There little disagreement that the relationships between many police agencies and the communities they serve in the United States are strained in early part of the 21st century (Stogner et al., 2020), and police officers are struggling with their role in the community (Fernandez, 2020; Stogner et al., 2020). Political discussion on policing issues in the US is caustic, and the national level narrative during the past several years has largely condemned police officers (Maciag, 2018). The jury’s conviction of former Minneapolis police officer Derek Chauvin for murdering George Floyd in 2020 has not reduced the tensions in police/community relationship (American News, 2021; Armstrong, 2021; Fox News, 2021). Complicating matters, police officers are receiving conflicting messages on how they should relate to the community: “The message from many of their chiefs and mayors is to tolerate, connect, and empathize. The message on the streets. . . is that they are part of the problem. The message from the news media is watches what you say and do” (Fernandez, 2020). How can police leaders navigate these challenges to repair the relationships between the department and their community? This paper suggests that the idea of service that permeates the leader-follower relationship in a servant leadership paradigm (Greenleaf, 1977;) and motivates police officers (Lester, 1983, p. 173; Whitson, 2020, p. 241) could be a bridge to begin rebuilding the police/community relationship. After reviewing the literature on police leadership and servant leadership, this paper offers seven propositions—based on the seven dimensions of Liden et al.’s (2008) servant leadership framework—for how leadership behaviors could improve relationships between police and the communities they serve.

Parental influences on childrens ethnic identity among middle-income Korean-American families (N = 52), including fathers, mothers, and their children were examined. The sample was comprised of 23 boys and 29 girls (M = 7 years and 3 months) and their parents. Mothers and fathers were asked to respond independently to a parents ethnic identity questionnaire, children were interviewed using a childrens ethnic identity questionnaire. Results revealed the most important predictors of childrens ethnic identity were parental teaching behaviors regarding Korean culture and history. Among the three domains in childrens ethnic identity, Korean language fluency was most affected by parental ethnic identity variables. Results indicated that mothers and fathers generally share the same attitudes toward ethnic matters- thus, it was concluded that children receive a congruent ethnic message from their parents.

Picasso said he spent a few years learning to draw like Raphael and a lifetime trying to draw like children. As childhood art educators, it is our job to inform and enlighten their minds and show them the limitlessness of their abilities. The core of art education should be centered on creativity and storytelling. It is crucial for children between the ages of seven and nine to recognize how their ideas develop into drawings. These are the most prolific years in a child’s life to spark and deepen their ability to adapt and come up with ideas. Unfortunately the current state of art curriculum in public schools does not allow for this kind of growth and knowledge. The designated art curriculum of today centers on replicating and mimicking existing artwork as opposed to creating an outlet for individual style. The current content standards set forth by the State of California in the subject of Visual Arts greatly lack any substantial effort in developing creativity. In the Creative Expression category, the target learning objectives are vague at best with little to no indication of teaching students how to have their own ideas. Instead, the focus seems to be on concepts of mixing colors and drawing from observational sources such as art history and objects in daily life. To teach children that realism is the only qualifying attribute of good art is to take away all their creativity and put a cap on their artistic potential. The only way to become creators is by surpassing reality, not imitating it. Realism is little more than a tool to advance our own ideas, not as a crutch for not having any. Realism is a skill, not a talent.

Education is the major backbone of a countrys growth and the maturity of the nation is understood from the quality of educations it imparts to its population. The education sector in India has come across many stages of development as well as faced crisis and challenges over the period. Hence, the sector received high attention from the successive governments since independence to date. The higher education sector of India has undergone major interventions by the government with introduction major governing institutions, implementing and monitoring bodies from central to the local level, prioritising the use of Information Technology and Information and Communication Technology (ICT) for dissemination of educational information and better governance of the sector. Across the past twenty years the use of ICT has fundamentally changed the practices and procedures of nearly all forms of endeavour within business and governance. This paper attempts to highlight the role of ICT in higher education in India and development vis-a-vis challenges it has been interfacing is discussed in the article.

En los principales trabajos de los pensadores estoicos hay un concepto recurrente, insistente, que aparece y reaparece en el correr de toda su obra: se trata del concepto de eudaimonía. La eudaimonía implica una actitud de introspección, de salvación personal, de cultivo de una actitud personal ante las inclemencias de la realidad material, más que un intento para cambiar las coyunturas y las circunstancias. Esta actitud de introspección no implica necesariamente una tendencia hacia lo individual, sino más bien un retiro hacia el interior de sí mismo en el que la persona debe realizar aquello que le dicte su alma. En este sentido, es posible decir con cierto rigor de verdad que los estoicos son quienes han desarrollado con mayor profundidad, dentro de su sistema filosófico, la idea del arte del cuidado de sí o la ocupación de sí mismo. Este trabajo da cuenta de la verosimilitud del discurso estóico desde la perspectiva del discurso de la transgresión, reformulando así el interior mismo del estoicismo

The year of 2020 marks a 10-year period of reforming strategies in diplomacy in general and in cultural diplomacy in particular of Vietnam. In 10 years, Vietnamese cultural diplomacy (VCD) has made important achievements contributing to the national diplomatic goals including multilaterization and diversification of relations, active and proactive integration, being a trustworthy friend and partner, a responsible member of the international community, and promoting Vietnams prestige on the world stage. Not only recognizing the need for being more diverse, opener and deeper, VCD has also successfully introduced its own theoretical framework. A variety of action plans have been launched so far and brought back remarkable results. Among these, the project on “Honoring President Ho Chi Minh, a Vietnamese hero of national liberation and a great man of culture overseas” is one the most important contents. This is a clear reflection of Vietnamese policies and methods of doing cultural diplomacy from 2010 to 2020. The project provides valuable lessons to Vietnam in building and implementing the cultural diplomatic policies more efficiently in the future.

Intended blank is a space that an artist intentionally leaves blank in Chinese paintings. Chinese painters of various dynasties and generations applied the empty space skillfully and naturally and it use composition to lead the viewer to experience the artistic intention and emotional needs of the artist with a contrast between black and white, emptiness, and solidness. This paper reviews the aesthetics and philosophical theories of this unique visual style by collation of ancient Chinese major works of literature and paintings. The technique of intended blank, established by ancient classic theories, creates spiritual resonance, spatial hierarchy, and artistic conception for paintings. It is a classic visual feature of Chinese art developed from philosophical and aesthetic theories.

This article aspires to survey the way in which Louis Sebastien Mercier used description in Tableau de Paris to make commentary on social theatre. A close reading of visuality, the gaze, and the representation of spectacle, warrants a renewed understanding in the ways in which Mercier’s rhetoric uses visuality as a tool of pedagogy, a method of constructing personhood and citizenship. This tool helped Mercier bring to bear the issues of social inequality, class division, economic hardship, and class conflict that underpinned pre-revolutionary tensions. Examining the work through this unique lens helps us contextualize his philosophy with that of his contemporaries and understand the emerging public sphere where individuals interacted with all forms of spectacle, from theatre to public appearance.

The lack of foreign language (FL) skills in the U.S. is not a new topic. News headings such as Learning a foreign language a must in Europe, not so in American (Devlin, 2015) is not at all news. As Richard Lambert (1987: 10) has aptly put it [m]ost of us are devoutly monolingual, and to such extent that [a] popular stereotype of Americans traveling abroad is the tourist who is at loss when it comes to coping with any language other than English (Devlin, 2015). However, there is a danger in this monolingual trend as Lambert (1987: 10) warns in the same article: There is nothing more damaging to the American capacity to cope in a global society than the abysmally low level of foreign language competency of most Americans (Lambert 1987: 10). It is not that funds are lacking, he claims, since at the time he was writing, the annual spending in the teaching of FLs was more than $2 billion. Nor it is lack of time investment on part of the students, since millions of them take French, German, and Spanish courses for at least two years, sometimes four, or even six in high school or college (Lambert 1987: 10)

This research paper is based on an interview based case study of experienced and novice Foundation year teachers in an Art and Design DAI (Degree Awarding Institution) in Pakistan. Foundation year is the base of any art and design undergraduate program as it not only enable students’ with tools, techniques and skill of making art but it also empowers them to become critical thinkers and independent learners. The aim of this study is to generate effective teaching strategies, tools, and techniques that might better facilitate foundation year students’ learning needs and provide teachers with ideas and strategies to become facilitators. Specifically, this study focuses on strategies that are useful for motivating students to become proactive learners; for engaging students effectively whereby their learning goes beyond classroom walls and for building better teacher-student relationships. Furthermore, the analysis of the findings of the study has also been used to assess the researcher’s own teaching practice in a foundation course dealing with Critical and Contextual Studies. This process specifically involved looking at the role of the teacher as a moderator. The self-reflective analysis of the researcher’s teaching led to the development of an assessment tool and recommendation for effective student-engagement that might be used by other teachers.

The self is relational in a wide sense and is constituted, Else I. Wiestad argues, not only through the influence of social and cultural, but also of bodily and environmental factors. The spatio-bodily self constitutes itself through interactive processes in a locale.