Incorporating Truth and Reconciliation into graphic design curriculum

As Canada marks the National Day for Truth and Reconciliation on September 30 annually, Fe Wyma RGD, Senior Consultant of Communications and Creative Services at NVision Insight Group (a majority Indigenous-owned consulting company supporting proud, self-determining, empowered Indigenous communities), shares the importance of truth and reconciliation efforts in design education.

“It is vital to understand where people have been in order to help them to get to where they need to be. Designers are inherently problem solvers, and knowing those complex histories will help them get to the core issues in projects, some of which go well beyond what design can accomplish. By understanding these components, students can feel better empowered to look at where they might make the most impact in their work.”

Jennifer Taback RGD

Truth and reconciliation are essential for acknowledging and addressing historical injustice, such as systemic oppression, colonization and cultural erasure. Though most graphic design programs focus on topics specifically related to design principles, problem-solving and related technologies, it’s crucial to incorporate truth and reconciliation into the curriculum to support the holistic development of an informed and ethical generation of emerging designers. 

Graphic design has a powerful influence on societal values and can be a tool for social change. Visual storytelling and design can challenge stereotypes, raise awareness and promote cultural understanding. Think about the posters from the civil rights movement, AIDS awareness campaigns and, more recently, the Black Lives Matter movement. In Canada, incorporating Indigenous art and themes into design projects can help bridge cultural gaps and support reconciliation efforts.

Why is this so important?

• Visual Storytelling: Graphic designers are storytellers who use visual media to communicate. Understanding historical injustices ensures that these stories are told accurately and respectfully, honouring the experiences of Indigenous people.
• Ethical Design Practice: Designers influence public opinion and cultural narratives. A grounding in truth and reconciliation fosters ethical design practices that prioritize social justice and equity, as well as an awareness of the difference between appropriation and appreciation.
• Cultural Sensitivity: Incorporating these concepts enhances cultural sensitivity, enabling designers to create inclusive work that respects diverse cultural backgrounds and histories.

Jennifer David, Lead of the Truth and Reconciliation Service Basket at NVision Insight Group, shares that “design students should learn about how to be respectful and inclusive when it comes to Indigenous peoples. There should be no more stereotypes, cliches, or tropes.”

Suggestions for Bringing Truth and Reconciliation into the Design Curriculum

Incorporating truth and reconciliation into graphic design education requires thoughtful and innovative approaches tailored to the discipline's unique nature. Here are ten ideas that instructors might consider:

• Begin with an understanding that design practices are inherently colonial and don't always incorporate diverse perspectives.
• Embed historical context into design projects by encouraging students to explore and represent narratives of marginalized communities. A discussion on appropriation versus appreciation is also necessary. Projects can focus on designing educational materials, posters, or campaigns highlighting historical injustices and their impacts. 
• Showcase Indigenous design projects and designers, reflecting on what makes the work meaningful and distinctive. Classes might even compare the designs completed for a mainstream organization/company by an Indigenous designer with something designed by a non-Indigenous designer.
• Consider taking cultural training courses that look beyond your local community. These principles are valuable to a designer’s practice and prepare them for global challenges.
• Unconscious bias training also helps clarify the idea of "good design" and encourages designers to reflect on their work and consider how to make it more inclusive.
• Show alternatives to minimalism that expect the viewer or participant to draw from their own body of knowledge. 
• Bring topics such as ethical design, cultural appropriation and responsible storytelling into classroom discussions. These sessions can challenge students to think critically about their design. 
• Collaborate with a local First Nation or Friendship Centre for real-world project opportunities.
• Find opportunities to work with Indigenous design companies who could provide case studies, critiques or internships.
• Invite guest speakers, such as Indigenous designers, artists, historians and activists, to discuss their experiences and insights. 

Challenges and Considerations

While the benefits are substantial, educators need to be aware of the challenges. The emotional impact on students when discussing historical injustices must be considered. Discussions around cultural representation and historical injustices can be sensitive, so educators should approach these topics carefully to ensure respectful and informed discourse. These conversations are challenging, so creating a supportive environment and offering emotional and psychological support resources is essential, often requiring institutional support. Historical and contemporary social issues can also be overwhelming and instructors must balance providing comprehensive information and fostering an engaging learning experience. Integrating truth and reconciliation into graphic design education aligns the creative process with social justice and ethical responsibility. By embedding these concepts into the curriculum, educators can help students become not only skilled designers but also thoughtful and socially conscious individuals who have the potential to create work that is both aesthetically compelling and ethically significant. This approach can transform the classroom into a powerful space for healing, understanding and positive social change in the field of graphic design.

Thanks to Jennifer Taback RGD and Jennifer David for their contribution and advice for this article.