NGOs, international aid, and the need to be critical

This honest and damning post by Ilaria Allegrozzi about her reflections on the aid industry is an absolute must read. I admire her ability to speak out about something that many are afraid to address. I agree with her outrage and her sentiments about how NGOs are essentially mushrooming in conflict zones and the developing world — but how many of these new non-profits are doing really important, vital and effective work? Whenever I read about someone else starting up a new non-profit I think — do we need more NGOs or can we work to make existing ones more effective? Are the hundreds of new NGOs replicating efforts? Are they coordinating with one another or each trying to do their own thing – to the detriment of all?

And, as she writes, the pervasive nature of modern NGOs could actually lead to a weakening of the state. The republic of NGOs begins to provide all the services that the state should be providing, ultimately serving to replace and undermine the public sector. Instead, we should be working to strengthen government services.

NGOs tend to follow their path or that of donors and this may result in possible overlapping and duplication of activities. In Haiti, for instance, following the January 12, 2010 earthquake that destroyed much of Port-au-Prince, concerns about the role of NGOs in the small island’s development have been raised. In the past, directing aid through NGOs has created dependency and contributed to limited government capacity, as well as weak institutions. Which, translated into simple words, means that Haitians look at NGOs rather than their government for basic public services.

Quite frankly, I too am trying to take a more critical look at my future involvement in the NGO sector. I like the idea of working with startups; on a personal level, they provide a fulfilling work experience with greater responsibility. But the last thing I want to do is continue to support the mushrooming of unnecessary NGOS and the weakening of the public sector. The last thing I want to do is replicate efforts without proper coordination. I think that NGOs, whether international or local, have to be intentional about 1) using their money well, and 2) striving to ultimately integrate with government-provided services.  Here’s a great example of this I saw recently, by the International Legal Foundation, a non-profit that is striving to expand criminal defense services in post conflict countries. The ILF writes:

Although ILF-Afghanistan was built by an independent NGO funded by international donors, the ILF’s ultimate goal is to facilitate the creation of a government-supported, locally run public defender system. The agreement signed today represents a major step toward realizing this goal in Afghanistan. This model of institution building is common in other development sectors such as medicine; medical facilities are often established by NGOs with donor support before being turned over to the government. However, this type of arrangement is unique in the justice sector and may serve as an innovative example for other efforts to strengthen the rule of law in countries emerging from conflict or in transition.

Great initiative by the ILF — and I hope that more non-profits push for similar collaborations with governments. Another point I agree with is this:

I am convinced that many humanitarian workers are belonging to the “I-can-be-anywhere-and-I-don’t- care”-category of people, which are those who will conduct the same type of life no matter where they are. Goma, Nairobi, Ndjamena, Dadaab, Haiti, they will keep drinking beer under bomb attacks or post-tsunami affected areas without asking themselves a single question about why they are delivering tents and food to war refugees and IDPs. Many aid workers prefer meeting in fancy restaurants (always available in conflict zones) rather than reflecting on why they’re getting paid 3 or 4 times more their “local staff”. I’ve been told this is a psychological surviving strategy, a way to cope with suffering that people who are not used to it put in place. I don’t necessarily agree with this justification. I tend to blame the lack of curiosity and commitment of human beings. I also believe that many humanitarian workers go to underdeveloped countries, such are some in Africa, to try an exotic experience, to flee from their problems back home or to have living standards they will not be able to afford where they come from. Once they start, they love the money and find the lifestyle cool and fascinating, and they keep on rolling.

So many aid workers are employed by INGOs, the US government, USAID, and UN offices and while they have a relatively glamorous lifestyle, local people – including local aid workers and non-profit employees – are usually not given the same salary or perks. This truly frustrates me. While expats are going out to fancy restaurants and partying on weekends, “locals” (Note: I dislike this word too, but use it for lack of a better one) frequently are going without a meal. One Director of a local NGO told me she only eats out at a restaurant once a year. At the same time, I have seen expats going to restaurants several times a week and being paid more than three times the salary of local non-profit employees.

These are just a couple of things that are problematic with the international aid machinery, and I hope we can begin discussing these issues frankly and coming towards better solutions in the near future.

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Silhouettes: A new film on South Asians, love, and identity

Silhouettes is a new independent film about South Asians in America that deals with issues of identity, race, empowerment, abuse, and is ultimately a story about emancipation. The film has two South Asian women in the lead roles: Pakistani-American actress Fawzia Mirza, and Indian-American Puja Mohindra. Check out the trailer below:

The film is produced by Tom Silva, and I’m excited to present an interview with him!

What is “Silhouettes” about?

Silhouettes is a love story that unfolds over a series of conversations, in the spirit of “Before Sunset” and “Lost in Translation.” Aamod is a retired executive who lives alone in his sprawling downtown Chicago apartment; Nadia is a successful lawyer in transit to see her conservative Muslim parents for the first time in more than a decade. Both are nursing their own traumas of loss and banishment. After a chance meeting, they are drawn together for a magical day in Chicago, wandering its loneliest spaces and its most haunting views, probing their experiences as globalized minorities caught between worlds, languages and cultures. What emerges through words is a tragic secret and the reality of their feelings for each other. Silhouettes is a new chapter in the American love story — unusual because it confronts issues of race, identity and culture head on, with a view to representing ethnic characters in the full breadth of their complexity and experience.

Tell me more about yourself; how did you develop an interest in filmmaking?

My story is one which is not uncommon these days: I am an Indian who grew up in Southeast Asia, went to British school, and have spent most of my adult life in North America. After attending the MFA Program in Film at Columbia College, Chicago, I was film critic-at-large at the Daily Southtown newspaper, a subsidiary of The Chicago Sun-Times. The Quiet, my first feature film, premiered at the Art Institute of Chicago and was named Best Independent Film by Chicago Screen Magazine. Related to my interests, I am currently part of the Master of Arts Program in the Humanities at the University of Chicago where I am focusing on the intersection of culture and identity. Silhouettes is, in many ways, a direct result of my research in new imaginaries and possibilities for people who defy categories.

What do you think is missing with regards to South Asians and their representation in film, TV, and popular culture in the U.S.?

Our history in this country stretches back to the 19th century when Punjabis started arriving in the Sacramento Valley and the San Joaquin  Valley after braving a 30 day journey by sea from the subcontinent. That’s an awful long time to be in a country and still not see representations of your group in mainstream media. I’ve talked to Indian actors who still see their ethnicity as a burden and live in hope that they can pass for other races. After all this time, we haven’t had a single leading role for a South Asian in a major American or English film that didn’t define its character entirely by his or her ethnicity. The ethnic frame is a vice that denies characters psychological complexity, the ability to engage with the world fully and to be recognized as free agents.

I believe that Indians and Pakistanis and Asians in general can function as universal characters who can embody the human experience — just as English and American characters do.  Akira Kurosawa and Satyajit Ray blazed the trail in the late 50s and early 60s when they won the Venice and Cannes Film Festivals. The Chinese 5th generation filmmakers followed up with some wonderful films. But succeeding generations haven’t built on this legacy — we’re devolving into formula films and Bollywood extravaganzas which aren’t really serving any real aesthetic enterprise. The Hamlet and the King Lear of the future will be Asian or African, I’m convinced. I think people in America or Europe will accept seeing Asians as universal characters and ultimately come to think of this as normative.

How does your film challenge cultural and religious stereotypes?

We have a strong, independent Muslim female who isn’t constrained by her identity — she isn’t reduced to being pious or victimized or radical. Instead, we’ve given her the range and registers of any Western character — humor, sexuality, independence and intelligence. I think the other characters  similarly break out of the reductive parameters that American films often put minorities in.

I think South Asian films and filmmakers have to be careful about employing the same tropes and themes in dealing with the subcontinent as Western filmmakers (stories about arranged marriages or dire poverty, for example) because it becomes confining; it makes them an aestheticised, exoticised other that isn’t useful in advancing the identity of Asians.

And filmmakers have an especially tough time depicting South Asian women.  Invariably, they come across as submissive or petulant or even caricatures. Consider that even a lauded film like Gandhi doesnt have a single substantial Indian woman character in it — not even the great Indian independence leader, Sarojini Naidu, who become the President of the Indian National Congress and was critical in the fight against colonialism. The same is true of otherwise fine films like Avi Nesher’s Turn Left at the End of the World or Hanif Kuresihi’s My Son, The Terrorist to say nothing about how women are treated as window dressing in Bollywood films. Considering the remarkable accomplishments of women like Gayatri Spivak, Kiran Mazumdar Shaw and Arundhati Roy, there is a great need for films that can depict South Asian women in all of their complexity and intelligence.

What makes your film different?

Silhouettes is an honest meditation on how South Asian women balance the extraordinary expectations placed on them with their need to form and assert their own identities — women caught between cultures, languages and countries. What’s unique about the film is that it is seeking to introduce a new kind of South Asian woman to American screens — characters who are cosmopolitan, with lots of cultural capital and political agency. In addition, it was important in the wake of all the anti-Islamic rhetoric in the States, to create a new kind of Muslim character — a woman of extraordinary confidence, wordliness, humor and a deep connection to her Muslim roots. And the film confronts taboo issues like the fetishism around skin color, and the ostracism that comes when a woman defies her community’s assigned roles.

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A journalist’s quest for a story–and his traumatized subject

Recently, I ran across this New York Times article by Graham Bowley, who writes about his quest to speak with Sahar Gul, a young 15-year old girl who had been subject to countless abuses at the hands of her husband’s family, who tortured her and kept her in a basement bathroom for five months after…

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{Guest Post} Forced Marriage – Will criminalisation lead to prevention?

There are estimated to be around 5,000-8,000 young people in the UK being forced into marriage. David Cameron has announced he wants forced marriage to be made a criminal offence. However, not everyone agrees that this will help the victims. The government feels that the signal they send out to not criminalise it is a…

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On intelligence: natural gift or dedicated focus?

Recently, I stumbled across a fascinating reddit thread started by a high school student who wanted badly to get into MIT, but felt he simply wasn’t as smart as he thought he was. It led to a number of illuminating comments by MIT students about intelligence, and hinted at the long-standing debate about nature v….

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Infographic: How prevalent is intimate partner violence in the U.S.?

Credit goes here This infographic was created specifically for my blog; the statistics and data come from this Sociological Images blog post on the CDCP report and the National Intimate Partner and Sexual Violence Survey 2010 Summary Report.

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