Labour's next big idea: the "relational state"

Recognising the importance of human relationships could revolutionise public services.

Sparked by the financial crisis and subsequent recession, the Labour Party has been engaged in a serious debate about the core tenets of its economic policy. And there is little doubt that Ed Miliband has started to carve out a distinctive position on "responsible capitalism". However, there has so far been much less discussion about Labour’s approach to public services. If the party wins the next general election it will assume responsibility for a state both substantially reformed from the one it left in 2010 and under unprecedented financial pressure.

There is much of which Labour can be proud from its recent period in office: NHS waiting times, crime rates and school failure all tumbled. However, there was collateral damage from achieving these results, requiring a re-assessment of the party's dominant approach to running the state. The desire to demonstrate "delivery" led to a vast increase in command and control management techniques, which, while sometimes necessary to deal with appalling performance, tend to alienate the workforce and crowd out space for responsiveness and experimentation.

The correct instinct to give citizens power over public services narrowed to a choice between providers, neglecting the many ways in which people might shape the services they use. And the case for institutional pluralism and diversity beyond the public sector was often reduced to a fight about competition. Elsewhere, the drive for high standards of "customer service" was inattentive to the role of public services in enabling people to forge relationships with each other and a sense of common life. And finally, the fear that any variation or contingency in service provision would produce unacceptable inequalities drove a bias towards centralisation and standardisation that sapped professional creativity and local mobilisation.

These lessons don’t mean abandoning everything Labour did in government, less still failing to defend the real strengths of its record. But they should prompt hard thinking about how Labour would govern in the future, not least because major challenges – from chronic health conditions, to anti-social behaviour and educational excellence – cannot be addressed by the state delivering solutions onto an unsuspecting public.

In an IPPR publication out today, we argue that combining the best instincts of "New Labour" and "Blue Labour" offers the outlines of a fresh approach to improving public services and governing the state. Like New Labour this should be firmly anchored on the side of the citizen, in favour of non-state provision where appropriate, and intolerant of poor standards. And like Blue Labour it should care about institution building, guard against bureaucracy, and focus on how services are run, not just what they achieve.

So what might that mean in practice?

Given the major fiscal pressures it would face, the first task for an incoming Labour government would be to set strategic priorities. We would put childcare and social care high on that list, but the party should find ways to involve the public honestly and directly in the trade-offs and choices facing the country. It might convene a delib­erative citizen’s convention to provide advice and input to politicians ahead of the next Spending Review.

Beyond this, Labour should set a small number of core goals and citizen entitlements in the main public services, leaving more space to innovate. In education, for example, the focus could be on a national attainment "floor target" for schools and an entitlement to catch-up support for pupils at risk of falling behind. In health, it could be waiting times and a right to GP access. But there can’t be a hundred "priorities".

In the end, public services are only as good as the people working in them. In the past, Labour used extra spending to oil the wheels of reform. With less cash around, a grand bargain is needed that frees professionals from a excessive compliance culture, draws them into shaping and governing services and challenges them to stand up to bad practice.

Rather than a tired debate of public versus private, the focus should be on a supply-side revolution led by a new wave of autonomous providers. Self-governing institutions, bounded from the over-reach of both bureaucracy and profit, are most likely to foster strong relationships and service innovation. For instance, while the focus is on the funding challenge, social care services are crying out for greater humanity and innovation, with new forms of mutual and cooperative provision in the lead.

A more relational state also requires the mobilisation of local leadership and initiative. So Labour should decide on those things which must be done nationally and decentralise power elsewhere – starting with our major cities. They could be put in charge of Housing Benefit and housing capital expenditure, with a remit to use those resources to make housing more affordable in their area.

Decentralisation needn’t stop at the town hall though. Citizens should be given meaningful power over services. This can be focused on both individuals (such as those with long term health conditions managing budgets and care planning) and groups (such as parents associations having a say on the governance and priorities of children’s centres).

Finally, the drive for strategic priorities, institutional independence, professional autonomy and local control must be matched by strong forms of accountability, which extend beyond just targets and markets. In education, this could mean all schools having academy-style freedoms to innovate, balanced by democratically accountable local school commissioners. Similarly, it could mean reducing the amount of statutory guidance for teachers, matched by longer and tougher probation periods so that poor performers are removed.

The political viability of pivoting towards a more relational state rests on the basic question of whether voters want a government that tries to solve their problems for them, or one which gives them power over their lives. Does the public want outcomes delivered for them or space to foster the relationships that matter?

In the past, politicians have tended to go into election campaigns promising better schools or more nurses. That might not work anymore, especially when the money to pay for such promises has dried up. But if such pledges are abandoned, what comes in their place?

These electoral dilemmas are not the place to start thinking about how the next Labour government might run the state, but they are among the places where this debate will have to end up.

Graeme Cooke and Rick Muir work for the IPPR but write here in a personal capacity.

Labour Party leader Ed Miliband addresses workers at Islington Town Hall on 5 November in London. Photograph: Getty Images.

Graeme Cooke is research director at IPPR

Rick Muir is associate director at IPPR

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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