Afrikana—burying colonial bones to harvest seeds and bouquets of plurality

Afrikana—Afrika’s rich cultural heritage—underpins the visually striking narrative that can be seen in many different forms of adornment across the continent. Despite being born from and immersed in this wealth of cultural capital, the current version of design education in higher education institutions has failed to harness the affirmative role of this knowledge. As a result, many emerging creatives are alienated from their core identities when trying to participate in the world of design. This chapter starts by introducing the context of the study, which is situated in the southern part of Afrika, namely Namibia and South Afrika. The key theme of plurality and its relation to colonisation are then unpacked to highlight the creative divorce of identity and making. The potential for restorative processes when embracing multiple identities is highlighted—a plurality of knowledge systems and expression thereof in art and design. Through a case study of my own creative practice, I posit that creative practice framed by indigenous identities can begin to bury the colonial bones of design education. By using a four-phase model, an alternative approach to issuing and completing a design brief is explored. The findings include observations made during the experience of briefing and making. The method lends itself to teaching in design contexts where marginalised identities are found.