strategies that are relevant in our classrooms, the ways to engage with our parents and communities - such re-thinking sits within our cultural approaches and frameworks. Our collective attempts to provide a cultural framework that is relevant and appropriate for education in our context, sits within the political endeavour to decolonize. This means that what we are providing will not only be useful, but it can be used as a tool to question and identify whether things in place restrict and prevent our culture or whether they promote and foreground cultural ideas and concepts, a significant discussion of culture linked to education (Kabua, 2004). Donor funded development aid programmes were provided to support the challenges within education systems. Concerned with the persistent low educational outcomes of Pacific students, despite the prevalence of aid programmes in the region, in 2000 Pacific educators and leaders with support from New Zealand Aid (NZ Aid) decided to intervene (Heine, 2002; Taufe’ulungaki, 2014). In April 2001, a group of Pacific educators and leaders across the region were invited to a colloquium funded by the New Zealand Overseas Development Agency held in Suva Fiji at the University of the South Pacific. The main purpose of the colloquium was to enable “Pacific educators to re-think the values, assumptions and beliefs underlying [formal] schooling in Oceania” (Benson, 2002). Leadership, in general, is a valued practice in the RMI (Heine, 2002). Despite education leadership being identified as a significant factor in school improvement (Sanga & Chu, 2009), the limited formal training opportunities of school principals in the region was a persistent concern. As part of an Asia Development Bank (ADB) funded project, the Improve Quality Basic Education (IQBE) intervention was developed and implemented in the RMI in 2017. Mentoring is a process associated with the continuity and sustainability of leadership knowledge and practices (Sanga & Chu, 2009). It is a key aspect of building capacity and capabilities within human resources in education (ibid). Indigenous knowledges and education research According to Hilda Heine, the relationship between education and leadership is about understanding Marshallese history and culture (cited in Walsh et al., 2012). It is about sharing indigenous knowledge and histories that “details for future generations a story of survival and resilience and the pride we possess as a people” (Heine, cited in Walsh et al., 2012, p. v). This paper is fuelled by postcolonial aspirations yet is grounded in Pacific indigenous research. This means that our intentions are driven by postcolonial pursuits and discourses linked to challenging the colonial systems and schooling in the Pacific region that privileges western knowledge and learning and marginalises the education practices and processes of local people (Thiong’o, 1986). A point of difference and orientation from postcolonialism is a desire to foreground indigenous Pacific language, specifically Majin Majol, through Marshallese concepts. Our collective bwebwenato and conversation honours and values kautiej (respect), jouj eo mour eo (reciprocity), and jouj (kindness) (Taafaki & Fowler, 2019). Pacific leaders developed the Rethinking Pacific Education Initiative for and by Pacific People (RPEIPP) in 2002 to take control of the ways in which education research was conducted by donor funded organisations (Taufe’ulungaki, 2014). Our former president, Dr Hilda Heine was part of the group of leaders who sought to counter the ways in which our educational and leadership stories were controlled and told by non-Marshallese (Heine, 2002). As a former minister of education in the RMI, Hilda Heine continues to inspire and encourage the next generation of educators, school leaders, and researchers to re-think and de-construct the way learning and education is conceptualised for Marshallese people. The conceptualisation of Kanne Lobal acknowledges its origin, grounded in Marshallese navigation knowledge and practice. Our decision to unpack and deconstruct Kanne Lobal within the context of formal education and leadership responds to the need to not only draw from indigenous Marshallese ideas and practice but to consider that the next generation will continue to be educated using western processes and initiatives particularly from the US where we get a lot of our funding from. According to indigenous researchers Dawn Bessarab and Bridget Ng’andu (2010), doing research that considers “culturally appropriate processes to engage with indigenous groups and individuals is particularly pertinent in today’s research environment” (p. 37). Pacific indigenous educators and researchers have turned to their own ancestral knowledge and practices for inspiration and empowerment. Within western research contexts, the often stringent ideals and processes are not always encouraging of indigenous methods and practices. However, many were able to ground and articulate their use of indigenous methods as being relevant and appropriate to capturing the realities of their communities (Nabobo-Baba, 2008; Sualii-Sauni & Fulu-Aiolupotea, 2014; Thaman, 1997). At the same time, utilising Pacific indigenous methods and approaches enabled research engagement with their communities that honoured and respected them and their communities. For example, Tongan, Samoan, and Fijian researchers used the talanoa method as a way to capture the stories, lived realities, and worldviews of their communities within education in the diaspora (Fa’avae, Jones, & Manu’atu, 2016; Nabobo-Baba, 2008; Sualii-Sauni & Aiolupotea, 2014; Vaioleti, 2005). Tok stori was used by Solomon Islander educators and school leaders to highlight the unique circles of conversational practice and storytelling that leads to more positive engagement with their community members, capturing rich and meaningful narratives as a result (Sanga & Houma, 2004). The Indigenous Aborigine in Australia utilise yarning as a “relaxed discussion through which both the researcher and participant journey together visiting places and topics of interest relevant” (Bessarab & Ng’andu, 2010, p. 38). Despite the diverse forms of discussions and storytelling by indigenous peoples, of significance are the cultural protocols, ethics, and language for conducting and guiding the engagement (Bessarab & Ng’andu, 2010; Nabobo-Baba, 2008; Sualii-Sauni & Aiolupotea, 2014). Through the ethics, values, protocols, and language, these are what makes indigenous methods or frameworks unique compared to western methods like in-depth interviews or semi-structured interviews. This is why it is important for us as Marshallese educators to frame, ground, and articulate how our own methods and frameworks of learning could be realised in western education (Heine, 2002; Jetnil-Kijiner, 2014). In this paper, we utilise bwebwenato as an appropriate method linked to “talk story”, capturing our collective stories and experiences during GCSL and how we sought to build partnerships and collaboration with each other, our communities, and the PSS. Bwebwenato and drawing from Kajin Majel Legends and stories that reflect Marshallese society and its cultural values have survived through our oral traditions. The practice of weaving also holds knowledge about our “valuable and earliest sources of knowledge” (Taafaki & Fowler, 2019, p. 2). The skilful navigation of Marshallese wayfarers on the walap (large canoes) in the ocean is testament of their leadership and the value they place on ensuring the survival and continuity of Marshallese people (Taafaki & Fowler, 2019; Walsh et al., 2012). During her graduate study in 2014, Kathy Jetnil-Kijiner conceptualised bwebwenato as being the most “well-known form of Marshallese orality” (p. 38). The Marshallese-English dictionary defined bwebwenato as talk, conversation, story, history, article, episode, lore, myth, or tale (cited in Jetnil Kijiner, 2014). Three years later in 2017, bwebwenato was utilised in a doctoral project by Natalie Nimmer as a research method to gather “talk stories” about the experiences of 10 Marshallese experts in knowledge and skills ranging from sewing to linguistics, canoe-making and business. Our collective bwebwenato in this paper centres on Marshallese ideas and language. The philosophy of Marshallese knowledge is rooted in our “Kajin Majel”, or Marshallese language and is shared and transmitted through our oral traditions. For instance, through our historical stories and myths. Marshallese philosophy, that is, the knowledge systems inherent in our beliefs, values, customs, and practices are shared. They are inherently relational, meaning that knowledge systems and philosophies within our world are connected, in mind, body, and spirit (Jetnil-Kijiner, 2014; Nimmer, 2017). Although some Marshallese believe that our knowledge is disappearing as more and more elders pass away, it is therefore important work together, and learn from each other about the knowledges shared not only by the living but through their lamentations and stories of those who are no longer with us (Jetnil-Kijiner, 2014). As a Marshallese practice, weaving has been passed-down from generation to generation. Although the art of weaving is no longer as common as it used to be, the artefacts such as the “jaki-ed” (clothing mats) continue to embody significant Marshallese values and traditions. For our weavers, the jouj (check spelling) is the centre of the mat and it is where the weaving starts. When the jouj is correct and weaved well, the remainder and every other part of the mat will be right. The jouj is symbolic of the “heart” and if the heart is prepared well, trained well, then life or all other parts of the body will be well (Taafaki & Fowler, 2019). In that light, we have applied the same to this paper. Conceptualising and drawing from cultural practices that are close and dear to our hearts embodies a significant ontological attempt to prioritize our own knowledge and language, a sense of endearment to who we are and what we believe education to be like for us and the next generation. The application of the phrase “Majolizing '' was used by the Ministry of Education when Hilda Heine was minister, to weave cultural ideas and language into the way that teachers understand the curriculum, develop lesson plans and execute them in the classroom. Despite this, there were still concerns with the embedded colonized practices where teachers defaulted to eurocentric methods of doing things, like the strategies provided in the textbooks given to us. In some ways, our education was slow to adjust to the “Majolizing '' intention by our former minister. In this paper, we provide Kanne Lobal as a way to contribute to the “Majolizing intention” and perhaps speed up yet still be collectively responsible to all involved in education. Kajin Wa and Kanne Lobal “Wa” is the Marshallese concept for canoe. Kajin wa, as in canoe language, has a lot of symbolic meaning linked to deeply-held Marshallese values and practices. The canoe was the foundational practice that supported the livelihood of harsh atoll island living which reflects the Marshallese social world. The experts of Kajin wa often refer to “wa” as being the vessel of life, a means and source of sustaining life (Kelen, 2009, cited in Miller, 2010). “Jouj” means kindness and is the lower part of the main hull of the canoe. It is often referred to by some canoe builders in the RMI as the heart of the canoe and is linked to love. The jouj is one of the first parts of the canoe that is built and is “used to do all other measurements, and then the rest of the canoe is built on top of it” (Miller, 2010, p. 67). The significance of the jouj is that when the canoe is in the water, the jouj is the part of the hull that is underwater and ensures that all the cargo and passengers are safe. For Marshallese, jouj or kindness is what living is about and is associated with selflessly carrying the responsibility of keeping the family and community safe. The parts of the canoe reflect Marshallese culture, legend, family, lineage, and kinship. They embody social responsibilities that guide, direct, and sustain Marshallese families’ wellbeing, from atoll to atoll. For example, the rojak (boom), rojak maan (upper boom), rojak kōrā (lower boom), and they support the edges of the ujelā/ujele (sail) (see figure 1). The literal meaning of rojak maan is male boom and rojak kōrā means female boom which together strengthens the sail and ensures the canoe propels forward in a strong yet safe way. Figuratively, the rojak maan and rojak kōrā symbolise the mother and father relationship which when strong, through the jouj (kindness and love), it can strengthen families and sustain them into the future. Figure 1. Parts of the canoe Source: https://www.canoesmarshallislands.com/2014/09/names-of-canoe-parts/ From a socio-cultural, communal, and leadership view, the canoe (wa) provides understanding of the relationships required to inspire and sustain Marshallese peoples’ education and learning. We draw from Kajin wa because they provide cultural ideas and practices that enable understanding of education and leadership necessary for sustaining Marshallese people and realities in Oceania. When building a canoe, the women are tasked with the weaving of the ujelā/ujele (sail) and to ensure that it is strong enough to withstand long journeys and the fierce winds and waters of the ocean. The Kanne Lobal relates to the front part of the ujelā/ujele (sail) where the rojak maan and rojak kōrā meet and connect (see the red lines in figure 1). Kanne Lobal is linked to the strategic use of the ujelā/ujele by navigators, when there is no wind north wind to propel them forward, to find ways to capture the winds so that their journey can continue. As a proverbial saying, Kanne Lobal is used to ignite thinking and inspire and transform practice particularly when the journey is rough and tough. In this paper we draw from Kanne Lobal to ignite, inspire, and transform our educational and leadership practices, a move to explore what has always been meaningful to Marshallese people when we are faced with challenges. The Kanne Lobal utilises our language, and cultural practices and values by sourcing from the concepts of jouj (kindness, love), kautiej (respect), and jouj eo mour eo (reciprocity). A key Marshallese proverb, “Enra bwe jen lale rara”, is the cultural practice where families enact compassion through the sharing of food in all occurrences. The term “enra” is a small basket weaved from the coconut leaves, and often used by Marshallese as a plate to share and distribute food amongst each other. Bwe-jen-lale-rara is about noticing and providing for the needs of others, and “enra” the basket will help support and provide for all that are in need. “Enra-bwe-jen-lale-rara” is symbolic of cultural exchange and reciprocity and the cultural values associated with building and maintaining relationships, and constantly honouring each other. As a Marshallese practice, in this article we share our understanding and knowledge about the challenges as well as possible solutions for education concerns in our nation. In addition, we highlight another proverb, “wa kuk wa jimor”, which relates to having one canoe, and despite its capacity to feed and provide for the individual, but within the canoe all people can benefit from what it can provide. In the same way, we provide in this paper a cultural framework that will enable all educators to benefit from. It is a framework that is far-reaching and relevant to the lived realities of Marshallese people today. Kumit relates to people united to build strength, all co-operating and working together, living in peace, harmony, and good health. Kanne Lobal: conceptual framework for education and leadership An education framework is a conceptual structure that can be used to capture ideas and thinking related to aspects of learning. Kanne Lobal is conceptualised and framed in this paper as an educational framework. Kanne Lobal highlights the significance of education as a collective partnership whereby leadership is an important aspect. Kanne Lobal draws-from indigenous Marshallese concepts like kautiej (respect), jouj eo mour eo (reciprocity), and jouj (kindness, heart). The role of a leader, including an education leader, is to prioritise collective learning and partnerships that benefits Marshallese people and the continuity and survival of the next generation (Heine, 2002; Thaman, 1995). As described by Ejnar Aerōk, an expert canoe builder in the RMI, he stated: “jerbal ippān doon bwe en maron maan wa e” (cited in Miller, 2010, p. 69). His description emphasises the significance of partnerships and working together when navigating and journeying together in order to move the canoe forward. The kubaak, the outrigger of the wa (canoe) is about “partnerships”. For us as elementary school leaders on Majuro, kubaak encourages us to value collaborative partnerships with each other as well as our communities, PSS, and other stakeholders. Partnerships is an important part of the Kanne Lobal education and leadership framework. It requires ongoing bwebwenato – the inspiring as well as confronting and challenging conversations that should be mediated and negotiated if we and our education stakeholders are to journey together to ensure that the educational services we provide benefits our next generation of young people in the RMI. Navigating ahead the partnerships, mediation, and negotiation are the core values of jouj (kindness, love), kautiej (respect), and jouj eo mour eo (reciprocity). As an organic conceptual framework grounded in indigenous values, inspired through our lived experiences, Kanne Lobal provides ideas and concepts for re-thinking education and leadership practices that are conducive to learning and teaching in the schooling context in the RMI. By no means does it provide the solution to the education ills in our nation. However, we argue that Kanne Lobal is a more relevant approach which is much needed for the negatively stigmatised system as a consequence of the various colonial administrations that have and continue to shape and reframe our ideas about what education should be like for us in the RMI. Moreover, Kannel Lobal is our attempt to decolonize the framing of education and leadership, moving our bwebwenato to re-framing conversations of teaching and learning so that our cultural knowledge and values are foregrounded, appreciated, and realised within our education system. Bwebwenato: sharing our stories In this section, we use bwebwenato as a method of gathering and capturing our stories as data. Below we capture our stories and ongoing conversations about the richness in Marshallese cultural knowledge in the outer islands and on Majuro and the potentialities in Kanne Lobal. Danny Jim When I was in third grade (9-10 years of age), during my grandfather’s speech in Arno, an atoll near Majuro, during a time when a wa (canoe) was being blessed and ready to put the canoe into the ocean. My grandfather told me the canoe was a blessing for the family. “Without a canoe, a family cannot provide for them”, he said. The canoe allows for travelling between places to gather food and other sources to provide for the family. My grandfather’s stories about people’s roles within the canoe reminded me that everyone within the family has a responsibility to each other. Our women, mothers and daughters too have a significant responsibility in the journey, in fact, they hold us, care for us, and given strength to their husbands, brothers, and sons. The wise man or elder sits in the middle of the canoe, directing the young man who help to steer. The young man, he does all the work, directed by the older man. They take advice and seek the wisdom of the elder. In front of the canoe, a young boy is placed there and because of his strong and youthful vision, he is able to help the elder as well as the young man on the canoe. The story can be linked to the roles that school leaders, teachers, and students have in schooling. Without each person knowing intricately their role and responsibility, the sight and vision ahead for the collective aspirations of the school and the community is difficult to comprehend. For me, the canoe is symbolic of our educational journey within our education system. As the school leader, a central, trusted, and respected figure in the school, they provide support for teachers who are at the helm, pedagogically striving to provide for their students. For without strong direction from the school leaders and teachers at the helm, the students, like the young boy, cannot foresee their futures, or envisage how education can benefit them. This is why Kanne Lobal is a significant framework for us in the Marshall Islands because within the practice we are able to take heed and empower each other so that all benefit from the process. Kanne Lobal is linked to our culture, an essential part of who we are. We must rely on our own local approaches, rather than relying on others that are not relevant to what we know and how we live in today’s society. One of the things I can tell is that in Majuro, compared to the outer islands, it’s different. In the outer islands, parents bring children together and tell them legends and stories. The elders tell them about the legends and stories – the bwebwenato. Children from outer islands know a lot more about Marshallese legends compared to children from the Majuro atoll. They usually stay close to their parents, observe how to prepare food and all types of Marshallese skills. Loretta Joseph Case There is little Western influence in the outer islands. They grow up learning their own culture with their parents, not having tv. They are closely knit, making their own food, learning to weave. They use fire for cooking food. They are more connected because there are few of them, doing their own culture. For example, if they’re building a house, the ladies will come together and make food to take to the males that are building the house, encouraging them to keep on working - “jemjem maal” (sharpening tools i.e. axe, like encouraging workers to empower them). It’s when they bring food and entertainment. Rubon Rubon Togetherness, work together, sharing of food, these are important practices as a school leader. Jemjem maal – the whole village works together, men working and the women encourage them with food and entertainment. All the young children are involved in all of the cultural practices, cultural transmission is consistently part of their everyday life. These are stronger in the outer islands. Kanne Lobal has the potential to provide solutions using our own knowledge and practices. Connie Joel When new teachers become a teacher, they learn more about their culture in teaching. Teaching raises the question, who are we? A popular saying amongst our people, “Aelon kein ad ej aelon in manit”, means that “Our islands are cultural islands”. Therefore, when we are teaching, and managing the school, we must do this culturally. When we live and breathe, we must do this culturally. There is more socialising with family and extended family. Respect the elderly. When they’re doing things the ladies all get together, in groups and do it. Cut the breadfruit, and preserve the breadfruit and pandanus. They come together and do it. Same as fishing, building houses, building canoes. They use and speak the language often spoken by the older people. There are words that people in the outer islands use and understand language regularly applied by the elderly. Respect elderly and leaders more i.e., chiefs (iroj), commoners (alap), and the workers on the land (ri-jerbal) (social layer under the commoners). All the kids, they gather with their families, and go and visit the chiefs and alap, and take gifts from their land, first produce/food from the plantation (eojōk). Tommy Almet The people are more connected to the culture in the outer islands because they help one another. They don’t have to always buy things by themselves, everyone contributes to the occasion. For instance, for birthdays, boys go fishing, others contribute and all share with everyone. Kanne Lobal is a practice that can bring people together – leaders, teachers, stakeholders. We want our colleagues to keep strong and work together to fix problems like students and teachers’ absenteeism which is a big problem for us in schools. Demetria Malachi The culture in the outer islands are more accessible and exposed to children. In Majuro, there is a mixedness of cultures and knowledges, influenced by Western thinking and practices. Kanne Lobal is an idea that can enhance quality educational purposes for the RMI. We, the school leaders who did GCSL, we want to merge and use this idea because it will help benefit students’ learning and teachers’ teaching. Kanne Lobal will help students to learn and teachers to teach though traditional skills and knowledge. We want to revitalize our ways of life through teaching because it is slowly fading away. Also, we want to have our own Marshallese learning process because it is in our own language making it easier to use and understand. Essentially, we want to proudly use our own ways of teaching from our ancestors showing the appreciation and blessings given to us. Way Forward To think of ways forward is about reflecting on the past and current learnings. Instead of a traditional discussion within a research publication, we have opted to continue our bwebwenato by sharing what we have learnt through the Graduate Certificate in School Leadership (GCSL) programme. Our bwebwenato does not end in this article and this opportunity to collaborate and partner together in this piece of writing has been a meaningful experience to conceptualise and unpack the Kanne Lobal framework. Our collaborative bwebwenato has enabled us to dig deep into our own wise knowledges for guidance through mediating and negotiating the challenges in education and leadership (Sanga & Houma, 2004). For example, bwe-jen-lale-rara reminds us to inquire, pay attention, and focus on supporting the needs of others. Through enra-bwe-jen-lale-rara, it reminds us to value cultural exchange and reciprocity which will strengthen the development and maintaining of relationships based on ways we continue to honour each other (Nimmer, 2017). We not only continue to support each other, but also help mentor the next generation of school leaders within our education system (Heine, 2002). Education and leadership are all about collaborative partnerships (Sanga & Chu, 2009; Thaman, 1997). Developing partnerships through the GCSL was useful learning for us. It encouraged us to work together, share knowledge, respect each other, and be kind. The values of jouj (kindness, love), kautiej (respect), and jouj eo mour eo (reciprocity) are meaningful in being and becoming and educational leader in the RMI (Jetnil-Kijiner, 2014; Miller, 2010; Nimmer, 2017). These values are meaningful for us practice particularly given the drive by PSS for schools to become accredited. The workshops and meetings delivered during the GCSL in the RMI from 2018 to 2019 about Kanne Lobal has given us strength to share our stories and experiences from the meeting with the stakeholders. But before we met with the stakeholders, we were encouraged to share and speak in our language within our courses: EDP05 (Professional Development and Learning), EDP06 (School Leadership), EDP07 (School Management), EDP08 (Teaching and Learning), and EDP09 (Community Partnerships). In groups, we shared our presentations with our peers, the 15 school leaders in the GCSL programme. We also invited USP RMI staff. They liked the way we presented Kannel Lobal. They provided us with feedback, for example: how the use of the sail on the canoe, the parts and their functions can be conceptualised in education and how they are related to the way that we teach our own young people. Engaging stakeholders in the conceptualisation and design stages of Kanne Lobal strengthened our understanding of leadership and collaborative partnerships. Based on various meetings with the RMI Pacific Resources for Education and Learning (PREL) team, PSS general assembly, teachers from the outer islands, and the PSS executive committee, we were able to share and receive feedback on the Kanne Lobal framework. The coordinators of the PREL programme in the RMI were excited by the possibilities around using Kanne Lobal, as a way to teach culture in an inspirational way to Marshallese students. Our Marshallese knowledge, particularly through the proverbial meaning of Kanne Lobal provided so much inspiration and insight for the groups during the presentation which gave us hope and confidence to develop the framework. Kanne Lobal is an organic and indigenous approach, grounded in Marshallese ways of doing things (Heine, 2002; Taafaki & Fowler, 2019). Given the persistent presence of colonial processes within the education system and the constant reference to practices and initiatives from the US, Kanne Lobal for us provides a refreshing yet fulfilling experience and makes us feel warm inside because it is something that belongs to all Marshallese people. Conclusion Marshallese indigenous knowledge and practices provide meaningful educational and leadership understanding and learnings. They ignite, inspire, and transform thinking and practice. The Kanne Lobal conceptual framework emphasises key concepts and values necessary for collaborative partnerships within education and leadership practices in the RMI. The bwebwenato or talk stories have been insightful and have highlighted the strengths and benefits that our Marshallese ideas and practices possess when looking for appropriate and relevant ways to understand education and leadership. Acknowledgements We want to acknowledge our GCSL cohort of school leaders who have supported us in the development of Kanne Lobal as a conceptual framework. A huge kommol tata to our friends: Joana, Rosana, Loretta, Jellan, Alvin, Ellice, Rolando, Stephen, and Alan. References Benson, C. (2002). Preface. In F. Pene, A. M. Taufe’ulungaki, & C. Benson (Eds.), Tree of Opportunity: re-thinking Pacific Education (p. iv). Suva, Fiji: University of the South Pacific, Institute of Education. Bessarab, D., Ng’andu, B. (2010). Yarning about yarning as a legitimate method in indigenous research. International Journal of Critical Indigenous Studies, 3(1), 37-50. Fa’avae, D., Jones, A., & Manu’atu, L. (2016). Talanoa’i ‘a e talanoa - talking about talanoa: Some dilemmas of a novice researcher. AlterNative: An Indigenous Journal of Indigenous Peoples,12(2),138-150. Heine, H. C. (2002). A Marshall Islands perspective. In F. Pene, A. M. Taufe’ulungaki, & C. Benson (Eds.), Tree of Opportunity: re-thinking Pacific Education (pp. 84 – 90). Suva, Fiji: University of the South Pacific, Institute of Education. Infoplease Staff (2017, February 28). Marshall Islands, retrieved from https://www.infoplease.com/world/countries/marshall-islands Jetnil-Kijiner, K. (2014). Iep Jaltok: A history of Marshallese literature. (Unpublished masters’ thesis). Honolulu, HW: University of Hawaii. Kabua, J. B. (2004). We are the land, the land is us: The moral responsibility of our education and sustainability. In A.L. Loeak, V.C. Kiluwe and L. Crowl (Eds.), Life in the Republic of the Marshall Islands, pp. 180 – 191. Suva, Fiji: University of the South Pacific. Kupferman, D. (2004). Jelalokjen in flux: Pitfalls and prospects of contextualising teacher training programmes in the Marshall Islands. Directions: Journal of Educational Studies, 26(1), 42 – 54. http://directions.usp.ac.fj/collect/direct/index/assoc/D1175062.dir/doc.pdf Miller, R. L. (2010). Wa kuk wa jimor: Outrigger canoes, social change, and modern life in the Marshall Islands (Unpublished masters’ thesis). Honolulu, HW: University of Hawaii. Nabobo-Baba, U. (2008). Decolonising framings in Pacific research: Indigenous Fijian vanua research framework as an organic response. AlterNative: An Indigenous Journal of Indigenous Peoples, 4(2), 141-154. Nimmer, N. E. (2017). Documenting a Marshallese indigenous learning framework (Unpublished doctoral thesis). Honolulu, HW: University of Hawaii. Sanga, K., & Houma, S. (2004). Solomon Islands principalship: Roles perceived, performed, preferred, and expected. Directions: Journal of Educational Studies, 26(1), 55-69. Sanga, K., & Chu, C. (2009). Introduction. In K. Sanga & C. Chu (Eds.), Living and Leaving a Legacy of Hope: Stories by New Generation Pacific Leaders (pp. 10-12). NZ: He Parekereke & Victoria University of Wellington. Suaalii-Sauni, T., & Fulu-Aiolupotea, S. M. (2014). Decolonising Pacific research, building Pacific research communities, and developing Pacific research tools: The case of the talanoa and the faafaletui in Samoa. Asia Pacific Viewpoint, 55(3), 331-344. Taafaki, I., & Fowler, M. K. (2019). Clothing mats of the Marshall Islands: The history, the culture, and the weavers. US: Kindle Direct. Taufe’ulungaki, A. M. (2014). Look back to look forward: A reflective Pacific journey. In M. ‘Otunuku, U. Nabobo-Baba, S. Johansson Fua (Eds.), Of Waves, Winds, and Wonderful Things: A Decade of Rethinking Pacific Education (pp. 1-15). Fiji: USP Press. Thaman, K. H. (1995). Concepts of learning, knowledge and wisdom in Tonga, and their relevance to modern education. Prospects, 25(4), 723-733. Thaman, K. H. (1997). Reclaiming a place: Towards a Pacific concept of education for cultural development. The Journal of the Polynesian Society, 106(2), 119-130. Thiong’o, N. W. (1986). Decolonising the mind: The politics of language in African literature. Kenya: East African Educational Publishers. Vaioleti, T. (2006). Talanoa research methodology: A developing position on Pacific research. Waikato Journal of Education, 12, 21-34. Walsh, J. M., Heine, H. C., Bigler, C. M., & Stege, M. (2012). Etto nan raan kein: A Marshall Islands history (First Edition). China: Bess Press.

The research investigates the role of service design and improvisation as decolonising practice. It is based on case study research with a focus group consisting of Namibian artists, designers, artisans and arts organisations who participated in artistic and cultural exchange activities of the Art South-South Trust (ASST), a start-up Namibian not for profit (NFP) organisation. The goal of ASST was to increase visibility of the focus group members, enable global exposure and create an arena for multi-vocality. The paper creates a practical framework for decolonising practices in Namibian arts and design by drawing on reflective practice to analyse the activities of ASST alongside interview data collected from Namibian and Australian partner organisations and participants in the program. Critical thinking is used to evaluate the impact of realised activities and processes both in situ in Namibia and in exchange in Australia. This paper explores practices that can enable decolonising processes in Namibian arts and design spheres

This paper examines the pedagogical and decolonial possibilities of teaching genre cinema through non-Western perspectives. As a sessional instructor teaching across multiple institutions in Vancouver, Canada, I elaborate on how I have taught genre cinema as a decolonial and pedagogical project. Through course design that recognises the way that the evolution of film theory in general, and genre theory in particular, has been encoded in Euro-Western-centrism and analysis, my teaching practice brings into conversation other knowledges and approaches to film-making and film studies that have often been excluded from film studies pedagogy. My pedagogical project is to decolonise film studies, including genre theory, as exemplified in such courses as: Re-Visioning Genre Theory, a fourth-year course at Emily Carr University of Art and Design; Genre Cinema: From Classical Hollywood to Global Contemporary, a third-year course at the University of British Columbia; and Refiguring Futurisms, a fourth-year film seminar at the University of British Columbia. Some of the questions explored in my research and teaching practice consider how genre cinema is adopted and subverted in contemporary non-Western films. In this paper, I use Latin American decolonial theory to focus on Brazilian cinema as an exemplar of non-Western and decolonial approaches to genre theory.

AbstractThe preponderance of Western methods, practices, standards, and classifications in the manner in which new technology-related knowledge is created and globalised has led to calls for more inclusive approaches to design. A decolonisation project is concerned with how researchers might contribute to dismantling and re-envisioning existing power relations, resisting past biases, and balancing Western heavy influences in technology design by foregrounding the authentic voices of the indigenous people in the entire design process. We examine how the establishment of local Global South HCI communities (AfriCHI and ArabHCI) has led to the enactment of decolonisation practices. Specifically, we seek to uncover how decolonisation is perceived in the AfriCHI and ArabHCI communities as well as the extent to which both communities are engaged with the idea of decolonisation without necessarily using the term. We drew from the relevant literature, our own outsider/insider lived experiences, and the communities’ responses to an online anonymised survey to highlight three problematic but interrelated practical paradoxes: a terminology, an ethical, and a micro-colonisation paradox. We argue that these paradoxes expose the dilemmas faced by local non-Western researchers as they pursue decolonisation thinking. This article offers a blended perspective on the decolonisation debate in HCI, CSCW, and the practice-based CSCW scholarly communities and invites researchers to examine their research work using a decolonisation lens.

Abstract Background Significant financial investments have been made to improve the life expectancy gap between Indigenous people and other Australians over the last 10 years. Despite the investment, few evaluations have been commissioned to assess program effectiveness. Indigenous leaders have been calling for a more active role in the commissioning of Indigenous program evaluations. This project aims to identify how government and non-government commissioning practices can better support Indigenous engagement and leadership in the evaluation of health and wellbeing programs in Australia. This presentation reports on the different commissioning models that support Indigenous program evaluations, from the perspectives of commissioners, evaluators and program providers. Methods Semi-structured interviews were conducted with 20 Indigenous and non-Indigenous commissioners, evaluators and program providers. A mixed coding procedure was used. Interviews were coded using deductively derived codes reflecting best practice principles in Indigenous evaluation and inductively derived codes from participant stories. Interviews were analysed using NVivo qualitative software. A collaborative group-based approach to data analysis was used guided by Indigenous Standpoint Theory. Results The commissioning of Indigenous-specific program evaluations in Australia reflects top-down, participatory, co-design and Indigenous-led approaches. Top-down approaches were considered 'extractive' and had limited or token Indigenous input. Indigenous models were more strongly aligned with best practice and reflected authentic Indigenous engagement. There was agreement across the stakeholder groups on the value of Indigenous engagement in the commissioning process. The presentation will elaborate on the different approaches, their characteristics, strengths/ limitations. Conclusions Diverse approaches to commissioning are used and reflect different levels of Indigenous engagement and leadership. Key messages In the commissioning of Indigenous evaluations there needs to be governance structures to support Indigenous engagement. In the commissioning of Indigenous evaluations there needs to be greater input by Indigenous people.

Enhancing health literacy can empower individuals and communities to take control over their health as well as improve safety and quality in healthcare. However, Indigenous health studies have repeatedly suggested that conceptualisations of health literacy are confined to Western knowledge, paradigms, and practices. The exploratory qualitative research design selected for this study used an inductive content analysis approach and systematic iterative analysis. Publicly available health literacy-related policy and practice documents originating from Australia, Canada, and New Zealand were analysed to explore the extent to which and the ways in which Indigenous knowledges are recognised, acknowledged, and promoted. Findings suggest that active promotion of Indigenous-specific health knowledges and approaches is limited and guidance to support recognition of such knowledges in practice is rare. Given that health services play a pivotal role in enhancing health literacy, policies and guidelines need to ensure that health services appropriately address and increase awareness of the diverse strengths and needs of Indigenous Peoples. The provision of constructive support, resources, and training opportunities is essential for Indigenous knowledges to be recognised and promoted within health services. Ensuring that Indigenous communities have the opportunity to autonomously conceptualise health literacy policy and practice is critical to decolonising health care.

Abstract Background There has been substantial progress in research on preventing violence against women and girls (VAWG) in the last 20 years. While the evidence suggests the potential of well-designed curriculum-based interventions that target known risk factors of violence at the community level, this has certain limitations for working in partnership with communities in low- and middle-income (LMIC) countries, particularly when it comes to addressing the power dynamics embedded within north-south research relationships. Methods As an alternative approach, we outline the study design for the EVE Project: a formative research project implemented in partnership with community-based researchers in Samoa and Amantaní (Peru) using a participatory co-design approach to VAWG prevention research. We detail the methods we will use to overcome the power dynamics that have been historically embedded in Western research practices, including: collaboratively defining and agreeing research guidelines before the start of the project, co-creating theories of change with community stakeholders, identifying local understandings of violence to inform the selection and measurement of potential outcomes, and co-designing VAWG prevention interventions with communities. Discussion Indigenous knowledge and ways of thinking have often been undermined historically by Western research practices, contributing to repeated calls for better recognition of Southern epistemologies. The EVE Project design outlines our collective thinking on how to address this gap and to further VAWG prevention through the meaningful participation of communities affected by violence in the research and design of their own interventions. We also discuss the significant impact of the COVID-19 pandemic on the project in ways that have both disrupted and expanded the potential for a better transfer of power to the communities involved. This article offers specific strategies for integrating Southern epistemologies into VAWG research practices in four domains: ethics, theories of change, measurement, and intervention design. Our aim is to create new spaces for engagement between indigenous ways of thinking and the evidence that has been established from the past two decades of VAWG prevention research and practice.

Purpose The authors use media research and crowdsourced mapping to document how the first wave of the pandemic (April–August 2020) affected the Mapuche, focussing on seven categories of events: territorial control, spiritual defence, food sovereignty, traditional health practices, political violence, territorial needs and solidarity, and extractivist expansion. Design/methodology/approach Research on the effects of the pandemic on the Mapuche and their territories is lacking; the few existing studies focus on death and infection rates but overlook how the pandemic interacts with ongoing processes of extractivism, state violence and community resistance. The authors’ pilot study addresses this gap through a map developed collaboratively by disaster scholars and Mapuche journalists. Findings The map provides a spatial and chronological overview of this period, highlighting the interconnections between the pandemic and neocolonialism. As examples, the authors focus on two phenomena: the creation of “health barriers” to ensure local territorial control and the state-supported expansion of extractive industries during the first months of the lockdown. Research limitations/implications The authors intersperse our account of the project with reflections on its limitations and, specifically, on how colonial formations shape the research. Decolonising disaster studies and disaster risk reduction practice, the authors argue, is an ongoing process, bound to be flawed and incomplete but nevertheless an urgent pursuit. Originality/value In making this argument, the paper responds to the Disaster Studies Manifesto that inspires this special issue, taking up its invitation to scholars to be more reflexive about their research practice and to frame their investigations through grounded perspectives.

Purpose The purpose of this paper is to think through the value of History as a way of interrogating ideas around environmental change as well as bridging the gap between definitions of natural and cultural heritage. In terms of the sustainability in higher education imperative, it argues that youth climate change movements and endeavours to diversify curriculum content make this a moment of critical mass to push forward with new historical programmes that embed environmental themes in a wider intellectual pedagogy. Design/methodology/approach This paper looks to combine an urgent need to engage with environmental sustainability with progressive endeavours at decolonising the curriculum to explore how humanities (and History, in particular) can be brought into the service of the ecological university. Findings Thereafter, it looks specifically at “green heritage” in the city as a useful example in which the greening agenda can be used to re-contextualise historical approaches, encourage useful conversations around the role of History as a conservation and heritage management tool and build active partnerships with local stakeholder groups. Originality/value The originality of this approach lies in thinking both of content and intellectual practice, pedagogy as content and behaviour and in reconstructing the terrain of a theme such as heritage to think through opportunities for sustainability in education.

Modern-colonial views from the Global North overemphasise the mind for knowledge production and sense-making over the different dimensions of the body. In the Global South, different onto-epistemologies recognise that understanding goes beyond the mind like sentipensar and corazonar. This presentation discusses the meaningful insights from learning backstrap loom weaving (jolobil) as a decolonising approach. During my research journey, a growing intuitive desire to learn jolobil became a transformative experience shifting the direction and contributing to the investigation in different ways. The embodied reflexivity of jolobil connecting body, mind, heart and vital energy (spirit) in relationship with people and place allowed a holistic sense-making of Lekil Kuxlejal, a Mayan Tsotsil and Tseltal equivalent of Buen Vivir. Considering the importance of the different dimensions of the body for sense-making, and the presence of the heart in Mayan (and Mesoamerican) cultures, the documentation of my jolobil apprenticeship through “the eyes of the heart” served as a window to experience not only the labor intensive and complex process of backstrap loom weaving but also to enable the viewers to immerse themselves in jolobil, an understanding of my learning corazonando. Jolobil, a pre-colonial cultural practice taught by the goddess Ixchel, is currently a living practice directly related to the weaver’s well-being as part of a community, and is a medium to reconnect with Indigenous ancestry and heritage. It also has strong emotional-affective dimensions where weavers require patience and concentration for letting the heart flow through the threads, nurturing and guiding the process providing a sense of harmony, well-being and belonging. The practice of jolobil is frequently done around family or in groups allowing intergenerational integration and knowledge transmission. These elements, aligned with my cultural heritage, were integrated through the inclusion of my family members during the field research, a decolonial stance as a Native Latin American woman. Another contribution from my embodied experience was using jolobil as a research metaphor weaving theories, methods and tools from different disciplines like anthropology, sociology and design alongside Indigenous knowledges. Using decolonisation as a transversal frame, this methodological approach intertwines visual-digital-sensorial ethnography, co-design, Mayan cosmovisión (worldview), textiles as resistance and Zapatismo for the exploration of what constitutes a fair-dignified life, Lekil Kuxlejal, for Mayan Tsotsil and Tseltal weavers in collective and horizontal collaboration. Echoing the weaver’s support of the loom with her lower back, jolobil includes the knowledge through our bodies and creative practices through embodiment, sentipensar and corazonar as the integration of ourselves with the whole, a ser uno con el todo.

Hangarau is under-researched. Research in this field, from historical case studies to exploration of hangarau practice across a range of educational contexts, is needed. We examine the significant gap by outlining the timelines leading up to the third cycle of curriculum design and implementation of the marau hangarau. The dataset is drawn from a larger project consisting of interviews with tuakana-curriculum designers (Lemon, 2019) and document analysis of material sourced through requests for official information (Ministry of Education, 1999-2003, 1999-2008, 2003-2012, 2007-2009).Hangarau needs to be researched. As a decolonising curriculum, coming from a Māori foundation of thinking and being, it connects future, past and present in a holistic approach to technological practice. Research will inform the next generation of curriculum designers, and strengthen sector understandings of hangarau. This will be reflected in classroom practice, with better uptake and engagement in hangarau–building on our past achievements. How can we plan ahead if we do not know what has been done? We need to value the work done by those who have toiled to develop a new way of learning for our tamariki mokopuna.He marautanga reo Māori tÄ“nei mā ngā kura reo Māori. Nō reira, he tika te whakaputa whakaaro, te rangahau māna ki te reo rangatira. Heoi anō, ko tō mātou hiahia kia tukuna atu tÄ“nei kōrero ki te tokomaha, nā reira te whakamahi i Ä“tahi kupu Māori torutoru noa iho i tÄ“nei wā. Hei tōna wā, ka rere pai te reo rangatira ki konei, ki Aotearoa nei, tae atu ki ngā tōpito o te ao. We incorporate te reo Māori in writing about a Māori language curriculum taught in classrooms through the medium of the Māori language. There is a glossary at the end of the article for those readers who do not speak te reo Māori.

Abstract Background Indigenous academics have advocated for the use and validity of Indigenous methodologies and methods to centre Indigenous ways of knowing, being and doing in research. Yarning is the most reported Indigenous method used in Aboriginal and Torres Strait Islander qualitative health research. Despite this, there has been no critical analysis of how Yarning methods are applied to research conduct and particularly how they privilege Indigenous peoples. Objective To investigate how researchers are applying Yarning method to health research and examine the role of Aboriginal and Torres Strait Islander researchers in the Yarning process as reported in health publications. Design Narrative review of qualitative studies. Data sources Lowitja Institute LitSearch January 2008 to December 2021 to access all literature reporting on Aboriginal and Torres Strait Islander health research in the PubMed database. A subset of extracted data was used for this review to focus on qualitative publications that reported using Yarning methods. Methods Thematic analysis was conducted using hybrid of inductive and deductive coding. Initial analysis involved independent coding by two authors, with checking by a third member. Once codes were developed and agreed, the remaining publications were coded and checked by a third team member. Results Forty-six publications were included for review. Yarning was considered a culturally safe data collection process that privileges Indigenous knowledge systems. Details of the Yarning processes and team positioning were vague. Some publications offered a more comprehensive description of the research team, positioning and demonstrated reflexive practice. Training and experience in both qualitative and Indigenous methods were often not reported. Only 11 publications reported being Aboriginal and/or Torres Strait Islander led. Half the publications reported Aboriginal and Torres Strait Islander involvement in data collection, and 24 reported involvement in analysis. Details regarding the role and involvement of study reference or advisory groups were limited. Conclusion Aboriginal and Torres Strait Islander people should be at the forefront of Indigenous research. While Yarning method has been identified as a legitimate research method to decolonising research practice, it must be followed and reported accurately. Researcher reflexivity and positioning, and Aboriginal and Torres Strait Islander ownership, stewardship and custodianship of data collected were significantly under detailed in the publications included in our review. Journals and other establishments should review their processes to ensure necessary details are reported in publications and engage Indigenous Editors and peer reviewers to uphold respectful, reciprocal, responsible and ethical research practice.

Much of design teaching, learning and research in Australia is determined by Eurocentric traditions and the ongoing colonial project. In this context Indigenous Peoples continue to experience erasure, silencing and appropriation of practices and knowledges. The Visual Communication Design Program, situated in the School of Design at the University of Technology Sydney (UTS), is committed to disrupting this trajectory. In this article we describe an immersive model that seeks to challenge the role of the design educator, creative practitioner and researcher on unceded Gadigal Lands in the city of Sydney, Australia. We reflect on the challenges of facilitating Visual Communication Design and Emergent Practices, for a third iteration as an online studio experience, during COVID-19 in the context of the climate crisis, bushfires and Black Lives Matter. This iteration is the result of four years of deep collaboration with local First Nation Elders, Indigenous scholars and practitioners. The research-focused studio for 180 final-year visual communication design students is led by Local Elders, cultural and research advisers with the support of studio leaders. The consideration of design-led research methods through a process that infuses Indigenous research principles builds on the longitudinal research into the role of the emplaced designer in Indigenous-led projects on Country. Our studio, titled ‘In Our Own Backyard’, provides students with strength-based design capabilities and understandings of the principles of the United Nations Declaration of Indigenous Peoples Rights (UNDRIP), Indigenous Cultural and Intellectual Property Rights (ICIP) and the Australian Indigenous Design Charter. As a studio experience, the aim is to create conditions which spark possibilities for re-orientation towards relational and respectful negotiation of difference, and the capacity to action Indigenous self-determination in complex practitioner scenarios.

IntroductionThis essay considers three design projects as microprotests. Reflecting on the ways design practice can generate spaces, sites and methods of protest, we use the concept of microprotest to consider how we, as designers ourselves, can protest by scaling down, focussing, slowing down and paying attention to the edges of our practice. Design microprotest is a form of design activism that is always collaborative, takes place within a community, and involves careful translation of a political conversation. While microprotest can manifest in any design discipline, in this essay we focus on visual communication design. In particular we consider the deep, reflexive practice of listening as the foundation of microprotests in visual communication design.While small in scale and fleeting in duration, these projects express rich and deep political engagements through conversations that create and maintain safe spaces. While many design theorists (Julier; Fuad-Luke; Clarke; Irwin et al.) have done important work to contextualise activist design as a broad movement with overlapping branches (social design, community design, eco-design, participatory design, critical design, and transition design etc.), the scope of our study takes ‘micro’ as a starting point. We focus on the kind of activism that takes shape in moments of careful design; these are moments when designers move politically, rather than necessarily within political movements. These microprotests respond to community needs through design more than they articulate a broad activist design movement. As such, the impacts of these microprotests often go unnoticed outside of the communities within which they take place. We propose, and test in this essay, a mode of analysis for design microprotests that takes design activism as a starting point but pays more attention to community and translation than designers and their global reach.In his analysis of design activism, Julier proposes “four possible conceptual tactics for the activist designer that are also to be found in particular qualities in the mainstream design culture and economy” (Julier, Introduction 149). We use two of these tactics to begin exploring a selection of attributes common to design microprotests: temporality – which describes the way that speed, slowness, progress and incompletion are dealt with; and territorialisation – which describes the scale at which responsibility and impact is conceived (227). In each of three projects to which we apply these tactics, one of us had a role as a visual communicator. As such, the research is framed by the knowledge creating paradigm described by Jonas as “research through design”.We also draw on other conceptualisations of design activism, and the rich design literature that has emerged in recent times to challenge the colonial legacies of design studies (Schultz; Tristan et al.; Escobar). Some analyses of design activism already focus on the micro or the minor. For example, in their design of social change within organisations as an experimental and iterative process, Lensjkold, Olander and Hasse refer to Deleuze and Guattari’s minoritarian: “minor design activism is ‘a position in co-design engagements that strives to continuously maintain experimentation” (67). Like minor activism, design microprotests are linked to the continuous mobilisation of actors and networks in processes of collective experimentation. However microprotests do not necessarily focus on organisational change. Rather, they create new (and often tiny) spaces of protest within which new voices can be heard and different kinds of listening can be done.In the first of our three cases, we discuss a representation of transdisciplinary listening. This piece of visual communication is a design microprotest in itself. This section helps to frame what we mean by a safe space by paying attention to the listening mode of communication. In the next sections we explore temporality and territorialisation through the design microprotests Just Spaces which documents the collective imagining of safe places for LBPQ (Lesbian, Bisexual, Pansexual, and Queer) women and non-binary identities through a series of graphic objects and Conversation Piece, a book written, designed and published over three days as a proposition for a collective future. A Representation of Transdisciplinary ListeningThe design artefact we present in this section is a representation of listening and can be understood as a microprotest emerging from a collective experiment that materialises firstly as a visual document asking questions of the visual communication discipline and its role in a research collaboration and also as a mirror for the interdisciplinary team to reflexively develop transdisciplinary perspectives on the risks associated with the release of environmental flows in the upper reaches of Hawkesbury Nepean River in NSW, Australia. This research project was funded through a Challenge Grant Scheme to encourage transdisciplinarity within the University. The project team worked with the Hawkesbury Nepean Catchment Management Authority in response to the question: What are the risks to maximising the benefits expected from increased environmental flows? Listening and visual communication design practice are inescapably linked. Renown American graphic designer and activist Sheila de Bretteville describes a consciousness and a commitment to listening as an openness, rather than antagonism and argument. Fiumara describes listening as nascent or an emerging skill and points to listening as the antithesis of the Western culture of saying and expression.For a visual communication designer there is a very specific listening that can be described as visual hearing. This practice materialises the act of hearing through a visualisation of the information or knowledge that is shared. This act of visual hearing is a performative process tracing the actors’ perspectives. This tracing is used as content, which is then translated into a transcultural representation constituted by the designerly act of perceiving multiple perspectives. The interpretation contributes to a shared project of transdisciplinary understanding.This transrepresentation (Fig. 1) is a manifestation of a small interaction among a research team comprised of a water engineer, sustainable governance researcher, water resource management researcher, environmental economist and a designer. This visualisation is a materialisation of a structured conversation in response to the question What are the risks to maximising the benefits expected from increased environmental flows? It represents a small contribution that provides an opportunity for reflexivity and documents a moment in time in response to a significant challenge. In this translation of a conversation as a visual representation, a design microprotest is made against reduction, simplification, antagonism and argument. This may seem intangible, but as a protest through design, “it involves the development of artifacts that exist in real time and space, it is situated within everyday contexts and processes of social and economic life” (Julier 226). This representation locates conversation in a visual order that responds to particular categorisations of the political, the institutional, the socio-economic and the physical in a transdisciplinary process that focusses on multiple perspectives.Figure 1: Transrepresentation of responses by an interdisciplinary research team to the question: What are the risks to maximising the benefits expected from increased environmental flows in the Upper Hawkesbury Nepean River? (2006) Just Spaces: Translating Safe SpacesListening is the foundation of design microprotest. Just Spaces emerged out of a collaborative listening project It’s OK! An Anthology of LBPQ (Lesbian, Bisexual, Pansexual and Queer) Women’s and Non-Binary Identities’ Stories and Advice. By visually communicating the way a community practices supportive listening (both in a physical form as a book and as an online resource), It’s OK! opens conversations about how LBPQ women and non-binary identities can imagine and help facilitate safe spaces. These conversations led to thinking about the effects of breaches of safe spaces on young LBPQ women and non-binary identities. In her book The Cultural Politics of Emotion, Sara Ahmed presents Queer Feelings as a new way of thinking about Queer bodies and the way they use and impress upon space. She makes an argument for creating and imagining new ways of creating and navigating public and private spaces. As a design microprotest, Just Spaces opens up Queer ways of navigating space through a process Ahmed describes as “the ‘non-fitting’ or discomfort .... an opening up which can be difficult and exciting” (Ahmed 154). Just Spaces is a series of workshops, translated into a graphic design object, and presented at an exhibition in the stairwell of the library at the University of Technology Sydney. It protests the requirement of navigating heteronormative environments by suggesting ‘Queer’ ways of being in and designing in space. The work offers solutions, suggestions, and new ways of doing and making by offering design methods as tools of microprotest to its participants. For instance, Just Spaces provides a framework for sensitive translation, through the introduction of a structure that helps build personas based on the game Dungeons and Dragons (a game popular among certain LGBTQIA+ communities in Sydney). Figure 2: Exhibition: Just Spaces, held at UTS Library from 5 to 27 April 2018. By focussing the design process on deep listening and rendering voices into visual translations, these workshops responded to Linda Tuhiwai Smith’s idea of the “outsider within”, articulating the way research should be navigated in vulnerable groups that have a history of being exploited as part of research. Through reciprocity and generosity, trust was generated in the design process which included a shared dinner; opening up participant-controlled safe spaces.To open up and explore ideas of discomfort and safety, two workshops were designed to provide safe and sensitive spaces for the group of seven LBPQ participants and collaborators. Design methods such as drawing, group imagining and futuring using a central prototype as a prompt drew out discussions of safe spaces. The prototype itself was a small folded house (representative of shelter) printed with a number of questions, such as:Our spaces are often unsafe. We take that as a given. But where do these breaches of safety take place? How was your safe space breached in those spaces?The workshops resulted in tangible objects, made by the participants, but these could not be made public because of privacy implications. So the next step was to use visual communication design to create sensitive and honest visual translations of the conversations. The translations trace images from the participants’ words, sketches and notes. For example, handwritten notes are transcribed and reproduced with a font chosen by the designer based on the tone of the comment and by considering how design can retain the essence of person as well as their anonymity. The translations focus on the micro: the micro breaches of safety; the interactions that take place between participants and their environment; and the everyday denigrating experiences that LBPQ women and non-binary identities go through on an ongoing basis. This translation process requires precise skills, sensitivity, care and deep knowledge of context. These skills operate at the smallest of scales through minute observation and detailed work. This micro-ness translates to the potential for truthfulness and care within the community, as it establishes a precedent through the translations for others to use and adapt for their own communities.The production of the work for exhibition also occurred on a micro level, using a Risograph, a screenprinting photocopier often found in schools, community groups and activist spaces. The machine (ME9350) used for this project is collectively owned by a co-op of Sydney creatives called Rizzeria. Each translation was printed only five times on butter paper. Butter paper is a sensitive surface but difficult to work with making the process slow and painstaking and with a lot of care.All aspects of this process and project are small: the pieced-together translations made by assembling segments of conversations; zines that can be kept in a pocket and read intimately; the group of participants; and the workshop and exhibition spaces. These small spaces of safety and their translations make possible conversations but also enable other safe spaces that move and intervene as design microprotests. Figure 3: Piecing the translations together. Figure 4: Pulling the translation off the drum; this was done every print making the process slow and requiring gentleness. This project was and is about slowing down, listening and visually translating in order to generate and imagine safe spaces. In this slowness, as Julier describes “...the activist is working in a more open-ended way that goes beyond the materialization of the design” (229). It creates methods for listening and collaboratively generating ways to navigate spaces that are fraught with micro conflict. As an act of territorialisation, it created tiny and important spaces as a design microprotest. Conversation Piece: A Fast and Slow BookConversation Piece is an experiment in collective self-publishing. It was made over three days by Frontyard, an activist space in Marrickville, NSW, involved in community “futuring”. Futuring for Frontyard is intended to empower people with tools to imagine and enact preferred futures, in contrast to what design theorist Tony Fry describes as “defuturing”, the systematic destruction of possible futures by design. Materialised as a book, Conversation Piece is also an act of collective futuring. It is a carefully designed process for producing dialogues between unlikely parties using an image archive as a starting point. Conversation Piece was designed with the book sprint format as a starting point. Founded by software designer Adam Hyde, book sprints are a method of collectively generating a book in just a few days then publishing it. Book sprints are related to the programming sprints common in agile software development or Scrum, which are often used to make FLOSS (Free and Open Source Software) manuals. Frontyard had used these techniques in a previous project to develop the Non Cash Arts Asset Platform.Conversation Piece was also modeled on two participatory books made during sprints that focussed on articulating alternative futures. Collaborative Futures was made during Transmediale in 2009, and Futurish: Thinking Out Loud about Futures (2015).The design for Conversation Piece began when Frontyard was invited to participate in the Hobiennale in 2017, a free festival emerging from the “national climate of uncertainty within the arts, influenced by changes to the structure of major arts organisations and diminishing funding opportunities.” The Hobiennale was the first Biennale held in Hobart, Tasmania, but rather than producing a standard large art survey, it focussed on artist-run spaces and initiatives, emergant practices, and marginalised voices in the arts. Frontyard is not an artist collective and does not work for commissions. Rather, the response to the invitation was based on how much energy there was in the group to contribute to Hobiennale. At Frontyard one of the ways collective and individual energy is accounted for is using spoon theory, a disability metaphor used to describe the planning that many people have to do to conserve and ration energy reserves in their daily lives (Miserandino). As outlined in the glossary of Conversation Piece, spoon theory is:A way of accounting for our emotional or physical energy and therefore our ability to participate in activities. Spoon theory can be used to collaborate with care and avoid guilt and burn out. Usually spoon theory is applied at an individual level, but it can also be used by organisations. For example, Hobiennale had enough spoons to participate in the Hobiennale so we decided to give it a go. (180)To make to book, Frontyard invited visitors to Hobiennale to participate in a series of open conversations that began with the photographic archive of the organisation over the two years of its existence. During a prototyping session, Frontyard designed nine diagrams that propositioned ways to begin conversations by combining images in different ways. Figure 5: Diagram 9. Conversation Piece: p.32-33One of the purposes of the diagrams, and the book itself, was to bring attention to the micro dynamics of conversation over time, and to create a safe space to explore the implications of these. While the production process and the book itself is micro (ten copies were printed and immediately given away), the decisions made in regards to licensing (a creative commons license is used), distribution (via the Internet Archive) and content generation (through participatory design processes) the project’s commitment to open design processes (Van Abel, Evers, Klaassen and Troxler) mean its impact is unpredictable. Counter-logical to the conventional copyright of books, open design borrows its definition - and at times its technologies and here its methods - from open source software design, to advocate the production of design objects based on fluid and shared circulation of design information. The tension between the abundance produced by an open approach to making, and the attention to the detail of relationships produced by slowing down and scaling down communication processes is made apparent in Conversation Piece:We challenge ourselves at Frontyard to keep bureaucratic processes as minimal an open as possible. We don’t have an application or acquittal process: we prefer to meet people over a cup of tea. A conversation is a way to work through questions. (7)As well as focussing on the micro dynamics of conversations, this projects protests the authority of archives. It works to dismantle the hierarchies of art and publishing through the design of an open, transparent, participatory publishing process. It offers a range of propositions about alternative economies, the agency of people working together at small scales, and the many possible futures in the collective imaginaries of people rethinking time, outcomes, results and progress.The contributors to the book are those in conversation – a complex networks of actors that are relationally configured and themselves in constant change, so as Julier explains “the object is subject to constant transformations, either literally or in its meaning. The designer is working within this instability.” (230) This is true of all design, but in this design microprotest, Frontyard works within this instability in order to redirect it. The book functions as a series of propositions about temporality and territorialisation, and focussing on micro interventions rather than radical political movements. In one section, two Frontyard residents offer a story of migration that also serves as a recipe for purslane soup, a traditional Portuguese dish (Rodriguez and Brison). Another lifts all the images of hand gestures from the Frontyard digital image archive and represents them in a photo essay. Figure 6: Talking to Rocks. Conversation Piece: p.143ConclusionThis article is an invitation to momentarily suspend the framing of design activism as a global movement in order to slow down the analysis of design protests and start paying attention to the brief moments and small spaces of protest that energise social change in design practice. We offered three examples of design microprotests, opening with a representation of transdisciplinary listening in order to frame design as a way if interpreting and listening as well as generating and producing. The two following projects we describe are collective acts of translation: small, momentary conversations designed into graphic forms that can be shared, reproduced, analysed, and remixed. Such protests have their limitations. Beyond the artefacts, the outcomes generated by design microprotests are difficult to identify. While they push and pull at the temporality and territorialisation of design, they operate at a small scale. How design microprotests connect to global networks of protest is an important question yet to be explored. The design practices of transdisciplinary listening, Queer Feelings and translations, and collaborative book sprinting, identified in these design microprotests change the thoughts and feelings of those who participate in ways that are impossible to measure in real time, and sometimes cannot be measured at all. Yet these practices are important now, as they shift the way designers design, and the way others understand what is designed. By identifying the common attributes of design microprotests, we can begin to understand the way necessary political conversations emerge in design practice, for instance about safe spaces, transdisciplinarity, and archives. Taking a research through design approach these can be understood over time, rather than just in the moment, and in specific territories that belong to community. They can be reconfigured into different conversations that change our world for the better. References Ahmed, Sara. “Queer Feelings.” The Cultural Politics of Emotion. Edinburgh: Edinburgh UP, 2004. 143-167.Clarke, Alison J. "'Actions Speak Louder': Victor Papanek and the Legacy of Design Activism." Design and Culture 5.2 (2013): 151-168.De Bretteville, Sheila L. Design beyond Design: Critical Reflection and the Practice of Visual Communication. Ed. Jan van Toorn. Maastricht: Jan van Eyck Akademie Editions, 1998. 115-127.Evers, L., et al. Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, 2011.Escobar, Arturo. Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. Duke UP, 2018.Fiumara, G.C. The Other Side of Language: A Philosophy of Listening. London: Routledge, 1995.Fuad-Luke, Alastair. Design Activism: Beautiful Strangeness for a Sustainable World. London: Routledge, 2013.Frontyard Projects. 2018. Conversation Piece. Marrickville: Frontyard Projects. Fry, Tony. A New Design Philosophy: An Introduction to Defuturing. Sydney: UNSW P, 1999.Hanna, Julian, Alkan Chipperfield, Peter von Stackelberg, Trevor Haldenby, Nik Gaffney, Maja Kuzmanovic, Tim Boykett, Tina Auer, Marta Peirano, and Istvan Szakats. Futurish: Thinking Out Loud about Futures. Linz: Times Up, 2014. Irwin, Terry, Gideon Kossoff, and Cameron Tonkinwise. "Transition Design Provocation." Design Philosophy Papers 13.1 (2015): 3-11.Julier, Guy. "From Design Culture to Design Activism." Design and Culture 5.2 (2013): 215-236.Julier, Guy. "Introduction: Material Preference and Design Activism." Design and Culture 5.2 (2013): 145-150.Jonas, W. “Exploring the Swampy Ground.” Mapping Design Research. Eds. S. Grand and W. Jonas. Basel: Birkhauser, 2012. 11-41.Kagan, S. Art and Sustainability. Bielefeld: Transcript, 2011.Lenskjold, Tau Ulv, Sissel Olander, and Joachim Halse. “Minor Design Activism: Prompting Change from Within.” Design Issues 31.4 (2015): 67–78. doi:10.1162/DESI_a_00352.Max-Neef, M.A. "Foundations of Transdisciplinarity." Ecological Economics 53.53 (2005): 5-16.Miserandino, C. "The Spoon Theory." <http://www.butyoudontlooksick.com>.Nicolescu, B. "Methodology of Transdisciplinarity – Levels of Reality, Logic of the Included Middle and Complexity." Transdisciplinary Journal of Engineering and Science 1.1 (2010): 19-38.Palmer, C., J. Gothe, C. Mitchell, K. Sweetapple, S. McLaughlin, G. Hose, M. Lowe, H. Goodall, T. Green, D. Sharma, S. Fane, K. Brew, and P. Jones. “Finding Integration Pathways: Developing a Transdisciplinary (TD) Approach for the Upper Nepean Catchment.” Proceedings of the 5th Australian Stream Management Conference: Australian Rivers: Making a Difference. Thurgoona, NSW: Charles Sturt University, 2008.Rodriguez and Brison. "Purslane Soup." Conversation Piece. Eds. Frontyard Projects. Marrickville: Frontyard Projects, 2018. 34-41.Schultz, Tristan, et al. "What Is at Stake with Decolonizing Design? A Roundtable." Design and Culture 10.1 (2018): 81-101.Smith, Linda Tuhiwai. Decolonising Methodologies: Research and Indigenous Peoples. New York: ZED Books, 1998. Van Abel, Bas, et al. Open Design Now: Why Design Cannot Remain Exclusive. Bis Publishers, 2014.Wing Sue, Derald. Microaggressions in Everyday Life: Race, Gender, and Sexual Orientation. London: John Wiley & Sons, 2010. XV-XX.

ABSTRACT In 1980, Zimbabwe inherited a Eurocentric education system from the British colony, aimed at the perpetuation of the subordination and silencing of the African child. When the government of Zimbabwe noticed the infestation of the colonial wound, demonstrated by the irrelevance and in-applicability of the inherited education system, it called for its reconstruction on a new curriculum, which was rolled out in 2015. However, Zimbabwean Social Studies teachers reported intractable inconsistencies in curriculum design and implementation between what is taught in the classroom and what is expected in the society, which they linked to lack of Ubuntu values and a decolonization perspective. Using the Social Studies curriculum as a case and the Ubuntu lens as a conceptual framework, this qualitative study investigates the strategies which can be used to reform the curriculum so that it speaks to the dictates of the Zimbabwean community in which it serves. Data were generated through semi-structured interviews and Focus Group Discussion (FGD) from 12 purposefully sampled Social Studies teachers located in different school settings of Zimbabwe namely the rural, urban, growth points and farm areas. Findings indicated that the 'usable past' anchored in Ubuntu values as part of the decolonization agenda, though not given serious consideration in Zimbabwe, is fundamental to curriculum reform and implementation. Considering the findings, the study recommends the revisiting and extracting from the African past and its values to drive curriculum change to prepare the learner to lead an African life in the African continent. The study elucidates the need for a collective psyche in educational change in which curriculum planners practise cordial relations and engage the teachers in curriculum construction to perfect curriculum design and implementation. Keywords: Curriculum change; Curriculum implementation; Decolonisation; Social Studies; Ubuntu; 'Usable past'.

On July 1, 2009 at a special ceremony in Iqaluit, 21 Inuit women graduated from Nunavut’s first graduate degree program, a Master of Education in Leadership and Learning offered by the University of Prince Edward Island in partnership with Nunavut Department of Education, St. Francis Xavier University, and Nunavut Arctic College. The authors of this article, Northwest Territories/Nunavut educators between 1982 and 1999, and university-based professors and researchers who have since been involved in the planning and delivery of the Nunavut M.Ed., trace the roots of the program to decolonising research in educational practices in the Baffin region between 1980 and 1999. They then outline the design and implementation of the program with particular emphasis on its challenges and the approaches necessary for its success.

Abstract This study explores how translanguaging has been enacted in a university-wide curriculum transformation project in an additional language programme in Aotearoa New Zealand. Its aim is to reveal students’ perspectives on integrating Indigenous epistemology into the curriculum of a beginner-level Chinese course. The survey data, collected from 155 students, show that most students react positively to the idea of embedding Indigenous epistemology into language teaching through a translanguaging assessment design. Moreover, students’ translingual practices in their digital multimodal compositions demonstrate that they can enact translanguaging to enable the coexistence of different bodies of knowledge while learning an additional language. Based on these findings, I suggest that language teaching should integrate place-based worldviews that are meaningful to all local students. It is also important to adopt translanguaging as a decolonising approach to facilitate a pluriversal epistemological stance that promotes plurilingualism in language education. The nexus between translanguaging and decoloniality needs to be explored further, as does the possibility for cross-civilisational learning through translanguaging.

This article explores some of the complexities of teaching art and design history to students in a Design Extended Curriculum Programme at a university of technology in the context of post-1994 South African society—a society troubled by the ghosts of colonial and apartheid histories that agitate the present/future. Tracking a series of diffractive pedagogical encounters, the article makes visible how, as a discipline, art history haunts the curriculum by reinforcing Western cultural superiority. The article argues that speaking-with and drawing-with dis/appeared ghosts offer new possibilities for reconfiguring art history curriculum studies that both valorise historicity and in turn open us towards different futures. The case study centres around the construction of the “Venus figure” as an embodiment of humanist Western cultural ideologies and practices that reduce the female body to an object of capture for man. Students intra-act with various representations of the Venus figure across art history through the story of Sarah Baartman, the so-called “Hottentot Venus”, whose haunting presence continues to contour, colour and texture discourses around decolonising the curriculum in South African higher education.

Our paper discusses our recent experiences with designing effective assessments for challenging local contexts by using group work portfolio projects. South African universities are experiencing ever-increasing student numbers, diverse student bodies which have different language and literacy skill levels, and limited resources. Simultaneously, the need to decolonise university curricula and teaching and learning practices is being actively investigated across South Africa. In this paper, we discuss preliminary steps we have taken towards achieving this broader transformative agenda in the context of the massification of education, namely designing effective and decolonial assessments that support epistemological access and academic success, while at the same time challenging what counts as ‘powerful knowledge’ (Young and Muller, 2013) in the classroom. We argue that effective decolonial knowledge practices and deep critical engagement can be achieved by using group work portfolio tasks that align with assessment for learning principles (Carless, 2015). Using a design- based research approach, we describe three courses across two universities which have implemented portfolio-type group assessments. The preliminary findings suggest that group projects can yield rich and productive assessment for learning outcomes in large classes. In addition, portfolio projects that purposely interrogate diverse perspectives, knowledges and experiences can harness the diversity of groups to work towards decolonising the classroom.

In order to know how to change one must be able to acknowledge what one does not know. Central to knowledge production of relevance is humility and an understanding of the realities of one’s own environment. From a decolonial perspective, knowledge production is affected by the development and creation of the actual physical spaces of the university and its pedagogy. The Covid_19 pandemic has tested the functionality of the physical space of the university as well as the organization of the city space. This paper considers these issues, their impact and effect on the mental well-being of both academics and students by exploring the idea of the university as a virtuous city. We draw on Al-Farabi’s treatise of the Virtuous City because physical and conceptual architectures reflect a way in which the world is structured. In South Africa, the violent design of the fragmented spaces has been planned according to the colonial, cartographic imagination which destroys and distorts memory and ruptures tradition. The architecture of the cities and universities, it can be argued, effect a similar process, and serve as an affirmation of the pre-dominance of the white-supremacist power structure in South Africa. Cities are created by people and each city is a creation of the interaction of social, economic, cultural, and political imperatives. The university is a micro-manifestation of the cosmopolitan city that adopts different approaches to knowledge, decolonisation and transformation. In re-imaging and reconstituting the westernised South African university an appropriate approach to reaching the ideals of well-being and harmony would require the shedding of the ego and the Cartesian “I”. The process of decolonising the university should occur by deconstructing and recognising colonial methods, theories and practise in our pedagogy and spaces in order to begin the process of reconstruction.

The debate on the social role of museums trundles along in an age where complex associations between community, collections, and cultural norms are highly contested (Silverman 3–4; Sandell, Inequality 3–23). This article questions whether, in the case of community groups whose aspirations often go unrecognised (in this case people with either blindness or low vision), there is a need to discuss and debate institutionalised approaches that often reinforce social exclusion and impede cultural access. If “access is [indeed] an entry point to experience” (Papalia), then the privileging of visual encounters in museums is clearly a barrier for people who experience sight loss or low vision (Levent and Pursley). In contrast, a multisensory aesthetic to exhibition display respects the gamut of human sensory experience (Dudley 161–63; Drobnick 268–69; Feld 184; James 136; McGlone 41–60) as do discursive gateways including “lectures, symposia, workshops, educational programs, audio guides, and websites” (Cachia). Independent access to information extends beyond Braille on toilet doors.Underpinning this article is an ongoing qualitative case study undertaken by the author involving participant observation, workshops, and interviews with eight adults who experience vision impairment. The primary research site has been the National Museum of Australia. Reflecting on the role of curators as storytellers and the historical development of museums and their practitioners as agents for social development, the article explores the opportunities latent in museum collections as they relate to community members with vision impairment. The outcomes of this investigation offer insights into emerging issues as they relate to the International Council of Museums (ICOM) definitions of the museum program. Curators as Storytellers“The ways in which objects are selected, put together, and written or spoken about have political effects” (Eilean Hooper-Greenhill qtd. in Sandell, Inequality 8). Curators can therefore open or close doors to discrete communities of people. The traditional role of curators has been to collect, care for, research, and interpret collections (Desvallées and Mairesse 68): they are characterised as information specialists with a penchant for research (Belcher 78). While commonly possessing an intimate knowledge of their institution’s collection, their mode of knowledge production results from a culturally mediated process which ensures that resulting products, such as cultural significance assessments and provenance determinations (Russell and Winkworth), privilege the knowing systems of dominant social groups (Fleming 213). Such ways of seeing can obstruct the access prospects of underserved audiences.When it comes to exhibition display—arguably the most public of work by museums—curators conventionally collaborate within a constellation of other practitioners (Belcher 78–79). Curators liaise with museum directors, converse with conservators, negotiate with exhibition designers, consult with graphics designers, confer with marketing boffins, seek advice from security, chat with editors, and engage with external contractors. I question the extent that curators engage with community groups who may harbour aspirations to participate in the exhibition experience—a sticking point soon to be addressed. Despite the team based ethos of exhibition design, it is nonetheless the content knowledge of curators on public display. The art of curatorial interpretation sets out not to instruct audiences but, in part, to provoke a response with narratives designed to reveal meanings and relationships (Freeman Tilden qtd. in Alexander and Alexander 258). Recognised within the institution as experts (Sandell, Inclusion 53), curators have agency—they decide upon the stories told. In a recent television campaign by the National Museum of Australia, a voiceover announces: a storyteller holds incredible power to connect and to heal, because stories bring us together (emphasis added). (National Museum of Australia 2015)Storytelling in the space of the museum often shares the histories, perspectives, and experiences of people past as well as living cultures—and these stories are situated in space and time. If that physical space is not fit-for-purpose—that is, it does not accommodate an individual’s physical, intellectual, psychiatric, sensory, or neurological needs (Disability Discrimination Act 1992, Cwlth)—then the story reaches only long-established patrons. The museum’s opportunity to contribute to social development, and thus the curator’s as the primary storyteller, will have been missed. A Latin-American PerspectiveICOM’s commitment to social development could be interpreted merely as a pledge to make use of collections to benefit the public through scholarship, learning, and pleasure (ICOM 15). If this interpretation is accepted, however, then any museum’s contribution to social development is somewhat paltry. To accept such a limited and limiting role for museums is to overlook the historical efforts by advocates to change the very nature of museums. The ascendancy of the social potential of museums first blossomed during the late 1960s at a time where, globally, overlapping social movements espoused civil rights and the recognition of minority groups (Silverman 12; de Varine 3). Simultaneously but independently, neighbourhood museums arose in the United States, ecomuseums in France and Quebec, and the integral museum in Latin America, notably in Mexico (Hauenschild; Silverman 12–13). The Latin-American commitment to the ideals of the integral museum developed out of the 1972 round table of Santiago, Chile, sponsored by the United Nations Educational, Scientific and Cultural Organization (Giménez-Cassina 25–26). The Latin-American signatories urged the local and regional museums of their respective countries to collaborate with their communities to resolve issues of social inequality (Round Table Santiago 13–21). The influence of Brazilian educator Paulo Freire should be acknowledged. In 1970, Freire ushered in the concept of conscientization, defined by Catherine Campbell and Sandra Jovchelovitch as:the process whereby critical thinking develops … [and results in a] … thinker [who] feels empowered to think and to act on the conditions that shape her living. (259–260)This model for empowerment lent inspiration to the ideals of the Santiago signatories in realising their sociopolitical goal of the integral museum (Assunção dos Santos 20). Reframing the museum as an institution in the service of society, the champions of the integral museum sought to redefine the thinking and practices of museums and their practitioners (United Nations Educational, Scientific and Cultural Organization 37–39). The signatories successfully lobbied ICOM to introduce an explicitly social purpose to the work of museums (Assunção dos Santos 6). In 1974, in the wake of the Santiago round table, ICOM modified their definition of a museum to “a permanent non-profit institution, open to the public, in the service of society and its development” (emphasis added) (Hauenschild). Museums had been transformed into “problem solvers” (Judite Primo qtd. in Giménez-Cassina 26). With that spirit in mind, museum practitioners, including curators, can develop opportunities for reciprocity with the many faces of the public (Guarini). Response to Social Development InitiativesStarting in the 1970s, the “second museum revolution” (van Mensch 6–7) saw the transition away from: traditional roles of museums [of] collecting, conservation, curatorship, research and communication … [and toward the] … potential role of museums in society, in education and cultural action. (van Mensch 6–7)Arguably, this potential remains a work in progress some 50 years later. Writing in the tradition of museums as agents of social development, Mariana Lamas states:when we talk about “in the service of society and its development”, it’s quite different. It is like the drunk uncle at the Christmas party that the family pretends is not there, because if they pretend long enough, he might pass out on the couch. (Lamas 47–48)That is not to say that museums have neglected to initiate services and programs that acknowledge the aspirations of people with disabilities (refer to Cachia and Krantz as examples). Without discounting such efforts, but with the refreshing analogy of the drunken uncle still fresh in memory, Lamas answers her own rhetorical question:how can traditional museums promote community development? At first the word “development” may seem too much for the museum to do, but there are several ways a museum can promote community development. (Lamas 52) Legitimising CommunitiesThe first way that museums can foster community or social development is to:help the community to over come [sic] a problem, coming up with different solutions, putting things into a new perspective; providing confidence to the community and legitimizing it. (Lamas 52)As a response, my doctoral investigation legitimises the right of people with vision impairment to participate in the social and cultural aspects of publicly funded museums. The Australian Government upheld this right in 2008 by ratifying the United Nations Convention on the Rights of Persons with Disabilities (and Optional Protocol), which enshrines the right of people with disability to participate in the cultural life of the nation (United Nations).At least 840,700 people in Australia (a minimum of four per cent of the population) experiences either blindness or low vision (Australian Bureau of Statistics 2009). For every one person in the Australian community who is blind, nearly five other people experience low vision. The medical model of disability identifies the impairment as the key feature of a person and seeks out a corrective intervention. In contrast, the social model of disability strives to remove the attitudinal, social, and physical barriers enacted by people or institutions (Landman, Fishburn, and Tonkin 14). Therein lies the opportunity and challenge for museums—modifying layouts and practices that privilege the visual. Consequently, there is scope for museums to partner with people with vision impairment to identify their aspirations rather than respond as a problem to be fixed. Common fixes in the museums for people with disabilities include physical alterations such as ramps and, less often, special tours (Cachia). I posit that curators, as co-creators and major contributors to exhibitions, can be part of a far wider discussion. In the course of doctoral research, I accompanied adults with a wide array of sight impairments into exhibitions at the Museum of Australian Democracy at Old Parliament House, the Australian War Memorial, and the National Museum of Australia. Within the space of the exhibition, the most commonly identified barrier has been the omission of access opportunities to interpreted materials: that is, information about objects on display as well as the wider narratives driving exhibitions. Often, the participant has had to work backwards, from the object itself, to understand the wider topic of the exhibition. If aesthetics is “the way we communicate through the senses” (Thrift 291), then the vast majority of exhibits have been inaccessible from a sensory perspective. For people with low vision (that is, they retain some degree of functioning sight), objects’ labels have often been too small to be read or, at times, poorly contrasted or positioned. Objects have often been set too deep into display cabinets or too far behind safety barriers. If individuals must use personal magnifiers to read text or look in vain at objects, then that is an indicator that there are issues with exhibition design. For people who experience blindness (that is, they cannot see), neither the vast majority of exhibits nor their interpretations have been made accessible. There has been minimal access across all museums to accessioned objects, handling collections, or replicas to tease out exhibits and their stories. Object labels must be read by family or friends—a tiring experience. Without motivated peers, the stories told by curators are silenced by a dearth of alternative options.Rather than presume to know what works for people with disabilities, my research ethos respects the “nothing about us without us” (Charlton 2000; Werner 1997) maxim of disability advocates. To paraphrase Lamas, we have collaborated to come up with different solutions by putting things into new perspectives. In turn, “person-centred” practices based on rapport, warmth, and respect (Arigho 206–07) provide confidence to a diverse community of people by legitimising their right to participate in the museum space. Incentivising Communities Museums can also nurture social or community development by providing incentives to “the community to take action to improve its quality of life” (Lamas 52). It typically falls to (enthusiastic) public education and community outreach teams to engage underserved communities through targeted programs. This approach continues the trend of curators as advocates for the collection, and educators as advocates for the public (Kaitavouri xi). If the exhibition briefs normally written by curators (Belcher 83) reinforced the importance of access, then exhibition designers would be compelled to offer fit-for-purpose solutions. Better still, if curators (and other exhibition team members) regularly met with community based organisations (perhaps in the form of a disability reference group), then museums would be better positioned to accommodate a wider spectrum of community members. The National Standards for Australian Museums and Galleries already encourages museums to collaborate with disability organisations (40). Such initiatives offer a way forward for improving a community’s sense of itself and its quality of life. The World Health Organization defines health as a “state of complete physical, mental and social well-being and not merely the absence of disease or infirmity”. While I am not using quality of life indicators for my doctoral study, the value of facilitating social and cultural opportunities for my target audience is evident in participant statements. At the conclusion of one sensory based workshop, Mara, a female participant who experiences low vision in one eye and blindness in the other, stated:I think it was interesting in that we could talk together about what we were experiencing and that really is the social aspect of it. I mean if I was left to go to a whole lot of museums on my own, I probably wouldn’t. You know, I like going with kids or a friend visiting from interstate—that sort of thing. And so this group, in a way, replicates that experience in that you’ve got someone else to talk about your impressions with—much better than going on your own or doing this alone.Mara’s statement was in response to one of two workshops I held with the support of the Learning Services team at the National Museum of Australia in May 2015. Selected objects from the museum’s accessioned collection and handling collection were explored, as well as replicas in the form of 3D printed objects. For example, participants gazed upon and handled a tuckerbox, smelt and tasted macadamia nuts in wattle seed syrup, and listened to a genesis story about the more-ish nut recorded by the Butchulla people—the traditional owners of Fraser Island. We sat around a table while I, as the workshop mediator, sought to facilitate free-flowing discussions about their experiences and, in turn, mused on the capacity of objects to spark social connection and opportunities for cultural access. While the workshop provided the opportunity for reciprocal exchanges amongst participants as well as between participants and me, what was highly valued by most participants was the direct contact with members of the museum’s Learning Services team. I observed that participants welcomed the opportunity to talk with real museum workers. Their experience of museum practitioners, to date, had been largely confined to the welcome desk of respective institutions or through special events or tours where they were talked at. The opportunity to communicate directly with the museum allowed some participants to share their thoughts and feelings about the services that museums provide. I suggest that curators open themselves up to such exchanges on a more frequent basis—it may result in reciprocal benefits for all stakeholders. Fortifying IdentityA third way museums can contribute to social or community development is by:fortify[ing] the bonds between the members of the community and reaffirm their identities making them feel more secure about who they are; and give them a chance to tell their own version of their history to “outsiders” which empowers them. (Lamas 52)Identity informs us and others of who we are and where we belong in the world (Silverman 54). However, the process of identity marking and making can be fraught: “some communities are ours by choice … [and] … some are ours because of the ways that others see us” (Watson 4). Communities are formed by identifying who is in and who is out (Francois Dubet qtd. in Bessant and Watts 260). In other words, the construction of collective identity is reinforced through means of social inclusion and social exclusion. The participants of my study, as members or clients of the Royal Society for the Blind | Canberra Blind Society, clearly value participating in events with empathetic peers. People with vision impairment are not a homogenous group, however. Reinforcing the cultural influences on the formation of identity, Fiona Candlin asserts that “to state the obvious but often ignored fact, blind people … [come] … from all social classes, all cultural, racial, religious and educational backgrounds” (101). Irrespective of whether blindness or low vision arises congenitally, adventitiously, or through unexpected illness, injury, or trauma, the end result is an assortment of individuals with differing perceptual characteristics who construct meaning in often divergent ways (De Coster and Loots 326–34). They also hold differing world views. Therefore, “participation [at the museum] is not an end in itself. It is a means for creating a better world” (Assunção dos Santos 9). According to the Australian Human Rights Commissioner, Professor Gillian Triggs, a better world is: a society for all, in which every individual has an active role to play. Such a society is based on fundamental values of equity, equality, social justice, and human rights and freedoms, as well as on the principles of tolerance and embracing diversity. (Triggs)Publicly funded museums can play a fundamental role in the cultural lives of societies. For example, the Powerhouse Museum (Museum of Applied Arts and Sciences) in Sydney partnered with Vision Australia to host an exhibition in 2010 titled Living in a Sensory World: it offered “visitors an understanding of the world of the blindness and low vision community and celebrates their achievements” (Powerhouse Museum). With similar intent, my doctoral research seeks to validate the world of my participants by inviting museums to appreciate their aspirations as a distinct but diverse community of people. ConclusionIn conclusion, the challenge for museum curators and other museum practitioners is balancing what Richard Sennett (qtd. in Bessant and Watts 265) identifies as opportunities for enhancing social cohesion and a sense of belonging while mitigating parochialism and community divisiveness. Therefore, curators, as the primary focus of this article, are indeed challenged when asked to contribute to serving the public through social development—a public which is anything but homogenous. Mindful of cultural and social differences in an ever-changing world, museums are called to respect the cultural and natural heritage of the communities they serve and collaborate with (ICOM 10). It is a position I wholeheartedly support. This is not to say that museums or indeed curators are capable of solving the ills of society. However, inviting people who are frequently excluded from social and cultural events to multisensory encounters with museum collections acknowledges their cultural rights. I suggest that this would be a seismic shift from the current experiences of adults with blindness or low vision at most museums.ReferencesAlexander, Edward, and Mary Alexander. Museums in Motion: An Introduction to the History and Functions of Museums. 2nd ed. Lanham, Maryland: AltaMira Press, 2008.Arigho, Bernie. “Getting a Handle on the Past: The Use of Objects in Reminiscence Work.” Touch in Museums: Policy and Practice in Object Handling. Ed. Helen Chatterjee. Oxford: Berg, 2008. 205–12.Assunção dos Santos, Paula. Introduction. Sociomuseology 4: To Think Sociomuseologically. Eds. Paula Assunção dos Santos and Judite Primo. Lisbon: Universidade Lusófona de Humanidades e Tecnologias, 2010. 5–12.Australian Bureau of Statistics. “National Health Survey: Summary of Results (2007- 2008) (Reissue), Cat. No. 4364.0. 2009.” Australian Bureau of Statistics. 12 Feb. 2015 ‹http://www.abs.gov.au/ausstats/abs@.nsf/mf/4364.0›.Belcher, Michael. Exhibitions in Museums. Leicester: Leicester UP, 1991.Bessant, Judith, and Rob Watts. Sociology Australia. 3rd ed. Crows Nest: Allen & Unwin, 2007.Cachia, Amanda. “Talking Blind: Disability, Access, and the Discursive Turn.” Disability Studies Quarterly 33.3 (2013). 23 July 2015 ‹http://dsq-sds.org/article/view/3758›.Campbell, Catherine, and Sandra Jovchelovitch. "Health, Community and Development: Towards a Social Psychology of Participation." Journal of Community & Applied Social Psychology 10.4 (2000): 255–70.Candlin, Fiona. "Blindness, Art and Exclusion in Museums and Galleries." International Journal of Art & Design Education 22.1 (2003): 100–10.Charlton, James. Nothing about Us without Us: Disability Oppression and Empowerment. Berkeley: U of California P, 2000.De Coster, Karin, and Gerrit Loots. "Somewhere in between Touch and Vision: In Search of a Meaningful Art Education for Blind Individuals." International Journal of Art & Design Education 23.3 (2004): 32634.De Varine, Hugues. “Decolonising Museology.” ICOM News 58.3 (2005): 3.Desvallées, André, and François Mairesse. Key Concepts of Museology. Paris: Armand Colin, 2010. 16 Jun. 2015 ‹http://icom.museum/professional-standards/key-concepts-of-museology/›.Disability Discrimination Act 1992 (Cwlth). 14 June 2015 ‹https://www.comlaw.gov.au/Series/C2004A04426›.Drobnick, Jim. “Volatile Effects: Olfactory Dimensions of Art and Architecture.” Empire of the Senses: The Sensual Culture Reader. Ed. David Howes. New York: Berg, 2005. 265–80.Dudley, Sandra. “Sensory Exile in the Field.” Museums Objects: Experiencing the Properties of Things. Ed. Sandra H. Dudley. Abingdon, UK: Routledge, 2012. 161–63.Feld, Steven. “Places Sensed, Senses Placed: Toward a Sensuous Epistemology of Environments.” Empire of the Senses: The Sensual Culture Reader. Ed. David Howes. New York: Berg, 2005. 179–91.Fleming, David. “Positioning the Museum for Social Inclusion.” Museums, Society, Inequality. Ed. Richard Sandell. London: Routledge, 2002. 213–24.Giménez-Cassina, Eduardo. “Who Am I? An Identity Crisis. Identity in the New Museologies and the Role of the Museum Professional.” Sociomuseology 3: To Understand New Museology in the XXI Century. Eds. Paula Assunção dos Santos and Judite Primo. Lisbon: Universidade Lusófona de Humanidades e Tecnologias, 2010. 25–42. Guarini, Beaux. Up Close and Personal: Engaging Collections alongside Adults with Vision Impairment. 2015. 17 June 2015 ‹http://nma.gov.au/blogs/education/2015/06/17/4802/›.Hauenschild, Andrea. Claims and Reality of New Museology: Case Studies in Canada, the United States and Mexico. 1988. 21 June 2015 ‹http://museumstudies.si.edu/claims2000.htm›.Hoyt, Bridget O’Brien. “Emphasizing Observation in a Gallery Program for Blind and Low-Vision Visitors: Art beyond Sight at the Museum of Fine Arts, Houston.” Disability Studies Quarterly 33.3 (2013). 23 July 2015 ‹http://dsq-sds.org/article/view/3737›.International Council of Museums. ICOM Code of Ethics for Museums. Paris: International Council of Museums, 2013. 6 June 2015 ‹http://icom.museum/the-vision/code-of-ethics/›.James, Liz. “Senses and Sensibility in Byzantium.” Museums Objects: Experiencing the Properties of Things. Ed. Sandra H. Dudley. Abingdon, UK: Routledge, 2012. 134–149.Kaitavouri, Kaija. Introduction. It’s All Mediating: Outlining and Incorporating the Roles of Curating and Education in the Exhibit Context. Eds. Kaija Kaitavouri, Laura Kokkonen, and Nora Sternfeld. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013. x–xxi.Lamas, Mariana. “Lost in the Supermarket – The Traditional Museums Challenges.” Sociomuseology 3: To Understand New Museology in the XXI Century. Eds. Paula Assunção dos Santos and Judite Primo. Lisbon: Universidade Lusófona de Humanidades e Tecnologias, 2010. 42–58. Landman, Peta, Kiersten Fishburn, Lynda Kelly, and Susan Tonkin. Many Voices Making Choices: Museum Audiences with Disabilities. Sydney: Australian Museum and National Museum of Australia, 2005. Levent, Nina, and Joan Muyskens Pursley. “Sustainable Museum Acess: A Two-Way Street.” Disability Studies Quarterly 33.3 (2013). 22 July 2015 ‹http://dsq-sds.org/article/view/3742›.McGlone, Francis. “The Two Sides of Touch: Sensing and Feeling.” Touch in Museums: Policy and Practice in Object Handling. Ed. Helen Chatterjee. Oxford: Berg, 2008. 41–60.National Museum of Australia. “Stories Can Unite Us as One.” YouTube 28 May 2015. 16 Jun. 2015 ‹https://www.youtube.com/watch?v=Qwxj_rC57zM›.National Standards Taskforce. National Standards for Australian Museums and Galleries (Version 1.4, October 2014). Melbourne: The National Standards Taskforce, 2014. 20 June 2015 ‹http://www.mavic.asn.au/assets/NSFAMG_v1_4_2014.pdf›.Papalia, Carmen. “A New Model for Access in the Museum.” Disability Studies Quarterly 33.3 (2013). 23 July 2015 ‹http://dsq-sds.org/article/view/3757›.Powerhouse Museum. Living in a Sensory World: Stories from People with Blindness and Low Vision. nd. 18 Feb. 2015 ‹http://www.powerhousemuseum.com/previous/living/›.“Round Table Santiago do Chile ICOM, 1972.” Sociomuseology 4: To Think Sociomuseologically. Eds. Paula Assunção dos Santos and Judite Primo. Lisbon: Universidade Lusófona de Humanidades e Tecnologias, 2010.Royal Society for the Blind | Canberra Blind Society. Canberra Blind Society. nd. 14 Mar. 2015 ‹http://www.canberrablindsociety.org.au/›.Russell, Rosyln, and Kylie Winkworth. Significance 2.0: A Guide to Assessing the Significance of Collections. Adelaide: Collections Council of Australia, 2009. 15 June 2015 ‹http://arts.gov.au/sites/default/files/resources-publications/significance-2.0/pdfs/significance-2.0.pdf›.Sandell, Richard. “Museums and the Combatting of Social Inequality: Roles, Responsibities, Resistance.” Museums, Society, Inequality. Ed. Richard Sandell. London: Routledge, 2002. 3–23.———. "Social Inclusion, the Museum and the Dynamics of Sectoral Change." Museum and Society 1.1 (2003): 45–62.Silverman, Lois. The Social Work of Museums. London: Routledge, 2010.Thrift, Nigel. “Understanding the Material Practices of Glamour.” The Affect Theory Reader. Eds. Melissa Gregg and Gregory Seigworth. Durham: Duke UP, 2010. 289–308.Triggs, Gillian. Social Inclusion and Human Rights in Australia. 2013. 6 June 2015 ‹https://www.humanrights.gov.au/news/speeches/social-inclusion-and-human-rights-australia›. United Nations. Convention on the Rights of Persons with Disabilities. 2006. 16 Mar. 2015 ‹http://www.un.org/disabilities/default.asp?id=150?›.United Nations Educational Scientific and Cultural Organization. United Nations Educational Scientific and Cultural Organisation Round Table on the Development and the Role of Museums in the Contemporary World - Santiago de Chile, Chile 20-31 May 1972. 1973. 18 June 2015 ‹http://unesdoc.unesco.org/images/0002/000236/023679EB.pdf›.Van Mensch, Peter. Towards a Methodology of Museology. Diss. U of Zagreb, 1992. 16 June 2015 ‹http://www.muzeologie.net/downloads/mat_lit/mensch_phd.pdf›.Watson, Sheila. “Museum Communities in Theory and Practice.” Museums and Their Communities. Ed. Sheila Watson. Abingdon, UK: Routledge, 2007. 1–24.Werner, David. Nothing about Us without Us: Developing Innovative Technologies for, vy, and with Disabled Persons. Palo Alto, CA: Healthwrights, 1997.World Health Organization. Mental Health: Strengthening Our Response, Fact Sheet No. 220, Updated April 2014. 2014. 2 June 2015 ‹http://www.who.int/mediacentre/factsheets/fs220/en/›.

Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be highlighted within this article. This article demonstrates that for Indigenous peoples, associations of fear and danger are built into the structural mechanisms that shape and maintain colonial understandings of Indigenous peoples and their bodies. It is this embodied form of darkness, and its negative connotations, and responses that we explore further. Figure 1: Megan Cope’s ‘I’m not afraid of the Dark’ t-shirt (Fredericks and Heemsbergen 2021) Responding to the anxieties and fears of settlers that often surround Indigenous peoples, Quandamooka artist and member of the art collective ProppaNow, Megan Cope, has produced a range of t-shirts, one of which declares “I’m not afraid of the Dark” (fig. 1). The wording ‘reflects White Australia’s fear of blackness’ (Dark + Dangerous). Exploring race relations through the theme of “darkness”, we begin by discussing how negative connotations of darkness are represented through everyday lexicons and how efforts to shift prejudicial and racist language are often met with defensiveness and resistance. We then consider how fears towards the dark translate into everyday practices, reinforced by media representations. The article considers how stereotype, conjecture, and prejudice is inflicted upon Indigenous people and reflects white settler fears and anxieties, rooting colonialism in everyday language, action, and norms. The Language of Fear Indigenous people and others with dark skin tones are often presented as having a proclivity towards threatening, aggressive, deceitful, and negative behaviours. This works to inform how Indigenous peoples are “known” and responded to by hegemonic (predominantly white) populations. Negative connotations of Indigenous people are a means of reinforcing and legitimising the falsity that European knowledge systems, norms, and social structures are superior whilst denying the contextual colonial circumstances that have led to white dominance. In Australia, such denial corresponds to the refusal to engage with the unceded sovereignty of Aboriginal peoples or acknowledge Indigenous resistance. Language is integral to the ways in which dominant populations come to “know” and present the so-called “Other”. Such language is reflected in digital media, which both produce and maintain white anxieties towards race and ethnicity. When part of mainstream vernacular, racialised language – and the value judgments associated with it – often remains in what Moreton-Robinson describes as “invisible regimes of power” (75). Everyday social structures, actions, and habits of thought veil oppressive and discriminatory attitudes that exist under the guise of “normality”. Colonisation and the dominance of Eurocentric ways of knowing, being, and doing has fixated itself on creating a normality that associates Indigeneity and darkness with negative and threatening connotations. In doing so, it reinforces power balances that presents an image of white superiority built on the invalidation of Indigeneity and Blackness. White fears and anxieties towards race made explicit through social and digital media are also manifest via subtle but equally pervasive everyday action (Carlson and Frazer; Matamoros-Fernández). Confronting and negotiating such fears becomes a daily reality for many Indigenous people. During the height of the 2020 Black Lives Matter protests in the United States, which extended to Australia and were linked to deaths in custody and police violence, African American poet Saul Williams reminded his followers of the power of language in constructing racialised fears (saulwilliams). In an Instagram post, Williams draws back the veil of an uncontested normality to ask that we take personal responsibility over the words we use. He writes: here’s a tip: Take the words DARK or BLACK in connection to bad, evil, ominous or scary events out of your vocabulary. We learn the stock market crashed on Black Monday, we read headlines that purport “Dark Days Ahead”. There’s “dark” or “black” humour which implies an undertone of evil, and then there are people like me who grow up with dark skin having to make sense of the English/American lexicon and its history of “fair complexions” – where “fair” can mean “light; blond.” OR “in accordance with rules or standards; legitimate.” We may not be fully responsible for the duplicitous evolution of language and subtle morphing of inherited beliefs into description yet we are in full command of the words we choose even as they reveal the questions we’ve left unasked. Like the work of Moreton-Robinson and other scholars, Williams implores his followers to take a reflexive position to consider the questions often left unasked. In doing so, he calls for the transcendence of anonymity and engagement with the realities of colonisation – no matter how ugly, confronting, and complicit one may be in its continuation. In the Australian context this means confronting how terms such as “dark”, “darkie”, or “darky” were historically used as derogatory and offensive slurs for Aboriginal peoples. Such language continues to be used today and can be found in the comment sections of social media, online news platforms, and other online forums (Carlson “Love and Hate”). Taking the move to execute personal accountability can be difficult. It can destabilise and reframe the ways in which we understand and interact with the world (Rose 22). For some, however, exposing racism and seemingly mundane aspects of society is taken as a personal attack which is often met with reactionary responses where one remains closed to new insights (Whittaker). This feeds into fears and anxieties pertaining to the perceived loss of power. These fears and anxieties continue to surface through conversations and calls for action on issues such as changing the date of Australia Day, the racialised reporting of news (McQuire), removing of plaques and statues known to be racist, and requests to change placenames and the names of products. For example, in 2020, Australian cheese producer Saputo Dairy Australia changed the name of it is popular brand “Coon” to “Cheer Tasty”. The decision followed a lengthy campaign led by Dr Stephen Hagan who called for the rebranding based on the Coon brand having racist connotations (ABC). The term has its racist origins in the United States and has long been used as a slur against people with dark skin, liking them to racoons and their tendency to steal and deceive. The term “Coon” is used in Australia by settlers as a racist term for referring to Aboriginal peoples. Claims that the name change is example of political correctness gone astray fail to acknowledge and empathise with the lived experience of being treated as if one is dirty, lazy, deceitful, or untrustworthy. Other brand names have also historically utilised racist wording along with imagery in their advertising (Conor). Pear’s soap for example is well-known for its historical use of racist words and imagery to legitimise white rule over Indigenous colonies, including in Australia (Jackson). Like most racial epithets, the power of language lies in how the words reflect and translate into actions that dehumanise others. The words we use matter. The everyday “ordinary” world, including online, is deeply politicised (Carlson and Frazer “They Got Filters”) and comes to reflect attitudes and power imbalances that encourage white people to internalise the falsity that they are superior and should have control over Black people (Conor). Decisions to make social change, such as that made by Saputo Dairy Australia, can manifest into further white anxieties via their ability to force the confrontation of the circumstances that continue to contribute to one’s own prosperity. In other words, to unveil the realities of colonialism and ask the questions that are too often left in the dark. Lived Experiences of Darkness Colonial anxieties and fears are driven by the fact that Black populations in many areas of the world are often characterised as criminals, perpetrators, threats, or nuisances, but are rarely seen as victims. In Australia, the repeated lack of police response and receptivity to concerns of Indigenous peoples expressed during the Black Lives Matter campaign saw tens of thousands of people take to the streets to protest. Protestors at the same time called for the end of police brutality towards Indigenous peoples and for an end to Indigenous deaths in custody. The protests were backed by a heavy online presence that sought to mobilise people in hope of lifting the veil that shrouds issues relating to systemic racism. There have been over 450 Aboriginal and Torres Strait Islander people to die in custody since the end of the Royal Commission into Aboriginal Deaths in Custody in 1991 (The Guardian). The tragedy of the Indigenous experience gains little attention internationally. The negative implications of being the object of white fear and anxiety are felt by Indigenous and other Black communities daily. The “safety signals” (Daniella Emanuel) adopted by white peoples in response to often irrational perceptions of threat signify how Indigenous and other Black peoples and communities are seen and valued by the hegemony. Memes played out in social media depicting “Karens” – a term that corresponds to caricaturised white women (but equally applicable to men) who exhibit behaviours of entitlement – have increasing been used in media to expose the prevalence of irrational racial fears (also see Wong). Police are commonly called on Indigenous people and other Black people for simply being within spaces such as shopping malls, street corners, parks, or other spaces in which they are considered not to belong (Mohdin). Digital media are also commonly envisioned as a space that is not natural or normal for Indigenous peoples, a notion that maintains narratives of so-called Indigenous primitivity (Carlson and Frazer). Media connotations of darkness as threatening are associated with, and strategically manipulated by, the images that accompany stories about Indigenous peoples and other Black peoples. Digital technologies play significant roles in producing and disseminating the images shown in the media. Moreover, they have a “role in mediating and amplifying old and new forms of abuse, hate, and discrimination” (Matamoros-Fernández and Farkas). Daniels demonstrates how social media sites can be spaces “where race and racism play out in interesting, sometimes disturbing, ways” (702), shaping ongoing colonial fears and anxieties over Black peoples. Prominent footballer Adam Goodes, for example, faced a string of attacks after he publicly condemned racism when he was called an “Ape” by a spectator during a game celebrating Indigenous contributions to the sport (Coram and Hallinan). This was followed by a barrage of personal attacks, criticisms, and booing that spread over the remaining years of his football career. When Goodes performed a traditional war dance as a form of celebration during a game in 2015, many turned to social media to express their outrage over his “confrontational” and “aggressive” behaviour (Robinson). Goodes’s affirmation of his Indigeneity was seen by many as a threat to their own positionality and white sensibility. Social media were therefore used as a mechanism to control settler narratives and maintain colonial power structures by framing the conversation through a white lens (Carlson and Frazer “They Got Filters”). Indigenous peoples in other highly visible fields have faced similar backlash. In 1993, Elaine George was the first Aboriginal person to feature on the cover of Vogue magazine, a decision considered “risky” at the time (Singer). The editor of Vogue later revealed that the cover was criticised by some who believed George’s skin tone was made to appear lighter than it actually was and that it had been digitally altered. The failure to accept a lighter skin colour as “Aboriginal” exposes a neglect to accept ethnicity and Blackness in all its diversity (Carlson and Frazer “They Got Filters”; Carlson “Love and Hate”). Where Adam Goodes was criticised for his overt expression of Blackness, George was critisised for not being “black enough”. It was not until seventeen years later that another Aboriginal model, Samantha Harris, was featured on the cover of Vogue (Marks). While George inspired and pathed the way for those to come, Harris experienced similar discrimination within the industry and amongst the public (Carson and Ky). Singer Jessica Mauboy (in Hornery) also explains how her identity was managed by others. She recalls, I was pretty young when I first received recognition, and for years I felt as though I couldn't show my true identity. What I was saying in public was very dictated by other people who could not handle my sense of culture and identity. They felt they had to take it off my hands. Mauboy’s experience not only demonstrates how Blackness continues to be seen as something to “handle”, but also how power imbalances play out. Scholar Chelsea Watego offers numerous examples of how this occurs in different ways and arenas, for example through relationships between people and within workplaces. Bargallie’s scholarly work also provides an understanding of how Indigenous people experience racism within the Australian public service, and how it is maintained through the structures and systems of power. The media often represents communities with large Indigenous populations as being separatist and not contributing to wider society and problematic (McQuire). Violence, and the threat of violence, is often presented in media as being normalised. Recently there have been calls for an increased police presence in Alice Springs, NT, and other remotes communities due to ongoing threats of “tribal payback” and acts of “lawlessness” (Sky News Australia; Hildebrand). Goldberg uses the phrase “Super/Vision” to describe the ways that Black men and women in Black neighbourhoods are continuously and erroneously supervised and surveilled by police using apparatus such as helicopters and floodlights. Simone Browne demonstrates how contemporary surveillance practices are rooted in anti-black domination and are operationalised through a white gaze. Browne uses the term “racializing surveillance” to describe a ”technology of social control where surveillance practices, policies, and performances concern the production of norms pertaining to race and exercise a ‘power to define what is in or out of place’” (16). The outcome is often discriminatory treatment to those negatively racialised by such surveillance. Narratives that associate Indigenous peoples with darkness and danger fuel colonial fears and uphold the invisible regimes of power by instilling the perception that acts of surveillance and the restrictions imposed on Indigenous peoples’ autonomy are not only necessary but justified. Such myths fail to contextualise the historic colonial factors that drive segregation and enable a forgetting that negates personal accountability and complicity in maintaining colonial power imbalances (Riggs and Augoustinos). Inayatullah and Blaney (165) write that the “myth we construct calls attention to a darker, tragic side of our ethical engagement: the role of colonialism in constituting us as modern actors.” They call for personal accountability whereby one confronts the notion that we are both products and producers of a modernity rooted in a colonialism that maintains the misguided notion of white supremacy (Wolfe; Mignolo; Moreton-Robinson). When Indigenous and other Black peoples enter spaces that white populations don’t traditionally associate as being “natural” or “fitting” for them (whether residential, social, educational, a workplace, online, or otherwise), alienation, discrimination, and criminalisation often occurs (Bargallie; Mohdin; Linhares). Structural barriers are erected, prohibiting career or social advancement while making the space feel unwelcoming (Fredericks; Bargallie). In workplaces, Indigenous employees become the subject of hyper-surveillance through the supervision process (Bargallie), continuing to make them difficult work environments. This is despite businesses and organisations seeking to increase their Indigenous staff numbers, expressing their need to change, and implementing cultural competency training (Fredericks and Bargallie). As Barnwell correctly highlights, confronting white fears and anxieties must be the responsibility of white peoples. When feelings of shock or discomfort arise when in the company of Indigenous peoples, one must reflexively engage with the reasons behind this “fear of the dark” and consider that perhaps it is they who are self-segregating. Mohdin suggests that spaces highly populated by Black peoples are best thought of not as “black spaces” or “black communities”, but rather spaces where white peoples do not want to be. They stand as reminders of a failed colonial regime that sought to deny and dehumanise Indigenous peoples and cultures, as well as the continuation of Black resistance and sovereignty. Conclusion In working towards improving relationships between Black and white populations, the truths of colonisation, and its continuing pervasiveness in local and global settings must first be confronted. In this article we have discussed the association of darkness with instinctual fears and negative responses to the unknown. White populations need to reflexively engage and critique how they think, act, present, address racism, and respond to Indigenous peoples (Bargallie; Moreton-Robinson; Whittaker), cultivating a “decolonising consciousness” (Bradfield) to develop new habits of thinking and relating. To overcome fears of the dark, we must confront that which remains unknown, and the questions left unasked. This means exposing racism and power imbalances, developing meaningful relationships with Indigenous peoples, addressing structural change, and implementing alternative ways of knowing and doing. Only then may we begin to embody Megan Cope’s message, “I’m not afraid of the Dark”. Acknowledgements We thank Dr Debbie Bargallie for her feedback on our article, which strengthened the work. References ABC News. "Coon Cheese Changes Name to Cheer Cheese, Pledging to 'Build a Culture of Acceptance'." 13 Jan. 2021. <https://www.abc.net.au/news/2021-01-13/coon-cheese-changes-name-cheer-racist-slur-stephen-hagan/13053524>. Alter, Adam L., et al. "The “Bad Is Black” Effect: Why People Believe Evildoers Have Darker Skin than Do-Gooders." Personality and Social Psychology Bulletin 42.12 (2016): 1653-1665. <https://doi.org/10.1177/0146167216669123>. Assari, Shervin, and Cleopatra Howard Caldwell. "Darker Skin Tone Increases Perceived Discrimination among Male but Not Female Caribbean Black Youth." Children 4.12 (2017): 107. <https://doi.org/10.3390/children4120107>. Attwood, Brian. The Making of the Aborigines. Routledge, 2020. Bargallie, Debbie. Unmasking the Racial Contract: Indigenous Voices on Racism in the Australian Public Service. Aboriginal Studies Press, 2020. Barnwell, William. "White Fears, Black People: Voluntary Segregation and How to Stop It." The Lens, 28 Jan 2020. 4 Aug. 2020 <https://thelensnola.org/2020/01/28/voluntary-segregation-and-how-to-stop-it/>. Bradfield, Abraham. "Decolonizing the Intercultural: A Call for Decolonizing Consciousness in Settler-Colonial Australia." Religions 10.8 (2019): 469. <https://www.mdpi.com/2077-1444/10/8/469>. Browne, Simone. Dark Matters: On the Surveillance of Blackness. Duke University Press, 2015. Carlson, Bronwyn. "Love and Hate at the Cultural Interface: Indigenous Australians and Dating Apps." Journal of Sociology 56.2 (2020): 133-50. <https://doi.org/10.1177%2F1440783319833181>. ———. The Politics of Identity: Who Counts as Aboriginal Today? Aboriginal Studies Press, 2016. Carlson, Bronwyn, and Ryan Frazer. Social Media Mob: Being Indigenous Online. Macquarie University, 2018. ———. "’They Got Filters’: Indigenous Social Media, the Settler Gaze, and a Politics of Hope." Social Media+ Society 6.2 (2017): 107. <https://doi.org/10.1177/2056305120925261>. Carson, Sarah, and Jenny Ky. "Samantha Harris Speaks Out on Racism in the Modelling Industry." 7 News, 2020. 29 Jan. 2021 <https://7news.com.au/the-morning-show/samantha-harris-speaks-out-on-racism-in-the-modelling-industry-c-1111266>. Conor, Liz. "Dove, Real Beauty and the Racist History of Skin Whitening." Mumbrella, 10 Oct. 2017. 15 Mar. 2021 <https://mumbrella.com.au/dove-real-beauty-racist-history-skin-whitening-476801>. Coram, Stella, and Chris Hallinan. "Critical Race Theory and the Orthodoxy of Race Neutrality: Examining the Denigration of Adam Goodes." Australian Aboriginal Studies 1 (2017): 99-111. <https://search.informit.com.au/documentSummary;dn=907032851637853;res=IELAPA>. Daniels, Jessie. “Race and Racism in Internet Studies: A Review and Critique.” New Media & Society 15.5 (2013): 695-719. Dark + Disturbing. "I’m Not Afraid of the Dark." 10 Dec. 2020 <https://www.darkanddisturbing.com.au/shop/im-not-afraid-of-the-dark/>. Doyle, Michael. “The Drum.” ABC TV, 15 Apr. 2021. <https://iview.abc.net.au/video/NC2107H054S00>. Emanuel, Daniella. "The Psychology of Black and Why We’re Scared of the Dark." CNN Health, 1 Sep . 2017. 5 Aug. 2020 <https://edition.cnn.com/2017/09/01/health/colorscope-black-fear-of-darkness/index.html>. Fredericks, Bronwyn. "Collaborative Creative Processes That Challenge Us as "Anomaly", and Affirm Our Indigeneity and Enact Our Sovereignty." M/C Journal 23.5 (2020). <https://doi.org/10.5204/mcj.1674>. ———. "'We Don't Leave Our Identities at the City Limits': Aboriginal and Torres Strait Islander People Living in Urban Localities." Australian Aboriginal Studies 1 (2013): 4-16. <https://search.informit.org/doi/abs/10.3316/informit.422915104662241>. Fredericks, Bronwyn, and Debbie Bargallie. “Situating Race in Cultural Competency Training: A Site of Self-Revelation.” M/C Journal 23.4 (2020). <https://journal.media-culture.org.au/index.php/mcjournal/article/view/1660>. Goldberg, David Theo. Racial Subjects: Writing on Race in America. Psychology Press, 1997. Grewal, Daisy "The "Bad Is Black" Effect." Scientific American 17 Jan. 2017. 5 Dec. 2020 <https://www.scientificamerican.com/article/the-bad-is-black-effect/>. Hebl, Michelle R., et al. "Selectively Friending: Racial Stereotypicality and Social Rejection." Journal of Experimental Social Psychology 48.6 (2012): 1329-1335. <https://doi.org/10.1016/j.jesp.2012.05.019>. Hildebrand, Joe. "Jacinta Price Exposes Hypocrisy of ‘So-Called Progressives’ on Indigenous Violence ‘Epidemic’." Sky News Australia, 2021. 19 Apr. 2021 <https://www.skynews.com.au/details/_6249296751001>. Hornery, Andrew. "Jessica Mauboy Is Discovering Her Much-Loved Voice Can Do More than Just Sing." The Age, 17 Dec. 2019. 28 Jan. 2021 <https://www.theage.com.au/culture/celebrity/jessica-mauboy-is-discovering-her-much-loved-voice-can-do-more-than-just-sing-20191217-p53kpz.html>. Inayatullah, Naeem, and David L. Blaney. "The Dark Heart of Kindness: The Social Construction of Deflection." International Studies Perspectives 13.2 (2012): 164-175. <https://www.jstor.org/stable/44218688>. Jackson, Lauren Michele. “We Need to Talk about Digital Blackface in Reaction GIFs.” Teen Vogue, 2 Aug. 2017. <https://www.teenvogue.com/story/digital-blackface-reaction-gifs>. Jackson, Kathleen. "'Nulla-Nulla: Australia’s White Hope, the Best Household Soap' 1920s." 18 1 (2015): 70-74. <https://www.researchgate.net/profile/Jillian_Barnes/publication/306379190_Representation_and_Power_A_Picture_is_Worth_a_Thousand_Words_-_'Nulla-Nulla_Australia's_White_Hope_The_Best_Household_Soap'_1920s/links/57bbf86e08ae9fdf82ef41d6/Representation-and-Power-A-Picture-is-Worth-a-Thousand-Words-Nulla-Nulla-Australias-White-Hope-The-Best-Household-Soap-1920s.pdf>. Jackson, Reggie. "Scared while White: Hysteria about Peple of Color due to Paranoid Fear of Retribution." Milwaukee Independent, 14 May 2018. 4 Aug. 2020 <http://www.milwaukeeindependent.com/featured/scared-white-hysteria-people-color-due-paranoid-fear-retribution/>. Kahn, Kimberly Barsamian, and Paul G. Davies. "Differentially Dangerous? Phenotypic Racial Stereotypicality Increases Implicit Bias among Ingroup and Outgroup Members." Group Processes & Intergroup Relations 14.4 (2011): 569-580. <https://doi.org/10.1177/1368430210374609>. Kahn, Kimberly Barsamian, et al. "Protecting Whiteness: White Phenotypic Racial Stereotypicality Reduces Police Use of Force." Social Psychological and Personality Science 7.5 (2016): 403-411. <https://doi.org/10.1177/1948550616633505>. Kibria, Nazli, et al. "Imagining the Radicalized Muslim: Race, Anti-Muslim Discourse, and Media Narratives of the 2013 Boston Marathon Bombers." Sociology of Race and Ethnicity 4.2 (2018): 192-205. <https://doi.org/10.1177/2332649217731113>. Lawrence, John. "Indigenous Lives Matter." Arena Magazine 163 (Dec. 2019): 22-24. <https://search-informit-org.ezproxy.library.uq.edu.au/doi/10.3316/informit.920791245017394>. Linhares, Zachary. "Overcoming Our Fear of Black Skin." UMKC: University News, 19 Oct. 2016. 5 Aug. 2020 <https://info.umkc.edu/unews/overcoming-our-fear-of-black-skin/>. Loury, Glenn C. "When Black Lives Matter: Thoughts on the Persistence of Racial Inequality in America." Horizons: Journal of International Relations and Sustainable Development 17 (2020): 190-207. DOI:10.2307/48590573. Marks, Kathy. "Australian Fashionistas Embrace the New Aboriginal Face of ‘Vogue’." Independent, 2011. 29 Jan. 2021 <https://www.independent.co.uk/news/world/australasia/australian-fashionistas-embrace-new-aboriginal-face-vogue-1970013.html>. Matamoros-Fernández, Ariadna. “Platformed Racism: The Mediation and Circulation of an Australian Race-Based Controversy on Twitter, Facebook and YouTube.” Information, Communication & Society 20.6 (2017): 930–46. Matamoros- Fernández, Ariadna, and Johan Farkas. “Racism, Hate Speech, and Social Media: A Systemic Review and Critique.” Television & New Media 22.2 (2021): 205-224. McQuire, Amy. “Black and White Witness.” Meanjin Quarterly, 2019. <https://meanjin.com.au/essays/black-and-white-witness/>. Mignolo, Walter. Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking. Princeton University Press, 2012. Mohdin, Aamna. "Us History Explains That White Fear Is Just Another Way to Enforce Racial Segregation." Quartz, 25 May 2018. 4 Aug. 2020 <https://qz.com/1288067/us-history-explains-that-white-fear-of-black-people-is-just-another-tool-to-enforce-racial-segregation/>. Moreton-Robinson, Aileen. "Whiteness, Epistemology and Indigenous Representation." Whitening Race: Essays in Social and Cultural Criticism. Ed. Aileen Moreton-Robinson. Aboriginal Studies Press, 2004. 75-88. Quadrant. "Stan Grant Given a Good Tanning." Quadrant, 29 Aug. 2017. 25 Feb. 2021 <https://quadrant.org.au/stan-grant-given-good-tanning/>. Riggs, Damien W., and Martha Augoustinos. "The Psychic Life of Colonial Power: Racialised Subjectivities, Bodies and Methods." Journal of Community & Applied Social Psychology 15.6 (2005): 461-477. <https://doi.org/10.1002/casp.838>. Riggs, Damien Wayne. "Benevolence and the Management of Stake: On Being 'Good White People'." Philament 4 (Aug. 2004). <http://hdl.handle.net/2328/14258>. Robinson, Mark. "Adam Goodes’ War Cry Social Media Reaction Shows We’re at War with Ourselves, Says Mark Robinson." Herald Sun, 2015. 13 Jan. 2021 <https://www.news.com.au/adam-goodes-war-cry-social-media-reaction-shows-were-at-war-with-ourselves-says-mark-robinson/news-story/b553ef775ceb9611132a0502456eff35>. Rose, Deborah Bird. Reports from a Wild Country: Ethics for Decolonisation. Sydney: University of New South Wales Press, 2004. saulwilliams. "Here’s a Tip." Instagram, 3 June 2020. <https://www.instagram.com/p/CA8Na0LheY3/?igshid=1vxmglle09nl2>. Schaller, M., et al. "Fear of the Dark: Interactive Effects of Beliefs about Danger and Ambient Darkness on Ethnic Stereotypes." Pers Soc Psychol Bull 29.5 (2003): 637-649. DOI:10.1177/0146167203029005008. Singer, Melissa. "The ‘Risky’ Vogue Cover That Made History but Almost Never Happened." Sydney Morning Herald, 18 Sep. 2020. 18 Jan. 2021 <https://www.smh.com.au/lifestyle/fashion/the-risky-vogue-cover-that-made-history-but-almost-never-happened-20200918-p55wxo.html>. Sky News Australia. "Police Presence Needed to Counter Indigenous ‘Tribal Oayback’ Traditions: Price." 2021. 19 Apr. 2021 <https://www.skynews.com.au/details/_6249296751001>. The Guardian. "Deaths Inside: Every Indigenous Death in Custody since 2008." 10 Dec. 2020 <https://www.theguardian.com/australia-news/ng-interactive/2018/aug/28/deaths-inside-indigenous-australian-deaths-in-custody>. Watego, Chelsea. “Because She Is Black.” IndigenousX, 28 May 2018. <https://indigenousx.com.au/chelsea-bond-because-she-is-black/>. ———. “The Irony of the Aboriginal academic.” IndigenousX, 20 May 2018. <https://indigenousx.com.au/chelsea-bond-the-irony-of-the-aboriginal-academic/>. Westbrook, Dmitri C. "Opinion Editorial: Why Is It That So Many White People Fear Black Men?" College Student Affairs Leadership 1.2 (2014). <http://scholarworks.gvsu.edu/csal/vol1/iss2/4>. Whittaker, Alison. “So White. So What.” Meanjin Quarterly (Autumn 2020). <https://meanjin.com.au/essays/so-white-so-what/>. Wolfe, Patrick. "Settler Colonialism and the Elimination of the Native." Journal of Genocide Research 8.4 (2006): 387-409. DOI:10.1080/14623520601056240. Wong, Julia "The Year of Karen: How a Meme Changed the Way Americans Talked about Racism." The Guardian, 27 Dec. 2020. 15 Jan. 2021 <https://www.theguardian.com/world/2020/dec/27/karen-race-white-women-black-americans-racism>.