Diversity quilts: Promoting multicultural awareness

Journal of College Student Development, Jan/Feb 2000 by Goad, Clairressa J

Gordon and Bonner II, (1998) maintain that "multiculturalism and diversity are issues which are mentioned in every classroom, boardroom and hidden alcove within the confines of the ivory tower" (p. 40). Pope and Reynolds (1997) parallel and extend this assertion by stating that the growing multicultural dynamics of many higher educational institutions dictate the need for student affairs professionals to address multicultural issues and acquire skills to work with diverse populations. Further-more, Sutton (1998) states that as student populations grow more ethnically and culturally diverse, university professionals are challenged to create campus environments that are welcoming and inclusive.

Again and again, promotion of multiculturalism, multicultural awareness, and diversity has cropped up in the literature (Howard-- Hamilton, Richardson, and Shuford, 1998), as tasks for higher educational officials to embrace (Grieger, 1996; Sutton 1998; Brown 1998). Addressing multicultural issues has been on the agenda of higher educational institutions for several decades, and, fortunately, campuses have invested energy toward developing multi-- culturally sensitive and affirming environments that support an appreciation of cultural differences (Pope & Reynolds, 1997). Cultural diversity can be recognized and promoted through specific activities, programs, and projects. A project that can be added to the ever-- growing list of programs that promote multi-- cultural awareness is the Diversity Quilt. This culturally embrasive piece of art is a collection of quilt squares that have each been designed to represent some cultural component of the designer.

Quilts have long been a historical document, a form of communication, and a work of fine art. Their history can be traced from Africa to the Caribbean and into the Americas (Jackson, 1999). As Dr. Mazloomi writes, "Quilts... serve as the primary transmitters of the cultural, political, social, and spiritual values by which their artists live" (as cited in Dodson, 1999, p. 41). When perceived in this way, it becomes evident that quilts can be used to display, embrace, and preserve the vast cultural diversities that exist and continue to grow on college campuses today. Furthermore, using a quilt to promote multiculturalism provides a simultaneous symbol of unity and individualism.

Initially, I envisioned a project that would foster an opportunity to interact with persons who were different from myself, and, that would introduce me to the intricacies and idyocyncracies of other cultures; the Diversity Quilt became an exciting avenue toward that end. As the project unfolded, I became aware of the potential impact it could have on clients and visitors of the University Counseling Services at Kansas State University, where I interned. That is, once on display, the Quilt could signify that the Counseling Center was a culturally sensitive and affirming environment to those from diverse heritages, and it might facilitate a warm prelude to therapeutic and social interactions at the Center.

Developing the Quilt

Packets were developed that included a12-inch, off-white cotton square, a flyer, an instruction sheet, a description form, a possible-ideas list, and a return envelope. The flyer not only announced the project, but it also provided the project coordinator's contact information. The instruction sheet served as a basic guide of general directions and considerations for participants to follow. Examples of instructions include: ironing the square before beginning, working within a half-nch border on the square, and when attaching objects to the patch, be sure they are small and lightweight. On the description form, participants were requested to include their name, address and phone number; their country, culture, or lifestyle; and an objective description of their decorated square. The form also provided space for the relevancy of the picture to the participant's culture. The possible ideas list suggested several means for decorating the patch. Some of the suggestions were the flag of one's country, a particular custom or ceremony, special proverbs, music, events, colors, objects, recipes or lifestyles. Additionally, this list suggested ways, such as sewing, embroidery, applique, cutting and pasting, painting, drawing, etc., to apply the design to the square. Participants were encouraged to return the completed square, if possible, in the return envelope along with the description form.

Various student groups-the Hispanic Student Association, Black Student Union, International Student Center, the Asian Student Organization-were contacted and informed about the Diversity Quilt. These groups not only welcomed an opportunity to hear about the project, but they also welcomed the chance to be involved with it.

With follow-up phone calls and letters preceding, the completed quilt squares arrived, along with description forms, on the due date. The patches were arranged in a visually appealing layout and then sewn together. It should be noted that a black border was sewn around each square in an effort to accentuate its design. The final steps were to add the batting, backing, and binding and then to tack the quilt. The description forms were typed and bound in a 3-ring binder in the same order that the squares appeared in the quilt. A picture of the corresponding quilt square accompanied each form. Developing the Diversity Quilt involved a detailed and in-depth process of collecting materials, sewing, and preparation for display. Though a summary of the overall process was outlined here, those who are interested in more detail are encouraged to contact the author, who will gladly provide a complete description of the process.