Advocating for Children in Ukraine

Brian T. Edwards with students
Political Economy Alum Advocates
for Children
in Ukraine
Sarah Slimp (SLA ’23) is a partnership development manager at Voices of Children, a leading Ukrainian non-profit providing psychological support to children affected by the war.

Originally published in the 2024 issue of the School of Liberal Arts Magazine

Our mission is to ensure no child is left alone with the experience of war.

An alert came across my phone the morning of July 8: “Incoming ballistics, seek shelter.” I hurried down the hallway of my Kyiv apartment, the walls trembling as Patriot missiles intercepted the incoming Russian strike. I rushed outside, where black smoke clouds enveloped the city, and found refuge in the underground metro. Once the explosions subsided, I made my way to work, arriving just in time for our morning meeting — as if it were any other Monday.

Sarah Slimp helping children in war torn Ukraine

Since graduating in 2023, I’ve been living in Kyiv and working in partnership development for Voices of Children, a Ukrainian nonprofit dedicated to providing psychological and psychosocial support to children and their families. Our mission is to ensure no child is left alone with the experience of war by protecting, empowering, and advocating for Ukrainian children. As the only native English speaker, I manage international fundraising development and donor relations, ensuring effective communication with our English-speaking partners. My role has encompassed everything from writing grant reports for major donors to representing our organization at key global events — including the Council of Europe — all to amplify the voices of Ukraine’s most vulnerable.

After my first visit in 2015, my connection to Ukraine grew during a 2018 visit to a summer camp for children affected by the Donbas war. Spending time with kids my age and hearing their stories of loss and trauma profoundly impacted me. My experiences in Ukraine inspired me to shift my studies from Social Policy & Practice to Political Economy with an International Perspectives concentration.

During that same semester, I took Professor Marcus Coleman’s Global Food Economy course and analyzed Ukraine’s agricultural commodities, exploring the invasion’s impact on food security. The project led me to spend the summer of 2022 in Ukraine, delivering humanitarian aid and studying food distribution systems. Working with local groups across the country gave me life-changing insights into Russia’s war on Ukraine.

Throughout my senior year, I continued to study Ukraine and the war through the liberal arts curriculum, from Walter Isaacson’s Digital Revolution class to Digital Photography. Integrating Ukraine into class projects deepened my understanding of international conflicts and helped develop the skills I use in my work today.

Every visitor to Voices of Children’s office in Kyiv is greeted by photographs of my colleagues as children, with the caption, “We were all children once.” Seeing the display on tough mornings like July 8 reminds me of the many children seeking help at our centers. I think of our psychologists in Kharkiv, who continue to provide essential support even under constant threat and wearing body armor. I recall the stories shared by returned Ukrainian children of uncertain journeys home from deportation, navigating minefields and gunfire. I am inspired by the vision of our founders and the dedication of my colleagues, whose belief that every Ukrainian deserves a childhood has supported some 103,000 beneficiaries — and counting.

Sarah Slimp
Sarah Slimp, Voices of Children, a Ukrainian nonprofit providing support to children affected by war

Documentary Filmmaking Inspires a Return to Greece

Tulane students filming in Greece
L to R: Erin Rose Johnson (SLA ’24), Sasha Travers (SLA ’25), Daisy Solomon (SLA ’25)

Documentary Filmmaking Inspires a Return to Greece

Originally published in the 2024 issue of the School of Liberal Arts Magazine

  

 

Alana Witting (SLA '25)
Witting (SLA ’25)

In the summer of 2023, three Digital Media Practices (DMP) coordinate majors — Kalina Kula (SLA ’25), Natalie Maher (SLA ’24), and Alana Witting (SLA ’25) — traveled to Greece for a study abroad program in environmental media productions, where they created a documentary-style marketing video for their community service partner, Ecogenia.

The students were so moved by their experience that after encouragement from Casey Beck, they decided to research and apply for grant funding. They were awarded a Gordon Summer Fellowship from Newcomb-Tulane College, allowing them to return to Greece last summer for a new project — a documentary-style advocacy film, produced in partnership with Mudhouse Residency in Crete, which was released in October. They sat down with Beck to discuss how mentorship and networking opened the doors for their continued film work.

BECK: What about your first program motivated you to create this new project, apply for a grant, and go back to Greece to work with Mudhouse?

WITTING: After learning how to create and how to piece together these stories, I thought it would be an even greater experience to do it on our own.

MAHER: There’s something really valuable in working with nonprofits, and that is what led us to this project with Mudhouse. We felt very connected to Greece, its history and the cultural heritage, and how much pride the people there have for the country, and felt drawn to go back.

KULA: The culture was so visible, and you could actually feel it the whole time. International work was so enticing because the Greek lifestyle was magnetic. And the whole time we were there we’re thinking how impassioned all of the leaders of the program were.

BECK: What have you learned through your experience that you’ve been able to incorporate into your work?

MAHER: There were moments when we were shooting at Mudhouse where we were figuring out if we need to have people sign talent releases. And in my head, I heard you saying, “You really should.” Or how you place a lavalier microphone and set up interview questions.

KULA: There was a lot of adapting on the go and learning the struggles of using equipment and producing in the field, not just the classroom — and that’s how you learn. I also took a class last semester called Decolonizing the Camera, and it taught me how to ask questions about consent in filmmaking because these are real people whose stories you’re telling. That’s something I brought to this project and something that is really hard to learn just in the classroom.

BECK: How has working with DMP professors impacted your academic, and ultimately your career goals? After all, that’s what we are trying to do: prepare you for life after graduation.

Kalina Kula (SLA ’25)
Kula (SLA ’24)

WITTING: I think a big thing was working with women who I feel like I can see myself in. It’s a very male-dominated world so it’s really cool to have those examples in our professors and with Mudhouse. Seeing examples of women who are doing the work inspired us to believe we could do it too.

KULA: We were able to take what we learned in class and apply it to an actual project for a real client. That’s not something a lot of students get to do. We were getting real-world experience by creating something that was going to be viewed and helpful to Mudhouse.

MAHER: I’ve always liked writing and conducting written interviews, but the Ecogenia trip made me realize how much I like documentary work and talking to people. There’s so much value in documenting people and places, especially in the increasingly visual society and culture that we live in. It goes far beyond the written word. And even beyond filmmaking, DMP gave me opportunities to meet people and make connections. My experiences with Ecogenia and then Mudhouse taught me a lot about staying in touch: people remember you, and the work you do for them, and those relationships can last.

Students and professor in Greece
Maher (SLA ’24), Witting (SLA ’25), Kula (SLA ’25), and Beck in Greece.

Brittany Fowler

Erin Rose Johnson (SLA ’24), Sasha Travers (SLA ’25), Daisy Solomon (SLA ’25)

A Legacy of Scholarship & Generosity: A Conversation With Alum Herb S. Weil

Herb S. Weil, Tulane University, 1954
A Legacy
of Scholarship
& Generosity
A Conversation with
Alum Herb S. Weil
Weil served as editor of the 1954 edition of THE Jambalaya, Tulane’s annual yearbook.

Originally published in the 2024 issue of the School of Liberal Arts Magazine

When COVID limited travel early in the tenure of Brian Edwards, the dean met Tulane alumnus Herbert S. Weil, Jr. (A&S ’54) by phone. Weil is a native New Orleanian whose career brought him first to the University of Connecticut and then the University of Manitoba, where he is professor emeritus of English. Weil’s scholarship focused primarily on Shakespeare, but his range is exceptionally broad, and he moves easily in conversation between Sophocles, Montaigne, Alice Munro, and Ingmar Bergman.

The dean and alum had in common something beyond Tulane: they are both humanities scholars. Their first phone conversations were animated by shared references to beloved works of literature and admired critics and teachers. Three years, many calls, and two trips to Victoria later, the two English professors’ partnership came to fruition when Weil endowed a professorship in the humanities. This transformative gift to his alma mater (which had evolved from the College of Arts & Sciences into today’s School of Liberal Arts) reflects his belief that students should be challenged to think critically — and for themselves — to push their interpretations of historic texts.

For Edwards, the establishment of the Herb Weil PhD Professorship in the Humanities bolstered one of the school’s top priorities: to expand a global approach to the liberal arts and reassert the importance of the humanities themselves. Tulane Development Officer Caleb Roberts accompanied Edwards to Victoria and noted the unique fluency between the pair: “Herb is so passionate about the humanities, and Brian was trying to figure out how to make the humanities bigger and broader. Marry those two things and you get this perfect match.”

In thinking about how alumni can impact Tulane long after their student years, Weil was a perfect fit for this issue. Through this endowment, Weil’s passion for the humanities will endure, ensuring that generations of Tulanians will benefit from a global humanities curriculum.

How significant was it for you that Brian is a student of literature?

I was so impressed with his command of language and literature, especially when exploring French and North African — not normally found in English departments, but both are tremendously relevant to global literature.

When we met, we discussed how the area we were exploring was often called comparative literature. In my early professional years, literary criticism of reader response almost always primarily used statistics of race, gender, age, etc., instead of how we are encouraged to find ways that enlarged or completed the work itself. These extended the brilliant study by art historian Ernst Gombrich of “the beholder’s share.” Brian and I agreed early on that the greatest writers have a much deeper and richer sense of character than one would find in sociology or psychology. I liked that as a foundation.

How did the two of you initially conceptualize this professorship?

Our friendship developed over long conversations during the pandemic, but no matter how helpful Zoom is, it doesn’t have the spontaneity or sequence of an in-person conversation. During Brian’s first visit to Victoria, he explained his ideas for a program that so much reflected what I’d believed in and wanted to do, adapted for today’s school under his purview. That was the real start.

Brian gave space for me to bounce ideas, and our Socratic dialogue was the first time I felt I was contributing not just to a department or individual storied academic, but to someone whose program planning made me want to do something more than our initial gift. And I really suggested it not be named after me! The only thing worse than pomposity is people pretending to be humble.

I really felt that Brian’s interest complemented and extended mine.

What is your hope for this gift?

Mostly that it brings in a new idea, one that would take off in a way I never could have predicted. I hope this professor is truly aware of literature, theatre, film, philosophy, history, and encourages their students to think independently. I hope they avoid being any kind of conventional literary disciple or unwavering judge. Finding disparate interpretations within a breadth of major works, getting a classroom involved with the interplay of character with plot, language, and ideas, and with each other, and being able to foster that kind of thinking and energetic, respectful discussion … that sounds pretty great to me.

How would you credit your experiences as a humanist and literature professor in helping develop your philanthropy?

Oh, well, we better take a step back, because, as you know, teachers are not typical donors! I learned via a colleague in the early nineties that these kinds of things (professorships) were being written as gifts, showing promise for both teaching and research.

What Brian proposed was almost a mirror image of my master’s at Stanford, which was a graduate program in the humanities. I’ve always tried to resist generalizing about national literatures or looking too closely at the comparisons, except as a point of departure. I never wanted to just regurgitate what a professor said — I wanted to know the subject matter well enough to create an argument or discussion around it. Or, here, to find an application to something in which the course had not yet applied it.

So, we started there, and I was so impressed with Brian’s program and responses when I was not only out of the country — away from Tulane 40 years — and also a different generation to start with, but also unfamiliar with the administrative elements. I didn’t want to express any doubts. Because, especially in teaching, I emphasize that we aren’t looking for “correct” answers. We’re looking for options and evolution, and the fact that you were creating new ways to raise Tulane’s profile while also making sure the most important other subjects were there, it was almost a mirror image of my double PhD at Stanford. I loved the idea of getting to be a part of that at Tulane.

Do you think people benefit from having a humanistic education to draw from?

One of the brightest, smartest friends I had at Tulane had been so worried about getting into med school that he hadn’t kept up with reading for pleasure. So, whenever I saw him later — as my ophthalmologist — he wouldn’t charge me, but I’d give him collections of poetry and short stories. I think it is critical that we don’t necessarily focus on humanities specialists, which are important in their own right, but also look at why humanities are so important for leaders in other fields.

My older grandchild is 23 and starting a PhD in quantum physics. I spoke with him about this, and he responded roughly when we talked, “People must understand that so much of the scientific method is excellent for studying the universe, but it’s almost never the kind of fact that non-specialists believe. There’s nothing in the study of science that gives the person a sense of spirit and energy that the study of humanities does, in exploring the perspectives of characters.”

Dean Edwards with ...
Edwards with Herb and Judy Weil during his visit to British Columbia.

Herb S. Weil

Herb S. Weil Served as Editor of the 1954 Edition of the Jambalaya, Tulane’s Annual Yearbook

A Passion for Glass: The Legacy of Gene Koss

Gene Koss, Nite Harvester
A Passion for Glass The Legacy of Gene Koss

Originally published in the 2024 issue of the School of Liberal Arts Magazine

“If you did not have a tool, make it. If you saw a limit, break it.” This was the ethos of Tulane’s glass studio, according to Mark Rosenbaum (MFA ’83), the university’s first student to earn an MFA degree in glass. One of the first studio art glass programs in the country, the esteemed reputation of Tulane’s studio is the legacy of Professor Gene Koss, who led the program for 47 years (1976-2024) and recently retired from teaching to pursue art making full-time.

In the past half-century, Koss has mounted 50 solo exhibitions at museums and galleries throughout the United States and abroad. As an artist, Koss is known for his monumental cast-glass and iron sculptures and his innovations in manipulating hot glass with custom-designed tools and machinery. His steel-fabricated gizmos, sculptures in themselves, mimicked the movements of farm implements he grew up with. But instead of hay, Koss used his tools to rake, bale, and mow hot glass.

As a teacher, Koss was known for his energy, vision, dedication, and drive. He has mentored generations of artists working in glass, who have gone on to teach, work as professional artists, and build their own studios — a testimony to Koss’s mentorship and support. After graduating from Tulane, Rosenbaum followed advice he received from Koss and built his own facility, Rosetree Glass Studio, in an abandoned cinema in historic Algiers Point in New Orleans.

Deborah Czeresko (MFA ’92), winner of the first season of Netflix’s Blown Away, recalls a day at Tulane when she was standing on a marver (a heavy steel table) blowing down into a mold. The glass had been overheated, so it was stretching too far and not going into the mold. Koss saw a potentially dangerous situation unfolding and jumped on the marver with Czeresko, lifting her up from under her arms, elevating her enough to get the glass into the mold. The “discipline, work ethic, and conceptual focus” she learned from Professor Koss have been critical to her success as an artist.

Glass is a very demanding material for expression. Tulane’s program teaches students the skills needed to create cast and blown glass sculptures, and to encourage their intellectual and creative development. “Listen to your drawings. Listen to your sketchbook,” Koss often advised his students, requiring them to carry a sketchbook and draw regularly so they always had something to draw from in the studio.

Other advice from Koss? “Invest in your work, in your time, in your tools, and connections joining materials together. It’s all about the connections,” as remembered by J.W. May (BFA ’05), artist and owner of ACME Artworks in Louisville, Kentucky. Another favorite Koss saying? “Don’t put a $5 saddle on a $50 horse,” recalls Malcolm Kreigel (BFA ’18), lead studio technician and freelance artist at UrbanGlass in Brooklyn, New York.

Megan Hillerud (MFA ’07), visiting assistant professor of Glass at Tulane, credits Koss with being supportive of women in the studio, encouraging them to engage in a medium historically dominated by men. Hillerud recalls, “If I invited him for a studio visit to discuss my work, he was always so respectful, professional, and insightful. He consistently shows up for my exhibition openings. In my work, he would encourage me to take risks and stay prepared for contingencies by having a backup for my backup.”

A major retrospective of his work, “Farm to Flame: The Artwork of Gene Koss,” is currently on view at the Bergstrom-Mahler Museum of Glass in Neenah, Wisconsin. A selection of Koss’ sculptures are also on view locally in “Sand, Ash, Heat: Glass at the New Orleans Museum of Art” through February 2025.

Koss often pushed his students to create new work and break boundaries they unknowingly set for themselves. His belief in his students’ abilities often exceeded what they themselves conceived as possible. Christian Stock (MFA ’94) recalls being “thrown in the deep end” by Koss when he arrived to campus, two weeks early, as a graduate student from England in August 1992. He and Koss met in the glass studio on a Monday and Koss was off to Japan on Tuesday to teach a workshop. Before parting, Koss told Stock he had volunteered him to create a series of sculptures for a charity event — due in a week’s time. The bold sink-or-swim move proved successful: Stock’s sand-cast pieces sold out. Stock is currently a professor of practice of Glass at Tulane, and has had the opportunity to work alongside his mentor for nearly a decade.

This past spring Koss taught his last class. As a parting gift, he and his wife, Mary, established the Gene and Mary Koss Professorship in Glass, sowing the seeds for a long and fruitful future for the medium at Tulane.

Stephanie Porras & Francine Stock
Tulane Studio Art Professor Gene Koss Closely Examines a Glass Sculpture During a Student Exhibition

Impact as a Liberal Arts Value

Brian T. Edwards with students
Impact as a Liberal Arts Value

Originally published in the 2024 issue of the School of Liberal Arts Magazine

Impact is a key word in thinking about the work we do, both in the university setting and in the world beyond it. Educators are certainly not alone in wanting our work to matter. Nonprofits and community organizations want to make a difference. Charities, corporations, and individual philanthropists want to see their generosity have a positive effect. Policymakers hope to alter the trajectory toward better results. Journalists and writers want to be read for a purpose: to open a mind, broaden a discussion, provide a new viewpoint. We are all pursuing impact.

What the term means is a matter of some discussion, as is how we measure it. I’m going to argue that impact is a crucial rubric for thinking about the liberal arts — and that we should broaden how we conceive of it. Indeed, how we should recognize impact is being debated in some disciplines, as scholars open the possibility of new ways of measuring the effects of scholarship and teaching, in turn reexamining what we do and why.

In authoring contributions to previous issues of this magazine, I have tried to identify key attributes of a liberal arts education. Stepping back from the content and specific methodologies of the disciplines, I’ve highlighted skills such as critical thinking, creative problem solving, high-level communication, and the embrace of complexity to identify what a deep embrace of any of the liberal arts fields can offer.

But how do we know when our approaches are working? Where should we look for impact, how should we measure it, and when should we reframe how we define it?

“Impact,” of course, emerges from physics. When two bodies come into contact, the force of their collision resonates through both. When a bat hits a baseball, or a hammer hits a nail, it is not only the ball or the nail that moves — the bat and the hammer too absorb force. Sir Isaac Newton, the most influential of early physicists, proposed a law of impact after observing what happened when objects moving toward each other collide. Manufacturers of airbags and seat belts, bumpers and car chassis, have developed many such safety devices along these principles. The word has taken on a much larger set of meanings, but it’s helpful to hold onto the basic lesson from physics: impact moves both parties. How does this translate?

Tulane recently completed an economic impact report that showed the university had a $5.2 billion impact on the economy of Louisiana, which included a $2.3 billion economic impact on New Orleans. Creation of jobs and tax revenues are key factors in such numbers, as well as building projects, spending by students, parents, fans, and visitors, and new initiatives that expand the local and state economy.

Yet if Tulane has a massive economic impact on New Orleans, there’s no question that New Orleans has a major and complex impact on Tulane. The Newtonian principle at work! In the School of Liberal Arts, one of our strategic pillars is an embrace of our profound relationship to New Orleans and the Gulf South region. You can see that reflected in so many places, including our new and expanding Black American Music curriculum, our Creative Industries track in SLAM, the approach of our Jewish Studies Department with its focus on the American Jewish experience, and our interdisciplinary approach to environmental studies, as highlighted in Nathaniel Rich’s article in this issue.

If we move beyond economic impact, we start opening up the two-way social aspects of the question. Tulane’s undergraduate curriculum in service learning — an extraordinary range of courses in which students apply critical thinking skills to address community needs — suggests how students are as impacted by their work as are our community partners. Impact is about changing a conversation as much as it is about starting one, or shifting the focus of a field of study in a new direction. The most impactful theories and discoveries create the conditions for what can be called a paradigm shift.

In our last issue we explored new directions in the liberal arts — our “What’s Next” issue — showing how some of the oldest fields are still moving and shifting. During 2022 and 2023, I interviewed leading Black scholars who examined the history of their respective fields to shift work they — and the next generation of scholars — might do in these same subjects. (We released these conversations as a podcast called Anti-Racism and the Disciplines.) Such scholars are pushing against prevailing paradigms within their fields, even while they engage them deeply.

In his book, The Structure of Scientific Revolutions, the physicist Thomas Kuhn describes great paradigm shifts which, at first, may elude the then-presiding establishment’s ability to measure them. Kuhn highlights moments when scientific discoveries “necessitated the community’s rejection of one time-honored scientific theory in favor of another incompatible with it.” To say that the theories of scientists such as Copernicus or Newton or Einstein were revolutionary is somewhat obvious. But the point is that their work required a shifting of the very ground itself within which and upon which scientific work was being done. That’s a paradigm shift.

So how do you make sure that the way you are measuring impact is not missing such shifts? What if impact eludes the metrics we have in place? How do we know when the measures we have taken to do so need to be rethought?

I asked this question to two of our economists — a field that is known for debating how to measure change. Professor of Economics Emeritus and former president of the Southern Economic Association James Alm jokingly referred to Justice Potter Stewart’s famous line on obscenity to describe how to recognize impact: “You know it when you see it.” More seriously, Alm pointed to the range of quantitative measures economists have developed, including Research Papers in Economics (RePEc) indices, measures on Google Scholar such as the number of citations, and author-level metrics such as h-index (named after Jorge Hirsch, another physicist!) and the i10 index. In promotion and tenure cases, Alm went on, letters of recommendation, and the number and placement of publications can matter, but these can be subjective. Alm notes: “Citations are especially useful, I believe, and they have the virtue of being, well, very quantitative.”

But if Tulane has a massive economic impact on New Orleans, there’s no question that New Orleans has a major and complex impact on Tulane.

I also spoke with our Associate Professor of Economics Patrick Button, who also serves as executive director of Tulane’s new Connolly Alexander Institute for Data Science (CAIDS). Button’s own research on discrimination in employment has been pathbreaking, with incisive studies of how workers are discriminated against based on age, disability, and gender. Button notes that many measures of scholarly impact can rely on circular logics: “A scholar’s impact is typically broader, and an important but overlooked factor is to what extent the research captures attention outside of academia. While this seems vague, it is actually much easier to quantify now.”

Whether or not we have all the metrics in place to quantify impactful scholarship, what’s clear is that immediate “relevance” or short-term impact is not the best place to be looking for that work which will be truly conversation changing or even paradigm shifting. This is a key principle for schools that continually make long-term investments in faculty research to remember. Not all of those “investments” will have the same return, but recognizing that the trajectory and measure of their impact may elude us in the short run is crucial.

By focusing this issue on “Impact,” we’re signaling that it’s a good way to think about the work we do and the teaching we are proud of. So, let’s open this up like a telescope — or perhaps like a kaleidoscope — and explore the variety of ways Tulane’s School of Liberal Arts contributes meaningful impact.

 Dean Brian T. Edwards with students in his 2024 Advisory Board

Dean Brian Edwards with members of the 2024-2025 Student Advisory Board.

Brian T. Edwards, Dean & Professor

Dean and Professor Brian T. Edwards with members of the 2024-2025 Student Advisory Board.

Dean Brian Edwards With Members of the 2024-2025 Student Advisory Board.

The ROLEPLAY Project

Poster for the Documentary on Roleplay. Photo: Shunya Carroll

From Campus Collaboration to International Impact: The ROLEPLAY Project

Originally published in the 2024 issue of the School of Liberal Arts Magazine

In February of 2018, I was fortunate to team up with filmmaker and ethnographer Katie Mathews and members of the acclaimed New Orleans-based ensemble theatre company Goat in the Road Productions (GRP), to begin work on our unique interdisciplinary theatre project. Inspired by student responses to the startling results of the campus climate survey on sexual assault, released the previous month, we endeavored to use our expertise to empower young Tulanians to use their authentic stories and voices to change their culture from within.

The collaboration was an experiment full of unknowns: Would students sign up for a year-long theatre devising process, one that had no script and very few concrete details at the start? Could we marry theatre and film, simultaneously helping the students to create Roleplay as an on-stage production while also recording the process for an ensuing ROLEPLAY documentary film? If we succeeded in finding a brave group of students to take on this task, could a play about sexual violence and toxic behavior be truthful, thought-provoking, yet also entertaining?

The project exceeded all expectations. Roleplay’s on-stage production in September 2019, and subsequent remount in January 2023, had a profound impact on Tulane’s campus community. More than six years later, the project is resonating on a national and international level. In March of 2024, ROLEPLAY the film premiered in competition for best documentary at SXSW, to critical acclaim. The film had its regional premiere this October at the New Orleans Film Festival, with additional screenings this fall at the Heartland International Film Fest (Indianapolis, Indiana), the American Film Festival (Wroclaw, Poland), and DocNYC (New York). In March of 2025, the stage play will be remounted at Louisiana State University.

I cannot wait for a larger audience to get to know the brave Tulane students (now proud alumni) who created this project. As critic Ashley Smith noted: “Access to these brilliant young minds and what they’ve accomplished got to me on a cellular level. I remembered to be hopeful for a moment.” The ROLEPLAY project gives me hope, too.

While the problems of sexual violence and toxic behavior continue, I am grateful when I think of the unbreakable bonds of the castmates, of the internal support we’ve received from the School of Liberal Arts, the All-In Committee to Stop Sexual Violence, the Newcomb Institute, Gender and Sexuality Studies, the School of Public Health and Tropical Medicine, Carol Lavin Bernick, student groups such as Sexual Aggression Peer Hotline and Education (SAPHE) and Sexual Violence Prevention and Response (SVPR), and so many others; of the way community partners like GRP, Gusto Moving Pictures, STAR, the New Orleans Family Justice Center share their wisdom; and how alumni like Nancy Rebold (NC ’88), an executive producer on the film, stepped in at a crucial time to ensure that our film made it to the finish line. The support we’ve received is unlike any project I have ever worked on and demonstrates that when a subject matter galvanizes Tulanians, they have the agency, the creativity, and the support to tackle complicated issues and make a positive impact on the world.

Cast for Roleplay at SXSW. Photo: Shunya Carroll

Katie Mathews, Ross Brill, Carl Briggs, Jr., Ashley Bailey, Jo Kramer, Lucy Sartor, Alexandra Elam, James Weiss, Aaron Avidon, Nagelle Leboyd, Grace Graugnard & Hannah Gordon.

“The support we’ve received is unlike any project I have ever worked on and demonstrates that when a subject matter galvanizes Tulanians, they have the agency, the creativity, and the support to tackle complicated issues and make a positive impact on the world.”
— Mercein

Roleplay Producers at SXSW. Photo: Shunya Carroll

Executive Producer Abby Epstein, Mercein, Mathews, Nancy Rebold (NC ’88).
Top Photo: Official Film Poster. Red Carpet Photos: Shunya Carroll.

 

Jenny Mercein, Associate Professor of Theatre & Dance

News page
Roleplay SXSW poster


Watch a SXSW Recap Reel Produced by the Project’s Own Grace Harmon Graugnard (SLA ’21) & Hannah Gordon (SLA ’21)!

School of Liberal Arts November 2024 Newsletter

Tulane Liberal Arts Newsletter logo
Homecoming Weekend at Tulane University November, 2024

2024 Homecoming Highlights

The infectious Tulanian energy on campus over Wave Weekend 2024 made this homecoming one for the books. Revisit the fun of our student & family-favorite events like Catch Up with Dean Edwards, the annual glassblowing demo, and SLA's game day tailgate tent!


Celebrating Research & Impact

Since the academic year began, the School of Liberal Arts has secured nearly $1 million in funding via honors, fellowships, and research grants that underscore our faculty's commitment to a liberal arts college approach at an R1 research university. This accomplishment reflects a 50% success rate in grant & fellowship submissions — well over the industry standard of 15-25%, according to Associate Dean for Research & Graduate Programs Kathy Jack.

Ana María Ochoa, Tulane University

Prestigious Residency

Newcomb Department of Music Chair and Professor Ana María Ochoa was appointed the 2025 Ernest Bloch Professor of Music in residency at UC Berkeley.

Corey Miles, Tulane University

Civic-minded Fellowship

Assistant Professor of Sociology and Africana Studies Corey Miles was named a 2024-25 Career Enhancement Fellow by the Institute for Citizens & Scholars.


National Endowment for the Humanities logo

Endowment to Explore Coastal Louisiana Cultural Landmarks

The NEH honored associate professors Adrian Anagnost and Leslie Geddes, both of the Newcomb Department of Art, with a Landmarks of American History and Culture award for for their “Bvlbancha Rising: Louisiana Landmarks & Climate Change Challenges" project.


Allison Emmerson, associate professor of Classical Studies, leads a team in Pompeii

Professor and Archeologist Describes Bringing Pompeii to Life

Allison Emmerson, associate professor of Classical Studies, discusses the year-round work required for a five-week on-site excavation of Pompeii.

PhD student Luke Auld-Thomas presents on lidar technology

PhD Student Finds Lost City in Mexico Jungle by Accident

PhD student Luke Auld-Thomas was part of a team that uncovered a hidden Maya site using lidar, a type of laser survey that maps structures buried under vegetation.

Upcoming Featured Events

Tulane Newcomb Art Department Holiday Sale

Join Us for the Newcomb Art Department Holiday Sale

This annual holiday sale showcases pieces in glass, ceramics, printmaking, photography, and more, created by students, faculty, and local artist. Open Friday, Dec. 13, from 10am–7pm & Saturday, Dec. 14, from 10am–4pm in the Carroll Gallery inside Woldenberg Art Center.


Summer Opportunities

Summer 2025 Tulane University School of Liberal Arts

Register Today for Summer of SLAM!
With new courses like Digital Entrepreneurship; Industry of Death in New Orleans
AI, Big Data, and Health Ethics; Environmental Crisis in World Cinema; and Religion and U.S. Public Policy, #SummerLiberalArts has something for everyone. Now enrolling.


Tulane University School of Liberal Arts
Facebook
X, formally known as twitter
Instagram
LinkedIn
Tulane School of Liberal Arts

102 Newcomb Hall • New Orleans, LA 70118 
liberalarts.tulane.edu

News page
Tulane Homecoming November 2024

Tulane’s National Center for Research on Education Access & Choice Receives Funding to Study Inequality in K-12 Education System

Tulane’s National Center for Research on Education Access & Choice Receives Funding to Study Inequality in K-12 Education System

The National Center for Research on Education Access and Choice (REACH) at Tulane University received $340,757 in funding from the William T. Grant Foundation to support a three-year research project to understand whether state policy can support equity in advanced course-taking. The goal is to learn how state course-level graduation requirements affect overall advanced course offerings, advanced course-taking, and graduation rates and whether these policies affect patterns of equity in advanced course-taking for Black and Hispanic/Latinx students. 

Launched in 2018 with funding from the U.S. Department of Education, REACH is one of the premier research centers in the country focused on school choice policies and educational inequality. The center specializes in applied econometric work on the causal effects of a variety of public policies on improving educational access for disadvantaged students.

Research on racial and ethnic inequality in K-12 schools typically focuses on the gap in test scores between white, Black, and Hispanic/Latinx students. However, test scores alone do not provide reliable information about how a student will perform in life beyond high school. Advanced coursework in high school is a key element of education that structures work lives, civic engagement, and health later in life. And persistent gaps in advanced course-taking by race/ethnicity and gender contribute to lifelong inequalities.

According to REACH Associate Director of Research and Principal Investigator Jamie Carroll, “Our school system has a long history of excluding Black and Hispanic/Latinx students from advanced coursework and of separating students’ pathways by gender. We hope to shed light on how state policy can reduce intersectional gaps in advanced course taking so all students can be successful later in life.”

This project will build directly upon the center’s prior work, expertise, and data collection measuring inequality in public schools. Specifically, it will add measures of intersectional inequality in advanced course-taking by race/ethnicity and gender from the Office of Civil Rights to its National Longitudinal Schools Database, which includes information on all public and private schools in the U.S. from 1990 through 2020. Throughout the grant funding period, the center will translate its findings into reports to be shared with the public. This work will provide a better understanding of structural inequalities and potentially change the course of inequality in the education system in the U.S. 

Dr. Carroll is a terrific scholar and I'm glad to see her talent and expertise in student access to educational opportunity being recognized by the W.T. Grant Foundation," said REACH Director and Tulane economics professor and chair, Douglas N. Harris. "This is a very important project." 

The William T. Grant Foundation works to build, test, or increase understanding of programs, policies, or practices to reduce inequality in the academic, social, behavioral, or economic outcomes of young people ages 5-25 in the United States. Through its grant programs, like the Reducing Inequality program that funded this project, the Foundation aims to reduce inequality in the lives of young people in the U.S.

News page
REACH logo: National Center for Research on Education Access and Choice
Subscribe to