The Trouble with Aid – Quantity, Institutions and Utopian Ideals

On 14 July 2016, the Prime Minister Theresa May announced her new Cabinet, following a significant reshuffle and re-structure of Government. In this context, researchers from all over Newcastle University express their thoughts on the challenges and opportunities for the Government in the Ideas for May’s Ministers blog series, considering how individuals, communities and societies can thrive in times of rapid, transformational change. Professor Pauline Dixon is Professor of International Development and Education at Newcastle University. Her book “International Aid and Private Schools for the Poor” was named one of the top 100 books in 2013 by the TLS.

To: Priti Patel, Secretary of State for International Development
From: Professor Pauline Dixon, School of Education, Communication and Language Sciences

Just over a year before Priti Patel took up the post as Secretary of State for International Development, the Coalition Government brought into law the International Development (Official Development Assistance Target) Act 2015. The Act saw the enshrinement into law that 0.7% of Gross National Income (GNI) has to be spent on international aid. Priti Patel is required to ensure that the target is met in 2016 and in each ‘subsequent calendar year’.

It has been estimated in 2015 the UK spent £12.24 billion (0.71% GNI) in Official Development Assistance (ODA, i.e., international aid); in absolute terms the second largest in the world only to the US[1].

There are many groups with a vested interest in the aid industry, pushing for larger aid spending. However, it is not just the provision of aid that makes a difference. There needs to be a focus on making sure that aid is effective. Having a positive effect on economic growth and aiding the poorest is crucial; just giving money is not enough. The government’s introduction of spending targets could lead to waste and pressure to get rid of money.

When someone is put in a position of deciding what is good for others ‘the effect is to instil in the one group a feeling of almost God-like power; in the other, a feeling of childlike dependence’.[2] The result? The imposition of utopian colonial ideals, which are irrelevant in developing contexts.

Bearing this in mind can countries that continue to rely on and are given large amounts of ‘systematic’ or ‘bilateral’ aid, (that is the giving of aid to governments through government to government aid or institutions such as the World Bank) ever eradicate poverty?

Aid can make very little difference in countries where there are major barriers to development such as the environment being typically dominated by mismanaged, corrupt institutions created and perpetuated by elites. The lack of the rule of law and property rights along with inadequate governance and the lack of political freedom and the press all add to the inability for aid to engender sustained growth and a route out of poverty for its citizens.

As aid flows into a poor country that operates under autocratic regimes, those that benefit most according to the critics of aid are the wealthy political elite.[3] Even the World Bank acknowledges that corruption undermines Africa’s development with leaders, government officials, ministers and public servants lining their pockets with money destined for the poor.

One option would be to stop aid altogether.

But is there an answer or a way forward for international aid money? Is there a more productive way of channelling aid that could engender a positive effect on poverty alleviation, growth, focusing on the poorest?

One alternative is to look at market based solutions to poverty, ignoring the planners who do not have the knowledge to allocate resources, but listening to the searchers and Africa’s ‘cheetah generation’[4].The entrepreneurs and innovators, those operating and living at the grassroots level in the slums and shanty towns of developing countries. Here social media can play a role through economic empowerment, monitoring and reporting on corruption and mobilising public opinion.

Radical reforms are required to alter the way aid money is directed and transferred to the poor. If aid money is not directed at sustainable and scalable projects which focus on local entrepreneurs where communities are able to maintain the momentum once the aid has dried up, throwing good money after bad for the sake of it will perpetuate the ineffective, and sometimes damaging, consequences of aid. When aid agencies walk away, others need to be able to pick up the baton and run with it. The poor themselves are the solution.

Aid needs to start working and making a difference now more than ever before. Given a market focus it can. So what’s my advice to the Rt Hon Priti Patel?

  • Use gold standard research to inform policy not planners who think they know best.
  • Ask the poor what they want. From the slums of Nairobi to the shantytowns of Lagos, the poor aren’t waiting for aid agencies to rescue them. Visiting some of these thriving communities highlights what works for the poor by the poor;
  • Focus on market led initiatives and market based solutions encouraging entrepreneurship not dependency.

Diagram

Sector Breakdown 2014 UK Bilateral IDA (£millions) (source DfID 2015)[5]

[1] https://stats.oecd.org/Index.aspx?DataSetCode=TABLE1

[2] Friedman, 1962 Capitalism and Freedom, Chicago, IL: Chicago University Press p. 148

[3] Moyo, 2009 Dear Aid: Why aid is not working and how there is another wy for Africa, Harmonsworth: Penguin

[4] Ayittey, George B.N. (2005), Africa Unchained: The Blueprint for Africa’s Future, New York: Palgrave MacMillan.

[5] https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/482322/SID2015c.pdf

What does participation mean?

Alexia Mellor is a practice-led PhD researcher in fine art, investigating participatory art practices and the local-global discourse. In this blog post, she explores the theme of arts and culture in social renewal following her presentation as part of the ‘New Voices in Social Renewal’ public lecture in Newcastle University. She challenges the valuing of art for its economic or even social benefit, and argues that the way forward is a more active citizenship.

Credit and Copyright ©: Colin Davison +44 (0)7850 609 340 colin@rosellastudios.com www.rosellastudios.com

Credit and Copyright ©: Colin Davison
+44 (0)7850 609 340
colin@rosellastudios.com
www.rosellastudios.com

Participation seems to be the new buzzword, but what do we actually mean by it? What does it mean for social renewal? I am particularly interested in this as an artist and researcher whose practice involves working with people to question ideas and to make meaning.

Participatory art, socially-engaged art, dialogical art – they are all names for a broad spectrum of art practices that involve using the social as both the context and medium for the work. With ‘Big Society’ devolving responsibility, continuing austerity measures, and the arts being asked to make an economic as well as cultural case[1], social arts practices have come even more into the spotlight. There has been a visible push across the arts and cultural sector to focus on social inclusion, reaching out to communities that have been identified as disadvantaged or not engaging with cultural activities[2]. Having been commissioned to work on art projects associated with regeneration programmes and other such initiatives, I have become keenly aware of some of the issues with seeing art as a means to dealing with social problems.

This isn’t to say that art can’t help with social issues, but should it or must it? Of primary concern for me are questions around whose notions of ‘social betterment,’ or cultural engagement, are being acknowledged or furthered with the agendas behind these commissioned projects? What does this mean for the perceived role of the arts in society today? What agency does the participant have – does having access to an art or cultural project mean the same thing as participating in it?

My colleague and frequent collaborator, Dr. Anthony Schrag, and I have written frequently about this trend of using socially-engaged arts practices as an instrument towards particular agendas or targets. Whether these agendas are set by supporting organisations, commissioning bodies, or policy, the instrumentalism of socially-engaged art practice carries risks. Above all, instrumentalism risks losing the very thing that makes socially-engaged practices unique and relevant: their ability to involve participants across art and non-art contexts in critical, interdisciplinary dialogue.

Shop talk in Pontypool

Criticality is the core issue here. It is a myth that consensus necessarily leads to social cohesion. Society is complex and made of difference. What Anthony and I as practitioners and researchers both argue is that embracing a participatory approach that allows for, disagreement, difference and dissensus through critical interrogation is crucial. French theorist, Chantal Mouffe, refers to the need for welcoming healthy conflict and difference in her discussion of agonism. Agonism is not antagonism. Quite the opposite. Agonism sees the value in, and necessity of, respectful disagreement as a way of finding common ground, of finding creative solutions, and of revealing questions we did not know needed to be asked. She argues that agonism is key to true democracy, and ultimately to active citizenship.

Participation in active citizenship requires physical and conceptual spaces for critical reflection that embrace difference and allow for multiple perspectives to be heard. I suggest that socially-engaged arts practices might offer a model for this. Beyond ‘bums on seats,’ this type of art practice sees participants as co-creators in developing a critical space and what happens within it. As opposed to advocating any pre-defined objective, the practice is responsive to the direction participants choose to take the project. This, however, requires a shift in how we think of socially-engaged practice and its role. Artists are not social workers, but we do work with the social. As opposed to fixing social ills, perhaps we are best suited to work collaboratively with participants to shed light on issues and open the forum for how to collectively approach them. This also means challenging the idea that art will ‘do good.’ Sometimes the greatest growth comes after going through something quite difficult. It is our job as artists and researchers to provide the safe and productive spaces for disagreement. By making space for discomfort, by allowing criticality to be at the fore, we just might encourage more active citizenship.

[1] Mirza, Munira. (Ed) Culture Vultures: Is UK arts policy damaging the arts? London, Policy Exchange Limited, 2006

[2] See: http://www.creativepeopleplaces.org.uk/