Nationality Room Interview Essay

The University of Pittsburgh campus is home to many academic buildings. No building is as spectacular as the Cathedral of Learning (affectionately known by many students as “Cathy”). In the hustle and bustle to reach class on a Monday morning, students may miss one of the most important features Cathy has to offer: the Nationality Rooms. Who better to speak to than the Director of the Nationality Rooms, E. Maxine Bruhns, to learn more about these national landmarks. I interviewed Bruhns on Tuesday, March 15th in her richly decorated office. She was draped in a myriad jewelry from her travels and happy to share the history of the Nationality Rooms Program. At the moment there are 30 rooms representing the architecture, design, art, and history

The early rooms (19 rooms on the first floor built between 1938 and 1957) were inspired by the immigrant workers who built the Cathedral, sponsored by community ethnic organizations, and facilitated by Dr. Ruth Crawford Mitchell, the former Director/Special Assistant of the Nationality Rooms. In other words, the Chancellor at the time, Dr. John G. Bowman, wanted the children of these workers to one day attend the university and see a bit of themselves represented in the Cathedral. The Nationality Room program does not stop at architecture. Pitt Students have the opportunity to receive scholarships to study abroad in the respective countries/regions represented by the rooms. In 2015-2016, 48 scholarships ranging from $2500-$3500 were distributed. How is a room

The numerous cultures of the continent of Africa are represented in one room. Why is this so? Due to a 1965 amendment in room policy, Nationality Rooms no longer have to represent a single country. They can represent a territory, country, culture, or heritage. According to Bruhns, the African[-American] organizations that sponsored the construction of the room were unable to select a single country/culture to represent because many were unaware of their specific country/culture of origin. As a result, the architecture of the room is inspired by an 18th century Asante temple courtyard. The wooden door depicts figures and motifs of ancient Egyptian, Nubian, Ethiopian, Malian, Beninese, Angolan, and Zimbabwean kingdoms. The room also includes Asante Adinkra symbols (i.e. Sankɔfa bird), a Bundu Mask from Sierra Leone, a sculpture from Malawi depicting a male puberty right, and other masks, sculptures, and symbols that represent several unique African cultures. In addition, the chalkboard board doors are etched with a list several African languages and maps of Ancient and Modern