Outline and Critical assessment of my Intervention

My intervention focusses on Cultural Appropriation, as outlined in a previous post: “To exist is to be called into being in relation to an otherness, its look or locus. […] The very process of identification, through which we project and disavow the other, is also a form of power over the other”.
Bhabha, H. K., The Location of Culture, 2004 (1994) (p. 45)

This report critically evaluates my proposed intervention which is aimed at fostering an environment to consider Cultural Appropriation through discussion spaces, drawing sessions, and a critical examination of cultural appropriation (CA) and artificial intelligence (AI) biases. The intervention is particularly focused on first-year students in the BA Bespoke Tailoring course at the London College of Fashion (LCF), and their project ‘Intro To’ as an example, although it applies across all the 7 courses and 3 year groups that I teach on. It also applies to sessions for Staff too, which could be held in Staff Development week.

Here is a summary outline of 3 workshops:

• Workshop 1: Each student or member of Staff would be asked to bring in an object of significance. It would not need to relate to their own culture if they don’t feel comfortable sharing it – it could be anything such as a coin used by a relative who was a magician. I would start the workshop with a discussion of my own object that I brought, and how it relates to my positionality, as an example. Then I would start a discussion based around a presentation, and perhaps play the video by ID (listed in the bibliography). Then we could pair–share the objects, making a drawing as a response to their partner’s object. I would put the drawings on the wall, and students would then describe the drawings of their partner and their (cultural) significance and the ethical considerations involved, using 30 words, which I would type up and put next to the drawings as related text. To promote an open and inclusive discussion, I would need to be sensitive and careful to foster a safe space for discussion, be empathetic and considerate towards the students and staff, as discussed in my blog posts ‘Faith and Intersectionality’ and ‘Peer Presentation Insights’. It’s important to encourage students and staff to share their cultural backgrounds while respecting those who may prefer privacy or want to focus on future aspirations rather than their past experiences. This workshop could lead to an exhibition of the work, perhaps including the results of the other 2 Workshops.
  
  
• Workshop 2: We would visit a museum or exhibition, and do the same exercise individually with a drawing of an object, and then have a discussion in the café to relate how we can be inspired through Cultural Appreciation rather than Appropriation: “I want visitors to question the narratives they’ve been fed.” Museums are hiding their imperial pasts – which is why my tours are needed, Alice Procter, www.theguardian.com/commentisfree/2018/apr/23/museums-imperialist-pasts-uncomfortable-art-tours-slavery-colonialism
  
  
• Workshop 3: We would train an AI programme using our drawings as a Data Set, then use it to create designs, and then make drawings from them. These would be used in a discussion around the Ethics of using AI, inherent biases and Cultural Appropriation, providing students with a hands-on understanding of the complexities and ethical considerations of using AI in their work.

In order to run effective workshops to create a rich and inclusive learning environment,
I intend to include several critical aspects, such as:

Open Discussion Spaces: I need to acknowledge both the tutor’s and students’ cultural backgrounds. As a tutor from Western Europe, my perspective on cultural artifacts has evolved over time; I found that conducting Drawing Sessions in my daughter’s primary school in Hackney allowed me to engage directly with diverse cultural contexts and marginalised voices. These spaces foster an environment of mutual respect and openness, allowing all students to contribute meaningfully to discussions.

By actively listening to students, encouraging open dialogue, and validating their experiences, I would not only enhance the educational experience but also prepare students to become innovative and thoughtful practitioners who can contribute to the evolving landscape of fashion and design.

Live drawing sessions help students process abstract concepts such as Cultural Appropriation in a tangible way. Drawing engages ‘thinking through making’, which works across learning styles and abilities. Pairing drawing sessions with case studies or visual analyses makes topics like the impact of AI in fashion and design more relatable and integrates practical and reflective learning. Case studies or visual analysis that highlight issues of Cultural Appropriation, such as the ‘Made in Holland, adorned in West Africa, (re)appropriated as Dutch design’ example in the bibliography below, not only prepares students to navigate a globally connected world but also equips them to become critically evaluative, innovative, responsible and thoughtful practitioners.

Cultural Appropriation and AI Bias: AI can perpetuate biases present in its training data, raising ethical concerns in digital design processes. Discussing and drawing with regard to these topics in workshops would help students develop a critical understanding of the implications of AI in their work. Practical exercises using AI tools allow students to explore these technologies hands-on, understanding both their potential and limitations in the context of cultural sensitivity.

Reflective practice is a key component of effective teaching. Continuously assessing teaching practices and institutional approaches to cultural issues helps identify biases and develop strategies to address them. Regular feedback from students and collaboration with colleagues enriches teaching practices, contributing to a supportive teaching community. The sessions for Staff would help to widen the awareness of Cultural Appropriation and the use of AI across UAL.

I would engage with the concept of Cultural Appreciation versus Appropriation. Cultural Appreciation involves a genuine respect, understanding, and acknowledgement of another culture. It is characterised by an engagement that is informed, consensual, and respectful:

1. Respect and Understanding: Appreciation requires a deep understanding of the cultural context and significance of the elements being considered.
   
   
2. Acknowledgment and Credit: Proper acknowledgment of the source culture and its contributions is crucial.
   
   
3. Permission and Consent: Engaging with cultural elements in a way that respects the wishes and rights of the source culture, often involving explicit consent, such as the example of indigenous people taking agency over the use of their cultural heritage by making an index of their designs (www.fashionrevolution.org in the Bibliography).
   

In her essay “Eating the Other: Desire and Resistance, (1992)” Bell Hooks discusses how Cultural Appreciation can foster cross-cultural understanding and respect, allowing for a meaningful exchange where the integrity of the cultural elements is maintained. In “Globalisation and Culture: Global Mélange, (2005)” Pieterse examines how Cultural Appreciation can lead to positive intercultural exchanges, enhancing mutual respect and understanding between diverse groups.

Strengths and Potential Improvements

I think the project has several strengths, including its clear professional relevance, engagement with urgent contemporary issues, and practical implementation plan. However, there are areas for improvement:

1. Evaluation Strategy: I need to develop a clear evaluation framework to assess the effectiveness of the drawing sessions and workshops, incorporating both qualitative and quantitative measures. This could be questionnaires to each participant, or a space for viewers to write their responses next to each drawing in the sessions or exhibition.
   
   
2. Sustainability Plan: I need to outline a plan for scaling the project and ensuring its sustainability, including training for additional staff and securing long-term support.
   
   
3. Clearer Articulation of Positionality: Explicitly stating my own background and experiences, as well as encouraging students to share theirs, will enhance the inclusivity and impact of the discussions. This can be achieved through structured introductions and regular
   reflection sessions.
   
   
4. Explicit Connection Between Drawing and Cultural Appropriation: Clarifying how drawing sessions will lead to a deeper understanding of cultural appropriation through specific case studies or visual analyses. For instance, incorporating specific examples of cultural appropriation in art and fashion and using these as prompts for drawing and discussion. Some of these are outlined in the Bibliography below.
   
   
5. Comprehensive Addressing of AI’s Role: Providing a detailed examination of AI’s involvement in perpetuating biases and promoting cultural sensitivity, with a specific focus on the fashion industry, is a multifaceted topic that encompasses various dimensions including ethical implications, practical applications, and case studies:
   

5A. There is an Algorithmic Bias in AI Systems which can perpetuate existing biases present in the training data. This can result in discriminatory practices such as reinforcing stereotypes or under representing certain cultural groups, for example AI models trained on predominantly Western fashion data might fail to recognise or appreciate traditional attire from non-Western cultures. Incorporating Diverse Data Sets, demonstrated by training an AI programme with our images; including a wide range of cultural expressions and traditional attire can help in promoting inclusivity. There are specific papers in References 5A in the Bibliography.

5B. Some Case Studies of Bias in Fashion AI:

– Amazon’s AI Hiring Tool: Amazon scrapped an AI recruitment tool after it was found to be biased against women, illustrating how AI can replicate gender biases.

– Facial Recognition in Fashion: AI-powered facial recognition tools used for marketing and retail can misidentify or under-represent minority people.

There is a specific paper in Reference 5B in the Bibliography.

Feedback from peers and tutors has been invaluable in refining this project.
Key suggestions include:

1. Creating a Collaborative Space: Establishing a space for open discussion of CA that includes both staff and students, ensuring equal agency and active participation. This can be facilitated through workshops, museum visits, and collaborative projects.
   
   
2. Combining Drawing Sessions with Museum Visits: Enhancing the drawing sessions by incorporating museum visits, allowing students to respond to cultural artefacts through various media and fostering a deeper engagement with the topic. These visits can provide a rich source of inspiration and context for the drawing sessions.
   
   
3. Addressing AI Biases: Integrating discussions on AI biases in creative fields, possibly incorporating AI into the drawing process for iterative exploration of cultural appropriation.
   
   

Bibliography

• What Defines Cultural Appropriation? i-D, www.youtube.com/watch?v=PwEMVEmeubk&t=1s
  
  
• Meredith Mendelsohn, Why is the Art World Divided over Gauguin’s Legacy, 2017
  
  
• Sanna Hamid www.cargocollective.com/sanaahamid/Cultural-Appropriation-A-Conversation
  
  
• Museums are hiding their imperial pasts – which is why my tours are needed, Alice Procter, https://www.theguardian.com/commentisfree/2018/apr/23/museums-imperialist-pasts-uncomfortable-art-tours-slavery-colonialism
  
  
• Alice Proctor, www.theexhibitionist.org
  
  
• www.britishmuseum.org/about-us/british-museum-story/contested-objects-collection
  
  
• www.condenast.com/glossary/social-cultural-and-economic-impacts-of-fashion/cultural-appropriation
  
  
• Young, J. O. & C. G. Brunk (Eds.) (2012). The Ethics of Cultural Appropriation. Oxford: Willey-Blackwell.
  
  
• Strang, V. & M. Busse (Eds.) (2011). Ownership and Appropriation. Oxford: Berg
  
  
• Bhabha, H. K. (2004 1994). The Location of Culture. London: Routledge
  
  
• Gaugele, E. & Titton, M. (2019). Fashion and Postcolonial Critique. Berlin: Sternberg Press.
  
  
• Schneider, A. (2003). On ‘appropriation’. A critical reappraisal of the concept and its application in global art practices. Social Anthropology, 11 (2), pp. 215-229.
  
  
• Young, J. O. (2008). Cultural Appropriation and the Arts. Oxford: Wiley-Blackwell. Scafidi, S.: Who Owns Culture?
  
  
• Appropriation and Authenticity in American Law. Rutgers University Press, 2005 Beyond Buckskin (n.d.)
  
  
• Picasso and the influence of African Tribal Art, Christopher Jones on Medium www.christopherpjones.medium.com/picasso-primitivism-and-the-rights-and-wrongs-of-cultural-appropriation-1f964fa61cee
  
  
• Grayson Perry, artmuslondon.com, www.artmuselondon.com/2020/10/06/the-most-specialest-relationship-grayson-perry-turns-his-acute-eye-on-america
  
  
• Contested Objects Collection, www.britishmuseum.org/about-us/british-museum-story/contested-objects-collection
  
  
• Noble, S. U. (2018). ‘Algorithms of Oppression: How Search Engines Reinforce Racism.’ NYU Press.
  
  
• Eubanks, V. (2018). ‘Automating Inequality: How High-Tech Tools Profile, Police, and Punish the Poor.’ St. Martin’s Press.
  
  
• O’Neil, C. (2016). ‘Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy.’ Crown Publishing Group.
  
  
• Floridi, L., & Cowls, J. (2019). “A Unified Framework of Five Principles for AI in Society.” Harvard Data Science Review, 1(1).
  
  
• Crawford, K. (2021). “Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence.” Yale University Press.
  
  
• Dignum, V. (2019). “Responsible Artificial Intelligence: How to Develop and Use AI in a Responsible Way.” Springer Nature.
  
  
• Made in Holland, adorned in West Africa, (re)appropriated as Dutch design Vlisco: https://www.annekesmelik.nl/wp-content/uploads/2018/09/FSPC_Bruggeman.pdf
  
  
• Cultural Appropriation’s Negative Impact on North American Indigenous Peoples with Korina Emmerich – Slow Factory Open Edu: https://www.youtube.com/watch?v=223ITT6u72M
  
  
• Indigenous communities combat cultural appropriation with traditional textile
  design database
  www.fashionrevolution.org/notpublicdomain-indigenous-communities-combat-cultural-appropriation-with-traditional-textile-design-database
  
  
• This video from UAL’s Decolonising Arts institute briefly mentions appropriation:
  www.youtube.com/watch?v=A77vQKICssw
  
  
• Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, edited by Laura Allen and Luke Caspar Pearson. While not solely focused on cultural appropriation, this book explores the role of drawing in speculative thinking, which can be relevant to understanding how drawing can be used to explore and critique cultural appropriation.
  
  
• “Drawing as a Way of Knowing in Art and Science” by Gemma Anderson. Drawing as a way of knowing in art and science / Gemma Anderson. Publisher: Bristol : Intellect, [2017]
  
  
• ‘Drawing as Research’ by Jill Bennett. This article from ‘Qualitative Inquiry’ explores drawing as a method of research, which can be applied to understanding cultural appropriation through visual representation.
  
  
• ‘Journal of Cultural Heritage Management and Sustainable Development’. This journal often publishes articles that discuss cultural appropriation in various forms of art and media, which may include drawing as a medium.
  
  
• ‘International Journal of Cultural Property’. This journal focuses on cultural property and heritage, which can provide insights into the ethical and legal dimensions of cultural appropriation.
  

References 5A:

• Binns, R. (2018). ‘Fairness in Machine Learning: Lessons from Political Philosophy.’ Proceedings of the 2018 Conference on Fairness, Accountability, and Transparency, 149-159.
  
  
• Mehrabi, N., Morstatter, F., Saxena, N., Lerman, K., & Galstyan, A. (2021). ‘A Survey on Bias and Fairness in Machine Learning.’ ACM Computing Surveys (CSUR), 54(6), 1-35.
  
  
• Bolukbasi, T., Chang, K. W., Sou, J. Y., Saligrama, V., & Kalai, A. T. (2016). ‘Man is to Computer Programmer as Woman is to Homemaker? Debiasing Word Embeddings.’ Advances in Neural Information Processing Systems, 29, 4349-4357.

Reference 5B:

• Buolamwini, J., & Gebru, T. (2018). ‘Gender Shades: Intersectional Accuracy Disparities in Commercial Gender Classification.’ Proceedings of the Conference on Fairness, Accountability, and Transparency, 77-91.