Visualising Oman
An Exploration of National Identity Through Participatory Photography and Printmaking
Inspiration
Visualising Oman integrates visual analysis and creative practice to explore different visual approaches to a national identity that currently relies on a top-down and institutional conception of Oman.
This practice-led research focuses on developing a visual vocabulary and graphic design method by which Omani citizens can engage with visual iconography, commonly associated with the culture and identity of the Sultanate of Oman, and represent these as newly-composed works with personal content.
Oman provides a compelling context for this project, where the discipline of visual communication—as an area of tertiary education and professional engagement—is relatively new. This emerging status of design culture within Oman has, in part, induced elementary and, at times, generic engagement of visual culture in constructing national identity. Practice-led research and a critical approach to national identity representation are currently needed to open new possibilities for contributing to the field.
Analysis
To map and analyse the dominant and iconic visual representations of Oman, I explored the birth and evolution of Omani postage stamps. Beginning in 1970 with Sultan Qaboos’s ascension and extending to the contemporary period. This historical juncture is broadly considered the advent of modern, progressive Oman and its consequent economic and social transformations.
These collections remain as explicit registers of a government-led approach to visualising post-1970s Omani life, culture, and national icons—one that is well preserved at the national archive in Oman.
Through a detailed interrogation of these collections, I identified the dominant visual imagery and themes deployed. This analysis was then contextualised within the socio-political character of that period, isolating the dominant nationalist motifs within the emerging Omani nation-state.
Practice
This analytical work formed the background of practice-based research, testing, and experimentation. As a graphic designer with expertise in photography and printmaking, I am interested in exploring the interplay between these mediums as a method by which received visual traditions can be re-invoked, taken apart, and reassembled as recognisable yet new content.
I am further interested in processes that critique top-down and singular authorship. Therefore, this research applies the remote participatory photography method to integrate these interests due to Covid-19 restrictions.
Participatory photography is practical, collaborative, and empowering. It involves participants’ roles as photographers, writers, and speakers and emphasises individual and community action. This method enables the exploration of national identities and cultural representations from local perspectives.
“Public sharing, disseminating, and engagement are important parts of visual participatory action research methods ”
Print your own posters
I have made all of the final poster sets available to download. View and download these in the Outcome section.
Create your own artwork
Using the collaboration platform, Miro, you can interact with artwork excerpts from Visualising Oman to create your own artwork.