Since 1975, the prevalence of obesity has nearly tripled around the world. In 2016, 39% of adults, or 1.9 billion people, were considered overweight, and 13% of adults, or 650 million people, were considered obese. Furthermore, Cardiovascular disease remains to be the leading cause of death for adults in the United States, with 655,000 people dying from related conditions and consequences each year. Including fiber in one’s dietary regimen has been shown to greatly improve health outcomes in regards to these two areas of health. However, not much literature is available on the effects of corn-based fiber, especially detailing the individual components of the grain itself. The purpose of this preliminary study was to test the differences in influence on both LDL-cholesterol and triglycerides between treatments based on whole-grain corn flour, refined corn flour, and 50% refined corn flour + 50% corn bran derived from whole grain cornmeal (excellent fiber) in healthy overweight (BMI ≥ 25.0 kg/m2) adults (ages 18 - 70) with high LDL cholesterol (LDL ≥ 120mg/dL). 20 participants, ages 18 - 64 (10 males, 10 females) were involved. Data was derived from blood draws taken before and after each of the three treatments as well as before and after each treatment’s wash out periods. A general linear model was used to assess the effect of corn products on circulating concentrations of LDL-cholesterol and triglycerides. From the model, it was found that the whole-grain corn flour and the 50% refined corn flour + 50% corn bran drive from whole grain cornmeal treatments produced a higher, similar benefit in reductions in LDL-cholesterol. However, the whole grain flour, refined flour, and bran-based fiber treatments did not influence the triglyceride levels of the participants throughout this study. Further research is needed to elucidate the effects of these fiber items on cardiometabolic disease markers in the long-term as well as with a larger sample size.

This thesis research aims to define, identify, and promote community theatre as a “third space” for disadvantaged youth. A third space is defined by the Oxford dictionary as “...the in-between, or hybrid, spaces, where the first and second spaces work together to generate a new third space. First and second spaces are two different, and possibly conflicting, spatial groupings where people interact physically and socially: such as home (everyday knowledge) and school (academic knowledge)” (Oxford Dictionary, 2021). For disadvantaged youth, the creation of a third space in the theatre can give them a safe environment away from issues they may have at home or at school, it can further their learning about themselves and others, and it can also help those youth feel a sense of belonging to a community larger than themselves. Because of these benefits, it is clear that performing arts programs can offer a great impact on disadvantaged youth; however, many theatre companies struggle to market their programming to said communities. This may be in part, due to low marketing budgets, no specificity in labor resources dedicated to youth programming, or ineffective marketing strategies and tactics.<br/>In order to ideate marketing recommendations for these organizations, primary research was conducted to determine the attitudes and beliefs revolving around youth participation in community theatre, as well as the current marketing strategies and tactics being utilized by programmers. Participants included program managers of youth theatre programs, as well as youth participants from several major cities in the U. S. The secondary research aims to better understand the target demographic (disadvantaged youth), the benefits derived from participation in arts programming, and marketing strategies for the performing arts. Following data analysis are several recommendations for the learning, planning, and implementation of marketing strategies for theatre programmers.

This thesis research aims to define, identify, and promote community theatre as a “third space” for disadvantaged youth. A third space is defined by the Oxford dictionary as “...the in-between, or hybrid, spaces, where the first and second spaces work together to generate a new third space. First and second spaces are two different, and possibly conflicting, spatial groupings where people interact physically and socially: such as home (everyday knowledge) and school (academic knowledge)” (Oxford Dictionary, 2021). For disadvantaged youth, the creation of a third space in the theatre can give them a safe environment away from issues they may have at home or at school, it can further their learning about themselves and others, and it can also help those youth feel a sense of belonging to a community larger than themselves. Because of these benefits, it is clear that performing arts programs can offer a great impact on disadvantaged youth; however, many theatre companies struggle to market their programming to said communities. This may be in part, due to low marketing budgets, no specificity in labor resources dedicated to youth programming, or ineffective marketing strategies and tactics. This research aims to provide tangible recommendations for youth programmers to better involve their target audience.