uncsa voice: issue 3, march/april 2016

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Issue 3, March/April 2016 The Gillian Murphy Showcase Event (part 1) By Kristen Hedberg, photos by Peter Mueller UNCSA was graced with a once in a lifetime dance performance on Wednesday, March 16, 2016. Seven of the world’s most accomplished dancers from the American Ballet Theatre (ABT) performed in The Gerald Freedman Theatre: two of these dancers were UNCSA alumi, Gillian Murphy and Blaine Hoven. Joining them were Misty Copeland, Isabella Boylston, James Whiteside, Stella Abrera, and Marcelo Gomes. This exceptional event was made possible by Susan Jaffe, Dean of Dance, as well as members of the Dean’s Council. She and the entire School of Dance welcomed them to our campus with gratitude, appreciation, and love. “Pain, agony, and all those hours of training…successes and failures…end up [in nights like this],” Ms. Jaffe stated proudly before the performance. The ABT dancers came to dance for The Gillian Murphy Showcase Event, a night of classical and contemporary ballet dances. The event benefited the Gillian Murphy Endowed Scholarship. The Gillian Murphy Endowed Scholarship, created in 2014, is a four-year scholarship awarded to an elite dancer selected annually at the Youth America Grand Prix. It was established with the goal of building recruiting efforts, maintaining UNCSA as one of the highest caliber conservatories for dance in the country. Jaffe stated that, “it was built on the legacy that Gillian Murphy established at UNCSA.” Thanks to the generosity of these dancers, the performance exceeded the scholarship’s goal. The program was followed by a Q&A Session, where the dancers continued to reveal their sincerity, offering guidance to aspiring young artists. (continued on page 2) The lineup of ABT dancers with Susan Jaffe; Gillian Murphy and James Whiteside; ABT dancers, Susan Jaffe, Deans Council. "Our goal for the UNCSA Voice is to inform and ignite conversation regarding current events happening at UNCSA, in the Winston-Salem community, and internationally. We aim to entertain and provide opinions relevant to UNCSA’s unique environment. UNCSA Voice, most importantly, is an opportunity for students to tell their story. Let your voice be heard. We want to hear from you.” UNCSA Voice Mission Statement

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  • Issue 3, March/April 2016

    The Gillian Murphy Showcase Event (part 1) By Kristen Hedberg, photos by Peter Mueller

    UNCSA was graced with a once in a lifetime dance performance on Wednesday, March 16, 2016. Seven of the worlds most accomplished dancers from the American Ballet Theatre (ABT) performed in The Gerald Freedman Theatre: two of these dancers were UNCSA alumi, Gillian Murphy and Blaine Hoven. Joining them were Misty Copeland, Isabella Boylston, James Whiteside, Stella Abrera, and Marcelo Gomes. This exceptional event was made possible by Susan Jaffe, Dean of Dance, as well as members of the Deans Council. She and the entire School of Dance welcomed them to our campus with gratitude, appreciation, and love. Pain, agony, and all those hours of trainingsuccesses and failuresend up [in nights like this], Ms. Jaffe stated proudly before the performance.

    The ABT dancers came to dance for The Gillian Murphy Showcase Event, a night of classical and contemporary ballet dances. The event benefited the Gillian Murphy Endowed Scholarship. The Gillian Murphy Endowed Scholarship, created in 2014, is a four-year scholarship awarded to an elite dancer selected annually at the Youth America Grand Prix. It was established with the goal of building recruiting efforts, maintaining UNCSA as one of the highest caliber conservatories for dance in the country. Jaffe stated that, it was built on the legacy that Gillian Murphy established at UNCSA.

    Thanks to the generosity of these dancers, the performance exceeded the scholarships goal. The program was followed by a Q&A Session, where the dancers continued to reveal their sincerity, offering guidance to aspiring young artists. (continued on page 2)

    The lineup of ABT dancers with Susan Jaffe; Gillian Murphy and James Whiteside; ABT dancers, Susan Jaffe, Deans Council.

    "Our goal for the UNCSA Voice is to inform and ignite conversation regarding current events happening at UNCSA, in the Winston-Salem community, and internationally. We aim to entertain and provide opinions relevant to UNCSAs unique

    environment. UNCSA Voice, most importantly, is an opportunity for students to tell their story. Let your voice be heard. We want to hear from you.

    UNCSA Voice Mission Statement

  • Issue 3, March/April 2016

    2

    (continued from page 1)

    One of the questions in the Q&A sparked some laughter: Do you ever pinch yourself when you wake up, thinking wow, I am a principal dancer in ABT?

    The day I was promoted, I celebrated...then [my director] looked at me and said, NOW we can start working, Marcelo Gomes reflected. I stopped having to prove myself in the way everyone wanted to see me. To the same question Gillian Murphy chimed in, It is worth mentioning that while it is a great honor to be a principal, it is not everything. We look at Blaine as a star, who is technically in the corps but dances as good as anyone. [We see everyone as a star.] Much applause.

    Another thought-provoking question: What is the best advice youve received?

    Isabella Boylston eagerly put in, I believe it was Wendy Whelan who said: You should always try not to regard yourself as an observer looking from the outside. Instead, try to look from the inside out, like a scientist experimenting. This sets you up for a life of growth and enjoyment. In addition, Misty Copeland replied, This was Susan Jaffes advice to me: Be able to sift through all of the feedback you are getting. Decide as an artist what works for you, what you need to heardo not let other people's words define you. Ms. Jaffe was to Mistys right as this advice was reflected, and they exchanged a dazzling, beaming smile with each other. Love glowed through the stage.

    The School of Dance left Freedman that evening with inspired hearts and minds brimming. Applicable to any artist, the dancers surged with a reassurance that keeping a good heart and fierce determination to succeed are key elements to reaching the stars. The Gillian Murphy Showcase Event was an intimate event that will be remembered forever.

    Features

    The Gillian Murphy Showcase Event (part 2) By Kristen Hedberg, photos by Peter Mueller

    Misty Copeland and Blaine Hoven

    Misty Copeland; Blaine Hoven; James Whiteside

  • Issue 3, March/April 2016

    3

    Features: In Memoriam

    Freddie Anderson: In Memoriam (part 1) By Zachary Saffa (School of Music Class of 2015) photo by UNCSA

    Over the past few weeks, Ive talked to countless people about Freddie Anderson. Ive talked to students about Freddie the musician, to friends about Freddie the person, and to his parents about Freddie the son. I knew him well enough to know the magnitude of the impact he had on those in his circles, and that was confirmed by his peers, who had the utmost respect for him, his friends, who had true trust in him, and his family, who loved him.

    His friend Hayley told me just how special he was. A lot people wear the same things, the same shoes. But if you saw the buffalo hat, you knew it was Freddie. It wasnt just the buffalo hat, of course, but the uniqueness and warmth of that particular clothing item personified his character. He was so unique because of how nice he was. You knew that any conversation you would have with him would be a good one. Nowadays its rare to find someone with as positive of an attitude as Freddie. Its very hard to lose a friend because you lose a part of your life along with them.

    Nevertheless, wouldnt that be the case had it been any of our friends? Isnt it always horrible? Yes, except with Freddie, something is different. The reaction has been much more grave and far-reaching than I ever could have imagined. An extraordinary number of people were deeply affected by his death. And for some reason, it is Freddie alone who could have elicited this kind of response amongst the UNCSA community. It has been so powerful. There is an added layer of intense emotion that is not normally felt. What exactly is it? These feelings appear difficult to break down, but it is essential to do so in order to comprehend the news.

    Every single person Ive talked to says some version of how Hayley summed up her feelings for Freddie: When you meet someone like him, you never forget it. That is a profound statement, and not one to be taken lightly. Yet, when I consider it, I realize I agree quite strongly that I will never forget him. Why is that? The stark reality is that we meet innumerable people whom we will not remember. In some cases, our brains simply dont have enough storage, or cant make memories fast enough to engrain every person we meet. In other cases, we choose not to remember someone for reasons that, at times like these, seem paltry and indefensible.

    (continued on page 4)

  • Issue 3, March/April 2016

    4

    Features: In Memoriam Freddie Anderson: In Memoriam (part 2) By Zachary Saffa (School of Music Class of 2015) (continued from page 3)

    But not Freddie. We will never forget Freddie. Ive thought a lot about why, and I can only come to the conclusion that its for this simple reason: he did so much for us, and never asked for anything in return. He was there for everyone, always. He never turned down an adventure or a minute to chat. He gave us his time, he gave us his jokes, he gave us his passion and his compassion. He gave us everything he had. This is why we will never forget him. There are people who give expecting things for themselves, and then there are people who just give. Freddie was indisputably one of a rare breed of the latter.

    So the question becomes this: how can we treat others the way Freddie treated others? By living with that question and making it a ubiquitous part of our collective being, we ensure that we are doing everything can to make our community a better place for everyone. It is not easy, but we must hold each other accountable for this: for making our lives an opportunity to give without forethought of what might be provided to us in return. Like Freddie did. And we must do it not just so that our lives simply continue, but so that they are truly lived, and lived in conjunction with one another, not separately, and not in opposition. This is the most quintessential thing that separates our school from other conservatories. Yes, we are different because we are public, because we are in the South, and because of myriad other reasons that make UNCSA special. But the thing above all else that sets us apart is that we are a team. We seem to agree upon the fact that we need to treat each other with respect. We are not malicious to each other. The more absorbed into the world of the arts I become, the more I realize how uncommon this is.

    It seems almost rhetorical at this point to insist that we interact as much as possible with each other, especially across art schools, but that idea has always been discussed from the angle of valuing our art and discerning what tangible benefits our careers can have by working with our interdisciplinary friends. Now, it seems more poignant than ever to say that that we must be a team not just in the spirit of art-making, but so that we keep Freddies selfless attitude strong and at the forefront of our minds, and so that we always ask what we are doing to help others. Still, this is not enough. We must also remember take care of ourselves. We have to ask ourselves if we are happy and healthy, and if not, lean on others to help us help ourselves. At the end of the day, helping others is only possible if we are indeed whole ourselves. And being whole is not achieved in a vacuum. Thats another reason we have to create this supportive environment for which Freddie strived; help is much easier to find if everyone is able and looking to give it.

    Everyone has a million questions about life for one another, but we never have that many solutions. And thats fine. There isnt always a clear-cut answer, and in fact, sometimes the only response to a difficult question is to pose yet another unanswerable question. The greatest honor we could have ever bestowed upon Freddie is still achievable now. It is still possible that he may continue to inform little things we do, and by extension, larger things that we choose to be. He can still inspire us to always ask ourselves that question of what we can do for each other, what we can do for ourselves, and then how to act on those thoughts. If we can do that, then, like he did throughout his whole life, Freddie Anderson will have unknowingly presented us with a wonderful, selfless gift- perhaps the greatest he ever gave.

  • Issue 3, March/April 2016

    5

    Features: In Memoriam

    To All Who Have Passed This Year: In Memoriam By UNCSA Voice

    Sheila Cobb Ewing

    o Who: wife of former chancellor Alex Ewing o Date of passing: November 4, 2015 o Honoring Sheilas memory: In a letter supporting Alex Ewings candidacy for the chancellor position, Yale

    classmate Jonathan Bush, brother of President George H.W. Bush, noted, With Alex Ewing the North Carolina School of the Arts will also get Sheila Ewing. What extraordinary good fortune that will be. Sheila Ewing captures the hearts of everyone she meets. She makes an art of listening such that she imbues in others a feeling of their own worth. Bush also said Sheila Ewing was the possessor of the loveliest smile north of the Mason Dixon Line with a twinkling eye, a melodic voice and a gentle laugh. UNCSA press release

    John Ellis

    o Who: long time School of Music faculty member; an Oboist, teaching at UNCSA for 26 years. o Date of passing: November 13, 2015 o Honoring Johns memory: The School of Music feels the loss of one of its longest serving faculty members, said

    Michael Rothkopf, associate professor of composition, who served as interim dean of the School of Music during the final years of Ellis teaching career. John Ellis was a gifted musician and teacher, and I was proud to have him as a colleague and friend for many years. UNCSA press release

    Clyde M. Fowler Jr.

    o Who: the beloved head of the Visual Arts Program in the School of Design and Production for 30 years o Date of passing: February 1, 2016 o Honoring Clydes memory: Clyde joined the School of the Arts as director of the Visual Arts Program in the fall of

    1975 and retired at the end of the 2004-05 school year, when he was named emeritus faculty. We are deeply saddened by the sudden loss of a member of our family, said School of Design and Production Dean Michael J. Kelley. Clyde Fowler affected so many lives and generations during his tenure at the school. His contributions will live on in every student that he taught. He was an amazing teacher, mentor, artist and friend, and he will be greatly missed. UNCSA press release

    Alfred Freddie Anderson

    o Who: School of Music student, third year college. Played the clarinet. o Date of passing: March 3, 2016 o Honoring Freddies memory: Freddie was a college junior studying clarinet in the School of Music. Enrolled at

    UNCSA since 2013, he was a member of the UNCSA Symphony Orchestra, the UNCSA Wind Ensemble, and the nu ensemble. He was a fine student with a bright career ahead of him. My heart goes out to his family and friends. I know you join with me in keeping them in our thoughts and prayers I encourage you to take the time to be kind to yourselves, and remember:

    Life is short, and we have precious little time to gladden the hearts of those who travel the way with us. So be quick to love, and make haste to be kind.And may the one who is beyond our ability to know but who made us and loves us, bless us and keep us all in peace. (adapt. Henri-Frdric Amiel) Chancellor Lindsay Bierman, campus address

    Robert Russel, staff of power plant

    Madeline Harold, devoted member of the Listening Post for approximately ten years

  • Issue 3, March/April 2016

    Lights, Camera, Pickles!

    The Women By Kristen Hedberg, Greer Hutchinson, and Molly McGlennen

    Clare Boothe Luces play The Women calls attention to the standards women are held to, including those in regards to class, beauty, and family. The Women, guest directed by Giovanna Sardelli, was performed in Freedman Theatre from February 25-28, 2016. The Schools of Drama and Design and Production put much heart and work into this production.

    Sixteen ladies from the School of Dramas second, third, and fourth year classes made up The Womens cast. Although UNCSAs cast was for 16, Luces play has 40 female roles within the work. Male characters are mentioned, but are never seen on stage.

    Giovanna Sardelli spoke about the play in a press release from the UNCSA website. It has seeds of truth planted throughout, Sardelli said. Clare Boothe Luce has crafted a world -- quite a remarkable world -- that revolves around very specific women. Yet in her portrayal of more than 40 women, she reveals so many different points of view and different circumstances.

    Michelle Pflg, a senior in the School of Design and Production, created over 70 costumes. In total, the actors wore over 600 different costume pieces, because The Women contains 40 roles. Pflg described in the press release that, There are many different characters, each with an important story to tell, and each one has to be made readily identifiable for the audience. Some costumes depicted a feeling of cleanliness, while others screamed of boldness and luxury.

    The Women received throngs of positive feedback from UNCSA students. Audiences gushed over the plays thought provoking, relevant content. One anonymous UNCSA Pickle stated: The issue of marriage was certainly a recurring theme throughout the play. I love living in 2016, where there is significantly more freedom to define your class or image in ways other than who you settle down with. Sometimes you need a few years to be independent and work on your art, you know? And overall, I felt like I could identify with every woman at some point during the show.

    I saw The Women on February 28th, said Molly McGlennen, School of Dance first year. The show very much reflected the gender ideals of the 1930s time period, when it was set[in remembering] two of the characters who were not married, they were very different. One of them was focused on her career, which the other women in the play could not understand. The other unmarried character had the opposite take, and said that I would rather lose independence for a man. She was not satisfied with being an independent woman. In order to be successful, she felt that she needed to be married.

    Molly also commented on how emphasized gender ideals came up about men. One of the characters says that men must be let out on a leash. This suggests that men are animalistic and need to be controlled. The issues of cheating and disloyalty are evident in the play too. It was interesting how much focus I could find about men, even though all of the roles in this play were about women.

    Much congratulations to those involved on and off stage of Clare Boothe Luces play The Women!

  • Issue 3, March/April 2016

    7

    Being Thankful for the Rain By Wren Culp, photo by Ryan Morris

    Lights, Camera, Pickles!

    I came into UNCSA four years ago to learn about and practice filmmaking. With my possessions scattered in my dorm and my passion in my pocket, I walked through film village on my first day and saw gargantuan posters of previous years films hanging with dignity on the sound stages. I envisioned what mine would look like, if I got the chance to make one. I also pondered what my shoot would be like, relishing in the idea of working with actors and designing the film from the ground up. I always thought about meticulously preparing for each and every scene. I wanted my fourth year film to be the product of everything I was going to learn in my few years at UNCSA. Four years came and went and I learned a lot, and when

    the time came for me to direct my thesis, I was ready for everything that came at me. I poured over the shot list, worked closely with my team and was ready for anything that our set could throw at us. I had a great shoot. My film was called Broken. I had so much fun with an incredible team piecing together the film on set and trying to capture all the different elements we needed to tell our story. We had an excellent location, tremendous actors, and a crew that fought everyday for the end goal. We had cannons and civil war reenactors and a whole flurry of sights and sounds that made this film a spectacle. However, our shoot unfortunately fell: a monsoon struck. The days were filled with cold and piercing rain, the temperature always seemed to be in flux (usually not in our favor) and its the only time I think Ive legitimately come close to dipping into hypothermia. I went four years without buying work boots for set. I lasted three days in the mud before I caved and purchased a pair. I remember standing there in the muddy backfields of our location, the cold rain cutting into my bones practically, and for a brief moment, wishing I had been on a dry soundstage. I began to wish that I had done a different project, or that at least the world would flip 180 degrees and the winds would die down so we could get the final shots that we needed. But we persevered through the bitter cold and delivered a product that Im proud of, and I hope others are too. In my opinion, you can teach certain things about directing out of a book. Directors can sit and watch hundreds of obscure films and be a walking encyclopedia on film history. They can train and pull incredible performances from actors by going line by line through the script and really knowing their story inside and out. But being a director, above all else, is about being a leader. And I learned that lesson over and over again while we soaked. It is easy to have confidence and the ability to see the bigger picture when everything is going your way on set. When the actors are hitting their marks and the shots are in focus and the weather is completely ideal and in your control, its easy to walk tall and be a leader. However, I believe the real test of filmmaking and creating art is how you act and how you lead when the chips are down. When the rain is pouring and you have to tell your crew that youre going back for a third time to get a certain shot, things can get tense. Its easy to crumble and to give into anger and frustration. It takes courage to act. It takes courage to stand up straight, look your team in the face and rally them to get down the final stretch. In the face of adversity and in the moments where the walls seem to push back and close in on you, thats where growth is found. Thats where the work is. I know now that films can change the world. And it takes leaders to make those films a reality.

    On set of Wren Culps Fourth Year Film, Broken

  • Issue 3, March/April 2016

    8

    Lights, Camera, Pickles!

    Spring Jazz Ensemble Concert Student Submission

    Three percussionists, one piano player, six saxophone players, and many other instruments came together for one marvelous concert. The UNCSA Jazz Ensemble performed effortlessly

    for a nearly full audience in Freedman Theater on March 31, 2016.

    While this was labeled a Jazz Concert, each piece had its own individual personality and style within the genre. From quick tempo pieces to soothing jazz ballads to the powerful jazz-rock, each piece was presented with distinction and grace. The pieces highlighted a

    different section or particular soloist within the sections all of which were strong and confident in sound.

    The ensemble is comprised entirely of students, under the direction of faculty member

    Ronald Rudkin. The students performed marvelously on their own individual instruments, and each solo was beautifully crafted and well done. It was very clear that the students had to

    work as a team if a clean sound and precise section cut offs were to be executed. Led by Rudkin, they achieved this quality with great professionalism. In particular, Oliver Glynn (Piano), Alex Boney, Chris Corbo,

    and Jack Hauser (percussion) interacted not only with professionalism, but portrayed a genuine sense of enjoyment in their time on stage. They not only played, they performed.

    1. Project Loves goal is to bring awareness to social issues through the arts 2. Project Love is a showcase of talents that may be outside of students majors 3. The Woman In Pink was the non-profit organization Project Love chose to highlight.

    This organization provides women fighting cancer with wigs in a salon environment free of charge: http://www.thewomaninpink.com/

    4. Art4Purpose, founded by two student scene painters at UNCSA Laura Scheving and Emily Distante, held a silent auction during intermission: http://www.art4purpose.com/

    5. A wide array of talents were featured, including singing, spoken word, dance, red nose, and comedy

    6. The show had lots. Of. Props. Several innovative, thought-provoking props used were pool toys, clown noses, flowers, shopping carts, Doritos, and sequined dresses!

    7. Many of the pieces had jaw-dropping partnering: some even in slow motion! Other pieces were solos that were captivating in the way each soloist ate up the space.

    8. Performers generously brought their heart to their work. 9. The audience was swept into the show before it began, with performers playfully interacting with people in the house 10. Project Love brought a strong sense of united community to campus

    Project Love 2016 was produced by ARTS Initiative, and took place at 7:00pm on Sunday, March 20, 2016. The show was directed

    10 Reasons to LOVE Project Love Student Submission

  • Issue 3, March/April 2016

    9

    Lights, Camera, Pickles! Amor Brujo Postmoderno: a Full School Collaboration By Lanson Wells

    Amor Brujo Postmoderno, a concert including musical performances, original sets, lighting, animation, choreography and dance by UNCSA student-artists, was produced in the Agnes deMille Theatre on January 29, 2016. The production soon was presented to a sold out house at the New York Live Arts Theater in New York City on March 13, 2016. This mixed-media performance, co-produced by School of Music faculty member Oskar Espina-Ruiz and School of Design and Production faculty member John Coyne, represents a successful collaboration between all five of UNCSAs Schools.

    Originally inspired by the fashion designs of Spanish designer Agatha Ruiz de la Prada, the performance celebrated the 100th Anniversary of Spanish composer Manuel de Fallas orchestral masterpiece El Amor Brujo. Enamored with the project, Agatha Ruiz de la Prada donated her costume designs for the participating dancers, who were Bailey Reese and Anthony Santos.

    Through the painstaking hard work and fund raising, Oskar Espina-Ruiz doubled the funds originally awarded to him through a Kenan Faculty Leadership Award, and enabled the entire production to be performed both on campus and at the New York Live Arts Theater in New York City. The production featured sets designed by Alexa Ross, lighting design by Ryan OMara, and fractal animation by Justin Sanchez. Musical compositions by Boccherini, Falla, Shaw and Gaigne were performed by clarinetist Oskar Espina-Ruiz, guitarist John Culwell, violinists Avital Mazor, Lucia Kobza and Nicole Wendl, violists Anastasia Yarbrough and Lanson Wells, and cellist Eli Kaynor.

    Not only did Amor Brujo Postmoderno celebrate an amazing collaboration between all five UNCSA schools, this production served as a launch pad for the Andres Segovia Scholarship Fund, which will help to fund and support talented students within the School of Music.

    Words of Wisdom: Misty Copeland If you could share any of your best advice, what would it be?

    It is so hard to predict what your futures will be. Stay so focused right now. You are not here to compare yourself to anyone else, and stay away from negativity. Just know that hearing the word NO does not mean it is over.

    Misty Copeland, quoted from The Gillian Murphy Showcase Event Q&A.

    Dancers Bailey Reese and Anthony Santos, in Agatha Ruiz de la Prada costumes, with the Giannini String Quartet, John Culwell on guitar and Oskar Espina-Ruiz on clarinet at the UNCSA performance of Amor Brujo Postmoderno.

  • Issue 3, March/April 2016

    10

    The UNCSA Voice Story

    School newspapers are not new to UNCSA. The N.C. Essay was founded in 1965 and dissolved in 1976. Some N.C. Essay clippings are available in the UNCSA Archives online at http://library.uncsa.edu/home/search/node/N.C.%20Essay.

    In the late 2000s, another newspaper developed titled the Kudzu Gazette, later to be renamed Zu. For at least two years, Felix Ventouras was the editor of Kudzu Gazette. It ran roughly from 2005 to 2008. It became Zu under the editorship of Vera Herbert, which had a one-year run from 2008 to 2009.This newspaper has since dissolved as well.

    The concept of UNCSA Voice was conceived in Fall 2015 by The Art of Words Literature class. This class was headed by Dr. Rosemary Millar. In an endeavor to unite our campus with community, this class has created a newspaper that aims to tell each others stories and keep UNCSA in the loop with our fellow Pickles.

    Funding support for the UNCSA Voice Organization was generously provided by Thomas S. Kenan Institute for the Arts. The Thomas S. Kenan Institute for the Arts is a think-and-do tank affiliated with the University of North Carolina School of the Arts committed to promoting creative leadership and innovation in the arts through partnerships, programs and initiatives. http://www.uncsa.edu/kenan

    Do you have a story to tell? We want to hear it! Submissions to UNCSA Voice can be sent to [email protected], where they will be reviewed by the Editors-In-Chief for publishing. There is no guarantee that we can publish all submissions.

    Do you want to join the UNCSA Voice team? Are you an alum who would like to submit a piece of content? We would love to work with you! Contact [email protected] for information.