Bias in digital cultural heritage collections (BETA)
Progress
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<h2 class="hd hd-2 unit-title">3.1 Working with communities and community allies: do-s and don’t-s</h2>
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<p>Based on the assumption that participation in cultural life is a human right, active participation of diverse communities should not only be enabled but also fostered by cultural institutions to ensure lifelong learning processes, personal growth and intercultural dialogue among societal groups and cultural institutions.</p>
<p>This can fully happen only in the framework of the policy model called "cultural democracy", which is a concept that comprises a set of related commitments:</p>
<ul>
<li>Protecting and promoting cultural diversity and the right to culture for everyone;</li>
<li>Encouraging active participation in community cultural life; E</li>
<li>nabling people to participate in policy decisions;</li>
<li>Assuring fair and equitable access to cultural resources.</li>
</ul>
<p>Cultural democracy and democratisation of culture should both serve a coherent political system and its sovereignty structures by overcoming the underlying ambiguity in the concept of "democratisation of culture" whereby public policies are intended to promote access to culture, which needs mediation and education policies to reduce the hurdles for a fulfilling experience.</p>
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<h2 class="hd hd-2 unit-title">3.1.1 The common space of cultural institutions</h2>
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<p>Cultural democracy is therefore <strong>not just about learning to understand, interpret and recreate; but also about participating individually and collectively in cultural life and decision-making of cultural policies and programmes as active citizens.</strong></p>
<p>In the "common space" of cultural institutions, by definition a protected environment, all potentially excluded audiences should find acceptance and the chance to engage in experiences of narration in the presence of the habitual audience.</p>
<p>This is how cultural institutions fit positively into the difficult path of integrating the so-called <strong>"non-audience"</strong>, connecting with communities, making itself the interpreter of a profound need: to escape the conditions of marginality and isolation and to seek an identity through participation in cultural life.</p>
<p style="text-align: center;"><img height="486" width="500" src="/assets/courseware/v1/e2b6a1f6fa3bf5ee509218d902117587/asset-v1:europeana+BIAS_01+2024Q4+type@asset+block/commumnityengagement.jpg" alt="Community Engagement" /></p>
<p style="text-align: center;"><em> Source: elaboration of the author. To know more see: Da Milano C., Guida M.F., Falchetti E. (eds.), (2019), Intercultural Rehearsals, Milan, Editrice Bibliografica. <br /></em><em><a href="/assets/courseware/v1/e2b6a1f6fa3bf5ee509218d902117587/asset-v1:europeana+BIAS_01+2024Q4+type@asset+block/commumnityengagement.jpg" target="_blank">Open in a new window</a></em></p>
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<h2 class="hd hd-2 unit-title">3.2 Holding workshops with communities to reflect on collections</h2>
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<p>Working with communities and setting-up workshops to do so means, first of all, promoting a dynamic, no longer compartmentalised approach to culture, which does not require specialist expertise, but rather a change of attitude, a way of opening to reciprocity and exchange. The encounter and dialogue between different people can and must be triggered through a variety of strategies, beyond standard or predefined models, such as:</p>
<ul>
<li>The creation of safe spaces of debate;</li>
<li>The practice of mutual listening;</li>
<li>The use of mediation and negotiation;</li>
<li>The implementation of synergies and partnerships;</li>
<li>The creation of "contact zones" and "bridges and intersections" between cultures and communities;</li>
<li>The acknowledgement of the value of interdisciplinarity.</li>
</ul>
<p>This requires as prerequisites the willingness and ability to address and manage confrontation, conflict and friction zones, by understanding them as values rather than obstacles, and keeping research and practice of what unites us, rather than what divides us, as our benchmark.</p>
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<h2 class="hd hd-2 unit-title">3.2.1 Learning together</h2>
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<p>Together we learn, we experiment, we work. Such a process can lead us to acknowledge utopias and life projects such as a common human identity, a global citizenship, "living together as equals in dignity", the objective set by the Council of Europe for just, inclusive, democratic, intercultural societies – societies in which diversity is heritage, resource, harmony (Council of Europe, <em><a href="https://www.coe.int/t/dg4/intercultural/source/white%20paper_final_revised_en.pdf" target="_blank">White Paper on Intercultural Dialogue "Living Together as Equals in Dignity"</a></em>, Strasbourg 2008).</p>
<p>It is a very long and time-consuming process, that we often start without knowing where, to which expected or unexpected results it will lead as: to borrow from Machado, "Caminante, no hay camino: se hace camino al andar"/"Wayfarer, there is no way. Make your way by going farther" (Machado, A. (1917), Caminante no hay camino, <em>Poesías completas</em>, Residencia de Estudiantes, Madrid).</p>
<p>To know more see: Clifford, J. (2017), <em>Museums as Contact Zones</em>, in <em>Routes: travel and translation in the late twentieth century</em>, Harvard University Press, Mass., pp. 188-219.</p>
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<h2 class="hd hd-2 unit-title">3.2.2 An example of social cohesion: the MEMEX project</h2>
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<p>The <a href="https://memexproject.eu/en/" target="_blank">MEMEX project</a> (2020-2023) – funded by the EU programme Horizon2020 – promoted social cohesion through a collaborative, heritage-related tool that provided inclusive access to tangible and intangible cultural heritage. The technological embodiment of MEMEX was a web app allowing non-expert users to create and visualise stories related to their personal memories and experiences digitally linked to the geographical locations of either intangible (e.g. an event) or tangible cultural heritage.</p>
<p>MEMEX deployed three distinct pilots to analyse different expectations from socially fragile communities dislocated in different regions of the European territory:</p>
<ul>
<li>Barcelona's migrant women and the gender perspective (Spain): migrant women participated in planning and co-creation activities related to Barcelona’s cultural heritage linked to the participants’ histories. The pilot focussed on the gender perspective to increase visibility of women’s history and the mutual understanding among different communities;</li>
<li>District XIX: Digital storytelling with inhabitants in a priority neighbourhood of Paris (France). The pilot focussed on population in a situation of risk of exclusion (young people, senior) from access to culture and academic heritage due to poverty and urban environment ;</li>
<li>Enhanced readings of shared Portuguese heritage through emancipated eyes (Lisbon, Portugal): the pilot addressed communities from former Portuguese colonies. Their experiences commonly run parallel to Portuguese culture, instead of engaging with the national culture or contributing to reshape it. The work promoted the production of mediated intercultural stories revolving around shared heritage, promoting social cohesion between migrants and natives.</li>
</ul>
<p><img height="353" width="499" src="/assets/courseware/v1/9b75cab52e096f72da051ccaada03637/asset-v1:europeana+BIAS_01+2024Q4+type@asset+block/image8.png" alt="Memex project" /></p>
<p><em>Source: MEMEX project. </em><a href="https://memexproject.eu/en/pilots-en/the-3-pilots" target="_blank">Read more about the project and listen to the stories produced during the three pilots.</a></p>
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<h2 class="hd hd-2 unit-title">3.2.3. The DE-BIAS workshops</h2>
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<p>The DE-BIAS project - Detecting and Cur(at)ing Harmful Language in Cultural Heritage Collections - ran from January 2023 to December 2024 and has been funded under the Digital Europe Programme. Its overall goal is to provide a more inclusive and respectful approach to describing cultural heritage. The 11 partners aim at:</p>
<ul>
<li>Fostering trust-based relationships between minoritised communities and cultural institutions;</li>
<li>Creating a set of recommendations and developing a replicable methodology for cultural institutions to engage with communities; c</li>
<li>Co-creating vocabularies of contentious terms and contextualisation in five languages (English, Italian, Dutch, German, French) with communities;</li>
<li>Building an AI-supported tool to detect and flag terms included in the object descriptions published on Europeana.eu and available in databases of interested cultural institutions (find out more on GitHub);</li>
<li>Building the capacity of cultural institutions to understand, analyse and address bias in their collections (see the project website for more resources, materials, and information about workshop).</li>
</ul>
<p>The project has worked on the topics of migration and colonial past, gender and sexual identity, ethnicity and ethno-religious identity with the related communities and stakeholders. A number of collaborative workshops addressed at the above-mentioned communities - participating with members of different age, gender and professional backgrounds - have been organised, based on the following approach:</p>
<ul>
<li>Setting up a reflection group within the DE-BIAS project having a facilitator from the community;</li>
<li>Considering the role of "critical friends" - these can be members of the community, an advisory board, or advocates;</li>
<li>Carrying out searches in the database with keywords community members would search for;</li>
<li>Acknowledging the fact that confrontation with discriminatory images, texts, and language, this can be (re-)traumatising;</li>
<li>Discussing the issue of considering compensation or remuneration for community work.</li>
</ul>
<p>The final discussions have been enriched by discussions around historical inaccuracies and lack of information, the issue of "neutrality" of cultural institutions, community descriptions vs. descriptions created by the cultural institutions, problematic/derogatory words but also incompleteness and absences/omissions, polyvocality in minoritised communities, power balance (who helps whom) and the continuous reflection on who benefits from the project - the communities or the majority society?</p>
<p>If you are interested in this topic, check out these video recaps of some workshops organised by the DE-BIAS project:</p>
<ul>
<li><a href="https://www.youtube.com/watch?v=DzKyDHH6sts&list=PL4kdgAZSmFl3GL7d-Z-yGYDwsu1WI3XXV&index=2" target="_blank">DE-BIAS Community engagement sessions</a>, from November 2023 to January 2024, by Stichting Nederlands Instituut Voor Beeld En Geluid;</li>
<li><a href="https://www.youtube.com/watch?v=I3UkAqe9AIg&list=PL4kdgAZSmFl3GL7d-Z-yGYDwsu1WI3XXV&index=3" target="_blank">DE-BIAS Community engagement session</a>, 22 March 2024, by the Katholieke Universiteit Leuven;</li>
<li><a href="https://www.youtube.com/watch?v=jf29jCXm80c&list=PL4kdgAZSmFl3GL7d-Z-yGYDwsu1WI3XXV&index=4" target="_blank">DE-BIAS Community engagement session</a>, 3 May 2024, by the European Fashion Heritage Association and ECCOM; </li>
<li><a href="https://www.youtube.com/watch?v=5YQ_2XzYBsc&list=PL4kdgAZSmFl3GL7d-Z-yGYDwsu1WI3XXV&index=1" target="_blank">DE-BIAS Community engagement session</a>, 14 June 2024, by Ministère de la Culture et de la Communication, France;</li>
<li><a href="https://www.youtube.com/watch?v=t-BgyWeeuHA&list=PL4kdgAZSmFl3GL7d-Z-yGYDwsu1WI3XXV&index=5" target="_blank">DE-BIAS Community engagement sessions</a>, 10 December 2023 and August 2024, by the Deutsches Filminstitut & Filmmuseum.</li>
</ul>
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<h2 class="hd hd-2 unit-title">3.3. Creating a vocabulary of terms</h2>
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<p>Intercultural skills need to be deepened: educators (both in formal and informal contexts), artists and cultural workers should lay the foundations for intercultural dialogue by drawing on the unique potential of cultural experiences.</p>
<p>The creation of a shared vocabulary of terms goes exactly in the above-mentioned direction: it has the value of a methodological experimentation that abandons the boundaries and predefined areas (of textbooks or university courses), to address the comparison between people of different cultures and professional profiles who have explored their knowledge, inclinations, values and reviewed their roles and those of their institutions in a process of continuous reflection.</p>
<p>This is a process that translates into practice the strategies mentioned in paragraph 3.1:</p>
<ul>
<li>The creation of <strong>safe spaces of debate</strong>: to reason about words and their multiple meanings, one must feel free to express opinions but also dissent;</li>
<li>The practice of <strong>mutual listening</strong>: listening to the different interpretations and nuances that can be given to words is essential to avoid remaining prisoners of one's own prejudices;</li>
<li>The use of <strong>mediation and negotiation</strong>: who decides how which words to insert and which to omit? The result is always the fruit of a mediation process, of a compromise;</li>
<li>The implementation of <strong>synergies and partnerships</strong>: it is important that representatives of all the organisations and groups involved in the process are present, so that all voices are heard;</li>
<li>The creation of <strong>contact zones</strong> and <strong>bridges and intersections</strong> between cultures and communities: the fruit of the compromise, in this case the vocabulary, becomes itself a contact zone;</li>
<li>The acknowledgement of the <strong>value of interdisciplinarity</strong>: to listen to others and admit the presence of different opinions on terms and their meanings it is necessary to recognise everyone's skills.</li>
</ul>
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<h2 class="hd hd-2 unit-title">3.3.1 The Intercultural Dictionary of DRIS</h2>
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<p><a href="https://www.eccom.it/en/project/dris/" target="_blank">DRIS: Co-creating intercultural society </a>(2020-2022) was a project funded by the <a href="https://culture.ec.europa.eu/creative-europe" target="_blank">EU’s Creative Europe programme</a> that aimed to promote intercultural dialogue and new narratives against racism through artistic participatory processes involving social and cultural workers. Its objectives were:</p>
<ul>
<li>To <strong>strengthen</strong> <strong>intercultural dialogue</strong> for more plural, diverse and inclusive societies, in the awareness that access to and participation in arts and culture are fundamental tools for intercultural dialogue and coexistence;</li>
<li>To <strong>increase the capacity</strong> of cultural institutions, public authorities and civil society organisations in the cultural, educational and social sectors to apply participatory design methodologies;</li>
<li>To <strong>improve opportunities</strong> for migrants to collaborate with cultural and social organisations and to participate in the social and cultural life of host cities;</li>
<li>To <strong>raise awareness</strong> among public institutions on the value of cultural diversity and intercultural dialogue and promote the institutionalisation of participatory cultural practices.</li>
</ul>
<p>To this end, it implemented the following activities:</p>
<ul>
<li>Co-creation of three pilot projects in three cities (Rome, Barcelona and Berlin) that - starting from the engagement of participants in experiencing cultural heritage sites - shared similar challenges in migration;</li>
<li>Training and mobility programmes for cultural operators on intercultural dialogue in the framework of EU cultural policies, participatory design, intercultural and inclusive strategies in the cultural sector and innovative models of research and action;</li>
<li>A collection of good practices, an <a href="https://www.eccom.it/en/project/dris/" target="_blank">Intercultural Dictionary in five languages</a> and a set of recommendations for local and national public policies and operational programmes.</li>
</ul>
<p>The DRIS Intercultural Dictionary is the result of the work carried out to try to create a new cultural kaleidoscope that incorporates useful words to better understand and refine intercultural skills. Experience and reflection have highlighted new epistemological visions, also expressed with new words, resulting from processes of collective intelligence, new cultural intersections or new narratives that can be useful to reach new levels of inclusion in society.</p>
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<p><img height="375" width="500" src="/assets/courseware/v1/785d2c3ce093d234118f92c2be89c3ae/asset-v1:europeana+BIAS_01+2024Q4+type@asset+block/image17.jpg" alt="DRIS project" /></p>
<p>Source: DRIS project</p>
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