Intervention Outline

Diversifying the Stitch Sample Library

Context:

Currently, the variety of samples in the Stitch Workshop at Chelsea is being expanded. This resource is used in inductions and workshops to refer to and inspire students, as well as to access when creating independently. For the object-based learning micro teaching session in Unit 1, a variety of samples, focusing on smocking and shirring, were presented. One piece of feedback, which I feel requires reflection, was regarding the naming of the technique ‘English Smocking’. The same technique exists internationally but doesn’t have the same ‘English’ prefix.

This exchange has led me to reflect on the direction of expanding this resource. Object-based learning, in this case, Stitch/ Embroidery samples “sees hands-on engagement with the object of study as key to personal meaning-making and the long-term retention of ideas.” (UCL, 2024) Therefore, it’s vital that we further representation of more nationalities and cultures in the Stitch Library resource, to improve inclusivity and therefore creating an equitable learning experience.

Intervention plan:

• Inclusion of a variety of stitch/embroidery samples displaying techniques from wider global cultures and nationalities.
• References to alternative names/ terms for techniques respective of origin.
• Clearly labelled technical descriptions.
• QR codes leading to further accessible information on UAL online platform (potentially Moodle)
• Photographic images of the samples available for offsite accessibility.
• Categorise samples, respective of techniques, via colour coding and Key system.

Highlighting cultural significance

Some questions around authenticity and cultural appropriation will need to be explored. For example, instead of replicating techniques, would it be more appropriate to source samples of cultural significance?

Navigation of providing resources with associated cultural significance in a resource which is readily available for all students to access raises questions of how to promote appreciation and not appropriation.

• Include discussion around socio-cultural significance in object-based learning activities during workshops and inductions.
• QR code links to a webpage with the option to leave comments, so that students can interact with each other regarding the resource.
• Potential inclusion of UAL staff and student’s work within the library to include authentic representation from varied ethnicities, nationalities and cultures.

Receiving feedback

This intervention will be an ongoing process, as the creation and sourcing of samples will take time. In this case, I plan to implement this intervention on a selected category of techniques in the Stitch Sample Library. It is unlikely I will be able to gather much feedback from students so I will rely on my colleagues for feedback.

• Implement intervention plan on selected category
• Hold a micro-workshop where colleagues on Textile Design course ‘Crip’ the resource to further highlight areas to develop or areas of concern.
• Make sure feedback is gathered from a diverse group of colleagues.

References:

Berganini, S. (2021) Cultural Appropriation vs Appreciation. Available at: https://andeantextilearts.org/cultural-appropriation-vs-appreciation/ (Accessed: 23/05/2024).

CAST (2018). Universal Design for Learning Guidelines version 2.2. Optimize relevance, value, and authenticity. Available at:https://udlguidelines.cast.org/engagement/recruiting-interest/relevance-value-authenticity (Accessed: 25/05/2024)

DIVERSE EDUCATORS (2024). Culturally Responsive Pedagogy Toolkit. Available at: https://www.diverseeducators.co.uk/culturally-responsive-pedagogy-toolkit/ (Accessed: 25/05/2024)

Fujii-Oride, N. (2021) Drawing the Line Between Cultural Appropriation and Appreciation. Available at: https://www.seamwork.com/articles/drawing-the-line-between-cultural-appropriation-and-appreciation (Accessed: 24/05/2024).

Green, D.N., Kaiser, S.B. (2017) ‘Fashion and Appropriation’, fashion, Style and Popular Culture, 4(2), pp. 145-150. Available at: https://doi.org/10.1386/fspc.4.2.145_2

Leading Equity Center (2024) Cultural Appropriation vs Cultural Appreciation. Available at: https://www.leadingequitycenter.com/blog/cultural-appropriation-vs-cultural-appreciation(Accessed:25/05/2024).

Mudambi, A. (2021) ‘Cultural Appropriation vs. Cultural Appreciation’, Language & Equity Education Solutions , February 2021. Available at: https://socialjusticeandeducation.org/2021/02/16/cultural-appropriation-vs-cultural-appreciation/ (Accessed: 25/05/2024).

Penketh, C. (2020) ‘ Towards a vital pedagogy: Learning from anti-ableist practice in art education’, International Journal of Education Through Art, 16(1), pp. 13–27. Available at: https://doi.org/10.1386/eta_00014_1

Pompom (2019) Learning and Unlearning: an Interview with Emi Ito on Cultural Appropriation. Available at:  https://pompommag.com/blogs/blog/learning-and-unlearning-an-interview-with-emi-ito-on-cultural-appropriation?_pos=1&_sid=e43147694&_ss=r (Accessed: 24/05/2024).

Smith-Glaviana, D. & Hwang, E., (2024) “Using an Object-Based Learning Approach to Strengthen Intercultural and Global Awareness and Openness to Diversity”, International Textile and Apparel Association Annual Conference Proceedings 80(1). Available at: https://doi.org/10.31274/itaa.17500

Tan, A. (2020) Out of Context #5: Appreciation vs. Appropriation of Cultural Musical Objects. Available at: https://icareifyoulisten.com/2020/05/out-of-context-5-appreciation-appropriation-cultural-musical-objects/ (Accessed: 24/05/2024).

University College London (2024) Teaching and Object Based Learning. Available at: https://www.ucl.ac.uk/culture/teaching-object-based-learning/teaching-object-based-learning#:~:text=This%20research%20is%20strongly%20linked,long%2Dterm%20retention%20of%20ideas. (Accessed: 25/05/2024).