This paper uses public choice theories to explain why agricultural subsidies were centralised and why this hinders reform. It shows that the Commission is not responsible for the expansion of the CAP by arguing that budget‐maximising behaviour is irrational in the circumstances and that bureau shaping explains its stance on reform. The input process and the success of agricultural groups vis‐à‐vis consumer and taxpayer groups is explained using both the pluralist and Olsonian account of interest group politics. The conclusion analyses the latest difficulties in achieving reform at Berlin and the prospects for reform.
In 1973, Eduardo Galeano (1940-2015), the Uruguayan writer and journalist concluded his seminal book Open Veins of Latin America with the following: ‘The Latin American cause is above all a social cause: the rebirth of Latin America must start with the overthrow of its masters, country by country. We are entering times of rebellion and change’ (Galeano, 1973, p. 261). As Galeano stated, the oppression of populations and the loss of lives throughout Latin America led to ‘times of rebellion and change’. Artists, activists and the wider community sought to challenge and resist autocratic regimes to seek alternative ways of upholding their democratic and human rights. These methods and practice have transcended the democratisation of the continent in the 1980s and 1990s. The desire to advocate change through the arts has continued to be radical and proposes an alternative way of being to communities in Latin America. How can this practice be transposed to benefit the personal and social development of young people in the UK?The author’s experience of working with young people and his encounters with Latin American arts practice led to a need to intertwine these practices and develop theatre as a model for social change, which engages the political and social rights of young people in the UK.The paper is a product of a six-week practice-based research project in Latin America (Chile, Argentina and Uruguay) that explored innovative arts engagement for marginalised young people. The research was undertaken as a means to develop a high quality arts provision for young people in the UK. The paper focuses on three areas: continuity, sustainability and activism, and asks the reader: How can theatre ethically engage young people in the social and political decisions that shape their society? The research was funded by the Winston Churchill Memorial Trust.
This article will provide an example of how the ‘Mobile Arts for Peace (MAP): Online psychosocial support through the arts in Rwanda’ project used digital artbased workshops to facilitate social and community cohesion and mental health provision. During the COVID-19 pandemic, there was an increased need for psychosocial support due to the economic and social pressures of lockdown and yet many individuals had less access to mental health provision. While many mental health services around the world went online, there was still a gap between the Global South and Global North in terms of digital literacy, access to smart phones and computers, and the variation between psychosocial support through individual vs. collective healing alongside Indigenous and traditional vs. western psychosocial approaches. Implications for the use of art-based digital methods as a tool for mental health provision during and after the wake of the pandemic are explored.
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