History and Timeline
The Woman’s College era, from 1932 to 1963, was a time of great transition. Prior to becoming Woman’s College in 1932, the school survived a typhoid epidemic which nearly closed it permanently. It also survived a series of fires, which, while they destroyed several buildings, resulted in no loss of life.
During the Great Depression, Woman’s College joined forces with UNC Chapel Hill and North Carolina State University in Raleigh to form the Consolidated University. With this consolidation, the Woman’s College grew into an inclusive leading liberal arts institution with several professional schools. Many programs in the early days of Woman’s College existed without brick-and-mortar facilities, yet they produced confident and reliable scholars, teachers, and mentors.
Woman’s College graduates shaped society by instilling excellence in their professions as teachers, nurses, administrators, artists, writers, and leaders. Inspired by the vision of founder Dr. Charles Duncan McIver, Woman’s College students and alumnae carried into the world the University’s values of access to education, dedication to learning, and commitment to service.
Below, you can click through a timeline of how Woman’s College came to be, beginning in 1892 with the founding of the North Carolina Normal and Industrial School and finishing in 1963 with the transition of Woman’s College to the University of North Carolina at Greensboro.
1892
NC Normal and Industrial School founded.
Pictured: Mary Dail, the first student enrolled at the school.
1893
Alumnae Association formed at the NC Normal and Industrial School.
Pictured: Soon-to-be alumnae headed to Commencement.
1919
NC Normal and Industrial School is renamed the NC College for Women.
Pictured: The NC Normal and Industrial School, circa 1892.
1932
NC College for Women officially becomes part of the UNC System as Woman’s College of the University of North Carolina.
Pictured: Early graduates of Woman’s College.
1937
Alumni House at Woman’s College officially dedicated.
Pictured: Early photo of the Alumni House.
1938
The Coraddi, the arts magazine of Woman’s College and now of UNCG, is nationally recognized by the National Scholastic Press Association and became the voice for the Annual Arts Forum.
Pictured: A Coraddi publication from 1938.
1942
Woman’s College is officially deemed the largest residential college for women in the country.
Pictured: Residential students at Woman’s College pose with croquet equipment.
1942
Woman’s College alumnae form the Gallery Association to support the Weatherspoon Art Museum.
Pictured: Weatherspoon Art Museum exhibit open house.
1948
The Golden Chain society is formed on campus to honor those making notable commitments to service.
Pictured: Invitation to a Golden Chain ceremony.
1958-1959
The construction of the Commencement Home provided an opportunity to design and build a house.
Pictured: Commencement Home circa 1958.
1960
Woman’s College students participate in the Greensboro sit-ins during the Civil Rights movement.
Pictured: Newspaper article features the details of the sit-ins on their 20th anniversary.
1960
Woman’s College began presenting Alumni Service Awards to honor the exceptional contributions of alumnae to service in their communities.
Pictured: Alumni Service Awards ceremony, 1990.
1961
Woman’s College establishes its study abroad program, for which UNCG is now well-known.
Pictured: Library book entitled “Two Girls Abroad.”
1963
Woman’s College becomes co-ed and is officially recognized as UNC Greensboro.
Pictured: Woman’s College students sitting on the newly unveiled UNC Greensboro sign.
Student Life, Leadership, Service, and Activism at Woman’s CollegE
Students at Woman’s College enjoyed vibrant, diverse opportunities on campus, and they were active participants in their community. Nearly every student was involved in some type of extracurricular activity, of which there were many. Student publications included the Pine Needles Yearbook, the Coraddi Arts Magazine, and the Carolinian Newspaper. Recreational sports included dance, tennis, roller skating, basketball, bowling, golf, fencing, hockey, gymnastics, archery, and swimming.
Woman’s College students were leaders in their fields and in the community. Student groups frequently won awards for their performances, such as this drama troupe, selected for a tour in 1962. On campus, participation in the Student Government Association was popular, and included a self-governing legislative body and a Judicial Board. Women participated in Honor societies, including the prestigious Phi Beta Kappa, Golden Chain, and Omicron Nu, which recognized academic excellence and service.
“Service” is the official motto of UNCG, and was established during the Woman’s College era. Woman’s College students were active participants in community service work, and established a variety of ways to honor exceptional contributions to service through honor societies and alumni service awards. Pictured are Woman’s College students bringing the joy of music to patients in a children’s polio ward.
Activism was a central part of the lives of students at Woman’s College. Students participated in the 1960 Greensboro sit-ins and other community protests, and they held their own demonstrations to speak out for or against campus happenings. In 1952, following a series of anti-segregation protests at various establishments on Tate Street, student-led newspaper “The Carolinian” published an article admonishing segregation as “morally wrong.” Pictured is an article about a campus sit-in orchestrated in protest of the University’s attempt to reclassify and strip the Neo-Black Society of their funding.
Traditions
Woman’s College had countless long-standing traditions availed by students, some of which still continue today. These traditions paid homage to the bonds formed by women at Woman’s College, their connections to their community, and their pride in the University.
Class Jackets are one of the most fondly-remembered traditions of Woman’s College, which continued through the transition of Woman’s College to UNCG, ending in 1972. The tradition of class jackets made its debut at the North Carolina College for Women (now UNCG) in the late 1920s, and continued into the days of Woman’s College. Before the jackets became popular, the girls wore hats and sweaters in the class colors of green, red, blue, and lavender. Later, “Jacket Day” was an eagerly awaited tradition in which sophomores received their jackets for the first time. Woman’s College students wore their jackets both on and off campus, showcasing their pride for the University; in February 1960, three white Woman’s College students joined the Woolworth’s lunch counter sit-ins wearing their class jackets.
Class Rings were a tradition that continued throughout the Woman’s College days. Rings were considered a special way to remember students’ time at Woman’s College, and they were selected by students with great care. Most rings featured a gold band and gemstone with the school logo and class year engraved on the outside. On the inside, the wearer’s initials and University motto of “Service” were engraved on the inside.
May Day queens were typically senior women elected by their class to serve as the mascot for celebrations first held in 1904. The first crowning of the May Day queen was in 1929, when the focus of the festival changed from the performances to the individuals attending the school. From 1929 to 1934, May Day queens were not given a physical crown. Beginning in 1935, the elected May Day queen was given a flower crown that later evolved to a small embellished hat in 1936. A May Day tiara was introduced in 1940, but returned to a flower crown from 1941-1946. The use of a tiara reappeared in 1947 and continued to be part of the May Day tradition until 1954.
Elliott Hall was the gathering place and social hub of Woman’s College. Now the Elliott University Center, Elliott Hall provided a place for casual conversation, team and club meetings, and ceremonies for academics and service.
In the Woman’s College days, sister-class relationships were a major part of the social structure; freshmen were paired with juniors and sophomores with seniors to help both parties navigate their time in college. Sister classes also hosted and attended events together and completed projects alongside one another.
Daisies were (and still are) a symbol of friendship and unity amongst students. The Daisy Chain, an annual tradition that began in 1900 and ended in the 1960s when Woman’s College became UNC Greensboro, was crafted to honor the graduating senior class. Upon graduation, it was also the responsibility of younger students to craft daisy crowns to be worn by graduating seniors.
Enduring Values and Tenets
Past Presidents and Chancellors
The Transition to UNCG
In 1962, the Board of Trustees of the Consolidated University (made up of the University of North Carolina in Chapel Hill, North Carolina State University in Raleigh, and Woman’s College in Greensboro) recommended that the Woman’s College campus become coeducational at all levels of instruction. Upon this recommendation, an act of the General Assembly in the spring of 1963 changed the name of the institution to The University of North Carolina at Greensboro. Male students were admitted beginning in fall 1964.
Despite the Woman’s College era coming to an end, its values, principles, and impact on society endure today. From 1932 to 1963, Woman’s College of the University of North Carolina produced generations of teachers, healthcare professionals, writers, artists, scholars, and leaders, and it laid the foundation for UNC Greensboro to continue to do the same.
Building Astera: the Woman’s College Tribute
Agnes Johnson Price (’62, ’71 M.Ed.) began her post-secondary academic career as an undergraduate student at Woman’s College. Agnes soon returned for her Master’s degree, after Woman’s College had made the transition to UNC Greensboro, and she accepted an appointment as a professor of accounting. She often reflects on how her time at Woman’s College was pivotal in her educational journey.
While on campus, Agnes noticed a lack of tributes to the Woman’s College era (1932-1963). Inspired to create a memorial that honored the school’s impact on society, she partnered with fellow alumnae Geraldine Newton Fox (’63, ’71 M.Ed.) and Molly Arnold Roberts Brake (’62).
Astera, shown from the front. The sculpture is intended to be a modern representation of Minerva and to serve as an interactive way for students to engage with the legacy of Woman’s College.
Astera, shown from behind.
Close-up details of the sculpture.
Geraldine recalled fondly the bonds amongst women who attended Woman’s College, and wanted a memorial that honored these relationships. “It is important to recognize all the women who studied, lived, laughed, and learned here. There is a special bond among us, and we need to celebrate these years and the accomplishments of its alumnae.”
Molly recalled a professor’s advice that motivated her throughout her career. “Molly, do not become a vegetable.” When she was challenged in a job or life event, those words came back to her—”He knew I could do more.”
The trio aimed to create a tribute that would encourage alumnae to reconnect with Woman’s College and celebrate its instrumental role in shaping North Carolina public education. The tribute reflects the enduring spirit of Woman’s College alumnae, many of whom have generously contributed to honor the institution.
The black-and-white photos scattered throughout the tribute are a nod to the memories showcased in the Pine Needles Yearbook, a student-led publication in which many Woman’s College students were involved.
JoAnne Drane ’60 points to a photo of herself, from her time at Woman’s College, that was featured in the Pine Needles Yearbook.
With support from Alumni House staff and administrators—including Laure Hoffman, Jan Zink, and Mary Landers—a committee was formed that included Jo Safrit (’57), Sarah Shoffner (’62, ’64, ’77 Ph.D.), and Emilie Mills (’62, ’65 MFA). Dr. Lawrence Jenkens from the Art Department spearheaded the process, collaborating with Nancy Doll of the Weatherspoon Art Museum and the late Betty Carter, former University Archivist. Dr. Jenkens engaged Dorothy Moye, an art consultant, to assist with the artist-selection process. Kristine Davidson, Susan McDonald, and Mary Swantek were involved with administrative and fundraising efforts.
Daisies, a long-standing symbol of the friendships forged at Woman’s College, adorn the bricks surrounding the sculpture.
Emilie “Emmy” Mills ’62, ’65 MFA (left) and Sarah Shoffner ’62, ’64 MS, ’77 Ph.D. attend the installation of Astera.
After the national call for artist proposals yielded over one hundred applications for consideration, the committee selected California-North Carolina firm Dihn/Stutz to create the sculpture. Affectionately deemed “Astera,” this sculpture serves as a modern interpretation of Minerva, embodying the aspirations, achievement, and impact of the women who walked the halls of Woman’s College.
“Astera” projects timeless qualities of courage, determination, intellect, grace, and diversity. Students, staff, faculty, alumni, and visitors who stand behind Astera see through her eyes the campus that has changed thousands of lives.
To ensure the continued preservation and maintenance of Astera for future generations of students and alumni to enjoy, we invite you to contribute to the Woman’s College Tribute Fund. Thank you for your support.
“EDUCATE A MAN, AND YOU EDUCATE AN INDIVIDUAL. EDUCATE A WOMAN, AND YOU EDUCATE A FAMILY.
– Charles Duncan McIver, Founder of the NC Normal and Industrial School