Download The Reflective Practice Process: A Contextual Evaluation of Services Final Report

Final Report
The Reflective Practice Process:
A Contextual Evaluation of Services
Prepared for
Theatreworks, Inc
Northeast Florida Center for Community Initiatives
Department of Sociology, Anthropology, and Criminal Justice
University of North Florida
Jacksonville, FL
Timothy J. Cheney, Assistant Director of Research Programs
Jeffry A. Will, Director and Associate Professor of Sociology
T. Mason Brown, Senior Research Associate
January 2005
TABLE OF CONTENTS
TABLE OF CONTENTS ............................................................................................................ 1
EXECUTIVE SUMMARY.......................................................................................................... 4
INTRODUCTION ..................................................................................................................... 5
REFLECTION QUESTIONS ..................................................................................................... 6
LITERATURE REVIEW .............................................................................................................. 7
The Importance of Arts Education.............................................................................. 7
Integrating the Arts into Core Curriculum............................................................... 10
Arts Education Policy .................................................................................................... 14
Assessment in the Arts................................................................................................... 17
Arts Education Organizations and Partnerships.................................................... 18
Funding Opportunities for Arts Programs ................................................................ 22
Economic Impact of the Arts ..................................................................................... 24
History of Arts Education by Dianne C. Dawood ................................................. 26
History of art education in the United States .................................................................. 26
The National Standards................................................................................................... 27
HISTORICAL DOCUMENTATION ...................................................................................... 27
Introduction ..................................................................................................................... 27
Mission ............................................................................................................................... 28
Programs .......................................................................................................................... 28
Facilities............................................................................................................................. 29
Attendance..................................................................................................................... 30
Total Attendance History................................................................................................ 30
Attendance by Race ........................................................................................................ 30
Attendance by Program 2002-2003 ................................................................................ 31
Free Admissions for 2002-2003 ..................................................................................... 32
Community Support........................................................................................................ 32
THE 2003-2004 SEASON ..................................................................................................... 32
School FCAT Grades ..................................................................................................... 33
Geographically .............................................................................................................. 34
BOARD OF DIRECTORS ..................................................................................................... 40
S.W.O.T. ANALYSIS .......................................................................................................... 40
The S.W.O.T. Process..................................................................................................... 40
Strengths ......................................................................................................................... 41
Weaknesses ..................................................................................................................... 41
Opportunities................................................................................................................... 42
Threats............................................................................................................................. 43
Long-term Strategic Planning Objectives....................................................................... 44
STAFF ...................................................................................................................................... 44
PATRON SURVEY ................................................................................................................. 46
INTRODUCTION ............................................................................................................... 46
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METHOD............................................................................................................................ 47
TEACHERS AND VOLUNTEERS .......................................................................................... 47
Productions...................................................................................................................... 49
Huck Finn........................................................................................................................ 49
The Jacksonville Fire ...................................................................................................... 49
Toying with Science ....................................................................................................... 49
Arithmetickles................................................................................................................. 49
Vote? ............................................................................................................................... 50
Theatreworks Performance Quality and Affordability ........................................ 50
Theatreworks Performance Locations ..................................................................... 50
Number of Theatreworks Presentations Attended............................................... 51
The Arts in Jacksonville Schools ................................................................................. 51
Arts in Education ............................................................................................................ 52
Teacher and Volunteer Conclusion ......................................................................... 52
STUDENTS .............................................................................................................................. 53
Introduction ..................................................................................................................... 53
Gender and School Type ............................................................................................ 53
Production and Age ..................................................................................................... 55
Huck Finn........................................................................................................................ 55
The Jacksonville Fire ...................................................................................................... 55
Toying with Science ....................................................................................................... 56
Vote? ............................................................................................................................... 57
Arts Education – Participation and Attitudes ........................................................ 58
Student Conclusion ....................................................................................................... 59
PATRON SURVEY CONCLUSION ..................................................................................... 59
ARTS AND CULTURE IN GREATER JACKSONVILLE....................................................... 60
Jacksonville Arts Organizations Survey.................................................................... 60
Method ............................................................................................................................ 60
Activity Findings ............................................................................................................ 61
School Level Findings .................................................................................................... 62
Analysis........................................................................................................................... 63
Economic Impact of the Arts in Jacksonville......................................................... 63
Method ............................................................................................................................ 63
Survey Findings .............................................................................................................. 64
Analysis........................................................................................................................... 64
NATIONAL CHILDREN’S THEATRE .................................................................................... 65
Topeka............................................................................................................................. 66
Hartford........................................................................................................................... 66
Charlotte.......................................................................................................................... 67
Sarasota ........................................................................................................................... 67
Tampa Bay ...................................................................................................................... 67
DISCUSSION ......................................................................................................................... 69
What Population is served by Theatreworks?................................................................. 69
What Program issues face Theatreworks? ...................................................................... 70
What is the role of the Theatreworks Board? ................................................................. 71
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What types of Partnerships should Theatreworks consider? .......................................... 72
How does Theatreworks relate to the Community?........................................................ 72
How do the answers to the above reflective practice questions provide guidance to the
development of a long term Business and Strategic Plan? ............................................. 73
RECOMMENDATIONS........................................................................................................ 74
APPENDIX A: 2003-2004 SEASON .................................................................................. 76
APPENDIX B: S.W.O.T. e-Mail Survey.............................................................................. 77
APPENDIX C: TEACHER/VOLUNTEER PATRON SURVEY ............................................. 78
APPENDIX D: STUDENT PATRON SURVEY....................................................................... 80
APPENDIX E: ARTS ORGANIZATION PHONE SURVEY ................................................. 81
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EXECUTIVE SUMMARY
This report is the culmination of the reflective practice process for
Theatreworks of Jacksonville, Inc. The reflective practice process allows an
organization to set its course for the future by taking stock in its past and
present. This process has the ability to be complex and time consuming, but
its results can lead to a significantly strengthened organization in the future.
To assist in this effort, Theatreworks partnered with the Northeast Florida
Center for Community Initiatives (CCI). CCI conducted over 16 months of
research looking at all facets of Theatreworks operations. An extensive
literature review and an examination of Theatreworks historical records were
completed. Information was collected from stakeholders ranging from
Theatreworks staff, Board, and partners to the patrons that attend the shows.
Additionally, Jacksonville Arts organizations and children’s theatre presenters
across the U.S. were surveyed.
The research produced several findings including:
¾ Theatreworks is rather unique among Jacksonville non-profits in that it
brings live, professional children’s theatre to students in the city;
¾ Theatreworks draws in a diverse audience, bringing in students of all
ages, races, and school types from all over Jacksonville and
neighboring counties;
¾ The organization has expanded its offerings to reach more students
and as a result attendance has grown over 45% between 1991-1992
and 2002-2003;
¾ Theatreworks scored very well in a survey of its patrons with high
percentages of teachers, parent-volunteers, and students giving high
marks in all areas from quality of the shows to the quality of the
theatres used for productions;
¾ While Theatreworks is serving their patrons well, the organization does
suffer from a lack of a business plan;
¾ There is also a lack of long-term, strategic planning in the organization.
As a result of these findings, several recommendations were made including:
¾ Create a business plan;
¾ Develop a strategic plan to be updated every five years;
¾ Continue to obtain and utilize participant input and demographic
data;
¾ Utilize resources within the community;
¾ Conduct a S.W.O.T. (or similar) analysis every two to three years.
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INTRODUCTION
In April 2003, Theatreworks, Inc. of Jacksonville applied for and subsequently
received a Reflective Practice Grant from the Community Foundation of
Jacksonville. The purpose of
THEATREWORKS MISSION STATEMENT:
this grant was to conduct a
“To enrich the lives of all First Coast children by
contextual evaluation of
presenting to them quality theatre and the arts.”
Theatreworks services from
two important populations:
the constituents and the board of directors/staff.1 While the main indicator of
the grant was a plan for improved and responsive services, the intent was to
examine the Theatreworks mission from all perspectives. It is the purpose of
this report to provide a contextual evaluation of services through the
discussion of several reflective questions.
To assist in this effort, a partnership with the Northeast Florida Center for
Community Initiatives (CCI) at The University of North Florida was established.
The primary role of CCI was to work with the Theatreworks Director and Board
to assess program operations, both past and present, and future directions as
part of this Reflective Practice Grant process. This was to be accomplished in
three areas:
1.
2.
3.
A comprehensive literature review;
An assessment of Theatreworks initiatives;
On-going program initiatives and reflective process assessment.
Within these three areas, several tools were used to assess the program. A
comprehensive literature review was used to ground the overall research
and reflective processes with the existing literature. An examination of
historical records was done to provide context for the current project. Focus
groups and interviews were used to gather the knowledge of the board,
staff, and partners as it applies to the different operations of Theatreworks.
Surveys were used to elicit the opinions of the program participants, namely
the students, teachers, and parent volunteers who attended various
productions. Other surveys of local and national organizations were used for
supporting documentation.
1 Community Foundation Reflective Practice Grant Proposal (Theatreworks, Inc.)
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REFLECTION QUESTIONS
There are several questions that need to be asked and ultimately answered
as part of the Theatreworks reflective practice process. What follows are
questions that have been asked before, particularly in the days of its
formation, but need to be asked again. These are questions that require
serious thought and consideration, and questions, which in due course, will
lend themselves to being helpful in guiding Theatreworks in its future
direction, mission, and focus. It is the intent of the section to inform the
reader of the different questions asked and how they lay the framework for
the rest of the report. The six main questions, each with a description and
sub-questions, are listed below:
¾ What Population is served by Theatreworks?
An examination of the demographics of the population historically and
currently served by Theatreworks – Who do they serve? How do their
participants feel about Theatreworks?
¾ What Program issues face Theatreworks?
An examination of the different programs Theatreworks currently
provides and what should they provide in the future – How many
Productions? At what quality? How much to charge?
¾ What is the role of the Theatreworks Board?
An examination of the Board through their own thoughts, other
perceptions, and realistic tasks – How do they see themselves? What
should they do? What can they do? How do they communicate?
¾ What types of Partnerships should Theatreworks consider?
An examination of who to partner with – Should the partnerships be
formal or informal? What should the structure of the partnership be?
¾ How does Theatreworks relate to the Community?
An examination of Theatreworks place in the community and how that
affects its mission – What political concerns are there? What is their
presence? How are they viewed?
¾ How do the answers to the above reflective practice questions provide
guidance to the development of a long term Business and Strategic
Plan?
An examination of where Theatreworks wants to be in 5, 10, 20 years –
Do they have plan? Where do they want to go from here?
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LITERATURE REVIEW
A literature review is an essential tool of any evaluation project. It serves to
inform the reader of similar research that either applies directly or that has
relevance to the current project. In the literature review presented below,
the intent was to show that the Arts (that are generally integrated into
theatrical performances) are important to education and should be
integrated into the core curriculum. Further, an examination of arts
educational policies and an assessment of arts education provide an overall
context for the current state of the Arts. An examination of organizational
partnerships and funding opportunities for Arts programs is pertinent to the
ongoing operations of Theatreworks. In addition, the economic impact of
the Arts in Jacksonville and a historical look at arts education are provided as
they are important to the overall evaluation.
The Importance of Arts Education2
“Arts instruction is essential to giving students a well-balanced education that
will prepare them for successful and happy lives,” stated Dave Johnson,
former Canadian Minister of Education and Training. Working in the Arts,
especially in kindergarten through seventh grade, allows students’ minds and
bodies to develop in order to improve learning.3 Music, dance, and visual
arts develop neural connections and brain/body connections. This leads to
enhanced learning in math, reading, writing, and general language
acquisition.4 They are an effective means of keeping kids in school, reaching
both at-risk and distinctive learning style students, while creating a disciplined
learning environment that redirects student energy into creating and
learning. Students also have a higher retention rate of academic subjects
when linked meaningfully with the Arts.5
In “The Arts Contribution to Adolescent Learning,”6 the importance of arts
education in both academic and social life is discussed. This article states
that “The Arts communicate ideas, captivate the imagination, contextualize
information, provide open frames for viewing the world, and widen
2 Note: The term ‘Arts’ as used in this report includes the visual arts, literature (written and oral), music, and theater
(performing and dance) and arts, unless specifically stated.
3 The Association for the Advancement of Arts Education. (2003). Main web page. Retrieved on December 2, 2003
from http://www.aaae.org
4 Ibid
5 Ibid
6 Diket, R.M. (2003). The arts contribution to adolescent learning. Kappa Delta Pi Record. “The Arts Contribution to
Adolescent Learning”, Kappa Delta Pi Record, 39 (4), 173-177.
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perspectives.”7 Through the application of the Arts into lesson plans, students
learn how to retain information about art and recreate physical aspects of
an object. The Arts demand that students look for a deeper meaning in an
object, without making judgments about who created it. Additionally, the
Arts have certain symbols, lines, and shapes that parallel the symbols used in
other curriculum areas, like math and science. Furthermore, the Arts allow a
direct connection with an object, allowing students to not only learn about its
history but also broaden their horizons.
The knowledge that is fostered through studying the Arts includes reasoning
and critical thinking and strategies for learning and retaining knowledge.
These skills help students to do better on standardized tests, such as the SAT,
and allow students to interpret people’s feelings and desires as well as to
develop their own thinking. The visual and performing Arts permit students to
gain a broader and more accurate understanding of their surroundings,
including discovering meanings, spatial understanding, and construction.
Students are able to find a sense of personal identity through the Arts and are
better equipped to deal with conflict, self-esteem, and cultural biases.
Therefore, the Arts become a way of self-expression and allow for better
communication between adults and students. They also contribute to
general learning by giving students a better understanding of their social
world.
In 1997, a framework for Arts assessment was created that covers three areas
of artistic understanding -- “creating, performing, and responding.”8 Each
form of art emphasizes either some or all of these components, allowing for
each student to develop their own artistic ability and understanding.
Currently, arts credits are offered at 64.6 percent of the nation’s secondary
schools, however, most students do not experience visual arts.
According to Americans for the Arts, children that participate in the Arts over
a period of at least one year for three hours a week are four times more likely
than their peers to be recognized for outstanding academic achievement,
three times more likely to be elected to student government, four times more
likely to participate in science and math fairs, three times more likely to win
school attendance awards, and four times more likely to win an outstanding
essay or poem award.9 Additionally, arts education strengthens student
analytical and creative skills, along with stimulating the imagination.
Furthermore, the Arts help students foster skills necessary to succeed in and
7 Diket, R.M. (2003). The arts contribution to adolescent learning. Kappa Delta Pi Record, 39 (4), 173-177.
8 Ibid
9 Americans for the Arts. (2003). Quick facts and figures. Retrieved on December 9, 2003 from
www.americansforthearts.org/global/print.asp?id=1091
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out of the classroom, such as goal-setting, accepting responsibility, selfdiscipline, team-building, and awareness of other cultures and points of view.
Arts education gives students a feeling of self-worth and accomplishment
along with providing a better understanding of the world surrounding them.10
They have served the purpose of allowing humanity to look cross-culturally
and throughout history to see what other time periods and cultures have said
about the same questions society asks today. The Arts are an integral part of
daily life, providing an outlet to present ideas in a creative and personal way.
They also serve as a continuing enjoyment for the imagination.
Fundamentally, the Arts provide a framework for students to develop social,
intellectual, and character skills that will benefit them in society. These skills
directly impact students and teach them about teamwork and cooperation.
Students benefit from arts education because it affects each student as a
whole, developing skills that will help them in every discipline and in their lives.
As students learn to grasp the Arts, they feel gratified, and their sense of
accomplishment becomes more realistic and inspiring.
Music is integrated into every aspect of our daily lifestyle and often
incorporated into theatrical performances.11 Additionally, music education
has a direct relationship with the rest of the school’s curriculum. Music is a
specialized form of science that creates an aural understanding of the
qualities of sound, including pitch, acoustics, and timbre. It also provides
mathematical skills through basic arithmetic, counting in groups of two, three,
four, and teaching the complexities of rhythmic notation by use of
multiplication, division, addition, and subtraction. Music also provides
education about geography by providing students with an understanding of
how individualized rhythmic patterns and tonality are associated with a
particular region and culture. Students of music also learn about history, as
they learn about the background of a musical piece through its author, the
time period in which it was written, and the events surrounding the piece.
The structure of musical pieces is directly correlated with basic essay
structure. The standard exposition-developmental-recapitulation
construction of music can be associated with the thesis statementdevelopment-construction format of an author’s essay. As performers gain
an understanding of the terms used on sheet music, they will gain knowledge
in the Italian language; furthermore, as their knowledge continues they will
be exposed to French, Spanish, and German. This allows students to
understand the similarities between the English language and the various
10 Americans for the Arts. (2003). Quick facts and figures. Retrieved on December 9, 2003 from
www.americansforthearts.org/global/print.asp?id=1091
11 Yoh, W. H., Jr. (1996). Music education: The cornerstone to developing a well-rounded individual. Massachusetts
Music News, 45, 2.
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European languages. Yoh argues that it provides students with a stronger
vocabulary which will eventually improve standardized test scores. Music
also provides many important physical education functions. Through band,
orchestra, and chorus practices, students will learn teamwork and
cooperation. Additionally, motor skills and respiratory habits are improved
through a solid music education.12
Studying music allows students to express and focus many aspects of their
education – using symbols in new ways, discovering the power of
mathematics, finding personal creativity, using problem-solving skills,
expressing themselves, using self-discipline, working together to achieve a
common goal, and meeting challenges set before them.13 There are many
reasons why music should be included as a basic part of any curriculum.
Music teaches students about themselves, their peers, and other cultures,
and allows at-risk children an opportunity to learn skills applicable to other
subject areas. Studying music raises students’ levels of appreciation for the
Arts. Most significantly, music allows students to understand that not
everything in life can be quantified.14
An education in music provides introductions to and reinforcements of
critical thinking and problem solving skills inherent in other academic
subjects. These skills include the manipulation and analysis of symbols and
information, and teamwork and conflict resolution abilities necessary for
success in the workplace. Each of these skills is embedded into musical
instruction, as the mathematical undertones of music reinforce these
cognitive disciplines. Additionally, music provides basic skills such as handeye coordination, rhythm, tonality, attention span, and group cooperation. 15
Research has also shown that the brain takes a “musical” structure when
performing certain tasks related to learning.16
Integrating the Arts into Core Curriculum
An education in the Arts will only be successful if properly implemented. This
will happen with properly educated teachers, a student-focused curriculum
12 Yoh, W. H., Jr. (1996). Music education: The cornerstone to developing a well-rounded individual. Massachusetts
Music News, 45, 2.
13 Music Educators National Conference. (1991). Growing up complete: The imperative for music education: The
report of the National Commission on Music Education.
14 Ibid
15 Ibid
16 Ibid
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and community support. 17 Several examples of arts integration are provided
below.
At Coventry Elementary School in Cleveland Heights, Ohio, a smART team
was created for the task of integration.18 This team of five classroom
teachers of grades one through five teaches reading and writing through an
arts perspective. Students at Coventry visit the Cleveland Playhouse Square
Center, The Cleveland Museum of Art, and the Cleveland Orchestra instead
of completing text and workbook drills. This gives students a chance to
experience the Arts firsthand. Collaborating with the Arts teachers at
Coventry, students use music and art to re-emphasize skills taught in the
classroom. The results of this program include increased attendance,
decreased disciplinary problems, and higher scores on the 2001 Reading
Proficiency exam than the other students in the region.19
Through the help of the Annenberg Foundation’s Transforming Education
through the Arts Challenge (TETAC), Newton Baker School of Arts – a
kindergarten through fifth grade school – was able to continue their progress
of transforming core subjects into a disciplined arts curriculum. This
curriculum included art criticism, production, and aesthetics. By teaching
students about a work of art, they also learn about the author, the time
period in which the piece was created, and all other factors that influenced
it. Through this curriculum, Newton Baker is seeing higher test scores and
higher-level thinking achieved by their students. TETAC has served schools in
eight states, including Florida, Georgia, Louisiana, Nebraska, Ohio,
Tennessee, and Texas. The services TETAC provides include teacher
education and professional development, technical support, and
implementation of the Comprehensive Art Curriculum.20
The Annenberg challenge grant also supported Buck Lake Elementary School
in Tallahassee, Florida. The five-year program instructed students in the
vocabularies of the various art subjects and taught them how to analyze
artists’ points of view in their works. The grant funding ended in 2001;
however, Buck Lake paired up with the Florida State University Museum of
Fine Arts and showcased local artists who depict the North Florida
environment in their works. The teachers at Buck Lake designed a curriculum
to use the Arts to teach science concepts, and several nationally certified
members of the faculty conducted workshops about local artists in the
classroom. Five of these artists also came in to work with the children on
17 U.S. Department of Education. (2003). Summary statement: Education reform, standards, and the arts. Retrieved
on December 3, 2003 from http://www.ed.gov/pubs/ArtsStandards.html
18 Glass, R.S., & Nemeth, P. (2003). You gotta have art! American Teacher 87 (6), 10-18.
19 Ibid
20 Ibid
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projects such as a mural in the library. Both the students and the faculty
benefited from this experience, which inspired teachers and gave them
many new ideas to bring into their classrooms.21
Learning Through the Arts (LTTA) is a program that was created to fuse
together arts education with the core curriculum in Canada. Started by the
Royal Conservatory of Music, LTTA involves teaching academic subjects from
an artistic point of view. The premise of this program is that “the arts are
about experiencing the joy of creation and learning ways of expressing
thoughts, knowledge, and feelings beyond words alone. They teach us how
to make judgments in the absence of rules, that human purposes and goals
are best held with flexibility, and that some actions are self-justifying.”22
Studies were conducted with LTTA schools and two control schools with no
arts infused curriculum in place. Surveys and interviews were conducted with
students, teachers, artists, parents, and school administrators. All agreed that
being involved in LTTA clearly contributed to “engagement in learning”.23
Math tests that focused on computation and estimation showed an 11
percent difference between the sixth grade LTTA students and the two other
control schools involved in the study. The most important aspect of the LTTA
program was the motivation that it gave the children. Physical movement
made learning more enjoyable to the children. This included singing, acting,
and dancing. Additionally, 90 percent of LTTA teachers had a much more
comprehensive understanding of how to integrate arts education into core
curriculum subjects and had a larger appreciation of how their students
benefited from learning math, science, and language through the Arts.
Nearly 66 percent of LTTA teachers were able to cite specific examples of
how they confidently integrated the Arts curriculum into their teaching.
Principals at LTTA schools were also more likely to cite the Arts as ‘very
important.’24
Furthermore, even though lack of funding was listed as an issue at the
beginning of the program, funding issues became less of a barrier once the
principals and teachers became more comfortable with the arts-infused
curriculum and the Arts became a larger priority. Site coordinators were
responsible for watching over LTTA sites in their region and became the
central hub for communication between all parties. District superintendents
found both the LTTA program and the site coordinators to be instrumental in
bringing arts education to the area. Through the LTTA program, all
21 Glass, R.S., & Nemeth, P. (2003). You gotta have art! American Teacher 87 (6), 10-18.
22 Upitis, R. (2003). What is arts education good for? Education Canada, 43 (4) 24-27.
23 Ibid
24 Ibid
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participants experienced either a quantitative or ephemeral effect. Many
students and teachers noticed a change in their lives, including a brighter
outlook when they understood a concept taught through the arts-infused
curriculum. This study concluded that arts education does deserve a central
focus in schooling.25
Howard Gardner believes that instead of the traditional notion of
intelligence, that there are actually seven intelligences that exist to various
degrees in each person. These include logical-mathematical intelligence,
linguistic intelligence, spatial intelligence, musical intelligence, bodilykinesthetic intelligence, interpersonal intelligence, and intrapersonal
intelligence.26 The report maintains that the mainstream education system
tends to focus solely on the logical-mathematical and the linguistic
intelligences, though many students acquire knowledge through music.
Learning can be reinforced through the strategies provided by music,
including discovering previously unfulfilled abilities.27
Beverley Swann-Hudkins tested the theory of multiple intelligences by
implementing a fine arts program into a rural elementary school. The
purpose of this study was to test whether or not the arts program had a
positive impact on the students’ attitudes and perceptions toward school,
achievement, and motivation to learn.28 Through pre-testing and posttesting feedback, there was a statistically significant difference between
elementary students’ attitudes before and after they took part in the fine arts
program. Fifty-nine percent of students stated that they liked coming to
school prior to their participation in the program. After they completed the
program, 72 percent of students stated that they liked coming to school.
Seventy-eight percent of students said that they liked themselves prior to
being involved in the program, as opposed to 88 percent responding
positively after the influence of the fine arts. Eighty percent of students found
learning fun during pre-test surveys and 86 percent found learning fun during
post-test surveys. Although 72 percent of students responded that teachers
made school fun before participating in the arts program, 84 percent
responded positively during post-testing. Students’ perception of school
being a happy place increased from 66 to 78 percent after participation in
the fine arts program. Forty-three percent of students responded that they
liked talking in front of the class during post-testing compared to 14 percent
during pre-test questionnaires.29
25 Upitis, R. (2003). What is arts education good for? Education Canada, 43 (4) 24-27.
26 Gardner, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books.
27 Ibid
28 Swann-Hudkins, B. (2002). The effect of an elementary fine arts program on students’ attitudes and development.
Salem International University: West Virginia.
29 Ibid
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Arts Education Policy
Over the past ten years, the Arts have become a major focus in education
policy in the United States. The Improving America’s Schools Act of 1994
included the Arts as one of the core curriculum subject areas in both
elementary and secondary education.30 Additionally, this act cited the Arts
as a critical part of an “enriched and accelerated educational program,”
and found that each state should support a nationally standardized program
on all core curriculum subjects, including the Arts, for teachers.31
Additionally, Congress set forth an initiative in 2001 to incorporate the Arts
into the complete public education.32 The No Child Left Behind Initiative
reinforced the idea that the Arts were part of the core curriculum. However,
funding for the Arts is limited to grants distributed by the Secretary of
Education. These grants can be given to state and local educational
entities, colleges and universities, cultural institutions, and any other public or
private organization that the Secretary deems suitable.33
In 2001, Americans for the Arts presented a case to Congress urging support
of arts education in the public school system. Their case was based on the
premise that a complete education includes high-quality arts education in
the classroom along with community-based partnerships and programs.
According to Americans for the Arts, the federal commitment to education
must include the continuation of arts as a core curriculum subject, provision
of professional development opportunities for arts instructors, funds for afterschool arts programs, conduction of national assessments in arts programs,
and the support of educational partnerships between schools and
community arts and cultural centers.34
In response to this case, Congress made its recommendations to the
Department of Education. These recommendations included:
¾ Close the achievement gap – use arts education to strengthen the
learning environment for every student across socioeconomic statuses;
¾ Establish/Increase High standards – provide support for local, state,
and national partnerships to promote educational standards and
strategies in the Arts;
30 U.S. Congress. (1994). Improving America’s Schools Act of 1994.
31 Ibid
32 Americans for the Arts. (2001). 2001: Arts education through the U.S. Department of Education. Retrieved on
January 15, 2004 from www.americansforthearts.org/global/print.asp?id=310
33 U.S. Department of Education. (2003). No Child Left Behind initiative. Retrieved on December 3, 2003 from
www.ed.gov/print/policy/elsec/leg/esea02/pg80.html and www.ed.gov/print/policy/elsec/leg/esea02/pg107.html
34 Americans for the Arts. (2001). 2001: Arts education through the U.S. Department of Education. Retrieved on
January 15, 2004 from www.americansforthearts.org/global/print.asp?id=310
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¾ Accountability – States should have the opportunity to use federal
funding to assess arts education programs. Additionally, Congress
should promote regular assessment of arts education programs in the
fourth, eighth, and twelfth grades;
¾ Teacher Quality – Schools must equip teachers with the necessary tools
in order to lead students to meet high state and national standards,
and Congress should support pre-service and professional
development opportunities for arts educators;
¾ Model Programs – Government support of arts education programs
including model centers such as the Kennedy Center and Very Special
Arts should be established, as well as the creation of initiatives toward
the improvement of arts education;
¾ Improvement of Literacy – Promote the link between arts education
programs and literacy and encourage schools to use arts education as
a tool for improving skills in reading, writing, listening, and viewing;
¾ Safe Schools for the 21st Century – The promotion of partnerships
between community arts organizations and schools, students will be
provided with a safe place to encourage and foster their arts
capabilities; additionally, support programs that use the Arts as an
alternative to violence and drugs;
¾ Technology – Continue to promote partnerships between schools and
local, state, and national arts organizations to provide arts education
to rural and urban areas, along with providing technological and
professional development to both teachers and administration.35
The U.S. Department of Education expects that all students upon high school
graduation can demonstrate competence in four disciplines of the Arts –
dance, music, theatre, and the visual arts. Students work from elementary
school to achieve comprehensive competence in order to demonstrate their
knowledge and skills. This may be done through performance, analysis and
perception, cultural relevance, and appreciation. Additionally, students
must understand that the individual elements are co-dependent and can be
combined to achieve specific analytical and aesthetic goals. Furthermore,
as students continue in their arts education, their appreciation will increase
and their sense of accomplishment will become more apparent. In order to
achieve this competence and appreciation for the Arts, the Department of
Education has initiated four standards to achieve upon completion of high
school. They include:
¾ Basic communication in four areas of the Arts disciplines. This includes
understanding applicable vocabulary, methodology, tools, materials,
and technology;
35 Americans for the Arts. (2001). 2001: Arts education through the U.S. Department of Education. Retrieved on
January 15, 2004 from www.americansforthearts.org/global/print.asp?id=310
- 15 -
¾ Proficient communication in at least one art form. Students must be
able to define and solve artistic problems through analysis, reason, and
proficiency;
¾ Development and presentation of basic analyses of works of art. These
analyses must contain historical, structural, and cultural perspectives.
Students must know how to evaluate works from the various arts
disciplines;
¾ Informed acquaintance with exemplary works of art from various
cultures and historical periods, including a basic understanding of
historical and cultural relevance throughout these pieces both crossculturally and internally.36
According to the U.S. Department of Education, standards in arts education
are essential for two important reasons – making education that has
previously been deemed optional a core subject area and determining what
a good arts education should provide. These standards are concerned with
educational results, not the methodology in which they are conducted.
Therefore, state and local agencies have been given the framework by
which to construct their curriculum, but it is ultimately their decision as to how
to conduct their arts education.
As of July 2003, one credit hour of fine arts or practical arts is required for a
traditional four-year 24 credit hour high school diploma in the state of
Florida.37 If a student chooses to take a one-half credit class in the
performing arts and a one-half credit class in practical arts career or
technical education, that satisfies the arts requirements as well. However, if
a student chooses to graduate in three years only receiving eighteen hours
of high school credit, an arts credit is not required. In order for a teacher to
be licensed in the Arts, they are required to complete thirty hours of content –
art, music, dance, and theater, and twenty hours of professional education
classes. The teacher must also have a bachelor’s degree. In addition,
teachers receiving general arts education degrees must take both Methods
of Teaching Art in Elementary School and Methods of Teaching Music in
Elementary School. There is no arts requirement in order to complete
professional development.
According to Florida Governor Jeb Bush, education in the Arts should be one
of the highest priorities in classroom instruction. Arts education standards are
mandated for all students with access to instruction; individual school districts
36 U.S. Department of Education. (2003). Summary statement: Education reform, standards, and the arts. Retrieved
on December 3, 2003 from http://www.ed.gov/pubs/ArtsStandards.html
37 Florida Department of Education. (2003). Graduation options: Fact sheet for districts. Retrieved on January 19,
2004 from http://www.firn.edu/doe/commhome/newgrad/3fact.pdf
- 16 -
have the responsibility to ensure students are progressing and meeting
standards. Currently, Florida is establishing expectations for individual grade
levels for art and music in elementary schools and aligning secondary school
courses with Sunshine State Standards for the Arts.38
Assessment in the Arts
In 1997, the National Assessment of Educational Progress (NAEP) conducted
a national assessment in the areas of visual art, music, and theatre for the
eighth grade. Originally dance was another genre to be assessed, but a
statistically-relevant sample could not be found in order to conduct the
assessment. Due to budget constraints, other middle school grades were
unable to be assessed. The framework for this assessment contained three
functions – creating an original work of art, performing an existing work, and
responding to and analyzing works of art. Examples of these included
theatrical improvisation, singing and creating music, written evaluation of
student’s own work, and multiple-choice and constructive-response
questions that tested students’ analytical, interpretive, and evaluator skills.39
Representative samples of students attending both public and private
schools were taken. Only students who had accumulated 30 hours of inschool theatre classes at the end of the 1996 school year were allowed to
take the assessment.40
The major findings for each individual subject area varied. In music, most
students were able to correctly identify the proper function for various genres
of music and convey their decisions in writing. Additionally, they showed skills
in critiquing simple music performances and identifying performance errors.
However, students showed a limited capacity to create music. Many
students successfully performed rhythmic melodies; few students were able
to sing pitches correctly at a tone quality acceptable in many of the musical
sections. In theatre, many students were able to convey the emotions
implied by the actors, but they were unable to explain how actors used their
faces, bodies, and voices to bring these emotions and characters to life.
Students were able to present some knowledge of the technical areas of
theatre including lighting and ground plans. Many students were able to use
theatrical improvisation at least some of the time, but only a few were able
to convey appropriate general meaning. Very few were able to use
improvisation or convey meaning all the time. Only some visual arts students
38 The Arts Education Partnership. (2004). Arts Education Partnership policy database. Retrieved on January 15, 2004
from www.aep-arts.org/policysearch/searchengine/searchresults.cfm
39 U.S. Department of Education. (1999). Arts education NAEP 1997 report card executive summary.
40 Ibid
- 17 -
were able to analyze aspects of artwork. Many students were able to
identify contemporary artwork, but only some were able to place artwork in
its appropriate historical timeframe. Many students had trouble describing
the meaning of artwork in words. However, many students were able to
show some creative ability in creating two-dimensional artworks, including
collage designs.41
Creating three-dimensional artworks was challenging, and students were
unable to completely convey a specific meaning or interpretation.
Nationwide findings showed that a large percentage of students in both
visual arts and music were taught by either full time or part time specialists in
their field. Theatre and dance instruction by specialists was uncommon.
Additionally, district and state curriculum standards were more prevalent in
music and visual arts, but not in theatre and dance. Furthermore, visual arts,
music, and, when available, theatre classes were usually held in buildings
specific to that genre. However, dance classes were usually held in
gymnasiums. Female students consistently outperformed their male
counterparts, and higher levels of parental education were positively
correlated with higher levels of student performance.42 The Arts are
scheduled to be assessed on a funds available basis. Currently the arts
assessment is not scheduled again until 2008.43
Arts Education Organizations and Partnerships
There are many organizations that are involved with and provide examples
for partnerships with art related programs. They consist of schools, non-profit
agencies, recreation departments, churches, community associations, and
public housing authorities. Further, after-school programs are being held in
one-third of schools in low-income neighborhoods, either run directly by the
school or through other organizations who host the programs in-house. There
are also many support organizations that license agencies and provide
resource and referral information. Many cultural institutions also provide onsite programming for a nominal fee.
The Arts Education Partnership (AEP), a national coalition of arts and cultural
organizations, schools and administrations, businesses, government, and
philanthropies, promotes the essential role of arts education to improve
America’s schools. Founded in 1995, it has become the central forum for
41 U.S. Department of Education. (1999). Arts education NAEP 1997 report card executive summary.
42 Ibid
43 Ibid
- 18 -
transforming public education. There are four interrelated goals that the
partnership wants to reach throughout 2004-2006:
¾ Expansion of the commitment and resources for quality arts education
in schools through partnerships with the community arts and cultural
organizations is considered a main priority;
¾ The AEP is dedicated to increasing the quantity and quality of learning
experiences students receive in order to meet and exceed standards
of performing, responding to, and creating the Arts;
¾ Strengthening both in-house and community-provided in-school and
after school arts programs is essential to the success of students in the
Arts;
¾ Building a stronger infrastructure of arts education by increasing the
number of local and state partnerships with arts education – and
additionally with the AEP – will support the impact of arts education in
our schools. In order to accomplish these goals, the partnership serves
as a forum for “collective action in support of arts education.”44
AEP identifies and provides information about successful arts education
partnerships. It supports research identifying the effects of the Arts in
education, and provides data on the status of arts education in schools
throughout the nation. It also provides messages on the implications and
importance of the Arts on a complete education for students. In order to
judge their success, the partnership looks at the commitments by policy
makers and philanthropic organizations to recognize the importance of arts
education in the lives of students. They also look at the accomplishments
that strengthen the infrastructure to make the Arts a central part of a holistic
education, and evidentiary support that educational standards are being
met through the integration and fusing of the Arts into a school’s curriculum.45
The Public Art Network (PAN), an Americans for the Arts program, was formed
in 2000 as a national service program. Its purpose is to provide services to the
public art field and develop strategies to use public art to improve
communities. PAN has a commitment consisting of the provision and
development of resources and tools for public art, the advocacy of public
art programs, the expanded participation of the public art field, and the
fostering of knowledge and understanding of the diversity of which public art
consists. Additionally, PAN provides a forum through which colleagues can
network, research, and learn through one another. This can be done
through either the PAN listserv or facilitator. PAN has many constituents
44 Arts Education Partnership. (2002). Arts Education Partnership strategic plan 2004-2006. Retrieved on January 19,
2004 from www.aep-arts.org
45 Arts Education Partnership. (2002). Arts Education Partnership strategic plan 2004-2006. Retrieved on January 19,
2004 from www.aep-arts.org
- 19 -
including public art and design professionals, visual artists, and communities
and organizations hosting various art programs.46
Creative Communities is an organization that partners community schools of
the Arts with neighborhood public housing facilities in order to offer arts
education, youth development, and community building.47 It is the
establishment of a cooperative partnership between the National Guild, the
National Endowment for the Arts, and the U.S. Department of Housing and
Urban Development. Its mission is to improve the quality of life for children
and youth living in public housing by expanding access to arts instruction in
the visual, literary, and performing arts. Currently there are twenty sites
throughout the nation that, through a competitive application process,
receive a three-year $135,000 grant to implement the program.
In return for receipt of this grant, partnership sites are required to do the
following:
¾ Provide free instruction by qualified instructors to interested youth;
¾ Match at least 25 percent of the grant received;
¾ Create planning strategies with local housing agencies, social service
organizations, and other community arts organizations;
¾ Provide professional development for all participating staff and artists.48
Through this program, it is expected that students will have stronger arts skills
through a safe haven provided within public housing. This will be provided by
the development of an experienced staff, improved relations with state and
local arts organizations, and the creation of new community partnerships.
The quality of life for public housing residents is expected to improve through
the implementation of the program model. Currently, there are over 5,000
children and youth participating in the arts instruction programs, and 40
housing communities will be involved in the creative communities
partnerships.
Some of the sites serviced by the creative communities partnerships include:
¾ In New York City, the Children’s Art Carnival offers arts instruction at the
Manhattanville Community Center through a partnership with the New
York City Housing Authority;
¾ The Cleveland Public Theatre, in collaboration with the Cuyahoga
Metropolitan Housing Authority, is expanding its Brick City Theatre into
two housing communities; through this, students are participating in
dance, poetry, acting, voice, set design, and costuming classes;
46 Americans for the Arts. (2003). Public Art Network template email. Retrieved on December 12, 2003 from
www.americansforthearts.org/pan
47 Creative Communities. (2003). Mission. Retrieved on December 3, 2003 from
www.creativecommunitiesonline.org/mission.html
48 Ibid
- 20 -
¾ The Memphis Black Arts Alliance offers both case management
services and a multidisciplinary arts education through a partnership
with the Memphis Housing Authority;
¾ The City Arts Center in Oklahoma City, Oklahoma, is improving its
existing class offerings at public housing communities and offering
after-school intermediate arts classes in photography, ceramics,
weaving, and drama.49
The National Endowment for the Arts/Youth Opportunity Arts Partnership (YO!)
was established in 2000 through a cooperative agreement among the
National Endowment for the Arts, the National Guild of Community Schools of
the Arts, and the United States Department of Labor. YO! activities take
place at selected Youth Opportunity Community Centers, serving individuals
aged 14-21, in order to strengthen the quality of the arts programs that they
provide. The National Guild of Community Schools of the Arts facilitates bimonthly telephone conferences that will provide the leaders of the arts
programs to discuss program challenges, share successful practices, and
review changes that were made in order to better serve the program.
Furthermore, they provide each YO! site with a community arts mentor. They
also provide a listserv containing beneficial websites to notify sites of facility
opportunities, along with press releases, a web page, newsletter, and
national and regional conferences.
Each NEA/YO! Center provides different arts educational opportunities for
the youth that participate, including:
¾ Milwaukee is currently re-organizing their structure, although they have
been running successful programs for the past three years. Participants
in the YO! program can intern with Strive Media and they are actively
involved with both the Milwaukee Symphony Orchestra and the
Performing Arts Center;
¾ The San Diego site runs various programs such as: Teen Producers
Project and Art Now Voices Project. Additionally, they have a strong
partnership with the Lyceum Theatre. However, they still struggle with
securing city support and funding;
¾ The Memphis YO! site has the most established youth programs,
including a community-supported choir and a video production
program with its own Cable Access TV show. Additionally, they are
planning to build a theatre and produce a short film;
¾ YO! participants in Los Angeles earn high school credits toward
admission at California State University, Los Angeles by participating in
the Los Angeles Shakespearean program. Thirty youth are hired for
49 Creative Communities. (2003). Sites. Retrieved on December 3, 2003 from
www.creativecommunitiesonline.org/sites.html
- 21 -
seven weeks, collaborate with local artists who they are paired with,
and adapt and produce Shakespearean plays to make them
applicable to today’s society.50
VH1, a cable music network, is dedicated to ensuring that all students
receive a quality music education. The VH1 Save the Music foundation is
working to restore music programs to schools that have had their programs
abolished due to budget cuts or financial constraints. They accomplish this
by implementing the beginnings of a new music program and ensuring that
the music program is incorporated into the regular curriculum and a qualified
teacher is hired.51 These music programs may include band, string, guitar, or
keyboard lab programs. The foundation works with its partners in order to
determine which cities will participate in the program each year. After
selecting participating cities, the foundation collaborates with the local
cable systems, public school districts, and administrations to begin restoring
instrumental programs to schools where they no longer exist. Additionally,
the foundation focuses on raising awareness of the positive impact that
music education has on students. This is done through advocacy,
fundraisers, and instrument drives. Local non-profit organizations have the
opportunity to get involved as supporters of community campaigns.52 Since
its creation in 1997, the VH1 Save the Music Foundation has donated more
than $25 million in musical instruments to 1,000 public schools in 80 cities,
reaching over 500,000 children.53
Funding Opportunities for Arts Programs
The Arts for a Complete Education/Florida Alliance for Arts Education
(ACE/FAAE) provides funds to match grants provided by the Department of
Education. Additionally, ACE/FAAE provides grant and scholarship funding,
which impacts over 125,000 students annually. Through programs, resources,
and outreach, ACE/FAAE serves a statewide community of coalition
members, teachers, arts educators, and arts agencies. ACE/FAAE seeks to
identify needs and opportunities in arts education and provides teacher
recognition and development programs. There are various programs
provided by ACE/FAAE. The First Lady’s Art Recognition Program conducts
site visits throughout the state to successful arts education programs and
50 Sousa, S. (2003). YO! Site Summaries. Received in correspondence from the National Guild of Community Schools
of the Arts on December 10, 2003.
51 Video Hits 1. (2003). Save the music: Who we are: FAQs. Retrieved on December 10, 2003 from
http://www.vh1.com/partners/save_the_music/who_we_are/faq.html
52 Ibid
53 Video Hits 1. (2003). Save the music: Who we are. Retrieved on December 10, 2003 from
http://www.vh1.com/partners/save_the_music/who_we_are/index.html
- 22 -
awards scholarships. Grants are provided to facilitate arts education
programs through the Teacher Incentive Grant Program. Over $70,000 is
awarded yearly to both teachers and students in scholarship competitions.54
The Cultural Council of Greater Jacksonville is providing the 2004 Florida
“State of the Arts” License Plate Grant Program to Duval County non-profit
organizations in an effort to broaden its support for arts and culturally based
programs. The funding for this grant is provided through the sale of the
Florida “State of the Arts” license plates in Duval County. The grant award
amount is a $1,000 lump sum, with no matching requirements. This grant is
only awarded to designated non-profit 501(c)(3) organizations in Duval
County that do not receive Cultural Services Grant Funding through the
Cultural Council; however, the Arts Education Enrichment Grant Program is
provided for schools and is also funded through the “State of the Arts” license
plate sales. Funds must be used for programs that are artistic and cultural in
nature. This includes the following disciplines: historic preservation and
restoration; educational arts; music; dance; folk arts; humanities; literature;
film, video, and media; theatre and musical theater; visual arts; and the
collection and exhibition of historical, archaeological, scientific, or ethnic
artifacts.55
The Department of State Division of Cultural Affairs provides various grants for
cultural and artistic purposes. Some of their grants include:
¾ The International Cultural Exchange designated to the establishment
and promoting of Florida Arts abroad; grants provided to local arts
agencies;
¾ Arts in Education, available to both school and community based
programs involved in the development of art education;
¾ Underserved Arts Communities Program, devoted to arts organizations
located in an underserved community and seeking funding, salary
assistance, organizational development, or consultancy;
¾ Challenge Grant Program, offered to organizations embarking on
unique and innovative projects;
¾ The Cultural Supports Grant Program for organizations presenting or
producing cultural and artistic programs as part of the regular
curriculum;
¾ The State Touring Program, available to organizations interested in
presenting live performances by Florida’s performing and visual artists;
54 Florida Alliance for Arts Education. (2004). Arts for a Complete Education. Retrieved on December 12, 2003 from
www.nfaa.org/affiliates/faae.htm
55 Cultural Council of Greater Jacksonville. (2004). Grant guidelines. Retrieved on January 22, 2004 from
http://www.culturalcouncil.org/grants.html#anchor-Florida-20825
- 23 -
¾ The Cultural Endowment Program for organizations that are creating or
building on existing endowments.56
The Division also provides a grants wizard available on their website in order
to determine what grants for which an organization is eligible. Additionally
the Division of Historical Resources provides grants for historical preservation
and museums.57
Economic Impact of the Arts58
Museums, theaters, galleries, historic sites, and zoos in any given city enhance
the lives of residents by offering entertainment and recreation, as well as
providing educational opportunities. However, these facilities and the quality
of life enrichment they provide do not stop there, as they help their city grow
in many other ways.
Beyond attracting businesses and tourists, and improving the economic
status of downtown areas, the Arts have a very direct impact on the
economy of an area based on the number of jobs they create. The Arts tend
to be labor intensive, requiring many full and part-time employees and
volunteers. Depending upon the organization, performers, administrators,
laborers, artists, and outside contractors may be employed. Over 250
separate occupations are dependent on the Arts.59 It is estimated that one
percent of all full-time jobs in the U.S. are in the non-profit arts sector, and if
the larger arts and entertainment complex industries are included in this
estimate, the number increases to 3.2 million jobs, or 2.7 percent of the
American workforce.60 Much of the money paid out as employee salaries is
re-spent in the local economy.
Arts organizations also stimulate the economy through local purchases that
are part of their operating expenses. For instance, an arts organization may
need to rent space or equipment, pay for maintenance work on its property,
and pay for supplies and materials. In a national study of the economic
impact of the Arts, 84.3 percent of expenditures by arts organizations were
56 State of Florida: Division of Cultural Affairs. (2003). Grants wizard. Retrieved on December 11, 2003 from
http://www.florida-arts.org/grants/GrantWizard.htm
57 State of Florida: Division of Historical Resources. (2003). Grants list. Retrieved on December 11, 2003 from
www.research.ucf.edu/spon_research/fundopps/nov2003/fl_deadlines.htm
58 Will, J.A., Cheney, T.J., & Brown, T.M. (2004) Economic impact of the arts in Jacksonville. University of North Florida:
Jacksonville, FL.
59 Cameron, B. (2000). A letter to the President. American Theatre, 17, 4.
60 Neiman, J. (1994). Jobs, the arts, and the economy: The Arts are a sound investment. Public Management,
September, 13-18.
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local.61 This suggests that income generated by arts organizations is
generally spent again within the area, impacting the cities in which the
organizations are based.
It is important to note that spending on salaries and operating expenses by
arts organizations infuses money into the local economy in a sustained
manner that short-term events cannot replicate. Once-a-year events, such
as a golf tournament or college football bowl game, have strong, but quickly
diminishing effects on a local economy. These events have the greatest
impact soon after the event ends and do not provide a “permanently higher
stimulus for the economy”62 as year-round activities do. Arts organizations
provide salaries throughout the year, spend money locally on rent and
operating expenses at regular intervals, and make capital purchases from
local businesses. These on-going expenditures provide a continuing boost to
the economy.63
Clearly, the Arts have a substantial economic impact through the taxes they
pay and the expenditures they make as well as through their ability to create
jobs and attract business to an area. This economic impact becomes even
more significant when the “multiplier,” a concept frequently used in
economic impact evaluations, is applied. According to the multiplier
concept, there are both direct and indirect economic impacts of money
spent locally. Money spent by the Arts on expenses such as wages, rent, and
purchases of goods and services constitutes a direct economic impact.
However, this money is continuously redistributed in the local economy. If an
arts organization spends $100 on an employee’s salary, for example, he or
she may spend some of that money locally on items such as groceries. The
grocery store may spend a portion of that money to pay its cashier, who uses
it to pay rent or utilities.64 The average dollar turns over seven to eight times
per year.65 This re-spending of money in the local economy is the indirect
economic impact. As money is re-spent in the area, it actually multiplies in
value,66 with most of the multiplier effect felt within 12-18 months from initial
61 Neiman, J. (1994). Jobs, the arts, and the economy: The Arts are a sound investment. Public Management,
September, 13-18.
62 Perry, J. M. (1990). The economic impact of a National Football League team on the Northeast Florida
economy.
63 Perry, J. M., & Woods, L. A. (1998). The economic impact of the Museum of Science and History on the
Jacksonville MSA.
64 Neiman, J. (1994). Jobs, the arts, and the economy: The Arts are a sound investment. Public Management,
September, 13-18.
65 Perry, J. M., & Woods, L. A. (1998). The economic impact of the Museum of Science and History on the
Jacksonville MSA.
66 Ibid
- 25 -
expenditure.67 Money that is not directly spent is said to “leak” into the larger
economy through savings, taxes, imports, and purchases made outside the
area.68 The multiplier concept combines both direct and indirect impacts.
Because the capital is spent and re-spent within the local economy, the local
economy grows, and a ripple effect is created. The greatest impact occurs
when leakage rates are low and money is continuously re-spent locally.
These leakage rates vary from region to region and depend on the type of
business generating the original funds.
On the national level, a study recently released by the Americans for the Arts
stated that America’s non-profit arts industry generated $134 billion in
economic activity during 2000, including $53.2 billion in spending by nonprofit arts organizations and $80.8 billion in event-related spending by arts
audiences across the nation.69 In the past, there has been a common
misconception that support for the Arts comes at the expense of the
economic development in an area.70 For this reason, public funding of the
Arts has been at times controversial and often given low priority. This study
suggests that funding an area’s cultural resources is an investment rather
than a giveaway or a gift.
History of Arts Education by Dianne C. Dawood
History of art education in the United States
Concern for the quality of public education in the United States was first
raised in the post-Sputnik 1950s and interest in restoring excellence in
teaching was triggered by rising economic competition in world markets.71
With the support of substantial federal funding, curriculum reform in science
and math was soon launched; however, there was no comparable funding
for curriculum development in the Arts. In the 1980s the National Art
Education Association commissioned a report, Excellence in Art Education:
Ideas and Initiatives by R.A. Smith, which recommended that the teaching of
art should be approached as one of the liberal arts.72
67 Perry, J. M. (1990). The economic impact of a National Football League team on the Northeast Florida
economy.
68 Perry, J. M., & Woods, L. A. (1998). The economic impact of the Museum of Science and History on the
Jacksonville MSA.
69 Arts and Economic Prosperity. (2003). Americans for the Arts.
70 Neiman, J. (1994). Jobs, the arts, and the economy: The Arts are a sound investment. Public Management,
September, 13-18.
71 Efland, A. D. (1990). A history of art education: intellectual and social currents in teaching the visual arts. New
York: Teachers College Press.
72 Ibid
- 26 -
Embracing John Mill’s theory of responsibility for acting in the public good,73
the government of the United States by the Civil Rights Act of 1964 assured
equal opportunity in public school programs (i.e., a level and quality of
programs and experiences that provide each child with the means to
achieve the standard of an educated citizen). During the late 1960s and
early 1970s, an increasing number of educators, parents, lawmakers, and
others began to require that schools become more accountable for the
public funds they were utilizing and nationwide public education reform was
begun.
The National Standards
Congress, the U.S. Department of Education, and other national groups
called for high quality education in the schools as part of Goals 2000:
Educate America. It set benchmarks for what all students were to achieve in
basic subjects that included the Arts.74 The federal law acknowledged that
the Arts are a core subject, as important to education as English,
mathematics, history, civics and government, geography, science, and
foreign language.75 But inclusion of all the Arts disciplines and the decision of
curriculum to be included were left to the individual state education
departments.
HISTORICAL DOCUMENTATION
Introduction
Theatreworks was organized in Jacksonville, Florida in 1977 to “fill a need for
live educational theatre for young people in the community.”76
Incorporation came two years later in 1979. While initial offerings were
limited, substantial growth within Theatreworks has been seen over the last
decade and a half. New show offerings have been expanded, new
performance locations established, and many more audience members
served.
73 Denise, T.C., White, N.P. & Peterfreund, S.P. (2002). (10th Ed.). Great traditions in ethics. Belmont, CA.: Wadsworth
74 U.S. Congress (1994). Goals 2000: Educate America act.
75 Henry, C. (Chair). (1999). Standards for art teacher preparation National Art Education Association. Reston, VA.:
National Art Education Association
76 Theatreworks historical documentation.
- 27 -
Mission
The mission of Theatreworks reads, “To enrich the lives of all First Coast
children by presenting to them quality theatre and the arts.” 77 Theatreworks
literature shows that in order to reach this mission a two-pronged approach
has been used in the past. First, Theatreworks looks to serve all children,
regardless of socio-economic status. Efforts are made to include not only the
children of privilege, but also the disadvantaged, underserved populations in
the Northeast Florida area who may often have a lack of exposure to quality,
educational theatre. Secondly, Theatreworks strives to provide affordable,
nationally recognized programming that is culturally-relevant, artistically
appealing, and educational for their target audience.
Programs
In an effort to fully reach their target audience, Theatreworks currently utilizes
five separate program series: 1) School Field Trip Theatre Series, 2) In-School
On-the-Road Theatre Series, 3) Super Sunday Family Series, 4) Free Summer
Theatre, and 5) Workshops. The first of these programs is the School Field Trip
Theatre Series which features productions of various theatre acts at locations
in Jacksonville, St. Augustine , Live Oak, and Gainesville. Children attending
these shows are able to see quality theatre in a performance hall setting.
Another program is the In-School On-the-Road Theatre Series that puts on
productions at local schools, allowing the schools to save the transportation
expense of a traditional field trip. This program was started because budget
cuts resulted in a reduction in field trip funding. To better serve families, the
Super Sunday Family Series was developed in 1986. This series puts on familyfriendly shows on several Sunday afternoons during the year, allowing families
to spend a quality afternoon together at the theatre. The series is underwritten by corporations and local companies allowing the cost of the shows
for families to remain low.
In 1997, Theatreworks and the Cultural Council of Greater Jacksonville began
the Free Summer Theatre which puts on several showings of a production
each summer that are free and open to the public, previous productions
have included Freedom Train and Charlotte’s Web. In 2003, Theatreworks
took over sole responsibility for the Free Summer Theatre program.
Theatreworks also conducts workshops throughout the year to give
educators the support and resources necessary to use theatre to bolster the
education process in their classrooms.
77 Theatreworks historical documentation.
- 28 -
Facilities
When Theatreworks began presenting programs in 1979, it used the small
Civic Auditorium in Jacksonville and various local school auditoriums. In 1982
the newly renovated Florida Theatre opened its doors in Downtown
Jacksonville and Theatreworks moved their programs into the historic
building. The 1,914 seat theatre has been home to numerous Theatreworks
programs each year ever since. Theatreworks also uses several other local
venues to reach more of their target audience. As they have throughout
their history, Theatreworks also continues to utilize school auditoriums for InSchool performances.
Table 1: Theatreworks Venues as of 2004
Venue
Seating Capacity
Jim and Jan Moran Theatre – Times Union Center
3,000
The Florida Theatre
1,914
Robert E. Jacoby Symphony Hall – Times Union
Center
Gainesville Center for the Performing Arts
1,800
University of North Florida Fine Arts Center – Lazarra
Performance Hall
Kirk Auditorium – The Florida School for the Deaf
and Blind - St. Augustine
C. Herman and Mary Virginia Terry Theater – Times
Union Center
Nathan H. Wilson Center for the Arts
1,400
1,754
873
600
500
Edward Waters College Theater
400
Jacksonville University Theatre – Terry Concert Hall
400
Spirit of the Suwannee Music Park – Live Oak
400
The Ritz Theatre - LaVilla
400
Baptist Hospital Auditorium
350
Modis Building Auditorium
300
- 29 -
Attendance
Total Attendance History
Exact attendance figures were not compiled for Theatreworks until the 20002001 season. For the decade previous to that season, estimates were made
regarding attendance. These estimates place the attendance for all
Theatreworks series’ at 82,500 for the 1991-1992 campaign. Attendance
figures grew to an estimated 106,500 during 1996-1997. The implementation
of an advanced computed based ticketing service in 2000-2001 led to more
precise numbers. For 2002-2003, attendance was up to 119,985, the highest
total in the history of the organization.
Theatreworks Attendence 1991/1992-2002/2003
140,000
119,985
120,000
Persons Attending
106,500
100,000
82,500
1991-1992
80,000
1996-1997
60,000
2002-2003
40,000
20,000
0
1991-1992
1996-1997
2002-2003
Seasons
Attendance by Race
Theatreworks has stated a goal of reaching a diverse population through
their many productions and multiple series. Progress was made during the
period between the 1991-1992 and 2002-2003 seasons in the effort to diversify
- 30 -
the audience. In 1991-1992 the Caucasian and African-American
populations made up 57 percent and 37 percent of the Theatreworks
audience respectively. By the 2002-2003 season, these figures had moved to
48 percent for Caucasians and 43 percent for African-Americans. Other
groups, such as Hispanics, Asians, and Native Americans have consistently
rounded out the total with small percentages.
Theatreworks Attendance by Race, 1991/1992-2002/2003
Percentage of Audience Members
60%
50%
40%
Caucasian
30%
African-American
20%
10%
0%
1991-1992
2002-2003
Attendance by Program 2002-2003
For the 2002-2003 season Theatreworks had a total attendance of 119,985
individuals within their programs and productions. Five separate categories
of events led to this total figure. The School Field Trip Theatre Series was
attended by 49,597 children and adults, making up 41.3 percent of the total.
The In-School On-the-Road Theatre Series was seen by 47,250 persons, which
accounted for 39.4 percent of the total. The annual Free Summer Theatre
drew 15,254 audience members during the course of its multiple
performances, or 12.7 percent of Theatreworks patrons in 2002-2003. Five
thousand-four hundred people attended the Super Sunday Family Series, 4.5
percent of the total. Workshops presented by Theatreworks were able to
reach 2,484 people or 2.1 percent of the total.
- 31 -
Table 2: Theatreworks Attendance by Program, 2002-2003
Number of
Percentage of
Persons
Total
School Field Trip Series
49,597
41.3%
In-School On-the-Road
47,250
39.4%
Theatre
Free Summer Theatre
15,254
12.7%
Super Sunday Family
5,400
4.5%
Series
Workshops
2,484
2.1%
Total
119,985
100.0%
Free Admissions for 2002-2003
In conjunction with the Theatreworks mission to provide quality theatre for all
persons regardless of income, 45,274 individuals were able to enjoy
Theatreworks events at no charge during 2002-2003. This number represents
37.7 percent of the persons attending any Theatreworks event. Sponsorships
from corporations and local companies and grants from foundations
provided the funding to allow these persons the opportunity to attend free of
charge.
Community Support
Theatreworks has been able to obtain solid support from local individuals and
organizations. For the 2003-2004 season there are no less than 60 different
corporations, foundations, and individuals providing contributions for
Theatreworks presentations. In an effort to become even more financially
sound, Theatreworks has launched its first ever fundraising campaign during
2003-2004. They will look to use their level of community support to build a
permanent source of funding. The community as a whole has also
embraced the idea of Theatreworks as is evident by their levels of
attendance.
THE 2003-2004 SEASON
The 2003-2004 Theatreworks season included several shows both in the local
theatre program (In-Theatre), where the kids are brought to the theatre, and
the in school program (In-School), where the productions are brought to the
school. Both programs were highly attended as seen in Table 3. A total of 80
- 32 -
different schools participated in the 2003-2004 season: 59 for In-Theatre only,
10 for In-School only, and 11 for both In-Theatre and In-School.
Table 3: Theatreworks Attendance by Program, 2003-2004
Productions
In-Theatre
In-School
14
9
Performances
34
21
Total
Students
23,937
9,450
Average Students
per Performance
704
450
There were 14 In-Theatre productions accounting for 34 individual
performances. The In-Theatre calendar of shows lasted from October
through April and averaged two productions per month. The In-Theatre
shows ran the gamut of theatre styles from professional children’s theatre to
one-man educational performances to Theatreworks’ collaboration with the
Jacksonville Historical Society on The Jacksonville Fire, a series of
monologues. Theatreworks also offered nine various In-School performances
ranging from one-person educational shows to full-scale musicals. These
shows were available to schools at various times beginning in late September
2003 and continuing until early April 2004. All shows, both In-Theatre and InSchool, were targeted to specific grade levels and the productions were
chosen so that there would be multiple options throughout the year for all
ages. A list of all productions can be found in Appendix A.
School FCAT Grades
“The Florida Comprehensive Assessment Test (FCAT) is part of Florida’s
effort to improve the teaching and learning of higher educational
standards. The primary purpose of the FCAT is to assess student
achievement of the high-order cognitive skills represented in the
Sunshine State Standards (SSS) in Reading, Writing, Mathematics, and
Science.” 78
As part of its mission to enrich the lives of the children they serve,
Theatreworks is concerned with getting students exposed to the Arts in a way
that will help them score well on the FCAT test. As one can see from the
season production publication From Page to Stage, each show notes what
FCAT areas are connected during the show. For instance, the production of
78 Florida Department of Education. (2004). Florida Comprehenisve Assessment Test. Retrieved on November 15,
2004 from www.firn.edu/doe/sas/fcat.htm
- 33 -
First in Flight: The Wright Brothers addressed the FCAT areas of social studies,
language arts, theatre, music, American history, and the reading list.
An attempt to measure the effectiveness of Theatreworks productions on the
FCAT grades for a school was beyond the scope of the research presented
here. However, with an examination of FCAT grades for Jacksonville public
schools and how many of those schools either participated in In-Theatre or InSchool productions, one can get an idea about Theatreworks commitment
level to the schools.79 FCAT data for 2003 is displayed as it most appropriate
for where shows were presented for the 2003-2004 season. As Table 4 shows,
47 percent of schools received a grade of ‘C’ or lower. Only 38 percent of
schools with a ‘C’ or lower attended an In-Theatre production. However, 62
percent of schools with a ‘C’ or lower had a production brought directly into
their school.
Table 4: FCAT Grades by Program
Grade
Overall
In-Theatre
In-School
(n=144)
(n=67)
(n=21)
A
31%
40%
24%
B
23%
19%
14%
C
31%
27%
43%
D
13%
7%
14%
F
3%
3%
5%
Note: In 2003, only 67 of 70 schools attending In-Theatre productions had
an FCAT grade.
Geographically
Quantitative data was collected, analyzed, and mapped using the ArcGIS
Spatial Analysis program. In Maps 1 through 5, one can see that schools from
all over Jacksonville both attended In-Theatre productions and were
provided In-School productions.
79 Theatreworks also presents shows to several private schools which do not have an FCAT grade and therefore are
not applicable.
- 34 -
Map 1: Current and Potential Theatres Available for
In-Theatre Productions
Theatreworks has several theatres in Jacksonville in which to host their InTheatre events. Among these options are the Florida Theatre in Downtown,
the Ritz Theatre in LaVilla, FCCJ’s Wilson Center on the Southside, and UNF’s
Lazzara Hall also on the Southside. Each of these theatres has hosted or will
host a Theatreworks production during the 2003-2004 or 2004-2005 season.
- 35 -
Map 2: 2004 FCAT Grades by Elementary School
The FCAT standardized test is administered to public schools throughout
Florida. Schools are graded similar to how students are graded, with “A”
being the best grade and “F” being the worst. Shown are the grades for
Duval County public schools for the 2003-2004 school year.
- 36 -
Map 3: Theatreworks In-Theatre Productions by
School Attendance
Shown are the schools in Duval County that attended In-Theatre shows
during the 2003-2004 season. Schools are represented based on the number
of shows they attended during this year.
- 37 -
Map 4: Theatreworks In-Theatre Productions by
Student Attendance from Schools
Shown are the schools in Duval County that attended In-Theatre shows
during the 2003-2004 season. Schools are represented based on the number
of their students that attended shows during that year.
- 38 -
Map 5: Theatreworks In-School Productions by
School
In-School performances allow schools to give their students the gift of theatre
at a lower price than that of an In-Theatre field trip. Schools here are
represented by the number of in-theatre shows they hosted during the 20032004 season.
- 39 -
BOARD OF DIRECTORS
The Theatreworks Board of Directors (the Board) is comprised of local leaders,
business men and women, and community volunteers that serve limited
terms and do not receive compensation. The Board is responsible for
collaboration, development of long-term strategic planning programs, and
consistent reflection engagements.80 As part of the reflective practice
process, CCI staff regularly attended board meetings to both observe their
proceedings and to present findings in draft form. While these proceedings
proved helpful to understand organizational dynamics, the thoughts and
insight of the Board proved most beneficial at the end of the day. In the
following section, the results of the Board focus group (a.k.a. S.W.O.T.
Analysis) are presented.
S.W.O.T. ANALYSIS
The S.W.O.T. Analysis (Strengths, Weaknesses, Opportunities, and Threats) was
held in June, 2004 in at the modis Building in downtown Jacksonville, where
Theatreworks currently houses their offices. Several Board members attended
this event and added great amounts to the discussion. Other members were
unable to attend, but did participate through a survey (see Appendix B) sent
to them via email.
The S.W.O.T. Process
The S.W.O.T. Analysis is a self-assessment tool used to gain insight into internal
and external assets and challenges (both episodic and systemic) in order to
clarify organizational goals and objectives. The S.W.O.T. approach provides
groups with a relatively flexible framework to highlight gaps or deficiencies,
prioritize needs, and build on existing capabilities in order to “grow”
organizations that are efficient, accountable to their constituents, and
sustainable over the long term. To this end, CCI was asked to facilitate the
S.W.O.T. Analysis for Theatreworks.
The number of Theatreworks Board members who attended the S.W.O.T.
Analysis allowed for a single group for the process. The group was asked
about the four areas (Strengths, Weaknesses, Opportunities, and Threats) in
order and was allowed to elaborate on each other’s ideas during the
discussion. Once the group had finished giving numerous ideas for each of
80 Community Foundation Reflective Practice Grant Proposal (Theatreworks, Inc.)
- 40 -
the areas, they were asked to revisit each of the categories and name their
top three items, in no particular order, for each part of the process.
Strengths
When examining this part of the analysis of Theatreworks, it is clear that the
Board feels their number one strength is their Executive Director, Dianne
Dawood. The Board raved about her leadership, personality, and
knowledge of organization. From discussions with the Board, one could tell
they honestly felt that she was the primary reason that Theatreworks has
been able to build on previous successes and reach the high quality level of
service that they provide currently.
While the Executive Director was seen as the major strength, it was noted
that the Theatreworks Mission to deliver quality theatre with non-controversial
curriculum to children was also one of the top three strengths. This mission
has resulted in Theatreworks gaining a market niche which gives them a
higher level of uniqueness and distinguishes them when applying for funding.
The Board sees this market niche as a vital strength, as it allows the
organization to promote itself to potential sponsors as one of the very few
options available that bring professional theatre to children here in
Jacksonville.
An additional strength that the Board felt was crucial was the long-term
success that Theatreworks has enjoyed since its inception in the late 1970s.
The Board members explained that the 25 years of quality operations the
organization has enjoyed have given Theatreworks an excellent reputation
and a high level of respect in the Jacksonville arts community. This
reputation could only be earned through such a continued long-term
success.
Other strengths that were mentioned included: the strong curriculum that
Theatreworks provides the teachers for use in their classrooms, high numbers
of student attendance, the chance to provide these students with quality,
exciting theatre that can make a lasting impression, and continued financial
support.
Weaknesses
The weaknesses piece of the analysis interestingly brought to light that the
principal weakness was, in fact, the Board itself. The present members
pointed out that, in the past, the Theatreworks Board has suffered from a lack
of participation and a seeming lack of commitment from its members. The
- 41 -
fact that only a relatively small percentage of Board members attended the
S.W.O.T. Analysis perhaps amplified this point. One possible explanation
given was the tendency of many of the other members to have prior
commitments that keep them from being able to attend meetings.
Therefore, each member does not do as much for the organization as they
would like.
The Board agreed that another major weakness to Theatreworks is the lack of
branding and public relations surrounding its name and the organization as a
whole. It was pointed out that although many in Jacksonville’s art
community know about Theatreworks, most people outside of the arts
community confuse it with Theatre Jacksonville or the national group
TheatreworksUSA. Members pointed out that the lack of name recognition
potentially hurts the organization through loss of grant dollars and patrons.
With several of the Board members in attendance being veterans of the
business and corporate world, the discussion of weaknesses turned to the
business aspects of the organization. During this portion of the discussion, it
was clear that Theatreworks lacks an overall business plan, let alone a longrange plan. This was considered a major weakness due to its implications for
funding and resources, both current and future.
Other weaknesses that were stated included: the lack of knowledge on how
to raise funds, a lack of an endowment, the other financial constraints those
two weaknesses can make, a lack of a diverse skill set amongst the Board
members, and the lack of “big names” on the Board that could bring in more
funding opportunities. Overall, there is confusion on what qualities are
desirable for a Board member.
Opportunities
When discussing the external opportunities available to Theatreworks,
participants in the S.W.O.T. analysis were focused on business opportunities.
Participants felt that a major opportunity could include the expansion of
revenues sources and the diversification of Theatreworks programs. Items to
look at included annual corporate and personal partnerships, raffles, shows
outside the normal school hours, and contributions from Jacksonville’s
professional sports teams.
The members felt that enlisting new and more appropriate Board members
was a significant opportunity, especially considering the underachieving
Boards of the past. These new members could combine with the present
members to become a more robust and engaged Board. Having a Board
- 42 -
that attended events, actively pursued funding, and got the name of
Theatreworks out to the community was seen as a fantastic opportunity to
strengthen the organization.
With the growing landscape of art-related non-profits competing for a
quickly diminishing pot of funding dollars, the chance to collaborate and
partner with other organizations and educational facilities was touted as
another great opportunity for Theatreworks. Such a partnership was seen as
a chance to strengthen Theatreworks both through name recognition as well
as increased funding prospects.
Threats
With all of the emphasis the Board placed on the Executive Director being a
major strength, the Board decided that a lack of a “Plan B” should anything
ever happen and the Executive Director was unable to continue her position
was the leading threat to the organization. The Board seemed particularly
concerned about such an event and all agreed that some form of a “Plan B”
needed to be designed if at all possible.
Another threat was the insufficient resources of the organization. This was
true both of manpower and financial backing. The Board pointed out there
are not enough employees to handle all of Theatreworks day-to-day
activities, nor is there funding currently available to bring more employees
aboard. Without the funding for the proper number of adequate
employees, there is certainly not funding to hire “the best” people for
particular jobs within the organization, as there is a lot of competition for such
people amongst the non-profits in the area and such people can command
salaries commensurate with their level of expertise. An example was given
with regard to the need to hire a deputy director (a Plan B if you will) but
when funding fell through the organization was not able to make the hire,
leaving it vulnerable if anything should happen.
Finally, the competition for shrinking cultural funding in Jacksonville was seen
as a threat. Every year, the Board members said, the amount of funding
available is reduced, while the number of groups looking to obtain such
funding is increased. This causes Theatreworks to be forced to work extra
hard to make sure they receive the greatest amount of city funding possible,
while looking for outside donors to supplement any loss in funds.
Other threats that were discussed included: the overall small size of the
current Board and the small pool of qualified, available people in
Jacksonville to bring onto the Board to increase its size, the excuses of those
- 43 -
people seen as a good fit for the Board not to accept their invitation to join,
the tendency to hold onto low yield programs, and issues that could arise
from not firmly establishing the Theatreworks brand.
Long-term Strategic Planning Objectives
The long-term strategic plan of Theatreworks is simple: maintain strengths,
minimize weaknesses, optimize opportunities, and eliminate threats.
Theatreworks currently has a strong Executive Director, a simple but to the
point mission statement, and a history of success which has lead to an
excellent reputation and high respect in the arts community. The goal of
Theatreworks is to keep these key components strong, because they are the
fundamental factors with the most influence on the rest of the operation.
However, Theatreworks does not want to become complacent. Therefore,
the Board has identified other areas that they would like to see as strengths in
the future. First, they hope to realize the chance to expand the Board with
talented, committed individuals, which could help energize the overall
Board. Second, the board would like to expand its services to help more
youth, but at a controlled rate with an emphasis on quality. The expansion
would need to occur both within the current programming and also through
collaborations and partnerships. Third, broaden the sources of funding. In
order for Theatreworks to have any success, they must have funding. As
mentioned earlier, competition and lack of consistency in funding sources
could influence the dollar amounts received by Theatreworks. The goal is to
keep the sources of funding they currently have, while constantly researching
new avenues, particularly in the private sector, to insure funding in the future.
This is an obtainable goal through an increase in name recognition and a
solid business plan.
STAFF
The staff of any organization is able to offer a unique perspective on the
organization as they see the day-to-day operations and have an
understanding of what happens behind the scenes. To obtain the unique
perspective of the Theatreworks staff (the Staff), a focus group was
conducted in the Theatreworks’ offices at the modis building in November,
2004. To ensure confidentiality, the responses below are stripped of
identifying information and are only presented in aggregate form.
It was clear that the Staff believed in the organization’s mission. When asked
“Why are you here?” (in reference to why they work there), it was evident
that their passion for the Arts along with the opportunity to help bring
- 44 -
professional theatre to the children of Jacksonville was the main reason.
Further, most of the Staff started as volunteers, but soon afterwards
transitioned into paid positions. Currently, they said, there are not many
volunteers to help out. Of the things they like best, the ability to complete
tasks as a team was also mentioned. “When there is a project to get, it gets
done,” one staff member said.
While the Staff enjoys working at Theatreworks, there are areas of concern
they feel need to be addressed and improved upon in order for the
organization to continue to thrive. Much like the Board, the staff brought up
the lack of a business plan. It was pointed out that Theatreworks is not just a
non-profit, but really a hybrid of a non-profit that must operate in a business
mindset in order to succeed. Some of the suggestions presented centered
on adjusting costs, including in particular salaries and advertising, increasing
ticket prices to be competitive and eliminating or at least limiting programs
that loose money. It was generally thought that the advertising budget was
not used in the most effective manner to reach the intended audience.
There is currently a movement amongst the staff to work to get the business
side of the organization back on track and stable.
The Board was brought up several times during the focus group. One major
concern was that there is seemingly no separation between the Executive
Director and the Board. Also, the staff felt that while the Executive Director
should serve at the pleasure of the Board, under the current conditions the
Board seems to serve the director. Additional concerns were also raised that
the Board is not pro-active and does not do all it is capable of. This was an
issue especially when fundraising was discussed, as it was stated that in order
to have a successful fundraising campaign the staff needs the Board to be
active in the endeavor. Finally, communication between the Staff and the
Board seems to be lacking based on comments made. According to the
Staff, decisions are not relayed promptly and any suggestions for
improvement the Staff have seem to fall on deaf ears.
The staff also has a clear picture of what they need in a new Executive
Director once the current one steps down. The next director must be
someone who can handle the current non-profit and arts landscape in
Jacksonville, plus juggle the donors, grants, selling seats to shows, and
working for adequate pricing. Having a director who can handle the
business side of Theatreworks was seen as vital.
Two other notes worth mentioning are the fact that the Staff likes the current
location of both the offices and theatre locations, but they don’t like the
current technology situation. They enjoy being able to walk to the Florida
- 45 -
Theatre, but don’t enjoy working with outdated computers and a copier that
frequently breaks down.
The staff certainly enjoys Theatreworks, believe in its mission, and want to see
it succeed both now and in the future. With that, all staff members in
attendance at the focus group expressed that they see Theatreworks in
operation five years from now, but only if there is careful, calculated effort
from the staff, Executive Director, and the Board. The things needed for
success included: a solid business plan, an active board, and a new
Executive Director that can handle both the business and the changes
needed.
PATRON SURVEY
INTRODUCTION
In order to properly understand how Theatreworks productions are viewed
both literally and figuratively, a survey of its participants was conducted
during five different shows during both the 2003-2004 and 2004-2005 seasons.
The productions of Huck Finn and The Jacksonville Fire in April, 2004, Toying
with Science in September, 2004, and Arithmetickles and Vote? in October,
2004 were used because of the diverse nature of their content and viewing
population. All productions were attended by teachers (public, private and
home school) and field trip volunteers (usually parents or other relatives).
Show Name
Location
Description
Professional quality play,
presented by the national theatre
group, TheatreworksUSA.
Series of monologues put on by
Theatreworks using local
Jacksonville residents.
Huck Finn
Florida
Theatre
The
Jacksonville
Fire
Ritz
Theatre
Toying with
Science
Florida
Theatre
Educational one-man show
presented by Gary Krinsky.
Arithmetickles
FCCJWilson
Center
Vote?
Florida
Theatre
Educational one-man show that
utilized audience participation
with on-stage games.
Professional quality play,
presented by the Eckerd Theatre
Group.
- 46 -
Attended By
Mostly Middle
School
Mostly
Elementary
School
Mostly
Elementary
School
Students Were
Not Surveyed
Mostly
Elementary
School
METHOD
There were two types of surveys distributed: one survey instrument for the
teachers and volunteers (see Appendix C), another for the students (see
Appendix D), which was constructed to be understood by all ages of
children. The teachers/volunteers were asked to participate as they entered
the theatre and all were given the choice to participate in the survey,
knowing there would be no penalty for opting not to participate. If they
agreed to participate, they were given a self-addressed, stamped envelope
with a predetermined number of student surveys inside, as well as a
teacher/volunteer survey for themselves. In a letter that accompanied the
surveys, they were directed to administer the survey to their students in their
classrooms following the show and to return the completed surveys in the
self-addressed, stamped envelope to CCI. Volunteers were given a single
teacher/volunteer survey in a self-addressed, stamped envelope and asked
to complete and then return following the show. For the Arithmetickles show,
only teachers/volunteers were surveyed.
In all, over 3,000 student surveys and 200 teacher/volunteer surveys were
distributed. The overall return rates were very high, with 65.5 percent of
teacher/volunteer and 54.8 percent of student surveys returned.
TEACHERS AND VOLUNTEERS
Teachers and volunteers play an essential role in all Theatreworks
productions. These individuals have a vital and very direct impact on a
student’s exposure to the arts and therefore it is crucial to get input on their
thoughts and opinions regarding Theatreworks productions. Without the
support of teachers/volunteers, Theatreworks would have a very difficult time
in attracting students to their shows. Teachers/volunteers are consequently
able to let Theatreworks know if they are doing a quality job and what, if any,
areas should be revised. The questionnaire the teachers/volunteers received
was longer and more in-depth than what the students received. The
questions ranged from simple demographics, to questions regarding their
experiences with and perceptions of Theatreworks, to questions regarding
their thoughts on the state of arts-education in Jacksonville area schools. The
surveys were anonymous and the results presented below are in aggregate
form. A spatial distribution of total returned teacher/volunteer surveys by zip
code can be seen in MAP 6.
- 47 -
Map 6: Total Returned Teacher/Volunteer Surveys
by Zip Code
- 48 -
Productions
Huck Finn
Twenty-eight teachers or volunteers returned surveys after they attended the
production of Huck Finn at the Florida Theatre. For 42.9 percent of those in
attendance, Huck Finn was the first Theatreworks performance they had
attended during the 2003-2004 season. The quality of Huck Finn was
regarded as Excellent by 75 percent of respondents. The Florida Theatre also
fared quite well with almost 79 percent of respondents giving it an Excellent
rating. The convenience getting to and from the theatre’s downtown
location did not fare as well, but was still respectable with over 53 percent of
respondents saying it was Excellent.
The Jacksonville Fire
A total of 19 people responded that they attended The Jacksonville Fire at
the Ritz Theatre in LaVilla. For 55.6 percent of those in attendance, even
more respondents than with Huck Finn, The Jacksonville Fire was their first
Theatreworks production of the school year.
Respondents did not rate the quality of The Jacksonville Fire high. Just under
37 percent were willing to rate it as excellent. Another 42.1 percent labeled it
as Good. The Ritz Theatre fared much better than the show it hosted, with
over 84 percent of respondents calling it excellent. More than 63 percent felt
that the convenience of getting to and from the theatre was Excellent and
all respondents rated it as either Good or Excellent.
Toying with Science
Forty-one teachers or volunteers returned surveys after attending the
production of Toying with Science at the Florida Theatre. Seventy percent
regarded the quality of Toying with Science to be Excellent. In line with that
number, 75 percent rated the quality of the Florida Theatre to be Excellent.
As with the previous season’s Huck Finn, these respondents rated the ease of
getting to and from this particular theatre as Excellent just over 53 percent of
the time.
Arithmetickles
The surveying of teachers and volunteers at Arithmetickles resulted in 22
completed surveys. Arithmetickles scored well with teachers and volunteers
as over 59 percent rated its quality as Excellent and almost 96 percent rated
- 49 -
its quality as Good or Excellent. The quality of FCCJ’s Wilson Center was
highly noted as nearly 91 percent gave it an Excellent rating. Over 54
percent felt that the convenience of getting to and from the Wilson Center
warranted the Excellent rating.
Vote?
For the third time the Florida Theatre was home to a patron survey audience
when it hosted Vote?. Twenty-one individuals returned this particular
Teacher/Volunteer survey. A full 100 percent of the respondents rated the
quality of Theatreworks performances, including Vote?, as Good or Excellent,
however only just over 52 percent of those chose Excellent. As with the two
previous shows at the Florida Theatre, 75 percent of survey participants gave
the theatre’s quality an Excellent rating. The respondents’ opinion of the
convenience to and from shows was slightly lower as over 52 percent rated it
Good and nearly 29 percent stating it was Excellent.
Theatreworks Performance Quality and Affordability
Quality productions are vital as they keep customers returning for more shows
and help lead to new audience members through word of mouth. In this
area, Theatreworks rated well. The teachers and volunteers were pleased
with the overall quality of Theatreworks productions. Over 60 percent of
respondents rated the quality of the Theatreworks presentations that they
had attended as Excellent and almost 94 percent rated at as Good or
Excellent.
Although quality is very important, affordability is just as important. The
teachers and volunteers seemed to associate affordability with Theatreworks.
In fact, respondents rated the affordability of presentations very high, as
nearly 38 percent replied Somewhat Affordable and over 61 percent Very
Affordable.
Theatreworks Performance Locations
A good portion of the theatre experience is enabling the viewer to witness
professional theatre in a real theatre. As a result, the opinions of the teachers
and volunteers on the quality of the theatre where they have attended
Theatreworks presentations are important. In this area, Theatreworks seemed
to do quite well, as close to 80 percent of those surveyed felt that the quality
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of the facilities in which they have attended Theatreworks presentation were
Excellent.
Another factor in the appeal of a location, especially for a teacher or
volunteer with numerous children to look after, is the convenience to and
from the location. Once again, Theatreworks scored high as more than 86
percent of the teachers and volunteers rated the convenience as Good
(42.3 percent) or Excellent (43.8 percent).
Number of Theatreworks Presentations Attended
The teachers and volunteers were asked how many Theatreworks
presentations they had attended during the 2003-2004 school year. The
results showed some very interesting insights. More than 52 percent of the
teachers and volunteers surveyed indicted that they had attended multiple
Theatreworks productions during that school year. This is significant, as it
shows that not only is Theatreworks getting repeat customers for multiple
years, but also that they have teachers willing to bring their students multiple
times in a single year.
Many of the teachers and volunteers who were surveyed during the 20042005 season had not had time to attend multiple shows as they were
surveyed at the very beginning of the season. However, over 20 percent of
the teachers and volunteers had already attended multiple shows in a
season that was not yet two months old.
The Arts in Jacksonville Schools
There seemed to be a common perception that the arts are not supported in
Jacksonville schools. However, when the teachers and volunteers were
asked about this topic during the 2003-2004 school year they responded
differently. In fact, more than 71 percent of teachers and volunteers
surveyed chose Somewhat Agree (44.4 percent) or Strongly Agree (26.7
percent) when they responded to the statement that the Arts are supported
in Jacksonville schools.
Following some concern from the Board that the question was too general
and not representative of the overall Arts picture, the question was altered
for the 2004-2005 survey to ask if the teachers and volunteers felt the Arts
were adequately supported in Jacksonville schools. The numbers, however,
were even stronger than in 2003-2004. Over 80 percent of
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teachers/volunteers chose Somewhat Agree (61.1 percent) or Strongly Agree
(19.4 percent).
Arts in Education
The attitudes and beliefs that teachers and volunteers hold regarding the
place of arts in education can be a good gauge on the level of importance
they place on the arts in their classroom on an everyday basis. Respondents
were asked if they felt that exposure to the arts directly impacts a student’s
ability to do well in school. Their response showed their overwhelming belief
in the arts in education as more than 27 percent chose Somewhat Agree
and another 68 percent selected Strongly Agree.
Another area of major concern for Jacksonville schools, and Florida schools
in general, is FCAT testing. With the emphasis placed on the FCAT
standardized testing, it is interesting to note that nearly 92 percent of the
teachers and volunteers surveyed responded with Somewhat Agree/Strongly
Agree that exposure to the arts positively affects a student’s performance on
the FCAT.
Also, almost 44 percent of the respondents felt that students today receive
“Less” art-related experiences than they had when they were in school.
Teacher and Volunteer Conclusion
Teachers and volunteers are an important demographic population for
Theatreworks. They have considerable influence over whether their students
(and sometimes children) attend Theatreworks presentations. The
teachers/volunteers surveyed for this report gave Theatreworks
commendable praise in virtually all areas. They were pleased with the
quality, affordability, and locations of the shows. They also indicated that
they felt that the arts are an important part of the education process. These
results bode well for Theatreworks as they show that not only are they
accomplishing their mission, but they have found a dedicated group of
teachers/volunteers who feel the arts are an integral part of the education
system.
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STUDENTS
Introduction
The survey that was given to the students differed in many ways from that
which the teachers/volunteers received. It was important to the research
that the survey be easy to understand and to complete for students ages 515, while at the same time asking the pertinent questions. As a result the
survey was a single page in length, made up of eight questions. The
language used in the survey was simple enough for even elementary
students to comprehend, although not too childish for teen-aged students.
The one similarity that the student survey had with the teacher/volunteer
survey was that they were both anonymous, making tracking of the
individual students impossible. A spatial distribution of total returned student
surveys by zip code can be seen in MAP 7.
Gender and School Type
As stated above, 1,646 students responded to the survey. Of these, just more
than half were female. More than 98 percent of the students were between
the ages of seven and 14. Also, for those students for whom a type of school
was provided, 69.1 percent were from public schools, 28.2 percent came
from private schools, and 2.6 percent were identified as homeschoolers.
One of the questions posed to the students was whether or not they
attended an after- school arts program. Just over 24 percent indicated that
they attended such a program. Girls were more likely to attend than boys,
nearly 29 percent compared to more than 19 percent. There was found to
be very little difference between public and private school children in this
area, 25.7 percent as opposed to 29.1 percent. However, nearly 40 percent
of home school students indicated that they attend an after school arts
program.
The students were also asked if they felt that knowing about art helped them
in other classes. On the whole, close to 65 percent of children who
responded felt that the arts did help them in other classes. Almost 71 percent
of girls felt it helped, while just under 59 percent of boys felt the same. Public
and private school children agreed similarly with rates of nearly 67 percent
and 64 percent respectively. Home school students agreed much more
heartily, with nearly 90 percent answering Yes they felt that at helps them in
other classes.
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Map 7: Total Returned Student Surveys Zip Code
- 54 -
Production and Age
It is important to note that the student survey was conducted at four
separate shows, comprised of four distinct audiences. As a result, in order to
get the most out of the data, it is necessary to break it down by not only the
shows, but also by the ages of the children. For this purpose the students
were broken into two groups Under-11 (or Elementary School-aged) and 11and-older (or Middle School-aged). Children found to be in either High
School or Pre-School were removed from these groups.
Huck Finn
The production of Huck Finn took place in April, 2004 at the Florida Theatre in
downtown Jacksonville. The audience in attendance at this event was
predominately middle school-aged (81.4 percent). The elementary-aged
children in attendance enjoyed the show at a rate of over 77 percent
compared to their older counterparts of which nearly 66 percent enjoyed the
show. This trend continued when the children were asked if they would like
to attend more shows like Huck Finn with more than 71 percent of the
elementary kids and 62 percent of the middle school kids answering Yes.
These figures show that perhaps the Huck Finn production was more
appropriate for a slightly younger audience than the middle school students
who made up the majority of those in attendance. There was little difference
in the approval of the Florida Theatre as in excess of 88 percent of the middle
school students and close to 92 percent of the elementary school students
rated it as Good or Excellent.
Middle School-aged and Above Students at Huck Finn
Public
Private
Home School
(n=123)
(n=57)
(n=6)
Did you enjoy the production of Huck
76.4%
73.7%
100.0%
Finn? (Yes)
Would you like to attend more
78.0%
75.4%
100.0%
productions like Huck Finn? (Yes)
How did you like the theatre where you
89.4%
84.2%
100.0%
saw Huck Finn? (Good or Excellent)
The Jacksonville Fire
The production of The Jacksonville Fire took place in April, 2004. Close to 74
percent of the students at the show were elementary school-aged. The
- 55 -
survey respondents for this production enjoyed the show far less than those
for Huck Finn. Only just over 55 percent of the elementary-aged children in
attendance reported that they enjoyed the show and that rate dropped to
nearly 33 percent for middle school students. As before, this trend continued
when the children were asked if they would like to attend more shows like
The Jacksonville Fire with more than 46 percent of the elementary kids and
just under 30 percent of the middle school kids answering Yes. There are
both positive and negative aspects to these results. First, one can see that
the show was far more popular with the younger children, who made up a
majority of those in attendance. Secondly, one can see that the show was
not nearly as popular as the Huck Finn production, especially with the older
population of students. This could be used as an incentive to tweak and
revise a show that may have a great deal of potential. The Ritz Theatre was
not as popular with the children as the Florida Theatre, although the
approval ratings were still high, as nearly 76 percent of the middle school
students and just over 81 percent of the elementary kids rated the facility as
Good or Excellent.
Elementary School-aged Students at The Jacksonville Fire
Did you enjoy the production of The
Jacksonville Fire? (Yes)
Would you like to attend more productions
like The Jacksonville Fire? (Yes)
How did you like the theatre where you saw
The Jacksonville Fire? (Good or Excellent)
Public
(n=66)
Private
(n=79)
Home School
(n=0)
60.6%
67.1%
0.0%
57.6%
48.1%
0.0%
89.3%
87.3%
0.0%
Toying with Science
Well over 87 percent of the students at the production of Toying with Science
at the Florida Theatre were elementary-aged students. The survey
respondents for this production enjoyed it considerably. Over 96 percent of
the elementary-aged children in attendance reported that they enjoyed the
show and that rate jumped to a full 100 percent for middle school students.
The popularity of this particular show was evident when the children were
asked if they would like to attend more shows like Toying with Science and
nearly 87 percent of the elementary kids and over 97 percent of the middle
school kids said Yes they would like to see another show like Toying with
Science.
- 56 -
Elementary School-aged Students at Toying with Science
Did you enjoy the production of Toying
with Science? (Yes)
Would you like to attend more
productions like Toying with Science?
(Yes)
How did you like the theatre where you
saw Toying with Science? (Good or
Excellent)
Public
(n=317)
Private
(n=96)
Home School
(n=2)
95.3%
100.0%
100.0%
85.8%
92.6%
100.0%
92.1%
97.9%
100.0%
Vote?
The production of Vote? took place in October, 2004 at the Florida Theatre in
downtown Jacksonville. Two-thirds of the children in attendance were
elementary school-aged children. The students who completed surveys
enjoyed Vote? as much as they had the other Theatreworks productions. In
fact, more than 84 percent of elementary-aged and over 92 percent of
middle school-aged children said that they enjoyed the show. Additionally,
nearly 77 percent of the elementary kids and more than 83 percent of the
middle school students indicated that they would like to attend more shows
like Vote? in the future.
Elementary School-aged Students at Vote?
Did you enjoy the production of
Vote?? (Yes)
Would you like to attend more
productions like Vote?? (Yes)
How did you like the theatre where
you saw The Vote?? (Good or
Excellent)
- 57 -
Public
(n=210)
Private
(n=0)
Home School
(n=1)
83.3%
0.0%
100.0%
76.6%
0.0%
100.0%
89.8%
0.0%
100.0%
Arts Education – Participation and Attitudes
Students were asked several questions about the role of arts education in
their daily lives. The purpose of these questions was to gauge the student’s
access and interest in arts education.
Over 81 percent of students indicated that art classes are offered at their
school. The numbers for public and private schools were almost identical, as
just over 84 percent of students from both school types stated they had art
classes in school.
As the respondents grade-level increased their participation in after-school
arts programs decreased. Elementary students participated at a rate of
nearly 28 percent, nearly 19 percent of middle school students participated
in such a program, and, only 14 percent of high school aged students
indicated being in a program. Home school students were far more likely to
attend an after school arts programs than either public or private school
students.
Students were also asked if they felt that knowing about arts helped them in
other classes. As with the previous question, positive responses declined with
glade-level. Nearly 68 percent of elementary students felt that knowing
about the arts helped them in other classes, compared to 59 percent and
just under 54 percent for middle and high school students respectively.
Again home school students were far more likely to answer that arts helped
them in other classes with nearly 90 percent answered Yes to the question.
Arts Education – Participation and Attitudes by School Level
Are art classes offered at your school? (Yes)
Do you attend an after-school arts
program? (Yes)
Do you feel knowing about the arts helps
you in other classes? (Yes)
- 58 -
Elementary Middle
(n=1040)
(n=79)
81.9%
80.7%
High
(n=13)
76.9%
27.8%
18.7%
14.3%
67.7%
59.0%
53.8%
Arts Education – Participation and Attitudes by School Type
Public
(n=852)
Private
(n=350)
Home School
(n=26)
84.4%
84.8%
76.9%
25.7%
29.1%
40.6%
66.7%
64.0%
89.7%
Are art classes offered at your
school? (Yes)
Do you attend an after-school arts
program? (Yes)
Do you feel knowing about the arts
helps you in other classes? (Yes)
Student Conclusion
The students surveyed were able to give a unique insight into how they view
both Theatreworks productions and arts education. The students enjoyed the
shows, although they seemed to enjoy the professional plays and acts Huck
Finn, Toying with Science, and Vote? better than the monologues of The
Jacksonville Fire. The buildings where they saw the events were very popular,
with large majorities rating them very highly. Finally, the majority of the
students said that they believe that knowing about arts helps them in other
classes.
PATRON SURVEY CONCLUSION
The results of this survey can be broken down into two parts: the results for
Theatreworks in general and the results for arts education in Jacksonville
schools. Theatreworks scored very well regarding the job it is doing in
bringing theatre to the children of Jacksonville. With regard to the arts in
Jacksonville schools, there are several points that should be pulled from this
section and looked into with more detail than the researchers were able to
garner using the questionnaires. First, the teachers/volunteers
overwhelmingly stated that the arts are supported in Jacksonville’s schools.
This goes against a popular perception within the arts community in
Jacksonville because 76.9 percent of the teachers/volunteers disagreed with
the popular perception. Second, 18.7 percent students surveyed reported
having no art classes at their school. The question arises: do these children
actually not have art classes or are they simply unaware of these classes in
their schools? Neither answer is a very good one for arts education. Finally,
the teachers/volunteers showed great enthusiasm for the importance of art
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in education, specifically with regard to the arts helping the students to do
well in school. However, only 64.7 percent of the students responded that
they felt art helped them in other classes. Are there more affective ways for
the teachers, especially with the older children, to make the importance of
arts education more prominent in their classrooms?
ARTS AND CULTURE IN GREATER JACKSONVILLE
Two components of the Reflective Practice process sought to examine the
overall Arts and cultural community of greater Jacksonville. The first
component, a survey of Jacksonville Arts organizations, was conducted with
the purpose of identifying what services other arts organizations in the local
community provided and what groups they served (particularly age groups).
This information will help determine what, if any, overlap exists and what
effect that has on Theatreworks’ operations and future planning.
The second component examined the economic impact of arts and culture
in the greater Jacksonville area. CCI, the Cultural Council of Greater
Jacksonville, conducted an economic impact study of a number of cultural
organizations located within Duval County. These organizations provided
data about their operations, such as how many employees they have, how
much income they generate and how that income is used.
Jacksonville Arts Organizations Survey
Method
In March 2004, CCI began the process of surveying local arts organizations.
A survey instrument (see Appendix E) was prepared that inquired of the
organizations what percentage of their resources went to a specific artrelated medium and school level. Organizations were informed that all data
gathered would be reported in aggregate form and that their identity would
remain anonymous.
An extensive list of 83 arts organizations in Jacksonville was compiled using
several resources including Theatreworks staff, the Cultural Council of Greater
Jacksonville, the phone book, and internet searches. Those organizations
that specifically serve children were targeted, and those that could be
identified as not serving children in any way were removed from the list. The
59 remaining organizations were contacted by telephone to participate in
the survey. Several rounds of follow-up calls were made and messages left
- 60 -
for those persons who were out of the office at the time of previous calls.
Thirty-seven of the organizations on the list chose to participate in the survey,
with 33 of those organizations answering that they did, in fact, work with
children. Of the 26 organizations that did not participate, CCI has been able
to identify that six of them work with children.
The four organizations that were contacted and participated in the survey
that indicated they did not serve children included: a literary society, an art
center, a choral group, and an experimental theatre group.
Theatreworks was not included in the survey process; however, they have
been identified as dedicating 100.0 percent of their resources to theatre and
splitting their resources between elementary school students and middle
school to high school students.
It is important to keep in mind that all numbers in this section refer only to the
33 organizations that participated in this survey and indicated that they work
with children.
Activity Findings
Arts organizations can either be specific and dedicate their resources to one
single facet of the Arts, or be multi-dimensional and devote their resource to
several different art-related activities. To gauge what areas the Arts other
local organizations are directing their resources towards, the organizations
were asked to explain what percentage of their time was devoted to a
specific art-related activity. Respondents were allowed to report as many
activities as they desired, as long as the total added up to 100 percent.
Education and painting were the most popular activities with 27.3 percent
and 24.2 percent of the organizations dedicating 50 percent or more of their
resources to these activities. Only five of the 33 organizations indicated that
they devoted a majority of their resources to theatre activities, as
Theatreworks does.
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Of Local Arts Organizations that Work with Children, Percentage that
Spend 50 Percent or More of Their Resources On….
Activity
Percentage
Education
27.3% (n=9)
Painting
24.2% (n=8)
Music
15.2% (n=5)
Theatre
15.2% (n=5)
Dance
12.1% (n=4)
Other (Arts in General)
3.0% (n=1)
Note: One organization did not report spending at least 50 percent of
their resources on any one activity.
School Level Findings
Organizations were asked to state what percentages of their resources go to
the various school levels in order to get a greater detail as to what age
groups are being served the most. One of the 33 organizations chose not to
answer the questions regarding school level, so all statistics in this section deal
with only 32 organizations.
Elementary students were the most highly served group with 10 organizations
dedicating at least half of their resources to them. Twenty-nine of the
organizations (90.6 percent) indicated that they served elementary students
at least some percentage of the time. On the opposite end of the spectrum,
middle school students received the least amount of interest, with only two
organizations spending 50 percent or more of their resources on them.
However, 87.5 percent (28 organizations) specified that they dedicate some
of their resources to middle school students. Four organizations stated that
they dedicate at least 50 percent of their resources to high school students
and 81.2 percent (26 organizations) devote some percentage of their
resources to this group.
Theatreworks splits their resources between elementary school-aged and
middle school to high school students. While, the concept of splitting
resources over multiple school levels is not unique to Theatreworks, as many
of the local organizations make a similar effort, Theatreworks devotion to
middle school students is rather unique as only two other groups put such an
emphasis on that school level.
- 62 -
Of Local Arts Organizations that Work with Children, Percentage that
Spend 50 Percent or More of Their Resources On….
School Level
Percentage
Elementary
31.3% (n=10)
Middle
6.3% (n=2)
High
12.5% (n=4)
Analysis
It is important to remember that the results shown in this section are only for
those organizations that completed the survey. Even without unanimous
participation from local arts organizations, significant findings can be taken
from this survey. There are several non-profit arts organizations that work with
children in Jacksonville and many of those organizations work within the
discipline of theatre. However, Theatreworks is rather unique in that its mission
is to bring live, professional, touring theatre to Jacksonville specifically for
children. The other local theatre organizations mount their own shows using
local actors, mount shows using the children themselves, or specialize in
touring, professional theatre for adults, adding in children’s programming as
somewhat of an afterthought. This gives Theatreworks a niche that other
organizations have not been able to or have chosen not to address.
Economic Impact of the Arts in Jacksonville81
Method
The Cultural Council Economic Impact surveys were distributed in the spring
of 2004 to 51 organizations in the Jacksonville area. Distribution of the survey
was split into two parts. The Cultural Council was responsible for distributing
and receiving surveys for 28 organizations that were part of their re-granting
program. The Cultural Council was able to make the survey required for
grant compliance for these 28 organizations, resulting in all 28 returning the
survey. CCI was then responsible for the distribution and collection of surveys
from 23 additional organizations. Several rounds of follow-up phone calls, emails and even personal visits were conducted, resulting in responses from
eight additional organizations. The extensive follow-up effort on this survey
was done to ensure a representative sample of arts and cultural
81 Will, J.A., Cheney, T.J., & Brown, T.M. (2004) Economic impact of the arts in Jacksonville. University of North Florida:
Jacksonville, FL.
- 63 -
organizations in Jacksonville. In all, 36 organizations participated in the
survey. It is important to keep in mind that this section summarizes data for
only 36 organizations, and thus represents only a lesser portion of the overall
impact of the Arts and Culture Community in Jacksonville. Were we able to
obtain such information on all arts agencies, galleries, special events, arts
groups, guilds, outside promoters, and organizations within Jacksonville, the
overall economic and social impact would be significantly higher than
reported here.
Survey Findings
In the past fiscal year ending in 2003, the 36 Jacksonville cultural
organizations surveyed in this study reported nearly 1.5 million admissions, a
number that is almost two times the number of people living in the city of
Jacksonville and its Beaches based on the 2000 U.S. Census. They directly
supported 364 full-time and 392 part-time jobs and had 9,639 volunteers, who
donated more than 180,500 hours. These organizations also had a total
income of over $48.7 million and expenses of just over $48.6 million. Most of
the $48.6 million spent was infused into the local economy, with the
exception of money spent on travel and insurance premiums. When these
costs are subtracted, a total of over $47.7 million was spent locally82. Using a
multiplier of 2.083, spending by only these 36 cultural organizations84 in
Jacksonville is estimated to have had an economic impact of over $95.4
million on the local economy in the period recorded in this study.
Analysis
The Arts and culture industry in Duval County represents one of the major
economic influences within our community. As an “industry,” the Arts are a
major employer; as an investment, the arts represent perhaps the best return
on the dollar. If 36 providers represent over $95.4 million in direct and indirect
economic support of the community, with Theatreworks representing a
portion of that money, the impact of all of these cultural activities must be
staggering. Given this influence, Jacksonville would be well served to
increase support for the arts and culture.
82 It is important to consider that the current study did not include ancillary spending by audiences, such as dining,
lodging, parking, babysitters, and transportation in its estimate of economic impact. In addition, the current study
did not assess the tax revenue created by cultural organizations through income and social security taxes, and state
taxes collected on sales such as concessions or gift shops.
83 The economic impact of money spent locally increases when the multiplier concept is applied. The Bureau of
Economic Analysis (BEA) of the U.S. Department of Commerce has developed a method from which regional
multipliers can be estimated. Based on this system, local economists have suggested a final spending multiplier of
2.0 for funds spent by cultural organizations. This means that every dollar of spending in a local economy by an arts
organization would generate another dollar of spending over time.
84 It is also important to note that many providers of events and services (including out-of-town concert promoters,
private galleries, City and Beaches sponsored events, etc) were not included in this survey.
- 64 -
NATIONAL CHILDREN’S THEATRE
In order to gauge how other areas and organizations handle children’s
theatre, an extensive review of facilities and programs throughout the nation
was conducted. With Theatreworks looking into a possible move to the
University of North Florida, research was conducted to look into how other
universities with fine arts centers handle their children’s theatre productions.
Also, individual performing arts centers were researched to see how they too
handle children’s theatre. The results found below are divided into universitybased organizations and fine arts center-based organizations.
University-Based Organizations
The number of university-based fine arts centers that put on regular live
children’s theatre is small. A pool of schools that have an in-theatre, schooltime children’s theatre series were compiled, researched, and subsequently
surveyed for additional information. These universities ranged from mid-sized
regional schools (similar to UNF) to major Research I institutions. Many of the
universities declined to participate in the survey, however, as much
information was gathered regarding them as possible during the initial
research phase. None of the universities surveyed indicated that they
partner with an outside organization to handle their children’s theatre
productions, but that they have employees in-house who handle the
arrangements for children’s productions. Those schools who responded to
the survey also indicated that they present relatively few shows during the
year, averaging six shows with an annual attendance averaging 5,800
students. These schools also stated that they present only in-theatre shows
and do no in-school or on-site shows in other facilities in their region. In the
cases of these universities, almost all of their funding came from their
university and grants accounted for only one to five percent of their
operating budget.
Performing Arts Center-Based Organizations
There are several performing arts centers throughout the nation that host
children’s theatre productions. These organizations often have their own
education departments to handle children’s theatre and school-related
activities.
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Topeka
The Topeka Performing Arts Center in Topeka, Kansas puts a large emphasis
on children’s theatre and the arts education of children. The center hosts an
average of four school-time performances of live, professional, touring
theatre every year for local children at tickets prices ranging from $3.50$5.00, depending on group size.85
The center is also home to the Sheffel Theater Clinic which educates every
third grader in the county in the various aspects of theatre. This day-long
program consists of six 30 minute workshops that give kids a look into several
facets of theatre from acting to technical staging.86
Hartford
The Bushnell Center for the Performing Arts has been one of the nation’s
leading performance centers since it’s inception in 1930. Since that time,
they have worked to promote arts education for generations of children. The
center has nearly one dozen different arts education programs that run
throughout the year.87
The Bushnell Children’s Theatre presents live, professional theatre for children
from pre-school to high school. The center produces study guides for
teachers and strives to make sure that every production gives the children
not only a theatrical experience, but also an educational one as well.88
PARTNERS (Partners in Arts and Education Revitalizing Schools), is a nationally
recognized program led by the Bushnell education department. This
program works with local schools by providing the following items:
¾
¾
¾
¾
¾
¾
Literature linked to curriculum;
Artistic resources;
Professional development for teachers and artists;
Performance events and exhibit opportunities;
Family involvement activities;
Program evaluation and student assessment. 89
85 Topeka Performing Arts Center. (2004). Youth education. Retrieved on March 11, 2004 from
http://www.tpactix.org/youthed.htm
86 Topeka Performing Arts Center. (2004). Youth education. Retrieved on March 11, 2004 from
http://www.tpactix.org/youthed.htm
87 The Bushnell Center for the Performing Arts. (2002). Educational programs. Retrieved on February 10, 2004 from
http://www.bushnell.org/SiteTree/index.cgi/527
88 Ibid
89 The Bushnell Center for the Performing Arts. (2002). PARTNERS program. Retrieved on February 10, 2004 from
http://www.bushnell.org/SiteTree/index.cgi/528
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Charlotte
The Blumenthal Performing Arts Center in Charlotte, North Carolina features
an Education Institute to handle its children’s theatre, school, and
community-related events. As its mission statements entails, the Education
Institute looks, “to employ the arts as a tool to strengthen education in
schools and communities throughout the Central Carolinas, and beyond.”90
In order to achieve this, the center offers several children’s programming
options. There are numerous live, theatre performances for children every
season both during the school day and during evenings and weekends. The
center also offers workshops of all types for students and teachers throughout
the year.91
Sarasota
The Van Wezel Performing Arts Center in Sarasota, Florida is another example
of a local Arts center reaching out to the children in the community. The
center presents 12 children’s shows per year in their own theatre and they
host several workshops for local teachers and children. The center offers no
in-school, Sunday, or Summer programming as they indicated it is too
demanding for such a small staff. The center only has three employees, an
education director, a programming director, and an administrative assistant.
The center’s educational programming funding circumstances are similar to
Theatreworks in that they are never guaranteed renewal of funding from
sources such as their local Community Foundation. However, the center
does receive about $30,000 annually from the county’s Tourism Council, via
the local bed tax.
Tampa Bay
The Tampa Bay Performing Arts Center has a vast education department
that offers services ranging from children’s theatre to ballet training.92 The
center’s children’s theatre offerings are put on during the school day and
marketed as “On School Time Performances.” Annually more than 50,000
students attend the performances, which cost $3.00 to $6.50 depending on
the particular show. Teachers are provided with study guides that are meant
90 Blumenthal Performing Arts Center. (2004). About the Education Institute. Retrieved on February 10, 2004 from
http://www.blumenthalcenter.org/education/about/index.asp
91 Blumenthal Performing Arts Center. (2004). Browse program events & workshops. Retrieved on February 10, 2004
from http://www.blumenthalcenter.org/education/about/index.asp
92 Tampa Bay Performing Arts Center. (2004). Education. Retrieved on February 11, 2004 from
http://www.tbpac.org/education/index.html
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to tie the shows in with FCAT standards. For the 2004-2005 school year the
center will host more than 20 different shows for grades pre-kindergarten
through high school.93
93 Tampa Bay Performing Arts Center. (2004). On school time performances. Retrieved on February 11, 2004 from
http://www.tbpac.org/education/ost/ost.html
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DISCUSSION
As discussed above, the primary CCI activities over the 16 month grant
period were to investigate the literature, interview the players (the board,
staff, and participants) involved, determine how other local and national art
organizations work with children’s theatre, and guide the reflective practice
process. During this time, several important questions surfaced that warrant
discussion based on the data gathered. An examination of each of these
questions follows in the sections below.
What Population is served by Theatreworks?
It is evident from the data gathered that Theatreworks serves a very diverse
population; a population differing in age, race, sex, location, and school
type. Productions were attended by children of all ages, ranging from preschool through high school, and of both sexes. During the 2002-2003 season,
well over half of students in attendance were minorities. Students from
schools and neighborhoods all over Jacksonville, as well as nearby counties,
attended the shows on a regular basis. Theatreworks also drew its patrons
from public, private, and home schools.
Theatreworks has worked to diversify their audience over the years and is
now seeing the fruits of its labor. As presented above, the majority of
participants enjoyed the productions and theatrical settings, attended
multiple productions, and generally found the experience favorable. When
asked, most students and adults responded that they would like to attend
more shows. Furthermore, those schools that have received poor FCAT
grades in the past are now receiving professional theatre directly in their
school, allowing for more time to be spent in the classroom than on the bus.
It is obvious from the results that Theatreworks has successfully targeted their
intended audience and provides them with what they need or want.
Interestingly, the majority of teachers and volunteers felt that the Arts were
supported in Jacksonville schools, though 44 percent felt that students today
receive less art related experiences than they had when they were in school.
Both students and adults agreed that the Arts help performance in other
school subjects. This information can be used when applying for future
funding and also opens opportunities for discussions with local principles and
teachers on the possibility of partnering with schools to supplement their
educational component with theatrical performances.
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What Program issues face Theatreworks?
Theatreworks offers several different programs for their targeted population.
They offer In-Theatre productions for schools to bring their students to, InSchool productions to reach those schools that can’t necessarily make it to
the theatre, and workshops designed for the teachers to integrate activities
in their classroom. In addition, there are theatre opportunities for the whole
family through the Super Sunday Family Series, as well as the free summer
theatre. With all of these options, it would be hard for anyone to argue that
there is a lack of children’s theatre in Jacksonville. The real discussion is
focused more whether all of these programs are necessary and if so should
they be expanded or reduced.
It seems from the discussions with the Board and staff that not all of these
programs are economically valuable. Theatreworks is technically a nonprofit organization, although it acts like a business. If grants are not received
or if shows do not bring in enough money, future productions could be at risk.
Therefore, programs that do not bring in enough money to be self sufficient
or can not be supported by the proceeds from other programs should be
carefully considered for future endorsement given levels of funding available.
Theatreworks is not at the same level as, for example, The Bushnell Center,
which provides numerous programs covering all of the Arts, thus Theatreworks
should be careful not to over extend past its resources.
The quality of Theatreworks productions, for the most part, can only be
described as high. The same adjective could be used to describe how many
productions are put on each season and in each program. Theatreworks
brings in a similar number of productions as other cities, though in a smaller
market. Where other fine arts centers, particularly those housed at
Universities, bring in quality productions, few have as many shows. That is,
Theatreworks gives its audience the best of both worlds, offering both high
quality and quantity shows. The question, however, is whether or not ticket
prices are in line with the quality of the productions. Other arts centers
interviewed charge more for tickets and receive more support from their
cities, while the arts centers are generally supported entirely by their school.
Thus, we believe that Theatreworks either needs to seriously consider
adjusting the ticket price scale, or secure more external funding. At a time
when external funding is becoming more competitive for fewer dollars, the
former option seems most fitting.
Finally, the expansion of the In-School program seems a logical step to take.
At a time when field trip budgets are being cut and under performing
schools are distracted by the need to raise their FCAT grade at the cost of
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the Arts, it is more important than ever to bring theatre into the schools, even
to the point of targeting schools with lower FCAT grades.
What is the role of the Theatreworks Board?
Of the many components that make up Theatreworks, the Board is one of, if
not the most important part. The Board is responsible for the overall direction
of Theatreworks, while also having a direct say from finances to programs
and initiatives. The Board has the ultimate responsibility for the success
and/or failure of the organization, both as the guiding force within the
agency and in cooperation with the Executive Director. To that end, it is
important to discuss the role of the Board and its effect on the entire
operation.
Since its beginnings, the Board has seen times of both high and low
involvement. At this time, the Board is in a period of low involvement. By its
own admission, the Board lacks the necessary participation and commitment
from its members. While the retreat held as part of this Reflective Practice
project was well attended, a good number of regular Board meetings start
and/or end without a quorum. For an organization that depends on its
Board, this is not a particularly positive situation. Not only are decisions
unable to be made because of a lack of members to vote on them, the
communication breakdown that occurs because members are not present
can be detrimental to the organization.
The other questions for discussion of the Board revolve around what “roles”
individual Board members should play for Theatreworks, although not
necessarily in the theatre. There is some sense that Board members should
financially support Theatreworks. There also seems to be a lack of predefined roles. For example, when a new member comes on the Board, there
is not sufficient direction assigned to the new person.
Though there are currently some negative aspects of the Board, there are
also a couple of positive aspects. First, through the reflective practice
process, the issues above surfaced and the Board has already been made
aware of them. Thus, the President and Executive Director have been
working on increasing attendance through innovative means, with the
possibility of a technological solution on the horizon. Second, as the Board
looks to add new members, it has in a sense, a clean slate to start from.
Meaning that the opportunity exists to initiate new procedures and define a
fresh list of roles to perform. In this way, as new members join, they could be
given the role without the familiarity of previous disorder. This also helps in
recruiting, as it is easier to entice and encourage someone to participate as
a Board member if they know what they are expected to do.
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What types of Partnerships should Theatreworks consider?
When talking about partnerships, it is important to remember that they are
often considered a “necessary evil;” organizations need them to be
successful, but would prefer to be able to do everything on their own. If
Theatreworks had all of the resources it needed, there would be no need to
search for additional funding, find businesses to support them, and work with
the different theatres around town. However, as Theatreworks operates in a
realistic world, they do need community partnerships to be successful. The
question is what organizations do they need to work with and in what ways?
Theatreworks should continue to partner with local businesses for monetary
support. These partnerships provide the businesses with positive exposure in
the community and opportunities for their employees to serve, with a side
benefit of a tax deduction. In turn, Theatreworks receives the funding
necessary to put on productions that would otherwise not be possible.
Other partnerships that Theatreworks should consider continuing and maybe
increasing are with the schools – Public, Private and Home-school. As
presented in the above data and from the literature, Theatreworks has the
opportunity to directly influence the schools that are underperforming
academically. This is certainly an opportunity to have a positive change in
the lives of their participants.
Finally, there are several other groups, who potentially partnering with could
provide increased benefits, including:
¾ Theater Programs, Art Departments;
¾ Universities and Colleges in the community;
¾ Sports Teams – Jacksonville Jaguars, Jacksonville Suns;
¾ After-school programs – The Bridge, Community in Schools;
¾ Renew and intensify current partnerships with Florida Theatre, RITZ.
However, new partnerships should not come at the expense of current ones.
Each partnership should be analyzed in context with the overall business and
strategic plan.
How does Theatreworks relate to the Community?
Part of the Theatreworks mission is to reach out into the community and serve
a diverse audience. In keeping with that, Theatreworks works hard to reach
out into and be a part of the Jacksonville community. They work to bring
children’s theatre to students from all over the city and from all socioeconomic statuses. In doing so, they have created a unique product and
have found a niche in the Arts market in the city.
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Theatreworks maintains a strong presence within the Arts community in
Jacksonville. However, from speaking with the staff and Board, it is clear that
while Theatreworks is well known inside the Arts community, they are not
currently viewed in the same positive light as they once were. It is vital for
Theatreworks to be viewed well by those in the ultra competitive Jacksonville
Arts community. Additionally, Theatreworks keeps a presence throughout
Jacksonville by providing productions at schools and theatres all across the
city. Yet, even with this presence, there is a noticeable lack of branding of
the Theatreworks name. It is clear, by talking with both the staff and Board,
that they feel as if the average citizen in Jacksonville does not know about
Theatreworks or its mission. One Board member even went as far as to say
that most parents had no idea it was Theatreworks who put on the
productions their children were attending. This lack of recognition is alarming
because while the organization is doing great work, many in the community
are oblivious to who is providing the service.
The survey of Arts organizations in Jacksonville showed that Theatreworks is
unique in that it appears to be the only organization in the city that offers live,
professional, touring theatre for children on a regular basis and on such a
large scale. This can be both positive and negative for Theatreworks. It is
positive because it shows that the organization has carved out a niche in the
market, utilized for both funding and recognition. This uniqueness may also
be negative as it presents opportunities for new competitors in the market.
As Theatreworks appears to be the only organization imparting this service in
a large city, another organization, existing or new, local or national, may
decide to move into the market in an attempt to offer competing children’s
theatre services. Here the strong branding of the Theatreworks name in the
community would also be of assistance, as it could help ward off any such
intrusions into the market of children’s theatre.
How do the answers to the above reflective practice questions provide
guidance to the development of a long term Business and Strategic Plan?
Both a Business and Strategic Plan would greatly benefit Theatreworks and
each of the above questions and subsequent discussion help provide a basis
for both. The participants provide important feedback for both Theatreworks
operations and for the schools. An analysis of the quality and financial
viability of programs can afford Theatreworks the opportunity to reduce their
non-profitable programs, while increasing their profitable ones. The Board is
a vital part of Theatreworks and has the ability to use this process as a
crossroads to utilize its role to build a stronger, more stable organization.
Partnerships are important, but each should be evaluated for benefit. The
branding of the Theatreworks name in the community is essential to
continued success as a unique organization in Jacksonville.
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As Theatreworks looks forward to the next 25 years, there are many
challenges and opportunities to be had. The overall question to be
answered though, is where do they go from here and how do they get
there?
RECOMMENDATIONS
Overall, Theatreworks has done what it has set out to do, by offering theatre
programs designed to reach their audience in the theatre, in schools, and in
the community. Children from across the First Coast have been entertained
by quality, professional theatre and learned important lessons that ultimately
could help them do better in school. The Board, Executive Director, and staff
all work together, though not perfectly, to bring these productions to
Jacksonville and its surrounding communities. Further, several local
organizations, both public and private, have given the financial support
needed for operations to continue. Basically, Theatreworks has kept to its
mission.
However, there are still areas that must be addressed if Theatreworks is to
increase its success both in the near and long term. To that end, the
following recommendations are listed:
1.
Create a business plan. The lack of a business plan was brought up
on several different occasions by both the Board and staff.
Theatreworks needs a business plan that is simple, for internal use
only, and identifies customers, expenditures, and finances based on
revenue and costs over time. It should cover both day-to-day
operations and future growth, while providing for marketing
opportunities. As part of this plan, each program should be
reexamined to make sure it not only fits within the mission, but is also
competitive – both in price and quality.
2.
Develop a strategic plan to be updated every five years. A
strategic plan is usually a long term, high level, and internal
document that identifies broad goals and provides direction for
achieving those goals. When developing this plan, a few personnel
matters should be addressed. First, the role of the Board needs to
more clearly defined, both in its overall capacity and in specific
member responsibilities. Second, the role of the staff and how they
serve the Board and Theatreworks needs to be communicated
better, especially as new programs or projects are created. Finally,
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a ‘Plan B’ needs to be instituted so that when an Executive Director
leaves the organization, a seamless transition occurs where
valuable institutional knowledge is passed on and no disruption of
service occurs. With these matters addressed, any goal added to
the strategic plan should reflect the mission, be consistent with input
from the participants, and be in agreement with the business plan.
3.
Continue to obtain and utilize participant input and demographic
data. Periodic surveys of teachers, volunteers, and students can
provide valuable input and demographic data for analysis of the
programs Theatreworks provides. Further, the data will help
Theatreworks keep abreast of trends in their population, allowing for
adjustments of programs, evidence for funding, and in the targeting
of additional specific groups according to the figures.
4.
Utilize resources within the community. Theatreworks must not only
continue using its current corps of theatre sites, but also must look to
other locations as their operations increase. Theatreworks should
also look to partner with local schools and other non-profit
organizations to move forward an agenda of incorporating the Arts
into the education system. Theatreworks should continue to target
underperforming schools and attempt to secure funding that
examines the relationship between schools that receive more Arts
to see if their students do better on the FCAT. At this time, it is not
clear that any move from the current location or the creation of an
exclusive partnership with any organization would benefit
Theatreworks’ short or long term goals. A combination of internal
and external issues, including the potential influx of other
organizations into the local market, could represent a major threat
to Theatreworks’ operations and should be carefully studied before
such a move is made.
5.
Conduct a S.W.O.T. (or similar) analysis every two to three years.
This comes last as it incorporates many of the above
recommendations. The S.W.O.T. analysis allows the Board and
Executive Director insight into the different aspects of running
Theatreworks. It would allow for the creation of a list of items to
work on while describing what resources are available to do so. The
analysis also identifies prospective avenues to take, while avoiding
areas that may cause negative consequences. At the end of the
day, Theatreworks needs to maintain its strengths, minimize its
weaknesses, optimize its opportunities, and eliminate its threats.
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APPENDIX A: 2003-2004 SEASON
In-Theatre
Charlotte’s Web
The Lion, The Witch, and The Wardrobe
Nightfall with Edgar Allan Poe
The Summer of the Swans
Rick Hubbard
Amelia Bedelia 4 Mayor and Other Stories
The Manding Empire Revealed
Corduroy
Freedom Train
Mike Mulligan and His Steam Shovel
Ramona Quimby
First in Flight: The Wright Brothers
Huck Finn
The Jacksonville Fire
In-School
Miss Poetica, Glenis Redmond
Masked Messenger, Rob Faust
Moscow Nights
Zoe Speaks
Cello Man
Who Can Do It?, Rick Hubbard
Turtle Island Tales, Hobey Ford
River Tales
Bangin and Sangin, Billy Jonas
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APPENDIX B: S.W.O.T. e-Mail Survey
Hello Theatreworks Board Members (and outgoing members),
This is Mason Brown with the research team from UNF that is conducting your
Reflective Practice grant. On June 16th, 2004 we conducted a SWOT Analysis
for the board at the modis building. A SWOT Analysis works to identify the
Strengths, Weaknesses, Opportunities, and Threats that face an organization.
Several members of the board were unable to attend and we would like to
give all members (including outgoing members) the chance to voice their
thoughts on this subject. In an effort to make this as simple as possible (we
know you all have hectic schedules), we have included four basic questions
which were looked at deeply during the meeting. Simply reply to this email
with your answers. All information will be reported in aggregate form and no
one will be named or singled out, so please feel free to be honest. Please
send your answers by Friday, July 9th. And, as always, thank you so much for
your time!
Questions:
What are Theatreworks Internal Strengths?
What are Theatreworks Internal Weaknesses?
What are Theatreworks External Opportunities?
What are Theatreworks External Threats?
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APPENDIX C: TEACHER/VOLUNTEER PATRON SURVEY
Statement of Voluntary Participation: Your participation is strictly voluntary and there are no
penalties if you decide not to participate in this survey. You are free to refuse to answer any
individual question. You must be at least 18 years old to participate in this survey.
The production of (Insert Show Name) you attended was put on by Theatreworks, a nonprofit Jacksonville-based organization committed to bringing quality theatrical
performances to school children in the Northeast Florida area.
Please circle your responses, then return the survey in the attached self-addressed
stamped envelope.
1. Including (Insert Show Name), how many Theatreworks productions have you attended during
the 2004-2005 school year?
1
2-3
4-5
6 or More
2. How would you rate the quality of the Theatreworks presentation(s) you have attended
overall?
Excellent
Good
Fair
Poor
3. How would you rate the quality of the facilities in which you have attended Theatreworks
presentation(s) overall?
Excellent
Good
Fair
Poor
4. How would you rate the convenience in getting to the location and leaving the location of the
Theatreworks presentation(s) you have attended?
Excellent
Good
Fair
Poor
5. How would you rate the affordability of the Theatreworks presentation(s) you have attended
overall?
Very Affordable Somewhat Affordable Somewhat Unaffordable Very Unaffordable
6. Would you say the arts are adequately supported in Jacksonville schools?
Strongly Agree Somewhat Agree
Somewhat Disagree
Strongly Disagree
7. Do you feel exposure to the arts directly impact a student's ability to do well in school?
Strongly Agree Somewhat Agree
Somewhat Disagree
Strongly Disagree
8. Do you feel exposure to the arts positively effect a student’s performance on the FCAT?
Strongly Agree Somewhat Agree
Somewhat Disagree
Strongly Disagree
9. Growing up, did you have more or less art-related experiences in school than students today?
More
Less
Same
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10. How pleased are you with Theatreworks overall?
Very Pleased
Somewhat Pleased
Somewhat Displeased
Very Displeased
11. Which of these terms best describes the group you were with today?
Public School
Private School
Home School
Day Care
Family
Friends
Other
12. Was your group given tickets at no cost?
Yes
No
13a. Do the children in your group get exposure to the arts outside of Theatreworks
productions?
Yes
No
13b. If yes, what exposure to the arts do they get?
_______________________________________________________________________
_______________________________________________________________________
14. What Zip Code is your group from? ___________
15. What do you like best about Theatreworks productions?
_______________________________________________________________________
_______________________________________________________________________
16. What do you like least about Theatreworks productions?
_______________________________________________________________________
_______________________________________________________________________
17. What changes would you like to see made regarding Theatreworks productions?
_______________________________________________________________________
_______________________________________________________________________
If you are a teacher…
18. What is the name of your School or
Organization?__________________________________
19. What grade do you teach? _______________
If you are a volunteer…
20. What grade did you
represent?________________________________________________
Thank you for your time and please send back the survey as soon as you can!!
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APPENDIX D: STUDENT PATRON SURVEY
Statement of Voluntary Participation: Your participation is strictly voluntary and there are no
penalties if you decide not to participate in this survey. You are free to refuse to answer any
individual question and you may choose to end this survey at any time. Please DO NOT put
your name on the survey.
The production of (Insert Show Name) you attended was put on by Theatreworks, a nonprofit Jacksonville-based organization committed to bringing quality theatrical
performances to school children in the Northeast Florida area.
Please circle your responses.
1. Did you enjoy the production of (Insert Show Name)?
Yes
No
2. Would you like to attend more productions like (Insert Show Name)?
Yes
No
3. How did you like the theatre where you saw (Insert Show Name)?
Excellent
Good
Fair
Poor
4. Do you attend an after school arts program?
Yes
No
5. Are art classes such as painting, theater, and music offered at your
school?
Yes
No
6. Do you think knowing about arts helps you in other classes?
Yes
No
7. Are you a boy or a girl?
Boy
Girl
8. How old were you on your last birthday?__________
Thank you for your time!!
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APPENDIX E: ARTS ORGANIZATION PHONE SURVEY
If you get an answering machine:
I am calling on behalf of the University of North Florida. We are not selling anything. We are
conducting a survey and would like to ask you a few questions. We will try to reach you again at a
later time. Thank You.
If someone answers the phone:
Hello, my name is _________ and I am from the University of North Florida. We are not
selling anything; we are conducting a survey regarding Arts Organizations in Jacksonville. May I
speak with______________?
If the participant is not in:
We will try to reach______________ at a later time. Thank You.
If the participant is on the line, proceed with the following:
We are interested in the Arts community in Jacksonville and feel that information about your
organizations could help us obtain a better understanding of who is being served. I have a few
questions to ask you about your organization that pertains to who you serve and what services you
provide. The survey will take no more than 5 minutes to respond to. Your participation is strictly
voluntary and there are no penalties if you decide not to participate. You are free to refuse to answer
any individual question and you may choose to end this telephone survey at any time. You must be
at least 18 years old to participate in this survey.
Would you agree participate in this survey?
YES NO
1.
Of the following list, what would you say are your three most important activities as an
Arts Organization?
a. Theatre
YES NO
(If Yes) What ___% of activities?
b. Education
YES NO
(If Yes) What ___% of activities?
c. Music
YES NO
(If Yes) What ___% of activities?
d. Dance
YES NO
(If Yes) What ___% of activities?
e. Painting
YES NO
(If Yes) What ___% of activities?
f.
(Other 1)
___________ YES NO (If Yes) What ___% of activities?
g. (Other 2)
___________ YES NO (If Yes) What ___% of activities?
(Make sure the percent total roughly equals 100%)
2.
How many of the following positions do you have?
a. Full-Time
________
b. Part-Time
________
c. Volunteer
________
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3.
Does your organization provide services for children who are in:
a. Pre-School or Younger YES NO
(If Yes) What ____% of Population
b. Elementary School
YES NO
(If Yes)
What ____% of
Population
c. Middle School
YES NO
(If Yes)
What ____% of
Population
d. High School
YES NO
(If Yes)
What ____% of
Population
(Make sure the percent total roughly equals 100%)
IF NO TO ALL OF THE ABOVE IN QUESTION 3, GO TO QUESTION 6.
The term "at-risk youth" means school-aged youth who are at risk of academic failure, have drug
or alcohol problems, are pregnant or are parents, have come into contact with the juvenile justice
system in the past, are at least one year behind the expected grade level for the age of the youth,
have limited English proficiency, are gang members, have dropped out of school in the past, or
have high absenteeism rates at school.
YES NO
4.
Do you offer any programs for Children who are “At-Risk?”
5.
Does your organization work in conjunction with any schools in your area? YES NO
6.
What area of Jacksonville does your organization primarily service?
7.
How do you feel your organization most benefits the Jacksonville Community?
8.
Does your organization have a mission statement?
YES NO
IF NO, GO TO CLOSING STATEMENT.
9.
Can we get a copy of your mission statement?
YES NO
a. Fax – 620-4415
YES NO
b. Mail
YES NO
c. Pick Up (offer only if the first two are definitely ‘NO’)
YES NO
i. Pick Up Address:
_____________________________________
ii. Pick Up Contact:
_____________________________________
CLOSING STATEMENT
We would like to thank you for your time and participation in this survey. Good Bye.
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