A Black Cultural Center at the University o:
By Debbie Baker
Contributor
African-American college students histori
cally have fought to survive economically and
socially at our nation's predominantly-white
universities. Students of african descent have
had a difficult time feeling welcome and
comfortable at some of most prestigious
institutions of higher education in the U.S.
Traditionally, predominantly-white institutions
have employed few african-american faculty
members. Consequently, black students lack
role models and mentors to counsel them
throughout their college years. In addition,
many college courses “whitewash” history and
downplay the positive contributions made to
american society by persons of color. These his
torical omissions play a great role in perpetuat
ing racial stereotypes and fueling tensions
between the races. However, dozens of pre
dominantly-white colleges and universities have
built Black Cultural Centers (BCCs) to educate
people about the importance of african-ameri
can history and culture.
Dozens except UNC.
For all UNC students of afrkan descent, a
Black Cultural Centers is nothing more than a
dream; a dream deffered. A dream that was first,
visualized over half a decade ago. A dream
delayed by red tape and excuses time and time
again. A dream of a place for the BSM to meet,
the Gospel Choir to sing, the Ebony Readers to
perform— where black students can come just
to relax.
It's definitely just a dream...
“The Rise of the BCCs"
Several Black Cultural Centers were built
around 1968 towards the end of the civil rights
movement. Around 1968, the black power
phase of the movement emerged as African-
Americans began to demand politial and
economic power. The demand for BCCs was a
direct result of the sentiments felt during the
black power struggle. The Afro-American
studies departments also developed during this
period at the nation's predominantly-white uni
versities. As black students learned about their
history, a need arose for a permanent place to
educate others about african-american culture.
However, other hidden factors led to the rise of
the nation's BCCs, according to Margo
Crawford, UNC's BCC director.
“In those early stages of Afro-American
studies departments, the assumption was that
the black faculty would take care of all the
needs of black students. And black faculty
actually did for awhile, but what happened was
that these same black faculty were not keeping
up with their research. So you have a lot of them
who weren’t getting tenure as universities were
loading them \ip with all these tasks. As a result,
black faculty members started leaving in order
to find other jobs.”
As more black faculty left, black students at
predominantly-white universities began to work
to have BCCs built in order to attract more black
students and faculty. BCCs have become very
successful at about 120 universities in the nation
according to the National Association of BCCs.
The University of Purdue built its BCC 21 years
ago in 1969. Other universities with successful
BCCs are Ohio St., Rutgers and Brown.
It would seem that UNC would follow the
lead of other universities, but maybe not.
Beginning of a BCC at IINC
During the early 1980’s, black students at
UNC led by the Black Student Movement (BSM),
began to petition for a Black Cultural Center. Ev
eryone seemed to want
a BCC, but no one could
develop a working
definition of a black
cultural center nor
determine its feasibility.
Some persons on
campus felt a BCC
would conflict with the
work the BSM. In 1984,
Donald Bolton, vice
chancellor and dean of
student affairs, ap
pointed a “steering”
committee to work on a
proposal for a BCC. The
committee consisted of
alumni, students, faculty
and staff members at
UNC.
Dr. Trudier Harris,
chairman of the African
and Afro-American
studies department,
served on the original
steering committe.
“A lot of us were very
actively involved. Our
job was to conceptualize
a BCC at the University
of North Carolina at
Chapel Hill. The com
mittee was a total repre
sentation of the diversity
of the campus.”
Hayden Renwick, a
former associate dean in
the College of Art and
Sciences, did not
support the committee's
efforts.
“I refused to partici
pate on the committee
because I knew that the
administration was lying—and that it never
intended to give them (black students) a BCC.
You’ve got to understand that the administration
had been lying to black students for years.”
Each committee member draft a proposal of
his visualization of a BCC during the summer of
1985. A final proposal was to be submitted to
Bolton for his approval. Bolton was then to
proceed with plans to establish a BCC.
A Slow. Slow Process
In 1986, after 21 months of gathering
information, the steering committee still had not
finished its proposal. Rumors surfaced that mis
trust existed between the steering committe and
the Division of student Affairs. Some committee
members felt that student affairs was intention
ally letting the process drag along hoping people
would loose interest. The committee met on Jan.
24,1986 to finalize its proposal. Dr Harris said
the BCC was envisioned by the committee as a
permanent site for the study and preservation of
black culture.
“It (the BCC) was conceptualized as a
building in which there could be a number of
things. We envisioned space for a library on Afri-
site because there was no other space. So in
other words, you had people (the steering
committee) assigned to go off to create a BCC,
when there was no place to put it.”
With only a corner in the Student Union, it
was time to find a director.
A New Leader Arrives
Edith Wiggins coordinated a search committe
to find a director for the BCC. Margo Crawford
native of Chicago, was selected from among 60
UP
\,Dozens ofpredominantly-white coU
tural Centers to educate people about the
and culture..,Dozens except the Universit
can-American culture; we envisioned a perform
ing arts center; we envisioned office space
sufficient enough to have various artists reside;
we envisioned any number of things,”
A small space in the Student Union was set
aside for the BCCs temporary site. The space
was not nearly as large as black students needed
or wanted. Yet they had no choice. Edith
Wiggins, associate vice chancellor and dean of
student affairs, has worked on the BCC project
since the begining. She served as chairman of
the original steering commitee.
“There is a university process that everyone is
supposed to use when it comes to the allocation
of space. The space was accepted as a temporary
applicants. She had worked as an Assistant
Professor of Afro-American studies and as a
housing coordinator in Chicago. She assumed
her job July 1,1988.
Margo Crawford believes UNC needs a BCC.
“I don't know of any predominantly-white
university that doesn't need a BCC. I don’t think
you need a BCC if you can demonstrate that
your curriculum and academic programming are
multicultural—that is reflecting the cultures of
others. However, that doesn't happen at most
predominantly-white institutions.”
The BCC has four primary program areas
designed to raise awareness levels as well as
consciousness about black culture. The lecture
series brings in black scholars and speakers to