Abst
ract
The No Child Left Behind Act of
2001 had an overarching goal, to
close the achievement gap by
teaching what works. A decade
later, our students have become
victims to a one size fits most
approach to teaching and
learning, where the bottom line is
fiscal responsibility. For many of
our students, the only remaining
safeguard to a balanced
education is the accessibility of
the Out of School Time Program.
This research seeks to
investigate who is
involved in our Out of
School Time, Fine and
Performing-Arts Programs
and discover why this
crosscut of students is
motivated to stay beyond
their regular school
schedule.
AbstractContinued
Recent polling data supports that over “6.5
million children are enrolled in after-school
programs nationwide and therefore are posed
to reap the benefits of program participation”
(Weiss, Little, & Bouffard, 2005, p. 15).
This however, leaves a staggering 14.3 million
children ranging in ages from five to eighteen
that are not taking advantage of programs
offered after school.
What specific type of
motivation is the currency by which our
student body elects to
take on the often rigorous involvement
associated with the Out of School Time Fine & Performing Arts
Programs?
4 Th
em
selv
es
What type of student
improvements exist, associated
with Out of School Time
programs and what type of
improvements can be expected
of educational institutions that
support Out of School Time Fine
& Performing Arts Programs?
Those who do elect or
have the opportunity
to participate in Out of School Time (OST)
programs are likely to benefit from social,
emotional, and academic vantage points.
What
does
bala
nce
look
like? • AP Student• LD Student• BD Student• Average Student
MIN
ORIT
Y
Stu
den
t
Low
Inco
me
Sta
tus
Phase 1
The study will be used to identify the type
of student involved in OST Fine & Performing
Arts Programs.
-Specific Type OST Fine and Performing Arts
Program-Students’ Perception of Family’s
Socioeconomic Status
-Ethnicity or Minority Status
Phase 2The study will be used to identify students’
specific interest in OST Fine & Performing
Arts Programs by looking at qualitative and
quantitative markers of participation.
Phase 3This study will conclude by identifying the
specific type of motivation that our OST
Fine & Performing Arts Participant requires.
meth
ods
• What qualitative and
quantitative methods of
evaluating the positive &
negative impact of OST Fine &
Performing Arts Programs exist?
• As the cultural makeup of our
community changes, what kind
of challenges might OST Fine &
Performing Arts Programs face?
• Do the socio-emotional benefits
of participating in OST Fine &
Performing Arts Programs lead
to general success in the arena
of education, the workforce, or
life?
More
to
Consid
er
The students who
elects to not
participate in OST
programs stands to
benefit the most of
them . How can our
organizations better
use OST programs to
target our at risk
students?
Juan J. Medina