EDIB progress updates from schools and departments are listed below and categorized
under these four themes: Access and Success, Capacity Building, EDIB and Cultural
Intelligence, and Support and Advocacy.
During 2021, UNCSA employed 74 new employees. A total of 58% identify as female and
24% are from underrepresented minorities.
These hires contributed to a year-over-year (YOY) growth from 15.7% to 18.9% of Exempt
from the Human Resources Act (EHRA) nonfaculty employees from underrepresented minorities.
The percentage of female-identifying EHRA nonfaculty employees increased from 53.9%
to 56.8% YOY.
The percentage of EHRA faculty from underrepresented minorities declined from 7% to
5.7% YOY. The percentage of female-identifying EHRA Faculty rose from 37.3% to 39%
The percentage of Subject to the Human Resources Act (SHRA) employees from underrepresented
minorities increased slightly from 28.8% to 29.5% YOY. The percentage of female-identifying
SHRA employees decreased from 50.9% to 48.9% YOY.
Faculty voluntarily taught private lessons to students who did not have the financial
means to pay for individual lessons but needed additional work in their area of study.
Current adjunct faculty are 50% African American women and 25% female artists.
The Vivaldi Project, an artistic and educational project that cuts to the heart of racial inequality,
injustice, and lack of opportunity and exposure to music in our community, was expanded
to include Ashley Academy preschool classes. Learn more about the profound impact
the initiative has had: Parallel Play: The Vivaldi Project.
Shared Governance Committees and Provost’s Office
Stakeholders from Faculty Council, Staff Council and the Student Government Association
met over summer and fall 2021 to finalize establishing language for the creation of
a new shared governance committee known as EDIB Governance Committee. The committee will officially begin recruiting for individuals to serve in late
EDIB and Cultural Intelligence
Shared Governance Committees
Anti-Bias Workgroup:An extension of the Studio for Creative Practice (SCP), this workgroup held weekly
meetings to examine/challenge pedagogical practices to reveal personal bias and embedded
white supremacy in course structure, content and modes of communication. Texts including
“Shifting Cultural Power: Case Studies and Questions in Performance” by Hope Mohr
were read and discussed.
Responsive Pedagogy Workgroup: This workgroup held biweekly meetings that explored
responsive pedagogy and deconstructing hierarchies in teaching across a broad spectrum
of disciplines and institutions. Texts including “Teaching to Transgress” by bell
hooks were read and discussed.
Office of the Provost
The Office of the Executive Vice Chancellor and Provost implemented unconscious bias
training for search committees. The three-part series, "Mitigating Unconscious Bias in the Search Process," includes the following workshops:
"Preparing to Launch a Search," "Evaluating Candidates," and "Interviewing Candidates."
Each session highlighted areas where unconscious bias may manifest during the search
process and provides tools and remedies for search committees to implement to account
for and manage them. The series will be made available as an ongoing professional
Embedding West African technique into the curriculum: Students took class with African
dance specialist Wesley Williams up to three times per week.
Dance History: This class evolved to bediscussion-based rather than lecture-based to promote critical thinking and engender
Design & Production
“Exploding the Canon” course:For the third year, faculty members Kris Julio and Molly McCarter offered this course
as an arts elective for D&P students. The course explores the canon of works from Black, Indigenous and People of Color
(BIPOC) and LGTBQ playwrights.
Wig and Makeup Design introduced new requirements for in-class projects. Wig Tech
IIA, a fully hand-tied wig project, is now done only in textured hair and now also
has a cornrow style requirement in addition to a natural style. To ensure students
can practice all hair preps and styles regardless of model availability, 40 textured
hair mannequin heads have been purchased. The Wig Tech IIIA class now requires the
10 styles to include a variety of hair textures. The Intro to Makeup IA class now
requires students to include a variety of skin tones in their class makeup applications.
Sound Scapes is a new course that explores intersections and interplays between sound/music
and the environment in a global sociopolitical context.
Acknowledged the exceptional EDIB work of 2017 alum Saki Morimoto by nominating her for the 2022 Alumni Artpreneur of the Year Award.
Nonbinary casting: Introduced gender-neutral casting for one of the most recognizable
and favored roles in “The Nutcracker” — Drosselmeyer.
Design & Production
Wig and Makeup Design brought in guest artists of color to share their expertise and
experiences; these included Destinee Steele, Heather Hawkins, Rosa Malikia Johnson and Typhany Morrison-Brooks.
Featured a collective of BIPOC artists – including Mexican filmmaker Ilana Coleman,
Latina documentarian Mireya Martinez, African American filmmaker Kwesi Johnson, and
Brazilian filmmaker Stephanie Delazeri – who led a robust slate of workshops related
to their variety of life experiences.
Created a Black Cinematheque screening series dedicated to films made by, and content
dedicated to, Black filmmakers. The cinematheque is run by students of color.
Supported the student-run “Female Filmmakers Group” dedicated to exploring the issues
of sexual discrimination and adverse conditions present in the film industry.
The majority of guest artists engaged by the School of Music during fall 2021 were
BIPOC, female-identifying, and LGBTQIA+ musicians and composers. These included the
following: Louise Toppin, a noted performer, scholar, and professor who specializes in the concert repertoire
of African American composers; singer, violinist, teacher and transgender activist
Tona Brown, who spoke with UNCSA Music students about issues specific to opera and voice regarding
gender identity, the Fach system and transgender singers, and offensive characterizations
of nonheterosexual relationships in opera and musical theater; Sphinx Virtuosi, a chamber orchestra composed of some of the nation’s top Black and Latinx classical
soloists, who returned to UNCSA in September to perform Tracing Visions, a program
that set out to challenge and evolve the classical canon by illuminating a new pathway
for listening, sharing and expression; and conductor Thomas Wilkins, who worked with UNCSA Music students for a week in November and performed Mahler's
Fifth Symphony with the student orchestra. Wilkins is principal conductor of the Hollywood
Bowl Orchestra and the Boston Symphony Orchestra’s artistic adviser for education
and community engagement. He has conducted the New York Philharmonic, Los Angeles
Philharmonic, Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, and the National
Symphony Orchestra (Washington, D.C.).
Invited Michael Rohd to discuss UNCSA’s commitment to civic imagination and to find opportunities for
growth in living our value systems in the way we communicate and collaborate across
campus and with the larger community. He will be returning in the spring to continue