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The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.
A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.
Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.
In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.
In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.
With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].
As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.
Speakers:
Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation
Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University
C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University
Sucheta Dalal, Managing Editor, Moneylife
Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha
Dunu Roy, Hazards Center, New Delhi
Medha Patkar, Senior Activist, Narmada Bachao Andolan
Tani Alex, Centre for Financial Accountability
M J Vijayan, Activist and Political commentator
Joe Athialy, Centre for Financial Accountability
Anirudha Nagar, Accountability Counsel
Madhuresh Kumar, National Alliance of People’s Movements
A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum
Meera Sanghamitra, National Aliance of People’s Movements
Vimal bhai, Matu Jan Sangathan, Uttarakhand
Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman
Joe Athialy, Centre for Financial Accountability
Birgit Kuba, Operations Officer, Inspection Panel
Anuradha Munshi, Centre for Financial Accountability
Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat
Awadhesh Kumar, Srijan Lokhit Samiti
Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha
Dr. Usha Ramanathan, Legal Scholar
Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh
The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.
A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.
Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.
In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.
In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.
With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].
As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.
Speakers:
Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation
Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University
C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University
Sucheta Dalal, Managing Editor, Moneylife
Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha
Dunu Roy, Hazards Center, New Delhi
Medha Patkar, Senior Activist, Narmada Bachao Andolan
Tani Alex, Centre for Financial Accountability
M J Vijayan, Activist and Political commentator
Joe Athialy, Centre for Financial Accountability
Anirudha Nagar, Accountability Counsel
Madhuresh Kumar, National Alliance of People’s Movements
A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum
Meera Sanghamitra, National Aliance of People’s Movements
Vimal bhai, Matu Jan Sangathan, Uttarakhand
Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman
Joe Athialy, Centre for Financial Accountability
Birgit Kuba, Operations Officer, Inspection Panel
Anuradha Munshi, Centre for Financial Accountability
Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat
Awadhesh Kumar, Srijan Lokhit Samiti
Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha
Dr. Usha Ramanathan, Legal Scholar
Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh
A las 11:00 a.m. el Martes 1o de Marzo, el Reporte “Percepciones de la Comunidad sobre la Falta de Ética Policiaca” de la Comisión del Oeste de Baltimore será presentado durante una Conferencia de Prensa organizada por la Coalición para la Justicia, Seguridad y Empleo. La emisión del reporte ocurre justo el día de las audiencias del Comité de Procesos Judiciales del Senado sobre legislación relativa a la rendición de cuentas policiaca.
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Panelist Iyanla Vanzant holds the "Accountable: Making America As Good As Its Promise," book as she states her point at the 10th Annual State of the Black Union held in Los Angeles on Feb. 28, 2009. (AP Photo/Earl Gibson III)
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Police accountability advocates gathered in front of the Bronx DA office in solidarity with Copwatcher Jose LaSalle as he demands that Bronx DA Darcel Clark re-open an investigation on the officers who perjured themselves to falsified charges against Jose LaSalle followed by a march to the Psa7 precinct and demand that the officers involved are fired. The city and the NYPD agreed to pay LaSalle $860,000 on a settlement. (Photo by Erik McGregor)
5 years before now, this tap at Asata, Enugu was dry.
Today, in 2010 inhabitants of this area can fetch water right from taps in their yards for their daily needs.
Photo: Copyright SPARC.
-------------------------------------------------
The State Partnership for Accountability, Responsiveness and Capability (SPARC) programme is an initiative of the Nigerian and UK Governments working to improve governance and reduce poverty in Nigeria.
Find out more at www.sparc-Nigeria.com
SPARC is funded by the UK Department for International Development (DFID/UK Aid)
Claus Kress, Professor of International Law and Crime (Gerrmany), addresses the Security Council Arria-formula meeting on Accountability in the Syrian Arab Republic.
Security Council members Estonia, France, the United Kingdom and the United States, with additional co-sponsors Belgium, Canada, Germany, Georgia, Liechtenstein, the Netherlands, Qatar, Sweden and Turkey holds an informal briefing on the need for increased efforts by the Council to establish full accountability for the most serious international crimes committed in the Syrian Arab Republic.
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Elections are at the core of political accountability in democracies. Through elections, politicians put their views to voters and must also inform the public of their record in office. However, elections occur periodically. It is the legislature’s role to hold the executive more regularly to account. Parliaments can guide development strategies, ensure that draft laws respect and promote human rights, evaluate budgets and the allocation of resources, amend inappropriate legislation, take up cases of abuse and misgovernment, and monitor the Government’s conduct.
© UNDP
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.
A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.
Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.
In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.
In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.
With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].
As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.
Speakers:
Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation
Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University
C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University
Sucheta Dalal, Managing Editor, Moneylife
Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha
Dunu Roy, Hazards Center, New Delhi
Medha Patkar, Senior Activist, Narmada Bachao Andolan
Tani Alex, Centre for Financial Accountability
M J Vijayan, Activist and Political commentator
Joe Athialy, Centre for Financial Accountability
Anirudha Nagar, Accountability Counsel
Madhuresh Kumar, National Alliance of People’s Movements
A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum
Meera Sanghamitra, National Aliance of People’s Movements
Vimal bhai, Matu Jan Sangathan, Uttarakhand
Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman
Joe Athialy, Centre for Financial Accountability
Birgit Kuba, Operations Officer, Inspection Panel
Anuradha Munshi, Centre for Financial Accountability
Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat
Awadhesh Kumar, Srijan Lokhit Samiti
Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha
Dr. Usha Ramanathan, Legal Scholar
Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh
Witness Against Torture and Amnesty International USA marched from the US Capitol to the White House on April 30, 2009 to mark the end of the first 100 days of President Obama's term and demand accountability for torture and abuse. Photo by Shawn Duffy
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
DISCHARGE OF OIL PROHIBITED -- THE FEDERAL WATER POLLUTION CONTROL ACT PROHIBITS THE DISCHARGE OF OIL OR OILY WASTE INTO OR UPON THE NAVIGABLE WATERS OF THE UNITED STATES, OR THE WATERS OF THE CONTIGUOUS ZONE, OR WHICH MAY AFFECT NATURAL RESOURCES BELONGING TO, APPERTAINING TO, OR UNDER THE EXCLUSIVE MANAGEMENT AUTHORITY OF THE UNITED STATES, IF SUCH DISCHARGE CAUSES A FILM OR DISCOLORATION OF THE SURFACE OF THE WATER OR CAUSES A SLUDGE OR EMULSION BENEATH THE SURFACE OF THE WATER. VIOLATORS ARE SUBJECT TO SUBSTANTIAL CIVIL PENALTIES AND/OR CRIMINAL SANCTIONS INCLUDING FINES AND IMPRISONMENT.
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.
A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.
Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.
In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.
In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.
With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].
As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.
Speakers:
Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation
Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University
C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University
Sucheta Dalal, Managing Editor, Moneylife
Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha
Dunu Roy, Hazards Center, New Delhi
Medha Patkar, Senior Activist, Narmada Bachao Andolan
Tani Alex, Centre for Financial Accountability
M J Vijayan, Activist and Political commentator
Joe Athialy, Centre for Financial Accountability
Anirudha Nagar, Accountability Counsel
Madhuresh Kumar, National Alliance of People’s Movements
A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum
Meera Sanghamitra, National Aliance of People’s Movements
Vimal bhai, Matu Jan Sangathan, Uttarakhand
Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman
Joe Athialy, Centre for Financial Accountability
Birgit Kuba, Operations Officer, Inspection Panel
Anuradha Munshi, Centre for Financial Accountability
Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat
Awadhesh Kumar, Srijan Lokhit Samiti
Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha
Dr. Usha Ramanathan, Legal Scholar
Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh
So this photo was taken last week, when I intended to join in on the A.W. fun, but it makes the same point this week: I need to get a grip on what I eat.
I'm a thin person and my numerical weight is not an issue (for this reason, I do not own a scale. I would weigh myself way too much if I did and, frankly, that's just not healthy). But my general health? I get winded walking up the three flights of stairs to my office. I turn thirty 5 months from today and I would like to get a jump start on improving my health. To this end, my AW goal is:
- to exercise 3-5 times a week. I joined the gym last summer and while I love to go, I have difficulty motivating to do it when I get home from work. I hope that having to be accountable to someone other than myself will kick my ass into gear. I went today in anticipation of this post and it felt good.
- to eat better. I'm fortunate in that I don't like a lot of junk food or sweets. But man oh man, I do like starch. All starch. Pasta, toast, cereal, rice, you name it. I also eat way more food than I actually need to. That's fine and dandy when I'm having a nice meal out, but when I'm eating at home? Not really necessary.
- to drink more water. 'nuff said.
So. These are my goals. I hope I can stick to them.
So, while everyone was sweating it in here for the past month...
Peter Rodgers
Accountants Support Team
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Julie Bratcher of CWA Local 9421 and other CWA Activists take part in a Medicare Town Hall meeting in CA-3 Thursday, July 28. The event was sponsored by CWA Local 9421, the Sacramento Central Labor Council, the UFCW Local 8 and the IAM, amongst others.
The Inspection Panel is completing 25 years in its role, as an accountability mechanism of the World Bank. As you are aware, the Bank’s failure to comply with its operating policies was seen by the entire world in the Bank’s financing with the Sardar Sarovar Dam project on River Narmada. The tenacity of massive grass-roots uprisings from our communities in the 80’s and the sustained hard work of our social movements along with our resoluteness to link it with international coalitions to question the hegemony of the Bank, subsequently led the Bank, for the first time, to commission an independent review of its project. The Independent Review Committee (Morse Committee) constituted by the Bank in 1991 to review the social and environmental costs and benefits of the dam, after years of consistent struggle by Narmada Bachao Andolan (Save Narmada Movement) and its allies led to a demand from the civil society around the globe for the creation of a grievance redressal system for project-affected communities, which ultimately pressurized the Bank to constitute the Inspection Panel in 1993. We expected this might be a crucial backstop and an opportunity for us to raise our issues of livelihoods, economic loss, displacement from our lands, alienation from natural resources, destruction of environment and threat to our biodiversity and cultural hotspots, where Bank invested in large, supposedly ‘development’ projects like mega dams, energy and other infrastructure projects. Yet, the outcome we expected rarely delivered sufficient remedy for the harm and losses people have experienced over the years.
A number of accountability mechanisms over the next couple of decades in several development finance institutions were formed following the model of World Bank, commonly known as ‘Independent Accountability Mechanisms’[IAMs]. Each year the number of complaints rise which is an indication of the increasing number of grievous projects happening around the world. While IAMs of most MDBs are advertised to provide strong and just processes, many of our experiences imply that the banks are accommodating practices which suit their own needs and their clients, which are borrowing countries and agencies, and not the people for whom the IAMs were built to serve.
Many a time, we have been disappointed by these mechanisms, since these are designed by the banks who are lending for disastrous projects in our lands. And as a result, the already existing narrow mandate of IAMs is further restricted.
In our efforts to hold the lending bank accountable, the communities are always presented with the arduous process of learning the complex formalities and detailed procedures to initially approach the IAMs and get our grievances registered. Our many years’ time and energy then is channelised into seeing through the various cycles of these complaint handling mechanisms, that our entire efforts go into this process, and often our complaint gets dropped off in midst of the procedural rules of the IAMs. People are made to wait many months to clear procedural levels and our cases with the IAMs get highly unpredictable. Further, we face intimidation and reprisals from the state and project agencies for having contacted the IAMs who themselves do not possess any authority to address the violations hurled out to us when we seek dignity, fair treatment and justice from them. There are many of us who feel a loss of morale after long years of struggling with lenders when we fail to see concrete benefits or changes in our circumstances, by which time considerable irreplaceable harm is already done to our lives, environment and livelihoods.
In this manner, our immediate and larger goal of holding banks for their failure to consult with and obtain consent from communities before devising action plans for our lands, water and forests is deflected in the pretext of problem-solving and grievance hearing offered to us in the name of IAMs.
With over 50 registered complaints sent to different IAMS from India in the past 25 years, many more left unregistered due to technical reasons and only a few got investigated, assessed and monitored at different levels, we have a baggage of mixed experiences with the IAMs. A few of the prominent cases from India apart from Narmada project are Vishnugad Pipalkoti Hydro Electric Project [WB’s IP], Tata Mega Ultra-01/Mundra and Anjar [IFC’s CAO & ADB’s CRP], India Infrastructure Fund-01/Dhenkanal District [IFC’s CAO], Allain Duhangan Hydro Power Limited-01/Himachal Pradesh [IFC’s CAO] and Mumbai Urban Transport Project (2009) [WB’s IP].
As we now know, what is being witnessed recently is an influx of approved and proposed investments majorly in energy, transport, steel, roads, urban projects, bullet trains, industrial zones/corridors, smart cities, water privatization and other mega projects in India. This has been financed from different multilateral and bilateral sources, foreign corporations, private banks as well as Export-Import Banks (ExIm Banks). It has become a brutal challenge for communities, social movements and CSOs, with lenders and governments constantly shutting their eyes and ears to us who demand accountability for their actions. A compelling and timely need has arisen among diverse groups amongst us to gather together and critically analyze the various trajectories of our engagements with accountability mechanisms of MDBs in order to bring together past 25 years’ learning, insights and reflections of various actors of this accountability process. This urging demand is also an attempt to define the collective experiences in India among our social movements, projected-affected communities and CSOs with IAMs and lending banks, especially appropriating the global political opportunity of Inspection Panel celebrating its 25 years this year.
Speakers:
Thomas Franco, Former General Secretary, AlI India Bank Officers’ Confederation
Arun Kumar, Eminent scholar, Former Professor Jawaharlal Nehru University
C.P. Chandrashekar, Economist, Professor Centre for Economic Studies and Planning, Jawaharlal Nehru University
Sucheta Dalal, Managing Editor, Moneylife
Soumya Dutta, National Convener, Bharat Jan Vigyan Jatha
Dunu Roy, Hazards Center, New Delhi
Medha Patkar, Senior Activist, Narmada Bachao Andolan
Tani Alex, Centre for Financial Accountability
M J Vijayan, Activist and Political commentator
Joe Athialy, Centre for Financial Accountability
Anirudha Nagar, Accountability Counsel
Madhuresh Kumar, National Alliance of People’s Movements
A J Vijayan, Chairperson, Western Ghats and Coastal area Protection Forum
Meera Sanghamitra, National Aliance of People’s Movements
Vimal bhai, Matu Jan Sangathan, Uttarakhand
Daniel Adler, Senior Specialist, Compliance Advisor Ombudsman
Joe Athialy, Centre for Financial Accountability
Birgit Kuba, Operations Officer, Inspection Panel
Anuradha Munshi, Centre for Financial Accountability
Bharat Patel, General Secretary, Machimar Adhikar Sangharsh Sangathan,Gujarat
Awadhesh Kumar, Srijan Lokhit Samiti
Amulya Kumar Nayak, Odisha Chas Parivesh Surekhsa Parishad, Odisha
Dr. Usha Ramanathan, Legal Scholar
Manshi Asher, Himdhara Environment Research and Action Collective, Himachal Pradesh
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/
Two Rallies at the same time. One was the usual Resist Trump Tuesdays which protests the policies and actions of the new president and his administration. The other rally was about establishing a civilian accountability board to oversee the Chicago Police Department.
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Canada's Prime Minister Justin Trudeau prepares to speak at a vigil outside the London Muslim Mosque organized after four members of a Canadian Muslim family were killed in what police describe as a hate-motivated attack in London, Ontario, Canada, June 8, 2021. Nathan Denette/Pool via REUTERS
Sgt. Wayne D. Salas, a supply sergeant with the V Corps Special Troops Battalion, reviews his property turn-in paperwork before giving it to Spc. William J. Lewis, an automated logistics specialist with the 21st Theater Sustainment Command, Oct. 26, 2010, as part of the 21st's Task Force Harvest property accountability effort. (Photo by Staff Sgt. Tramel S. Garrett)
Accountability, Achievement, and Action: High School Education Reform in the New Era
Rosa Rosales, national president, League of United Latin Americans
(February 12, 2009)
Op 9 juni 2017 vond in de Tweede Kamer in Den Haag de tweede editie van Accountability Hack plaats, een hackathon waar met open data de prestaties van de overheid in kaart worden gebracht. Accountability Hack is een initiatief van de Algemene Rekenkamer en de Tweede Kamer samen met het CBS en de ministeries van Binnenlandse Zaken, Buitenlandse Zaken, Financiën en Infrastructuur en Milieu. De hackathon werd georganiseerd in samenwerking met Open State Foundation. Kijk voor meer informatie op accountabilityhack.nl/