The Difference Between Leadership And Followership Free Sample

The Difference between Leadership and Followership C/CMSgt Abraham Cheng Leadership and Followership are two very distinct concepts, but it is impossible to have one without the other. In CAP’s leadership text, it defines leadership as an art. Like all the other types of art, leadership takes practice and experience to be skilled at using it. This is where followership comes in. Followership is where you learn to be a leader, where you observe those placed above you, and most importantly, where you learn to follow.

Skills you learn as a follower are applied when you become a leader. All leaders are followers, but not all followers are leaders. Therefore, the difference between leadership and followership is the process of learning and gaining the skills required to lead others. Followership, as its name suggests, is learning to be a follower. Followership is the basic principle when it comes to leadership. A major part of followership is discipline. According to Merriam-Webster, discipline is training that corrects, molds, or perfects the mental faculties or moral character.

Followers, especially in CAP are in a state of training that molds their knowledge of the program and develop a person’s leadership ability. When a person is a follower, their main goal is to learn and develop themself. That way, when the person grows in status and becomes a leader, they will have learned the necessary skills to be able to lead other people effectively. A follower needs to learn from their leader’s mistakes so when they are in a leadership position, that mistake can be avoided from lessons learned in the past.

According to CAP’s leadership text, Leadership 2000 & Beyond, Vol. 1, leadership is defined as “the art of influencing and directing a group of people in manner that will win their obedience, confidence, respect, and loyal cooperation in achieving a common objective”. As it was mentioned above, an art is a skill that takes practice and experience to be able to use it properly and effectively. The art of leadership starts to develop the moment a person becomes a follower.

During a person’s time as a follower, they will constantly observe their leader and learn leadership lessons from that leader, so when that person becomes a leader, they will already have prior knowledge on being a leader and will therefore be a better leader. In order to be a good leader, a leader must have the necessary experience, skill, and motivation to bear responsibilities that a follower may not yet have. The qualities that have been developed though a cadet’s career must be maintained and perfected as a leader. Leaders must always lead from the front and act as a role model as followers learn from the example leaders set before them.

When people transition from the follower phrase into the leadership phrase, they still need to practice good followership. Leaders still have to follow other leaders; even people who are on the top like the president have to follow something such as the US constitution. Leadership and followership are two things that can be in operation at the same time for the same person. The bridge between the two is communication. With sufficient communication, the leader can tell his followers what he wants, and the followers can show him what they need him to do for them.

If you look deeply into both followership and leadership you will see that they are not that different, but more the same. You cannot lead if you do not know how to properly follow someone. You have to listen to what your leaders say, but you also must listen to the feedback your followers give in return. As a follower you learn the basic traits that are needed to be a leader. Once you have that down pat then you can step into your leadership role and begin teaching your followers. While you are teaching your followers you are also learning and making yourself a better leader. That is the difference between followership and leadership.

Case Study In A Company: Questions And Answers

Questions: 

  1. Was it fair of the mine management to dismiss Sipho from service?
  2. What should Sipho have done differently?
  3. In what way could the mine management have provided support to him, prior to his wrongful act?
  4.   How would you have acted had you been in a similar situation?
  5. What should you do when your personal values are in conflict with a certain work ethic?

Answers:

  1. Sipho breached the ethics of the workplace. He destroyed his personal values (honesty and respect) to help his family by giving him extra income. He paid R500. 00 to the personnel assistant so he contributed in the corrupt activities. Therefore it was fair of the mine to dismiss Sipho service.
  2. Sipho should not handed the personal assistant the R500. 0. he should inform the mine management that he deserve a promotion rather than paid bribe that it is against ethics and personal values.
  3. The mine management discovered that the personnel assistant gave promotion to personnel who’s paid to him bribes and not for those whose dedicated all their time and effort to improve the productivity of the organization. Therefore, the mine management should give promotion to personnel that respect work ethics and work hardly. Here in our case, Sipho ould obtain a promotion if he was respected the work ethics but he didn’t do so, so he was found guilty and dismissed from the service.
  4. If I was in similar situation: – keeping on my personal values that included honesty and hard work. – avoiding corrupt activities, fraud The truth will appear whatever what we are doing. Therefore, what I do will be in the same line with my values.
  5. All people have their own sets of personal values that come from societies, families, religions… Organization tries to hire employees whose values match their own.

If the organization in which I work respects the equal employment equity (EEO), provides a work place free from all forms of discrimination, treats all employees with respect, dignity and equality. I think that is no conflict between my personal values and the organization ethics. But If the organization discriminates against pregnant women. I feel unhappy and in this case the company isn’t ethical and I will lose my respect for the company.

An Account Of Criminality And Prostitution In The Film Vivre Sa Vie (1962) Analysis

The profession of prostitution has been present in every society throughout history, regardless of its legal status, and can be traced back to ancient times. In France, the influence of prostitution on the socioeconomy is significant and recognized as part of the country’s cultural heritage by former president Nicolas Sarkozy (Gangoli, G. & Westmarland, N. 2006). The impact of prostitution and its connection to crime in the daily lives of ordinary Parisians is explored in Jean-Luc Godard’s Vivre Sa Vie (1962), a film that adopts a theatrical documentary style and employs Brechtian alienation techniques to prompt audience members to critically analyze its underlying message.

The film Vivre Sa Vie (1962) is structured like a fictional novel, with twelve tableaux that serve to create distance and prevent the audience from becoming too invested in the tragic character of Nana. This stylistic choice, reminiscent of a novel, is enhanced by the fact that the name ‘Nana’ pays homage to a naturalist film made by Jean Renoir in 1926, who greatly influenced Godard.

The scripts of both films exhibit clear similarities in the aspirations of the female protagonists to achieve success in the entertainment industry, their sexual promiscuity, and their sorrowful fates. It is important to observe that Nana serves as both a tribute to Renoir and a rearrangement of ‘Anna’ Karina, who was Godard’s spouse during that period. This implies that the movie not only delves into Nana’s identity but also reflects Godard’s perspective on Karina. Consequently, this prompts us to question whether a filmmaker’s creation can genuinely be considered an autobiographical portrayal of themselves.

Different English-speaking countries had different titles for earlier versions of the film. In North America, it was titled “My Life To Live,” while in the United Kingdom, it was called “It’s My Life.” Despite these slight differences in translation, the essential existentialist concepts remain unchanged. According to Sartre, existentialism asserts that one’s existence precedes their essence. This means that a person’s choices in life determine their very being and they are responsible for their actions, emotions, and words. Nana expresses this idea in Vivre Sa Vie (1962), Tableau the Sixth titled “Meeting Yvette; A Cafe In The Suburbs; Raoul; Gunshots In The Streets”: “I believe we always bear responsibility for our actions; we have freedom. Every time I raise my hands or turn my head to the right, I am accountable. Even if I forget at times, I am still responsible.”

Despite Nana seemingly accepting her fate due to her own choices, there are underlying complexities that are not accounted for. These include the circumstances that led Nana to go astray and become a prostitute. In Susan Sontag’s (1964) essay “Godard’s Vivre Sa Vie,” she argues that art focused on social and topical issues should not just present what is happening but also explore how and why it happens. However, Vivre Sa Vie deliberately avoids offering explanations.

It rejects the concept of cause and effect. In VIVRE SA VIE, Godard does not provide a conventional explanation for why the main character, Nana, becomes a prostitute. Instead, he simply shows us that she does become one. Similarly, Godard does not reveal the reasons behind Nana’s pimp Raoul selling her or the events leading up to the final gun battle in which Nana is killed. He only shows us that she is sold and dies. He does not analyze but rather demonstrates. ”

Throughout the film, Nana is depicted as a naïve young woman who is eager to achieve her dreams and fulfill her desires. These desires are greatly influenced by her almost obsessive fascination with popular culture. This aspect of Nana’s character aligns with what Sontag refers to as Godard’s “proof,” which provides the audience with the necessary elements to complete the narrative. The third tableau, titled “The Concierge; Paul; The Passion of Joan of Arc; A Journalist,” exemplifies this idea. Despite being without a home, Nana remains undeterred and goes ahead to watch a screening of “Le Passion de Jeanne d’Arc.”

The portrayal of Nana, played by Anna Karina, in the film incites the audience to compare her difficult circumstances to Joan of Arc’s suffering. Nana’s ultimate fate seems to be foreshadowed by the death of Joan. The auteur’s depiction of the heroine encourages viewers to analyze the plot and search for the missing cause in order to understand the causality. Critique is necessary for developing an alternative perspective.

The text highlights the correlation between Nana’s occupation at a record shop, her regular trips to cinemas, and her eventual involvement in prostitution. This draws a clear parallel between Nana and the conventional idea of femininity, while also highlighting the disparity between actions driven by one’s own motivations and those influenced by external factors. The portrayal of Nana as a victim of circumstances emphasizes the challenges faced by individuals within a capitalist society.

In order to emphasize his worry about the overwhelming influence of consumerism on a more materialistic Paris, Godard effectively utilizes various elements within the mise-en-scene such as foreign cars, juke boxes, pinball machines, and even Nana’s bobbed haircut. These elements all serve to convey the idea that individuals lose their sense of self when under the oppressive control of a monopoly. The fifth tableau (The Boulevards; The First Man; The Room) is when Nana initially encounters solicitation.

Yvette recounts her own journey into prostitution in detail, further desensitizing Nana to the lifestyle. Only Yvette has a clear understanding of the reasons and circumstances that led her to become a prostitute. Godard does not delve into the stories of Nana’s other colleagues in the film, leaving room for the audience to interpret the various paths that could lead a woman into prostitution. The film aims to portray the realities of being a prostitute, showing that criminality is not limited to delinquent members of society but can also involve those sworn to uphold the law. The sixth tableau reveals a shooting in the streets that is later revealed to be a politically motivated act.

A man with blinded eyes due to a wound enters the cafe in extreme pain, while Nana quickly leaves the area. Blinded by a false sense of independence, Nana begins her new career as a prostitute under Raoul’s control. The societal acceptance of sexist views and assumptions about women (Smart, C. 1978) reinforces the general perception of women as an inferior gender, even in the underworld of crime.

Embracing this one-sided mentality, the subjugation of women is illustrated as Nana effortlessly strolls through the hotel, encountering her coworkers who resemble immobile statues confined by the commanding stares of the men they cater to. This monochrome film maintains a connection to the recurring motif of marble statues in Godard’s portrayal of women (Tableau The Tenth-The Streets; A Bloke; Happiness Is No Fun).

Nana, the protagonist of this text, is both a victim of circumstance and someone who willingly assumes the role of a prostitute. When she is rejected by a client, she experiences emotions of disappointment and hurt. Cecil Bishop (1931) describes this state as a deliberate choice to engage in prostitution in order to satisfy sexual desires, rather than being driven by economic or social factors. Nana finds that prostitution provides a relatively small income, but also fulfills her growing need for sex. In 1962, during the decline of the French New Wave, Godard released a groundbreaking film about the life of a prostitute. Prostitution serves as a prominent theme in Godard’s cinematography, representing a model and metaphor for all social relationships.

In the writings of Godard, all forms of labor that involve seeking monetary gain are considered to be a type of prostitution. Through his observations of women in these occupations and their conditions of suffering and contradictions, Godard aimed not only to comprehend the corruption of the world and society but also to communicate this understanding to his audience. References: Bishop, C., (1931). Women and crime. 1st ed. London: Chatto and Windus. Braudy, L., (1977). Jean Renoir: The World of His Films. 1st ed. London: Robson Books. Craib, I., (1976). Existentialism and sociology: a study of Jean-Paul Sartre. 1st ed. London: Cambridge University Press. Gangoli, G. & Westmarland, N., (2006). International Approaches to Prostitution: Law And Policy In Europe And Asia. 1st ed. Bristol: The Policy Press. Sherritt, D., (1999). The films of Jean-Luc Godard: seeing the invisible. 1st ed. Cambridge: Cambridge University Press. Smart, C., (1978). Women, crime and criminology; a feminist critique. 1st ed. London: Routledge & Kegan Paul. Sontag, Susan. “Godard.” Styles of Radical Will. New York: Farrar, Straus and Giroux, 1969. —-. “Godard’s VIVRE SA VIE.” Against Interpretation and Other Essays.

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