Branding, traditionally embedded within Western ideologies and visual paradigms, faces significant challenges when applied to Indigenous communities. These communities possess cosmologies, traditions, and relational identities that resist reduction into standardized frameworks. This essay explores branding through the lens of artistic research, a term that captures the experimental, dialogical, and practice-led approach required to address these challenges. Artistic research, with its emphasis on the intersection of theory and practice, offers a framework that aligns with decolonial aims, privileging co-creation and reciprocity over imposition.
While branding is typically associated with the field of visual design, this essay argues that the methods and aims of this project firmly situate it within the realm of artistic research. Artistic research is characterized by its capacity to integrate theory and practice in ways that challenge traditional paradigms and create new forms of knowledge. This project exemplifies such integration by treating branding as a reflective and iterative process that engages deeply with Indigenous epistemologies, ecological systems, and cultural practices.
Unlike purely aesthetic approaches to design, artistic research foregrounds dialogical, participatory, and speculative methodologies, making it uniquely suited to the decolonial goals of this work.
The term "artistic research" is particularly apt for this project because it transcends the boundaries of traditional research paradigms. Unlike practice-based or art-based research, which can sometimes emphasize outcomes over process, artistic research emphasizes the integration of making and thinking, reflecting the ongoing, relational nature of decolonial design practices. This approach connects the project to thinkers such as Henk Borgdorff, whose work on dialogical methodologies provides a foundation for collaboration, and Johanna Drucker, whose explorations of diagrammatic writing inform non-linear approaches to knowledge representation. By embedding Indigenous cosmologies and ecological interdependencies into its framework, this project aims to create branding processes that honor cultural authenticity while engaging with global markets.
As I reflect on the readings, I also want to reflect (using italics) on my first approach to making a brand for an indigenous community for commercial purposes and with the intention of opening doors for them in the competitive trade outside their territory.
Starting here with my first naive vector approaches to logos, with elements that I found characteristic of the territory but that were still a portrait that I was putting together from my perspective and my own vision, not from the co-creation and authenticity of the community.
Later, following the advice of teachers and further research into typographic gestures, I developed a design that drew more directly from the lines and patterns found in their painted maloka columns, as shown below. While this approach felt more original and contextually grounded, I am still uncertain if it represents the most accurate or appropriate interpretation, as I created it independently for later approval by the community.
Looking back, I realize that I approached the project too much like a traditional design assignment, maintaining a certain distance. Although I spent time with the community to photograph and understand the visual language I could use as a starting point, I struggled to identify effective workshops or activities that could genuinely capture their identity and translate it authentically into a logo. This disconnect made it challenging to ensure that the final design truly reflected their voice and cultural essence.
Embracing Speculative and Open-Ended Research
Springgay and Truman’s On the Need for Methods Beyond Proceduralism disrupts traditional linear research practices by advocating for speculative, open-ended methodologies (Springgay & Truman, 2018). Their work underscores the importance of embracing tension, uncertainty, and the unexpected, particularly in contexts that resist predefined solutions. For Indigenous communities, where cultural narratives and cosmologies are deeply interconnected, linear frameworks often fail to capture the depth of their stories.
For example, engaging with communities like Monilla Amena or Mocagua requires methodologies that prioritize immersion and presence. Walking alongside community members—both literally and metaphorically—can reveal narratives, symbols, and practices that might inform the visual language of branding. By adopting a speculative middle, branding becomes a dynamic and dialogical process, allowing it to evolve organically in response to community input. This aligns with the principles of artistic research, where process and outcome are deeply intertwined, and knowledge emerges through practice rather than through predefined goals.
Springgay and Truman’s emphasis on moving beyond proceduralism invites designers to confront their biases and assumptions. Post-qualitative methods, such as participatory mapping and reflective journaling, provide tools for embracing ambiguity and prioritizing community-led knowledge production. This approach encourages a shift from researcher-centric models to co-creative practices that foreground Indigenous epistemologies.
I have visited the jungle many times and have always felt fortunate to experience its richness and to build friendships with the people there. However, reflecting on my past research for a design project, I realize that my approach was too constrained by my own preconceived aesthetic ideas. I failed to fully embrace and utilize the wealth of visual and cultural tools that were right in front of me.
Looking back, I see potential in the photographic records I collected. These could be used more intentionally, perhaps to develop graphics directly informed by those observations rather than relying on improvised trends or my personal interpretations of the community and its environment.
I feel strongly about returning, as I believe that through constant observation and iterative processes, something deeply meaningful and innovative could emerge. I want to explore this further, using one of these cases as a methodological example to study how to engage with an Indigenous community respectfully and ethically. My goal is to represent them visually—perhaps in the form of a brand—with authenticity and faithfulness to their identity, avoiding external impositions.
Johanna Drucker’s Diagrammatic Writing challenges conventional, linear modes of representation, suggesting that meaning emerges through spatial and relational arrangements of text and images (Drucker, 2013). This perspective is particularly relevant for creating branding systems that reflect Indigenous epistemologies. Indigenous storytelling often operates in cyclical or layered formats, making linear typographic systems inadequate for capturing the richness of these narratives.
For instance, branding materials could employ circular layouts to mirror the rhythms of oral traditions, or use layered compositions inspired by crafts such as basketry.
Typography could reflect the cadence of spoken narratives, while visual layouts could be informed by ecological cycles, such as the migration of animals or the flow of rivers. Drucker’s relational approach aligns with practice-based research, encouraging designers to see branding as a tool for structuring knowledge in ways that are non-linear, dynamic, and participatory.
Drucker’s ideas also intersect with Elizabeth Tunstall’s call for cultural justice in design. By embedding relational aesthetics into branding, designers can move beyond superficial representations to create systems that resonate with the cultural and ecological rhythms of the communities they serve.
I spent a significant amount of time immersed in the environment, often alone with animals. I slept in the middle of the jungle in a wooden house, surrounded only by the sounds of insects and the nearby wildlife. I shared meals and conversations with the inhabitants, staying in their homes to gain a deeper understanding of what defines them. These communities, I realized, are not solely human—they are shaped by a profound interconnection with the other species that coexist with them. So I need to be able to represent all of them, or the entire multispecies group as needed.
Multispecies Perspectives in Design
Michael Marder’s The Place of Plants repositions the Amazon rainforest not as a passive setting but as an active participant in design processes (Marder, 2013). This perspective is complemented by Anna Tsing’s The Mushroom at the End of the World, which explores multispecies entanglements in ecological and economic contexts (Tsing, 2015). Together, these works inspire a relational approach to branding, where non-human actors—plants, animals, and ecosystems—are acknowledged as co-creators.
For Indigenous communities, where cosmologies emphasize reciprocity with nature, multispecies collaboration is integral to ethical design. Patterns inspired by the textures of tree bark, the cycles of plant growth, or the migratory paths of animals could inform logos and visual identities. This aligns with artistic research’s capacity to integrate diverse ontologies, redefining branding as a dialogical process that honors both human and non-human perspectives.
This perspective is further enriched by Arturo Escobar’s Designs for the Pluriverse, which advocates for relational and world-making practices in design (Escobar, 2018). By treating the forest as a collaborator, branding can challenge anthropocentric norms and create visual narratives that reflect the interconnectedness of all life forms.
At times, I felt overwhelmed by the sheer volume of stimuli, unsure how to process it all. There is no manual for creating brands for communities that aren’t corporations or startups with defined targets and budgets—these are entirely different cases. I encountered an incredible diversity of plants, insects, birds, mammals and people—not just in their appearance but also in their aromas, movement, behaviour. This made me realize that portraying them shouldn’t focus solely on visual representation or simplifying their essence into a visual language derived from photographs. It should also capture what it feels like to be there: the smells, the tastes, the textures, and the atmosphere.
This realization led me to understand the need to unlearn. Unlearning is profoundly challenging, as I am accustomed to rigid processes where I play the role of the expert—the “guru”—who guides a team toward visually successful, assertive communication to effectively convey a message. But in this case, I am not the expert. The true experts are the inhabitants—of all sizes, colors, and species—who deeply understand who they are and what they represent. My role, instead, is that of a facilitator, one who can, through thorough and respectful investigative processes, uncover the combinations that authentically express what they want to communicate.
Artistic Research as Dialogical Practice
Henk Borgdorff’s The Conflict of the Faculties emphasizes the dialogical nature of artistic research, advocating for practices that prioritize exchange and co-creation (Borgdorff, 2012). For branding Indigenous communities, this principle is essential. Traditional branding practices, which often impose external frameworks, risk erasing cultural nuance. By contrast, dialogical methodologies position branding as an iterative process shaped by ongoing collaboration with community members.
For example, workshops could serve as spaces for co-creating visual elements, such as logos or typographic styles. Community members might contribute stories or symbols that inform the design, and iterative feedback loops would allow these elements to evolve in alignment with their values. This approach reflects the practice-based nature of artistic research, where the process of creation is inseparable from its epistemic outcomes.
Maarit Mäkelä and Juuso Tervo’s emphasis on reflexivity and contextual engagement in artistic research underscores the importance of documenting these processes (Mäkelä & O’Riley, 2012; Tervo, 2024). Reflexive journals and participatory observation not only enrich the design process but also contribute to the broader discourse on decolonial methodologies.
Balancing Authenticity and Global Marketability
Philip Auslander’s exploration of performance personas provides a framework for examining the tension between authenticity and commodification in branding (Auslander, 2004). This tension is particularly acute in global markets, where visual identities for Indigenous communities often risk being commodified or distorted. Branding campaigns must navigate this complexity with care, ensuring that they amplify Indigenous voices without reducing them to curated performances.
For example, a branding campaign for ecotourism might highlight the ecological significance of the Amazon while minimizing the cultural depth of its communities. Conversely, designs that prioritize cultural authenticity may struggle to resonate with audiences unfamiliar with their symbolic richness. Auslander’s framework invites designers to embrace this tension as an opportunity for dialogue, ensuring that branding serves as both an authentic representation and an effective tool for engagement.
Communities do not only seek representation to identify themselves to the world or showcase their activities within their territories. Their needs are diverse and include creating a brand for their foundations, where they work to rescue ecosystems and specific plant or animal species. They also conduct scientific research on the species inhabiting their territories and report new findings related to their preservation and survival. Additionally, they fight against illegal trafficking and the domestication of exotic animals that suffer along the borders of countries sharing the Amazon rainforest.
In other cases, they aim to promote ecotourism and sell their products—such as handicrafts and handmade objects—to sustain themselves financially. At the same time, they wish to responsibly and sustainably share their efforts to protect the planet from the Amazon. Furthermore, they aspire to be on par with major conservation organizations, such as WWF or Greenpeace, which receive global donations and volunteers.
I feel a deep interest and responsibility in supporting them because they are an integral part of my identity. Often, they face challenges in presenting themselves to the world, particularly due to limited access to technology and difficulties navigating external relationships. They seek to be taken seriously, especially through the development of a strong and authentic visual identity.
Expanding Expositional Practices in Branding
Michael Schwab and Henk Borgdorff’s notion of expositionality in artistic research emphasizes how creative processes can articulate knowledge through their form and presentation (Schwab & Borgdorff, 2014). This idea is particularly relevant for branding Indigenous communities, where visual identities must communicate not just aesthetic appeal but the layered histories, cosmologies, and relational values inherent to these cultures.
Branding, viewed through the lens of expositionality, becomes more than a tool for representation—it becomes a platform for dialogical encounters. The layout and composition of branding materials could reflect Indigenous temporalities and spatial arrangements, moving beyond minimalist aesthetics toward denser, textured visuals. Such an approach creates spaces for audiences to engage deeply with Indigenous knowledge systems, pushing the boundaries of conventional branding practices.
In my first project, working with children was truly magical—it felt perfect. Children are the most honest, pure, and innocent participants, and their perspectives bring a unique authenticity to any project. Some of the outputs I developed came directly from drawings they created during workshops, where they represented themselves or depicted what they valued most about their territory. It was fascinating to see how each child contributed something unique, highlighting that every individual has a story to tell and something meaningful to add.
What stood out the most was how connected they already were to their heritage. Despite their young age, they had a clear understanding of where they come from and what is essential to their beliefs. This connection is particularly inspiring, as they will carry forward the cultural heritage of their communities. Seeing their awareness and pride in their identity gave me a profound sense of hope for the future, as well as a deeper appreciation for the role of design in preserving and amplifying these narratives.
Post-qualitative methodologies, as introduced by Springgay and Truman (2018), encourage a break from the rigid, step-by-step approaches typically associated with research. Instead, they advocate for embracing a fluid, co-creative process where knowledge is not simply extracted but continuously generated through relational interactions. In this context, branding for Indigenous communities cannot be reduced to a mechanical process of aesthetic choices or market strategies. It must evolve organically through ongoing dialogue and shared decision-making, allowing the branding process to mirror the dynamic, living cultures it represents. Springgay and Truman’s perspective, which stresses ambiguity and complexity, directly challenges the Western research paradigms that seek to distill cultures into simplified representations.
This relational process aligns with the call for decolonizing research practices, as outlined by thinkers like Linda Tuhiwai Smith (1999), who highlights the importance of respect, reciprocity, and ethical engagement in research. Branding, therefore, becomes a tool for decolonization when it involves deep, sustained engagement with Indigenous communities, allowing their cosmologies, histories, and values to guide the design process. In this framework, participatory methods such as community-driven mapping, storytelling circles, and co-design workshops serve as catalysts for this ongoing, reciprocal knowledge production. These methods are not merely for gathering data but are integral to the evolving, reflective nature of post-qualitative research, where the very act of designing becomes a process of mutual discovery and learning.
Additionally, storytelling circles—a form of oral tradition—allow community members to share lived experiences and cultural narratives, which can then inform the visual and symbolic aspects of branding. These spaces for open dialogue enable a reciprocal exchange of ideas, emphasizing the collective nature of knowledge creation. Another relevant approach is community-driven mapping, which goes beyond ecological or geographical mapping to include emotional and cultural mapping. This method invites participants to map out personal, historical, and collective experiences, connecting place with memory and identity. It allows designers to understand the deeper, often intangible aspects of a community's relationship with their environment. Similarly, art-based methods, such as co-creating murals or craft-based activities, integrate visual art as a way of expressing identity and cultural values in a participatory manner. These art practices encourage the emergence of new design elements that resonate with the community’s ethos, providing an avenue for co-creation that directly challenges top-down design paradigms.
Through this iterative and participatory approach, designers can resist the impulse to impose external frameworks on Indigenous communities, instead allowing the design process to be shaped by community input. This results in branding that is not only culturally authentic but also capable of adapting to changing contexts and global markets, thereby ensuring the agency of Indigenous communities within the broader economic and cultural landscapes.
Balancing Serendipity and Intentionality
The essays in The Art of Research II highlight the dual importance of intentionality and openness to serendipity in creative processes (Mäkelä & O’Riley, 2012). Intentionality is reflected in the project’s ethical commitments to community agency and cultural preservation, while serendipity emerges in the unexpected insights gained through collaboration. A casual observation—such as the arrangement of objects during a weaving session—might inspire a key design element, enriching the branding outcomes with layers of meaning and authenticity.
This balance ensures that the design process remains both grounded and flexible. By embracing serendipity, designers can uncover insights that might otherwise be overlooked, allowing the branding to resonate more deeply with the cultural and ecological nuances of the communities involved.
Toward a Decolonial Branding Methodology
By integrating speculative methods, multispecies perspectives, expositional practices, and storytelling traditions, this essay envisions branding as a transformative process that challenges the dominance of Western design paradigms. Artistic research provides a flexible, dialogical framework for engaging with the complexities of Indigenous knowledge systems, fostering designs that are both authentic and innovative.
Through collaboration, reflexivity, and experimentation, branding can become a tool for decolonization—one that amplifies the voices of Indigenous communities while promoting cultural sustainability and ecological stewardship. This approach redefines the role of design in a global context while contributing to broader conversations about the ethics and possibilities of artistic research.
I am fully aware that I am not the only person engaged in this type of work, whether in my country or globally. Many others have also sought to represent communities in the Global South, including Indigenous peoples, through visual design and storytelling. However, I believe there is still insufficient research into how these approaches are being carried out. Are they being conducted ethically and respectfully, without perpetuating colonial mindsets? More importantly, are all the needs and priorities expressed by these communities being genuinely considered and integrated?
This gap is where my interest lies. I am convinced that those currently involved in this work, as well as those who aspire to undertake it in the future, would benefit from a structured methodology or at least a comprehensive guide. Such a resource could outline the most effective and respectful practices and activities, ensuring that these efforts are collaborative, inclusive, and aligned with the communities' values and aspirations.
Conclusion
In reimagining branding through the lens of artistic research, this essay demonstrates how the integration of decolonial methodologies, participatory practices, and ecological awareness can transform a field often dominated by Western paradigms. By prioritizing collaboration, reflexivity, and relationality, branding becomes not just a means of representation but a form of knowledge production that amplifies the voices of Indigenous communities and fosters cultural and ecological sustainability.
This research interest, at the early stage of my master's thesis, positions branding within the broader context of artistic research, emphasizing its potential to address pressing global challenges while contributing to the evolving discourse on decoloniality, design, and the arts. By engaging deeply with the complexities of Indigenous knowledge systems, this approach charts a path toward a more inclusive, ethical, and transformative practice.
Ultimately, this essay is not presenting definitive results but aims to serve as the first step in an ongoing process. Based on the readings and frameworks explored throughout the course, the ideas presented here offer a foundation for developing a method for creating branding for Indigenous communities. This exploration sets the stage for a deeper, collaborative engagement with Indigenous peoples, one that respects their cultural and ecological knowledge, and fosters a more sustainable, decolonized approach to visual design.
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