Essay on Youth the Powerhouse of Society

Herein lies the problem. Dojinshi and its yoai and boys' love components flourish because they are subversive, beyond control, and because they stand in opposition to conventional societal norms. To put these forms of youth visual culture in schools would probably rob teens of the pleasures that surround their creation and consumption: when we require students to do and make what they themselves have elected to do on their own becomes no longer their own. Moreover, when the subversive is sanctioned it loses its social transformative functions. Surely, schools should not be in the business of assisting students to create dojinshi. They don't need help.

Issues of Power and Pedagogy - Home - CSU, Chico

Writing down thoughts and feelings is a way to express what's inside and very healthy

Locke, John | Internet Encyclopedia of Philosophy

Youth Power builds on the achievements of the worldwide youth movement which influenced the creation of the Global Goals, in particular the which pressured world leaders to make those Goals ambitious. Restless Development was a throughout the year, and on 115,000 young activists from 80 countries joined in to show their Youth Power.

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The Global Goals depend on action in the developed world as much as the developing world. Youth Power is a global campaign trying to make changes at local, national, and international levels, because the promises of the Global Goals can not be kept anywhere without young people acting everywhere.

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The statistics - billions in aid and loans, UN vetoes, etc., etc

Foucault has a useful response to this type of question. He refers to "a new economy of power relations." "In order to understand what power relationships are about," Foucault suggests, "perhaps we should investigate what is happening in" and then he gives as an example, "the field of insanity" (Foucault, 1984, p. 419). He argues for the investigation of forms of resistance, taking as a starting point a series of oppositions--things such as the power of men over women, parents over children, of psychiatry over the mentally ill, of medicine over the population, to which we might add teachers over students, and in the case of dojinshi and other forms of visual culture, power that some youth exercise over others, and a power that the dojinshi creators apparently have to diminish the importance of art instruction in the eyes of students. Foucault claims "it is not enough to say that these are anti-authority struggles; we must try to define more precisely what they have in common" (Foucault, 1984, p.419). Indeed, we believe that art education could benefit enormously for a discussion of what art curricula and dojinshi have in common.

Can group selfies advance women’s goals

Boys' love, yaoi, and the dojinshi in which they are found are potent sign in Barthes' Empire of Signs. They are also a sign of disputed power in the realm of art education and youth visual culture. They are signs of the larger global visual culture of youth which art educators and youth both share and do not share. If pedagogy is the sharing of power by students and teachers--and we think it should be--then shouldn't forms of visual culture studied in school should be a topic for negotiation among educational authorities, teachers, and students? Indeed, we believe that this is one of the most important issues for students and teachers in countries throughout the world to negotiate and resolve. The problematic, subversive, forbidden, and unsanctioned yaoi will probably not be permitted inside the art classroom. Might it be the case, however, that the less problematic forms of visual culture created by youth might stand in for the unacceptable types? If boys' love provides the means for females to explore gender roles, then perhaps sanctioned forms of visual culture might provide the vehicle through which students could practice reading signs in the unsanctioned forms of youth culture which exist beyond schools.

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In the relationship between the school art curricula and the dojinshi subculture in Japan we have a paradigm case in which youth visual cultural power is in competition with the visual cultural power represented by the art curricula. (This situation, we might note, is not unique to Japan or to Asia.) It's not so much that these two forms of visual culture are in open conflict, rather they exist apart in separate territories within the vast visual cultural realm. Nevertheless, it is ironic, on the one hand, that teachers expend great effort to make art a part of students' lives, and yet we know virtually nothing about whether or not art instruction changes the lives of general education students. On the other hand, those same students, with little or no encouragement from adults--and frequently with adult disapproval, make dojinshi creation and consumption a central component of their lives. Is this a problem for art education? Should these two clusters of power within art education be treated as hopelessly antagonistic and irreconcilable?