There was a TED Radio segment that aired back in October that hit so many of the conversation points in the arts today: recognizing failure, serving communities and funder priorities.

The topic was aid work in Africa. Italian aid worker Ernesto Sirolli reveals that pretty much every aid effort in Africa has failed. Some failures are attributable to arrogance of thinking you know what the solution is, but are equally attributable to the fact that no one will admit their failures, leaving others to replicate them.

SIROLLI: Every single project that we set up in Africa failed, and I was distraught. I thought, age 21, that we Italians were good people and we were doing good work in Africa. Instead, everything we touched we killed.

RAZ: How did every single project fail?

SIROLLI: And they still do. See, the first reaction was, let’s not tell anybody we made a mistake. Let’s not tell anybody about this project. I really thought that it was one bad project that will never be repeated, which, I think, is what the Americans in the Peace Corps are thinking right now. That they are in a bad project, but it’s unique. So what they do, they don’t tell anybody what they’ve done because there must be lots and lots of lot good projects out there.

But if they had the chance to go and find out what their colleagues are doing around Africa, they will discover that, in fact, the norm is failure.

What caught my eye was the assumption by each group that their failure was unique based on the assumption everyone else was succeeding. Not surprising since everyone was reporting successes.

Sirolli says that everyone sent back reports to the home office talking about how great things were going when everything was actually going to hell. While the rosy reports were submitted to one office, another letter was sent to him begging him to come help the distressed aid workers.

I think the arts world faces a similar problem, it is just that our budgets are a bit smaller. The failures get a lot more publicity though, if you take a look at all the orchestra negotiations that have broken down and the failure of companies like City Opera in NYC.

Actually, that is not really accurate. We only know the very end results in each of these cases. We don’t know enough about the failures that lead to these situations to learn from them. There isn’t much to be learned from “Don’t Run Out of Money.” A little more transparency and frank discussion may be helpful.

When Sirolli talks about the Enterprise Facilitation system he invented, I felt like his approach was both a lesson to arts organizations and funders.

SIROLLI: … And I invented the system called Enterprise Facilitation where you never initiate anything, you never motivate anybody, but you become a servant of the local passion. The servant of local people who have a dream to become a better person. So what you do, you shut up, you never arrive in a community with any ideas and you sit with the local people. We don’t work from offices. We meet at the cafe. We meet at the pub. We have zero infrastructure. And what we do, we become friends, and we find out what that person wants to do…

…The passion that that man has for his own personal growth is the most important thing. And then we help them to go and find the knowledge because nobody in the world can succeed alone. The person with the idea may not have the knowledge, but the knowledge is available. So years and years ago, I had this idea – why don’t we, for once, instead of arriving in a community to tell people what to do, why don’t, for once, listen to them? But not in community meetings. What we do, we work one-on-one, and to work one-on-one you have to create a social infrastructure that doesn’t exist.

Art organizations can probably take a cue from him about learning about the community by hanging out in cafes and talking to people rather than holding community meetings. Both funders of arts organizations and the arts organizations themselves might find value in simply helping people to connect their passions with the knowledge they need to realize their passion.

Any entity with resources to offer will probably find it difficult to just step back and not try to motivate people or impose their ideas on the people they hope to help. I am sure Sirolli and his people had that problem when they started. It is extremely difficult to surrender your ego and expectations, especially when you are bringing money to the table.

But the thing is, that is exactly what the best actors are able to do. They set aside their expectations about the way a scene should go and open themselves to the infinite possibilities that might occur. That way if a line is flubbed or delivered differently than it has been in the past, they can respond appropriately to the situation.

Bad actors chug on heedless of unexpected change or are caught short by it. In either case, they call attention to the problem.

This isn’t the best analogy because Sirolli’s people don’t react in order to serve their motivations the way actors do. Still, his people need to strive toward the same goal of suspending judgment in the same manner as actors do.