Bruce Cadle
Bruce Cadle is Associate Professor and Research Associate in the Department of Visual Arts at Nelson Mandela University. He has taught several hundred students of graphic design over the years, has supervised, graduated and examined many postgraduate students, presented at several conferences, published numerous papers and articles to date, and presided as speaker and master of ceremonies for academic events, ceremonies and exhibitions. Research and writing have encompassed several interests from curriculum development to graphic design and fashion, ultimately being drawn to the complex ideas that are the nexus of critical design and the discourses that emerge in postmodern design thinking. This was the pathway that led to his current research that interrogates the intersection of Afrofuturism, Afronowism, and Afrikanness as it relates to identity development and cultural production in design and visual communication, arguing for the ownership of culturally significant creative work by continental Afrikans. The pursuit of defining Afrikanness and establishing it as a unique and independent Afrikan way of knowing and designing is his focus.
Phone: +27 83 630 3969
Address: Bruce S Cadle
Associate Professor and Research Associate
Visual Arts
Nelson Mandela University
Gqeberha
South Africa
Department of Applied Design
Summerstrand Campus (North)
Phone: +27 83 630 3969
Address: Bruce S Cadle
Associate Professor and Research Associate
Visual Arts
Nelson Mandela University
Gqeberha
South Africa
Department of Applied Design
Summerstrand Campus (North)
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Papers by Bruce Cadle
“Afrofuturism,” coined by diasporic Africans in the United States and largely applied to musical, literary, and artistic
practice that “imagines” a future or fantasy space where the Black voice exists outside of Eurocentric, modernist
thinking, and creative practices. This article considers Afro-now-ism in relation to Afrikanness and cultural production
in design and visual communication and argues for ownership of culturally significant production by continental
Afrikans. Because an empirical analysis is insufficient to determine the “essence” or “feel” of artifacts, Hall’s
“negotiated reading” visual methodology and Pauwels’ visual analysis model are used to make the case for design that
embodies tradition, culture, history, and appropriation, to express this Afrikanness—the essence of Afro-now-ism.
Keywords: Afrofuturism, Afro-now-ism, Afrika, Afrikanness, Design, Culture, Production
This paper will attempt to define the "new model" graphic designer by identifying the qualities, skills, values, content and contexts that best describe the practice and the practitioner; as this should also inform educational best practice, and will present a list of values and characteristics that embody the essence of graphic design for the 21st century.
These characteristics can then become the basis for the development or evaluation of a best practice curriculum that is credible, relevant and vital for the future.
The author contends that responding to the "definition" will allow teaching and learning to become more relevant as the designer‘s identity is clarified, a broader world view is encouraged and curricula evolve to accommodate the present and future realities of graphic design communication
This innovation is especially necessary in teaching the design disciplines. The secondary school system makes little or no provision for the visual arts and even less for design. Students enter university with essentially no contextual reference point for design. So begins the complex process of creating literate, informed, socially conscious designers.
This paper will contextualise the situation facing design education in South Africa by citing examples where attempts are underway to bridge the gaps between the disciplines of Fashion Design, Graphic Design, Textile Design and Photography; by arguing the case for Trans-disciplinary Design as a possible solution to building design capacity in South Africa; and lastly to emphasise the importance, in a developing economy of the artisanal, the notion of crafting, and the sense of pride and achievement that results from mastery of hand skills as the keystone to the creative process – the place where design and art meet.
It attempts to present and clarify the context faced by many design educators in South Africa and highlights some of the innovative practice educators have to apply to encourage learning, grow African content and broaden design sensibility. "
“Afrofuturism,” coined by diasporic Africans in the United States and largely applied to musical, literary, and artistic
practice that “imagines” a future or fantasy space where the Black voice exists outside of Eurocentric, modernist
thinking, and creative practices. This article considers Afro-now-ism in relation to Afrikanness and cultural production
in design and visual communication and argues for ownership of culturally significant production by continental
Afrikans. Because an empirical analysis is insufficient to determine the “essence” or “feel” of artifacts, Hall’s
“negotiated reading” visual methodology and Pauwels’ visual analysis model are used to make the case for design that
embodies tradition, culture, history, and appropriation, to express this Afrikanness—the essence of Afro-now-ism.
Keywords: Afrofuturism, Afro-now-ism, Afrika, Afrikanness, Design, Culture, Production
This paper will attempt to define the "new model" graphic designer by identifying the qualities, skills, values, content and contexts that best describe the practice and the practitioner; as this should also inform educational best practice, and will present a list of values and characteristics that embody the essence of graphic design for the 21st century.
These characteristics can then become the basis for the development or evaluation of a best practice curriculum that is credible, relevant and vital for the future.
The author contends that responding to the "definition" will allow teaching and learning to become more relevant as the designer‘s identity is clarified, a broader world view is encouraged and curricula evolve to accommodate the present and future realities of graphic design communication
This innovation is especially necessary in teaching the design disciplines. The secondary school system makes little or no provision for the visual arts and even less for design. Students enter university with essentially no contextual reference point for design. So begins the complex process of creating literate, informed, socially conscious designers.
This paper will contextualise the situation facing design education in South Africa by citing examples where attempts are underway to bridge the gaps between the disciplines of Fashion Design, Graphic Design, Textile Design and Photography; by arguing the case for Trans-disciplinary Design as a possible solution to building design capacity in South Africa; and lastly to emphasise the importance, in a developing economy of the artisanal, the notion of crafting, and the sense of pride and achievement that results from mastery of hand skills as the keystone to the creative process – the place where design and art meet.
It attempts to present and clarify the context faced by many design educators in South Africa and highlights some of the innovative practice educators have to apply to encourage learning, grow African content and broaden design sensibility. "