Showing posts with label UofT. Show all posts
Showing posts with label UofT. Show all posts

13 March 2020

THE ASK: WELCOMING ALUMNI HOME AT UNIVERSITY OF TORONTO LIBRARIES

(Fun)draising | Samantha Summers


Unlike the University of Toronto, its faculties, and its colleges, University of Toronto Libraries (UTL) has no alumni. For those of you who have yet to receive an email from your undergraduate institution asking for a donation, universities often rely on their graduates for some portion of their fundraising. Alumni are a majority of donors for academic institutions, and from annual drives to major gifts and planned giving, these institutions mark them out as a primary audience for their donor campaigns. Unlike the rest of these UofT institutions and divisions, however, UTL does not have official alumni. They have no master list of past students which they can tap into in the same way that UofT, its faculties, and its colleges do. And yet, UTL directly contributes to the journey of every single UofT student. Even if you have never walked into Robarts, your online readings, the research for your papers, and the majority of the study spaces you occupy all exist courtesy of UTL.

Robarts Library, in all its peacock-esque glory. (Source.)


So what is the biggest challenge facing Michael Cassabon, the newly-minted Director of Advancement for UTL?

It’s how to make the ask. For those in the field (development, fundraising, advancement, whatever you choose to call it), “the ask” is the moment when an organization asks a potential donor for support. It is carefully planned, generally with months to years of research and preparation involved. It is catered to its recipient, from groups to individuals. “The ask” is a key step in any fundraising campaign.

When you’re an academic institution with no official alumni, however, the question of how to make contact with your past users looms large.

Now, UTL has a history of making successful asks. They accounted for 8% of UofT’s Boundless campaign, the most successful fundraising campaign in Canadian history. They have the ability to develop UTL resources not just with money, but also with gifts in kind. The construction of the Robarts Common is a success story unto itself.

UofT's Boundless campaign was an historic success. (Source.) 


But how can UTL mobilize all their unofficial alumni? Cassabon is convinced that it all comes down to highlighting the mark UTL makes on every student, whether or not they realize that this is the case. An addition challenge UTL faces is that Cassabon’s team consists of only four people, meaning that they don’t have the personpower to seek out donors individually. Through clever campaigns they must convince donors to come to them, and this means tapping into real stories which highlight the important impact UTL has on students.

The trick in any institution, I learn from Cassabon, is to identify who has the stories. Narrative is a powerful way to bring a community together in a shared goal, something he has seen throughout his career. Here at UTL, the keepers of those stories and the mediators of students' experiences of UTL, are librarians, archives, and front-line staff. Centering the work they do is integral to the ask, and essential to demonstrating to alumni that it is worth it for them to return to the UTL community to make their mark as donors.

What is next for UTL? Well, another campaign, the ongoing development of the Robarts Common, and of course, the weaving of compelling stories to welcome alumni home.

16 November 2017

HIGH FASHION HIJAB - AND MUSLIM WOMAN'S PLACE IN THE FASHION WORLD

SEW WHAT

BY: JESSICA SVENNINGSON

High fashion has increasingly been finding its way into cultural institutions – like the ROM’s new exhibition exploring Dior in the 20th century, MoMA’s current exhibition Items: Is Fashion Modern?, and a yet-to-be-announced exhibition at the Bata Shoe Museum showcasing a designer’s collection of footwear, set to open in 2018. The strong political voice museums hold has great power to legitimize art and cultural activities, and their corresponding objects. This voice has recently spoken up in the fashion and political debates surrounding Muslim women’s fashion, more specifically hijabs.

High Fashion Hijab Queen. Source

Hijabs have been thrown under both critical and supportive media spotlights in the context of recent political turmoil in North America and abroad. Ibtihaj Muhammad competed in the 2016 summer Olympics in her hijab, Dolce and Gabbana and launched high fashion hijabs, and Halima Aden, a Somali-American, competed in Miss Minnesota USA wearing a hijab and burkini. Considering the recent backlash from American museums in the face of an Islamophobic Twitter-troll, the time is ripe to host exhibitions exploring Islamic fashion and the politics contained within it. San Francisco's de Young Museum will be hosting The Fashion of Islam, opening fall 2018, to demonstrate the complexity and variety of Islamic fashions from around the world. To quote the director, Max Hollein, 

Dolce & Gabanna, 2016. Source

"There are probably people who don't even think there is fashion in Islam. But if you look at Saudi Arabia, Dubai, and Beirut, the fashion is really vibrant, and it can speak to larger political and social developments, cultural understanding, and misunderstandings."
Hollein is hot on the heels of Australia’s Museum of Applied Arts & Science’s exhibition Faith, Fashion, Fusion: Muslim Women’s Style in Australia, currently on display at the Islamic Art Museum of Malaysia, showing the diversity in Australian Islamic fashion through photographs, garments, and interviews.
Uniqlo + Hana Tajima, 2017. Source
The presentation of these exhibitions is in direct opposition to arguments made by French women's rights and families minister Laurence Rossignol, and Yves Saint Laurent's co-founder Pierre Bergé, who both view the hijab as a form of "slavery". Berge's attitude is in reflection of a new trend in fashion for 'modest wear', clothing lines designed for Islamic women who wish to dress conservatively, and fashionably. This attitude for exclusion from an international fashion company seems short-sighted considered the massive buying power the Islamic world holds, with spending projections for the fashion industry in the Arab world expecting to reach $484 billion by 2019. Ignoring that kind of potential for growth sends a strong message of how unimportant Euro-American fashion industries view the Islamic world as a viable market.

The fashion-political opinions against Western fashion industries catering to the social needs of Muslim women is grounded in a “colonial feminist” attitude that we need to teach others how to live. This attitude, “reduce[‘s] the diverse situations and attitudes of millions of Muslim women to a single item of clothing,” without considering the opportunity for self-expression possible within the hijab itself. To no surprise, the debate over the hijab is really another debate over women’s bodies, and their agency over it. Using fashion as a tool to exercise that control, Dolce and Gabanna, Uniqlo, and Nike have launched products and clothing lines that not only give Muslim women the ability to exercise that agency over their own body, but to engage in all activities as other women do.

However, this shift in the western fashion markets catering to fashion desires of Muslim women fans the flames of a fundamental paradigm struggle currently happening in the Muslim countries all around the world. Shelina Janmohamed, author of Love In A Headscarf, describes this tension:

“Today's fashion industry is about consumerism and objectification - buy, buy, buy and be judged by what you wear. Muslim fashion is teetering between asserting a Muslim woman's right to be beautiful and well-turned out, and buying more stuff than you need, and being judged by your clothes - both of which are the opposite of Islamic values. Modesty isn't just how you look, it's what you purchase and what you waste....it might be liberating for the Muslim women purchasing these fashions on the high street, but how liberating is it for the Muslim women who made them in the sweatshops in Bangladesh and elsewhere?"
Nike Muslim women's sportswear, 2018. Source
Turning to third-year Social Anthropology student at SOAS (the School of Oriental and African Studies in London) Sabah Haneen Choudhry, she asks,
“Why is the hijab ‘acceptable’ only when it's appropriated and managed by major [Western] corporations? ... Why can't Muslim women decide the parameters of their Islamic identity and sexual morality, without facing harsh scrutiny from within and outside the 'imagined' Muslim community?"
"Legitimizing" hijabs in the Western world by western high fashion companies not only looks badly on the companies who expand their markets with the intention of monetary gain, but it also reflects badly on western museums who only now are exploring Muslim fashion. It should not have taken a high fashion Italian clothing designer and several other internationally known clothing companies to motivate western museums into exploring fashion from the Islamic world. It begs the question: what other contemporary cultures are being under-represented in museums globally, and what can be done to present these cultures without exorcising them? As gatekeepers, caregivers, and presenters of arts and culture, museums have a responsibility to provide equal opportunity to represent all angles of cultural identity.