Originally published in The Curiosity Chronicles.
In an article published on the Design Altruism Project, design researcher Sumandro reflects on colonialist readings of jugaad, which is often taken to mean as “startling ingenuity in the face of adversity.” He asks a provocative question: can non-europeans innovate?
Why do the Indians need a special word for a phenomena that Europeans (not in the sense of the continent but in vague civilizational terms) simply call innovation?
He argues that jugaad is not a strategy practiced only by the poor. Instead, he looks at jugaad as a cognitive and strategic response to any unknown, confusing, or potentially overpowering system. Everyone practices jugaad.
Jugaad is neither a strategy of informal product economies, nor does it emanate from the ‘worldview of the poor.’ It is not an artifact of an older community-based sustainable product culture, which is under threat from globalised commodity cultures. It is a form of imagining and engaging with formal systems — of design, of governance, of urban planning and so on… it is practiced by the poor and the rich alike, resulting in widely different ethical and material consequences.”
…The first moment of jugaad lies in being face-to-face with an unknown or exclusive system— be it the modern electricity distribution system or a new car engine. The practitioner of jugaad, or the jugadoo, then addresses this unknown/exclusive but in-your-face system by innovating and often subverting the formal logic of that system— for example, by illegally ‘hooking’ from the official electricity lines, or by repairing the car engine using unorthodox/recycled/self-made parts. This is the second moment of jugaad.
However, Sumatro admits that simply framing jugaad as a respose to an unknown system and subverting its formal logic to suit the user’s need renders his definition to be so general as to be useless. Jugaad is jugaad when it is a shared experience.
Jugaad refers to a culture of understanding and taking part in formal systems, which are unfamiliar but excessively real, and have deep everyday consequences.
In our research with communities traditionally regarded as belonging in the informal economy, such as sari-sari store owners, we’ve seen how the both informal and formal economies are part of a larger financial ecosystem that are in continuous relationship with each other. Ultimately, the responses of sari-sari owners are fueled by their everyday understanding and experiences of power involving formal systems. The sari-sari store owners we work with are often nanays who bring with them experiences, perceptions, and assumptions related to both to being a parent and being a woman in their particular community. When trying to understand how sari-sari store owners interact with product distributors, what we wish to understand is the logic the distributors mobilize, how sari-sari store owners challenge that logic, and what the corresponding logic is behind their resistance. How they feel engaging with these distibutors, activation agencies, and brands? Do they feel powerless against these formal systems? Do they feel like they can dictate any part of the agreement?
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hello again world, this is ridiculous
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martini shaker, set of six plates and bowls from ming wo (may be missing one bowl), solid metal grill pan with grilling ridges, BPA-free Sigg water bottle

old-school karaoke system, CD-tape-aux player thingy (there are speakers somewhere if you want em)

LPs (classical and a lot of Joni Mitchell), Filipino movies, CDMA telus phone, Alcatel Android phone (SIM card slot doesn't work but other connectivity components (WiFi, Bluetooth)do), Anthology of Western Theatre book, digital alarm clock

expandable file folder, thingy for keeping a book open and upright (good for looking at recipes while cooking)

contraption to make foot more pointe-y (this is a dancer thing), heavy exercise band with handles

clothes, clothes, clothes
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So many cool things are happening this Saturday. The Southeast Asian Cultural Arts Festival starts at 10 am and goes till 5. Kirtan Vancouver starts at 3pm and goes till 9pm (I’ll probably be going to the Kirtan Star Quest bike ride at 7pm). And somewhere in between I’ll be attending a BBQ that Mable Elmore is hosting. Oh, and the night before, I’d like to see MACHiNENOiSY’s Law of Proximity.
Woohoo!
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Constantly making decisions is tiring, and now there is scientific evidence that suggests why this is so. Jian Ghomeshi inteviewed New York Times science writer John Tierney on the CBC this morning on a column that Tierney recently wrote about “decision fatigue”. It’s a fascinating concept, and one that is consistent with many people’s experience.
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In this post, I would like touch on two different themes related to experiencing dance, both in its making and its viewing:
- anticipating (or not) audiences’ states of receptiveness, and crafting (or not) a choreographic response based on prior knowledge of such states; and
- deciding to what end that choreographic response should be crafted–for instance, whether we want to fulfill “what audiences think they want” versus “what audiences actually need”.
Many of the ideas in this essay came after watching shows from the 2011 Dancing on the Edge festival, and I mention some of them in this post.
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I’ve just changed my WP theme to Portfolium. I’m totally loving it, but it doesn’t support widgets. Here’s how I managed to get display my tweets nonetheless. In a nutshell, I added a new <div> to two files (the main index template, index.php, and the single post template, single.php), positioned it relative to its ancestor element, and inserted a Twitter widget in this new <div>.
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Check out this interesting post at ExcelCharts.com on visualizing shifts in the population of different countries. It was hard to visually parse the data, though once I knew what I was looking for (lines that extend outwards near at the top == large percentage of older people), it was easier to parse. (I wish the charts were properly labelled throughout, though the author finally provided examples at the end of his post.) I suspect that a better visualization technique would have resulted in a more understandable result set of graphs… but these are pretty. Hard to believe they were made in Excel!
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I haven’t gotten to see anything from Dancing on the Edge (Vancouver’s festival of contemporary dance) in a long time. This year will be different. (I’m definitely seeing the shows with the + icon, which allows you to view it as a calendar event.)
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The headline this morning on The Tyee by a colleague and friend of mine touches on the widespread use of social media among the First Nations of Canada, who are widely scattered across this large country. Many First Nations territories were never ceded to Canada’s European colonizers, and thus remain illegally occupied. The article touches on the risks that corporately-controlled social media pose.
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