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- All Subjects: Marketing
- Creators: Gray, Nancy
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
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.
• Do students understand what personal branding is?
• Are students able to define their skills?
• Do students have a career plan?
• Do students have a plan to promote their brand?
A pilot study was first distributed to students of Arizona State University which found that students lack an understanding of what personal branding is and have a need for the knowledge and tools to develop a personal brand. A workshop was then developed to address these issues. This workshop was held three times: first, for a Landscape Architecture class, second, for a marketing class, and third, for a student sales organization. The workshop discussed branding, personal branding, and then the participants were able to begin working on developing their own personal brand. The students in the first workshop had two sessions and were able to complete their own personal brand process with the workshop leader, while participants from the second and third workshops completed it on their own, after only a single workshop session. After completing the in-person workshop, participants shared their brand with their fellow students in a Google Plus page. Finally, participants completed an exit survey. This exit survey was used to measure the research questions.
The first workshop proved to be most effective, even though the participants in the first workshop were all landscape design students and the majority of the participants in the second and third workshops were business students. It was found that unless the students’ own brand development process was finished during the workshop or affected the students’ grade, it would not be completed. It was also evident in all of the workshops that slides with imagery were more effective at starting discussions than the text-heavy slides. As such, future workshops should be designed with a greater time allowance, the intent of the students’ own brand development process to be completed during the workshop, and the presentation should be redesigned to better initiate discussion among participants.
This project examines the correlation between consumer perception and willingness to pay for electric vehicles (EVs). Using secondary research regarding sustainability, pricing and other factors influencing or swaying purchasing decisions, newfound details were uncovered. A survey was then created to collect primary research data, gauging general interest using a side-by-side comparison of the top three U.S. auto manufacturers and their efforts to transition to the next era of the automobile. From this, new marketing and advertising techniques are offered to allow for a more widespread adoption and quicker transition to full EV lineups in the near future - essentially, closing the gap from interest to action.
think about how big of an impact just one of those pieces made in the world before it ended up
in my possession. A tiny spaghetti-strap tank top – bought from my local Goodwill for two dollars, originally purchased at H&M for eight – reminds me that although this square foot of
material might seem minute, it and the thousands of replicas manufactured along with it still
add to the carbon footprint of the fashion industry. Plain and simple – fashion comes at a cost,
whether fashionistas like to be privy to that truth or not. This truth launched an exploration of
my own fashion sense and work to uncover ways to make a difference, birthing ‘K’.
My intention stemmed from my love for clothes, a love rooted in some of my earliest
memories of my mothers’ fashion sense. I found it interesting that for her, and for myself, every
occasion seemed to call for a certain type of dress; occasions like school, church, vacations,
musicals, and nights out on the town to name a few. Not everyone abided by the rules of fashion
that seemed to be so important to me at a young age - no white pants after Labor Day kinds of
things – but, for me, these unspoken rules of dress carried true. Now, as an adult balancing
school, work, and social activity, I like to observe how my peers, coworkers, and friends present
their own sense of style.
After getting a job at a local resale store called Buffalo Exchange, the concept of fast
fashion and the ensuing lack of sustainability fueling it became a concern of interest. Thinking
about the styles of those around me, each completely unique to the wearer but similar in regard
to the individual pieces, struck me that people today are uninformed about the consequences of
their shopping habits. In reality, every consumer partakes in the fashion market in some sense,
meaning that every person feeds into the growing issues associated with fast fashion and similar
business, or join the conversation about sustainable fashion.
Taking my love for resale, a love birthed from ethical sourcing and the giddiness of
finding a good treasure after a big hunt, and partnering my creative skillset for fashion design, I
took on a big project to see for myself what people’s perceptions about resale are and how I
could be a part of the conversation. I began this line thinking about how my unique style always
seems to amass compliments from people liking just how different my items are. I figured that
taking my keen eye for aesthetics and using that to make resale items more desirable, I’d be able
to tap into a market that hardly acknowledges its own existence.
