"Dreams in Transition" is a focused reflection and response to the dilemmas faced by young immigrant women in cultural transitions to new societies. The project delves into the significance of semiosis in materials, technology, and the impact of popular culture on the younger generation. Recognizing the potential for design to contribute to significant change, the project aims to understand and address power, race, class, and gender, thereby promoting cultural exchange and social transformation.
The project goes beyond merely portraying young women as immigrants, instead adopting a multidimensional approach that reinforces their sense of individuality. It embraces the complex identities of these young women as metamorphic constructions. Through collaboration with Papillon Bergen, the project seeks to empower young women from diverse backgrounds, encouraging them to share their stories, express themselves, create opportunities, and foster a sense of trust and belonging.
The central concept involves a set of scarves designed for young girls to wear, serving as statements of their identities and lived experiences. The feminist methodology is employed to achieve this goal. In the initial phase, young intercultural women participated in a comprehensive 12-week workshop, visually sharing their experiences to highlight the importance of belonging, following one's path, and being free to be oneself.
Various methods, including hand-painted color techniques and Augmented Reality (AR), were utilized and are now available on social media as a form of activism and empowerment. The project aims to reveal layers of representation through visual exploration and materialization of the concept of meaning-making. The ultimate goal is to communicate a message and reach as many people as possible. Recognizing the power of technology to crowdsource messages and stimulate social change, the project strives to amplify unheard voices.
Download a copy of Dreams in Transition MA Thesis here.
See acknowledgment at the bottom of this page.
Process
ACKNOWLEDGMENTS
The collaboration with Papillon and Rothaugen School allowed me, as a designer, to dedicate my focus to real-world issues that hold significant meaning for me. This engagement took place within an interdisciplinary environment, and I extend special thanks to Leïla Rezzouk for her unwavering fight against exclusion. I would also like to express gratitude to Papillon's team, including Leïla Rezzouk, Arsiema Z. Medhanie, and Atia Ijaz, for their kindness. Thanks are also due to Rothaugen School and the girls who actively participated in the project.
I extend a big thanks to Foreningen Trykkeriet and Rita Marghaug for providing a space that allowed me to continue my research during challenging times. The support from ANTI's team, including Tom Morgan, Endre Beretzen, and Vera Gomez, in terms of valuable feedback and assistance, is greatly appreciated. I also acknowledge and express gratitude to my brilliant classmates, namely Amy van den Hooven, Lena Charlotte Bienert, and Theodore Folstad, for their fantastic work dynamic, constant feedback, and attention.
A heartfelt thank you goes to my tutor, Hilde Kramer, for her compassion during crucial times and her engagement in my project. Dóra Ísleifsdóttir deserves recognition for providing me with valuable perspectives. I am grateful to Arthur Hureau for consistently supplying me with the best equipment. Special mention to Cathrine Kramer for her advice and vision, and to Geir Goosen for his unwavering support and belief in me and my work.
Last but certainly not least, I express enduring gratitude to my husband, John Jamtli, for his infinite patience, care, commitment, support, guidance, and love. This work and my thoughts are dedicated to my roots, my mother, Alba Luz—the light of my path.
