community responsibility
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2021 ◽  
Vol 14 (2) ◽  
pp. 90-115

Formal rites of passage (ROP) processes are largely lacking within Western culture. This scarcity is seen to be detrimental to adolescent boys’ masculine identity formation. With schools bearing increased responsibility for the well-being of students, and as a way of addressing the apparent cultural deficiency, interest in school-based ROP programs has expanded. This scoping review adopted a systematic methodology to refine an initial accumulation of 708 articles. Nine key articles investigating the impact of school-based ROP programs for adolescent boys were examined. The ROP programs were analyzed according to rationale, design, and impact, with each program focusing on three major domains of impact—community, responsibility, and identity. The review found that adolescent boys’ participation in ROP programs may enhance community engagement, build responsible citizenship, and improve self-perception through the development of positive masculine identity.


2021 ◽  
Vol 11 (11) ◽  
pp. 736
Author(s):  
Sukadari Sukadari ◽  
Miftachul Huda

As the application of colored designs on cloth using wax in certain areas in decorating items of clothing, Batik is made through several steps that come from drawing the pattern on the paper followed by imitating the pattern on fabric, which is called ngeblat. The next phase is followed by drawing the pattern using wax, which is called mencanting. The subsequent step is the process of coloring the pattern of Batik, called pencoletan, and then subsequently followed by color-locking on Batik through covering the Batik with wax, namely basic color dyeing. This process is called menembok. The final step is making the panting process through washing, called nglorod. This process should attempt to maintain Batik with cultural sustainability, as its process contains several values, such as discipline, creativity, independence, patriotism, responsibility, cooperation, and environmental care. Based on this background, this paper attempts to examine the Batik’s cultural design and to explore its sustainability through co-curricular school program activities. This study focuses on examining the potential in the process of the application of colored design through elaborating the supporting and interfering factors in a co-curricular learning program of Batik. The analysis was made through several points, namely a co-curricular learning program of Batik for enhancing cultural sustainability, a co-curricular learning program of Batik for enhancing national culture and community responsibility, and co-curricular learning of Batik for sustainability and environmental accountability.


2021 ◽  
pp. 60-62
Author(s):  
Daniel Mwesigwa Iga

Author(s):  
Inga Bostad

Gratitude may at first glance seem foreign to philosophy of education. Being grateful is often described and interpreted in psychology, anthropology, sociology, or religious contexts, while philosophers have to a lesser degree regarded gratitude as an interesting topic, and there is no agreed upon definition or status of gratitude in philosophy of education. However, the discipline of pedagogy is more than what happens in school, in education and upbringing; it may be interpreted in a broad sense, as the study of how we live together for the renewal and reproduction of a society, and thus the concept of gratitude throws light on the double relationship between teacher and student, wherein one both gives and receives, and makes us see ourselves as relational and dependent on others. In the philosophy of education, gratitude may work as a critical concept revealing imposed social and political orders, power relations, and repressive mechanisms as well as delineating interdependence and interconnectedness, appreciating the efforts and contributions of others as well as social justice. One can define gratitude as a positive, appropriate, and immediate feeling or attitude toward, or a response to, an advantage or something beneficial. Gratitude thus depends on a subject, a being with some kind of intention, consciousness, or emotional life directed toward something or someone. Being grateful to others may express and accordingly justify social hierarchies as well as a balance between actions and benefits, between behavior and quality of life. There are thus arguments for seeing gratitude as both a critical and an enlightening concept. Some argue that gratitude is first and foremost an imposed burden, and that the debt of gratitude is intimately interwoven with, but also differs from, being grateful, as the first implies that a person experiences indebtedness to someone for having received something that also requires some kind of response or reciprocation. Others view gratitude as a neglected and meaningful enrichment of people’s lives: gratitude may promote feelings of community, responsibility, and belonging. Moreover, it can strengthen our appreciation of other people’s efforts and kindness, and of valuable social and cultural institutions. Someone is grateful because they acknowledge what someone else has invested, and being able to express gratitude, or being hindered from it, is also part of the pedagogic relation. It is first and foremost the relationship that defines gratitude; it is both something other than the object—the undertaking or the experience that makes us grateful—and in relationship with that object. To be grateful expresses a sense of life, a condition that addresses not only what you get, but also the responsibility we have as relational human beings.


2020 ◽  
pp. 1-25
Author(s):  
Gwynne Mapes ◽  
Andrew S. Ross

Abstract In this article we consider the discursive production of status as it relates to democratic ideals of environmental equity and community responsibility, orienting specifically to food discourse and ‘elite authenticity’ (Mapes 2018), as well as to recent work concerning normativity and class inequality (e.g. Thurlow 2016; Hall, Levon, & Milani 2019). Utilizing a dataset comprised of 150 Instagram posts, drawn from three different acclaimed chefs’ personal accounts, we examine the ways in which these celebrities emphasize local/sustainable food practices while simultaneously asserting their claims to privileged eating. Using multimodal critical discourse analysis, we document three general discursive tactics: (i) plant-based emphasis, (ii) local/community terroir, and (iii) realities of meat consumption. Ultimately, we establish how the chefs’ claims to egalitarian/environmental ideals paradoxically diminish their eliteness, while simultaneously elevating their social prestige, pointing to the often complicated and covert ways in which class inequality permeates the social landscape of contemporary eating. (Food discourse, elite authenticity, normativity, social class, locality/sustainability)*


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