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.

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical taste as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private self, the link to personality, and group identity, as well as how it is linked to romantic relationships. Thus, music can be a tool when wanting to get to know someone else and/or forge a platonic relationship. To test this hypothesis, we designed an experiment comparing music relative to another commonality (sharing a sports team in common) to see which factor is stronger in triggering an online social connection. We argue that people believe they have more in common with someone who shares similar music taste compared to other commonalities. We discuss implications for marketers on music streaming platforms.

Especially during the current COVID-19 pandemic and age of social unrest in the United States, there has been an increasing need for comfort, yet the idea of comfort is quite vague and rarely elaborated upon. To simplify the idea of comfort and communicate the ideas around it effectively, I am defining comfort as a subset of escapism in which a person escapes to reduce or alleviate feelings of grief or distress. As companies rush to comfort their customers in this current state of uncertainty, marketers are pressed to identify people’s insecurities and comfort them without coming off as insensitive or trite. Current comfort marketing focuses on inspiring nostalgia in its customers, having them recall previous positive experiences or feelings to comfort them. Nostalgic marketing techniques may ease mild grief in some cases, but using them to alleviate severe distress probably will not be as effective, and has contributed to several seemingly out-of-touch “COVID-19 era” commercials.<br/>When addressing comfort, marketers should understand the type and hierarchy of comfort that they are catering to. Not all comforts are equal, in that some comforts make us feel better than others and some do not comfort us at all. A better understanding of how and why comforts change among different individuals, and possibly being able to predict the comfort preference based on a product or service, will help marketers market their goods and services more effectively. By diversifying and specializing comfort marketing using this hierarchical method, marketers will be able to more significantly reach their customers during “uncertain times.”

Women’s roles in society have changed significantly throughout the years. The movement to support the rights of women has been ongoing throughout the evolution of society but has been especially prevalent in the last century. The 1960s are when women began to enter the workforce instead of being limited to presuming roles as homemakers. Since that point in time, women have continued to thrive in the workforce and have pursued a larger variety of positions in various fields. Even though the opportunities for women continue to grow, there still seems to be an underrepresentation of women in science, technology, engineering, and mathematics (STEM) related fields. The underrepresentation of women pursuing physician and entrepreneurship roles in STEM will be analyzed and the challenges this group of people specifically encounter will be examined. Our first proposal to encourage women to enter STEM focuses on middle-school initiatives and incubator programs. The second proposal, based on commonalities females face within the workforce, is finding a better work/home life balance with the development of new maternity/paternity leave policies. Through these initiatives, we believe that the gender gap in STEM can be bridged.

Women’s roles in society have changed significantly throughout the years. The movement to support the rights of women has been ongoing throughout the evolution of society but has been especially prevalent in the last century. The 1960s are when women began to enter the workforce instead of being limited to presuming roles as homemakers. Since that point in time, women have continued to thrive in the workforce and have pursued a larger variety of positions in various fields. Even though the opportunities for women continue to grow, there still seems to be an underrepresentation of women in science, technology, engineering, and mathematics (STEM) related fields. The underrepresentation of women pursuing physician and entrepreneurship roles in STEM will be analyzed and the challenges this group of people specifically encounter will be examined. Our first proposal to encourage women to enter STEM focuses on middle-school initiatives and incubator programs. The second proposal, based on commonalities females face within the workforce, is finding a better work/home life balance with the development of new maternity/paternity leave policies. Through these initiatives, we believe that the gender gap in STEM can be bridged.

Micro influencers have become extremely powerful in terms of swaying buying patterns among consumers. This thesis examines the greater impact that micro influencers have on brand marketing. This was completed through a literature review that highlights the evolution of marketing, influencer marketing, discussing reach, relevance, and resonance, and Generation Z’s purchasing decisions. In addition, we conducted an online survey through Qualtrics that allowed us to analyze the impact social media influencers have. The results of our research indicate that TikTok is used most frequently, but Instagram is where social media influencers are followed most. From our data, we concluded that Generation Z is most influenced by authentic, genuine content created by influencers regardless of follower count. We recommend that a brand interested in reaching Generation Z (we refer to the brand as “Brand X”) use micro influencers, as our research shows that genuine relationships are valued among this generation. We believe that micro influencers are the most valuable to use as they are able to create meaningful relationships with consumers due to their reach, relevance, and resonance with the individuals their content reaches.

Micro influencers have become extremely powerful in terms of swaying buying patterns among consumers. This thesis examines the greater impact that micro influencers have on brand marketing. This was completed through a literature review that highlights the evolution of marketing, influencer marketing, discussing reach, relevance, and resonance, and Generation Z’s purchasing decisions. In addition, we conducted an online survey through Qualtrics that allowed us to analyze the impact social media influencers have. The results of our research indicate that TikTok is used most frequently, but Instagram is where social media influencers are followed most. From our data, we concluded that Generation Z is most influenced by authentic, genuine content created by influencers regardless of follower count. We recommend that a brand interested in reaching Generation Z (we refer to the brand as “Brand X”) use micro influencers, as our research shows that genuine relationships are valued among this generation. We believe that micro influencers are the most valuable to use as they are able to create meaningful relationships with consumers due to their reach, relevance, and resonance with the individuals their content reaches.

Communication skills are vital for the world we inhabit. Both oral and written communication are some of the most sought-after skills in the job market today; this holds true in science, technology, engineering and mathematics (STEM) fields. Despite the high demand for communication skills, communication classes are not required for some STEM majors (Missingham, 2006). STEM major maps are often so packed with core classes that they nearly exclude the possibility of taking communication courses. Students and job seekers are told they need to be able to communicate to succeed but are not given any information or support in developing their skills. Scientific inquiry and discovery cannot be limited to only those that understand high-level jargon and have a Ph.D. in a subject. STEM majors and graduates must be able to translate information to communities beyond other experts. If they cannot communicate the impact of their research and discoveries, who is going to listen to them?<br/>Overall, the literature around communication in STEM fields demonstrate the need for and value of specific, teachable communication skills. This paper will examine the impact of a communication training module that teaches specific communication skills to BIO 182: General Biology II students. The communication training module is an online module that teaches students the basics of oral communication. The impact of the module will be examined through the observation of students’ presentations.