UNCSA is dedicated to investing in policies, systems and infrastructure that promote
belonging, community and transparency, as noted in the first strategic initiative
of UNCSA Forward.
This report is an ongoing effort to continually surface our progress in tackling the
systemic problems of racism and inequality in our campus community and in society.
Initiatives included in this report are categorized by four themes developed by the
EDIB Advisory Committee: Access and Success, Capacity Building, EDIB and Cultural Intelligence, and Support
ARTS AND ACADEMIC EDIB PROGRESS Access and Success
The percentage of EHRA faculty from underrepresented minorities declined slightly
from 7.1% to 5.8% YOY. The percentage of female-identifying EHRA faculty rose from
37.9% to 39.6% YOY.
During the 2021-22 academic year, ArtistCorps provided 1,464 ongoing service sessions
to 1,245 preschool through high school students at eight Title I schools in Winston-Salem.
The overall demographics of the students served are 41% African American, 31% Hispanic,
22% white, 4% multiracial, and 2% Asian.
ArtistCorps served seniors living with dementia through thrice-weekly interactive
music-making. Eighty-seven Music Between Us (mentored by music faculty member Allison
Gagnon) sessions were provided over the academic year to 24 seniors.
Within the work that ArtistCorps carries out are three programs with faculty mentors.
These are the Vivaldi Project (mentored by music faculty member Ida Bieler), the Wolf
Method (mentored by drama faculty member Ann Louise Wolf), and Music Between Us (mentored
by music faculty member Allison Gagnon).
ArtistCorps provides cocurricular career readiness to all members as they learn how
to carry out arts-based service, including lesson and session planning, developing
new skills in engagement, actively utilizing transferable skills, and learning how
to be a productive team member.
Course curriculum continued to evolve and allow our students to interact, think critically
and engage with various artists across divisions of race, gender, age, ethnicity,
religion, geographies and differently-abled populations.
Dance Composition II: The visual artist/dance installation unit included reference
materials and in-depth discussion on the following BIPOC artists: Jean-Michel Basquiat,
Kara Walker, Faith Ringgold, Anish Kapoor, Jaune Quick-to-See Smith and Ai Wei Wei.
Current Trends, Career Prep and Dance Perspectives: The course was designed to bring
students into live conversation with various artists that cut across divisions of
race, gender, age, ethnicity, religion, geographic location, and typically abled and
disabled populations. This year’s guests (via Zoom) were 60% people of BIPOC origins.
Repertory Class:This class was designed to create repertory as a collaborative process that values
the strengths of the individual in the room. Casting and partnering roles are gender-neutral
and embrace differences in body type. Dance received funds from the Thomas S. Kenan
Institute to hire guest speaker Antuan Byers for his Budgeting Basics for Dancers
Workshop. He is the creator of Black Dance Change Makers.
In the hiring cycle culminating in spring of 2022, the School of Drama utilized hiring
best practices learned through a school-supported trip to the National Conference
on Race in Higher Education in 2019. These practices yielded a finalist pool that,
according to Provost Patrick Sims, “Cultivated by far the most diverse candidate pools
I’ve seen in any higher education searches.” The outcome of the searches was that
the School of Drama increased its number of multiyear contract faculty from underrepresented
minorities significantly. A key to retention of students from underrepresented minorities
is the recruitment and retention of faculty from underrepresented minorities.
Capacity Building and Cultural Intelligence ArtistCorps
ArtistCorps is an ongoing, curated experience for its members and includes more than
30 hours of whole group training. Much of the training centers around EDIB issues
encountered in Winston-Salem and the local education system. Many members additionally
choose to participate in the ArtistCorps Book Club. Two of the books this year, “Just
Mercy” by Bryan Stevenson and “Broke in America: Seeing, Understanding, and Ending
U.S. Poverty” by Joanne Samuel Goldblum and Colleen Shaddox, presented EDIB themes.
Dean Endalyn T. Outlaw dedicated time to discussion with students, colleagues, mentors,
and collaborative partners on panels and podcasts to raise awareness and problem solve
in community with one another. These panels and podcasts included:
Dean Outlaw served on a panel for the inaugural “Canada-United States Symposium: Addressing
Racialization in Ballet, Four Days, Two Countries, One Shared Purpose.” The focus
of this symposium was on the role of awareness and cultural competence in teaching
Dean Outlaw participated in the “What’s Good with Karine”live Instagram panel on “The Art of Female Black Leadership in Dance,” an interrogation
of our dance landscape 20 years from now and how we get there. The virtual presentation
highlighted the goals, vision and opinions of five African American women recently
appointed to positions of power in historical academic, professional studio schools
and dance companies. The accomplished women consisted of Linda Denise Fisher Harrell,
artistic director of Hubbard Street Dance company; Francesca Harper, director of Alvin
Ailey’s Second Company; Dionne Figgins, director of Eliot Feld School; and Alicia
Graf-Mack, director of Juilliard Dance Program. The panel was moderated by Tony-nominated
artist Karine Plantadit.
Dean Outlaw attended the Prix de Lausanne 2022 as a recruiter for UNCSA. Activities
included attending Partner’s meetings, classes and performances, as well as speaking
and offering scholarships to Prix participants for our program during the networking
session. The dean was the only Partner participant of color at the event. She will
serve as a juror for the 2023 50th anniversary competition taking place in Lausanne
in February. Prix de Lausanne’s objective is to find and support the best talents
globally by providing access to the world’s finest schools and companies by providing
Dean Outlaw served as a juror for the 2022 Youth America Grand Prix competition, the
world’s largest global dance network. BIPOC women made up 50% of the four-panel jury.
The three-day semifinals hosted more than 700 students and provided scholarships and
networking opportunities for student-artists seeking professional engagement.
Division of Liberal Arts
Helped sponsor transgender artist Tona Brown’s visit to campus to talk to students in DLA classes and in Music and Drama.
Responsive pedagogy: Biweekly work continued under Betsy Towns' leadership and included
faculty from Winston-Salem State University (WSSU) and three schools of UNCSA and
artists from the community. Responsive pedagogy considers all aspects of the individuals
and context-relevant materials to design the learning experience, working more to
facilitate learning than instruct didactically. Individual capacities, positionalities,
and lines of inquiry, for example, become part of the design. Faculty create a framework
where what’s relevant to the student becomes part of the foundation for creative and
critical growth. Our goals are: building knowledge of best practices in just and equitable
pedagogy; engaging a diverse coalition of educators to innovative trials in their
own spaces; growing capacity for faculty to teach within the framework of responsive
pedagogy core to Studio for Creative Practice and the Program in Art and Inquiry;
and inspiring and relieving faculty exhausted by the intensities of 2020-21 to enable
them to better serve the growth of creative leaders of the future.
Art and Social Justice: Betsy Towns taught a second iteration of Art and Social Justice,
which supported student research in local and national social justice questions most
pressing to each of them, and supported their testing of how they can use artistic
practice to effect change on matters of justice.
Drama and Liberal Arts
Partnered with Play On Shakespeare to produce their adaptation of Shakespeare’s “Coriolanus.”
Play On Shakespeare grew out of the world-renowned Oregon Shakespeare Festival, with
a mission to help people from across a spectrum of communities recognize that they
can find their own stories in the world of Shakespeare’s plays. Play On Shakespeare
has commisioned adaptations of all 36 Shakespeare plays by playwrights who are primarily
from underrepresented minorities, female or nonbinary identifying, and LGBTQIA+ identifying.
This allowed students to work with multiple artists from these communities, supporting
the retention of students from the same communities. This project also demonstrated
that creating a more inclusive curriculum doesn’t mean the elimination of any great
work from the past, but simply the examination of this work through a new, EDIB-focused
Produced two projects focusing on the Asian American and Pacific Islander experience
(“Passage” by Christopher Chen) and the African American experience (“Passing Strange”
by Stew). Continuing to expand programming to include voices of historically underrepresented
communities supports both recruitment and retention of students from those communities.
Hosted a conversation for the faculty and staff with Dr. Idell Natterson, a psychotherapist
who addressed issues of mental health and well-being in the age of COVID, and a socio-political
environment mired in bullying and microaggression.
Supported affinity groups including Black Cinematheque and The Women’s Filmmakers
support group. These groups provide space for artists to share and discuss cinematic
references not generally offered in the core curriculum, or relate concerns and pressures
to members of their cohort who are experiencing similar problems making films within
the parameters of industrial expectations and norms.
Continued to build a sustainable, equitable and inclusive environment where cultural
diversity is celebrated and valued. For Summer Dance 2022, diversity among faculty
grew by 50%. The curriculum has expanded to include teaching methods and repertory
from artists of diverse cultural backgrounds. The summer program continues its relationship
with Share the Movement, an organization whose mission is to increase diversity in the professional dance community
by providing financial, educational and inspirational support to promising young BIPOC
dancers. Since 2021, Share the Movement has provided over $8,000 in scholarships to
BIPOC students to attend the summer program.
Visual Arts collaborated with High School Academics to bring in Sherrill Roland for a guest artist lecture and workshop with our Visual Arts students this semester.
Her work was also on exhibit at the Southeastern Center for Contemporary Art (SECCA)
at the same time as our Visual Arts Thesis Exhibition.
Support and Advocacy ArtistCorps
The group participated in the annual MLK Day Read-In. This program, for community
children, celebrates the legacy of Martin Luther King Jr. by encouraging literacy.
It is managed by Hands On NWNC and includes the community partners WSSU and Wake Forest
The group piloted a chapter of Music For Food at the request of music faculty member
Ida Bieler. This led ArtistCorps to partner with Crisis Control Ministry, Temple Emmanuel,
and SECCA to present two concerts featuring the Reynolda Quartet and music student
performers to raise awareness of food insecurity and garner funds and food for the
Crisis Control Ministry’s food bank. The two concerts raised $1,538 and 373 pounds
Cross the Line
The student organization Cross the Line carried out multiple performances in the community,
including at the Open Arms Community Center, Tracy’s Little Red School House, and
Winston-Salem Rescue Mission. (Rebecca Nussbaum is the staff adviser to Cross the
A repertory of diverse choreographers was featured in mainstage performances; these
included Robert Battle, Ming Yang, Abdur Raheim Jackson and Gina Paterson. Women are
underrepresented in the choreographic realm, particularly within the ballet idiom.
Students from the classical ballet and contemporary programs auditioned together and
worked with each other cross-disciplinarily for the Spring Dance mainstage performance.
Three of the five pieces comprised students from both programs thanks to the diverse
choreographic ability to create comfortably in myriad disciplines. The students expressed
excitement about learning from each other throughout the process.
The School of Dance hosted an extensive hallway display of photographs and biographies
of UNCSA alumni dancers of color.
The Academic Program conducted High School Experience Day and Extended Orientation
with Student Affairs.
Faculty professional development: The High School faculty and dean participated in
a three-day project development workshop facilitated by Mark Hines, Sumoha Min and
Chris Rothschild from the Kupu Hou Academy. The purpose of the workshop was to finalize
each of the projects for the new Citizen-Artist courses that began in August.
INSTITUTIONAL EDIB PROGRESS Access and Success
During spring 2022, UNCSA employed 525 people, 35.7% of whom identified as female
and 28.6% of whom were from underrepresented minorities. These hires contributed to
a year-over-year (YOY) growth from 16.3% to 16.7% of EHRA non-faculty employees from
underrepresented minorities. The percentage of female-identifying EHRA non-faculty
roles increased from 53.5% to 56.3% YOY.
The percentage of SHRA employees from underrepresented minorities increased from 28.6%
to 30.0% YOY. The percentage of female-identifying SHRA employees declined from 49.4%
to 45.5% YOY.
Partnered with College Greenlight, the most comprehensive college platform for first-generation
and underrepresented students. They focus on Admission Offices working with community
organizations and their students. Over 1,600 Community-Based Organizations work with
College Greenlight. In North Carolina, there are over 10,000 College Greenlight students.
Nationally, College Greenlight serves over 400,000 students.
Capacity and Cultural Intelligence Building Governance
The department required Implicit Bias, Anti-Racist, and Equity and Inclusivity Training.
As documented in the Police and Public Safety Department General Order on Bias-Free Policing (100-10), officers are required to complete training in bias-based profiling and diversity
issues annually. New hires receive training as part of their orientation phase. In
April 2022, all sworn police officers were required to complete the Equality in Policing
Training course presented by the North Carolina Justice Academy.
Division of Student Affairs
The Division of Student Affairs hired Tasha M. Myers as the inaugural director of
the new Office of Intercultural Engagement in the Division of Student Affairs. She
is the first employee in the university’s history solely dedicated to EDIB.