Intercultural Design / Project 2

on

 


1.24.2022 - 1.4.2022 (Week 4 - Week 5)
Audrey Gracia Djohari / 0348120
Intercultural Design
Bachelor of Design (Hons) in Creative Media / Taylor’s University
Project 2: Data Collection


INSTRUCTION





DATA COLLECTION


WEEK 4 :

Group Members

Group 1
  • Evaleez Voo
  • Audrey Gracia Djohari
  • Esther Vanessa
  • Arwinda Nurul Izza
  • Ataka Lukman
Theme: Purpose
Topic: Rapping


Job Distribution

  • Arwinda, Audrey, Ataka - Review at least 1 video of a rapper being interviewed/ an interview with the public about rap (find answers that can achieve our research objective)
  • Share interview survey 
  • Eva - BLM research, contact female rapper, summarise interview
  • Esther - Drug Abuse, summarise interview
  • Audrey, Eva - summarize docuseries on Netflix (Hip Hop Evolution)

    • Group 1: Interview with Jarrod (Harelia)
    Interviewer: Eva
    Note Taker: Esther

    Group 2: Interview with Micwrecka
    Interviewer 1: Eva
    Interviewer 2: Ataka
    Note Taker: Audrey & Arwinda

    WEEK 5 :

    Youtube Videos & Docuseries

    Here are the links to some Youtube Videos that Arwinda & I watched, we wrote the summary in the final slides:

    We also watched a Docuseries on Netflix that traces hip hop's dynamic evolution from the beginning through the 1990s. The series was so good, there are interviews with many artists and the real people behind hip hop culture (like DJ Kool Herc, Afrikaa Bambaataa, etc.). We also got to see the real environment where hip hop was born, the Bronx.

    Link: https://www.netflix.com/id-en/title/80141782?source=35

    Figure 1.0: Hip Hop Evolution, Docuseries on Netflix



    Interviews with Rappers

    Link to interview videos: https://drive.google.com/drive/u/0/folders/1VrLZtNvbdIlOPQnw36EpToiBtJlammZd

    1) Jarrod (Harelia)

    Jarrod aka Harelia is a young rapper from Australia. He has released more than 10 songs on Spotify which he wrote and composed by himself. He sees rap as Self Reflective and Philosophical. He said that rap is  a Food for thought – things that not many people put their mind into, or what was usually considered as normal

    Link to Spotify: https://open.spotify.com/artist/6wp0Xa6M0AOMZntXrhQbuT?si=JKHKq9p5SySnPzQJmzK64g

    Figure 1.1: Interview with Jarrod (Harelia)

    Figure 1.2: Interview Answers (Jarrod)


    2) Micwrecka

    Mr. Raja Zarim aka Micwrecka is a Malaysian rapper,  record producer, and lecturer. He has worked with artists like SSK, Jin Hackman, Altimet, DJ Fuzz, DJ CZA, NtahSape2Ntah, The Bat Cave, Tripdisz, Lady D, and Asyraf Hardy, among others.
    Figure 1.3: Micwrecka


    I joined this interview as the notetaker. Mr. Zarim was super friendly. He told us so many stories from when he was young and his passion for rapping. He was interested in Audio Engineering and started learning music production. His interest in hip-hop culture came from his friends from the studio.

    He sees rapping as a way to share the thought of the current situation. He likes to talk about things that he feels are important, issues that happen around him. Most of the songs that he wrote are still be applicable and relevant in the future. (Song: Manusia)

    Link to Spotify: https://open.spotify.com/artist/38dysT69Mt7iMBsYsg2JRb?si=ni7t0jc7S_uFzHnXp3fu_g

    Figure 1.4: Interview with Micwrecka

    Figure 1.5: Interview Answers (Micwrecka)


    Online Survey (Questionairre)

    Next, we also made a Google Form to gather more datas. There are 13 questions. We asked a few simple questions about the demographics, along with how people think about and perceive rapping culture. In total, we gathered 43 responses from young people all across the globe.
    Questionairre Link: https://docs.google.com/forms/d/e/1FAIpQLScQSyWacigcadAGOw710cGqz2DmL4oMgqi9QtTsOau5hNGwMA/viewform?usp=sf_link

    Figure 1.6: Responses
    Data Collection Final Outcomes

    After which we had finished our data collection and compiled it into a Google Slide format.

    Figure 1.7: Data Collection Slides (Full), 02.10.2022

    Figure 1.8: Data Collection Slides (Condensed), 02.10.2022

    Figure 1.9: Data Collection Presentation, 02.10.2022


    FEEDBACK


    WEEK 4 :

    Group Feedbacks
    Our group was good to go.

    General Feedbacks
    • Next presentation needs to be recorded together
    • Data collection should answer research questions.
    • Narrow the answer down 1 to 2 and make sure it narrows down to the research question
    • Remember to have evidence for all research things (Screenshots, recordings, references etc


    REFLECTION


    Experience
    I enjoyed the data collection process very much. I'm so happy that we can find so much helpful information. All of the team members contributed to gathering this information. And the more we dig deep, the more interesting hip-hop culture became. Especially the interview part, it was so cool to be able to meet (online) talented people who really live the culture. And I really loved listening to them talking about their passion and values.

    Observations
    I observed that rapping was all about self-expression, and speaking up for the community. It's more than just an art form, it's how the people tell their stories and tell the world about what's really going on in their lives. Many artists use this platform to gain the public's attention on issues that are often happening in their neighborhoods. And I think that's really powerful. When it first emerged, hip hop was also a form of hope, and it brings people together.
    Findings
    I found rapping means a lot more than just a music genre to the people in the community. They speak through it and there's always a message being conveyed. I hope by doing this data collection and research, we can produce a good final outcome that portrays rapping culture, and at the same time delivers a strong message about the community.


    FURTHER READING


    - Designing for Social Change: Strategies for Community-Based Graphic Design


    Figure 2.0: Designing for Social Change: 
    Strategies for Community-Based Graphic Design, 2012

    Reference:
    A. Shea (2012). Designing for Social Change: Strategies for
    Community-Based Graphic Design. New Jersey: Princeton Architectural
    Press.

    Engagement Strategies (Page 151-152)
    • Immerse Yourself
      • Spend time getting to know the community & regularly visit community leaders and engage them as partners
      • Let the community’s input inform your design decisions.
      • Be clear in your communication with community partners.
    • Build Trust
      • Bond and build strong relationships with community members. 
      • Meet one of the community’s basic design needs quickly.
      • Help community members in their daily operations.
      • Show community members that you take them seriously and truly care. 
    • Promise Only What You Can Deliver
      • Avoid trying to solve all of the community’s design needs. 
      • Accurately estimate the time and resources you can contribute.
      • Identify the deadline of the project and plan backwards. 
      • Identify assets in the community, such as established infrastructure and services or unique skills or resources, that you can build on.
    • Prioritize process
      • Avoid quick solutions by just giving community members what they want.
      • Thoroughly research the design problem before proposing solutions. 
    • Confront Controversy
      • Meet with community partners frequently to make sure that your design effectively addresses the controversial issues with taste and playfulness.
      • Make your solutions tasteful while emphasizing outcomes that the community needs.
      • Conduct focus groups with community members to gauge their reactions to the problem and use what you learned to guide your work. 
    • Identify The Community's Strengths
      • Address the community’s challenges in an uplifting tone. 
      • Craft your design in a way that focuses on a community’s strengths. 
      • Identify the unique qualities of community members as well as the challenges they face and use that list as a guide throughout the project.
      • Help community members become more confident about their role in meeting their own needs. 
    • Utilize Local Resources
      • Find ways to build on the community’s established resources.
      • Survey the community to determine what local material resources are plentiful and consider incorporating them into your design.
      • Learn what skills or talents community members can contribute during the design process.
    • Design With The Community's Voice
      • Make sure your design connects to the community’s style and doesn’t just reflect your own aesthetics. 
      • Consider the local languages, cultural norms, and literacy levels, and continue to home in on your final design by soliciting feedback from community members throughout the design process.
    • Give Communities Ownership
      • Empower the community by giving it ownership over design tools and methods.
      • Involve community members from the beginning so that they can learn from the research, brainstorming, and planning phases of the project and take pride in it.
      • Choose a form for the design that can be easily duplicated and provide clear instructions along with thorough training.
    • Sustained Engagement
      • Solidify your partnership with the community by keeping in touch with community members after you meet the initial goals of your project. 
      • Offer your periodic design services or start an internship or apprenticeship program with youths in the community.
      • Join the community’s board or discover another way to stay in frequent contact with community leaders.


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