Laos Archives

What has been happening to higher education in Laos?

By ISS Blog Bliss 5 November 2024 5534 views

In August 2024, the Laotian Times alarmingly wrote about a ‘record low’ in candidates registering for the entrance exams of the National University of Laos (NUoL). It attributed the decline to rising living expenses (over 2023 there was a 31.2 % increase in consumer prices in Lao PDR) and low prospects of finding gainful employment in the domestic labour market following university graduation. Without dismissing these reasons, in this blog piece Roy Huijsmans puts the current ‘record low’ in broader perspective by asking what has been happening to higher education in Laos and in relation to whom?

Laos’ higher education landscape is relatively small and young. Following the establishment of the Lao People’s Democratic Republic (Lao PDR) in 1975, the communist regime prioritised basic education for the masses because tertiary education is relatively costly and a much less egalitarian public investment. For (re)building a tertiary educated professional class the newly established, yet cash-strapped, Lao PDR largely depended on its socialist allies.(1) In the period 1976-1980, more than half of the in total 4,603 Laotian students pursuing education beyond secondary level did so abroad in countries part of the, then, Soviet Block.

An education reform paved the ground for the (re)establishment (2) of the National University of Laos (NUoL) in 1996. There was also an increase in Laotian students pursuing higher education domestically; partly forced due to the collapse of the Soviet Block and associated scholarships. Over the period 1996-99 the number of Laotian students in higher education nearly doubled (15,634, compared to 8,635 in 1991-95) whereas those doing so abroad increased only marginally (from 995 to 1,101).

At present, NUoL has remained Laos’ most prominent university despite the establishment of additional public universities, and the rapid growth in private higher education institutes. Total enrolment in Laos’ public universities stood at 45,677 in 2008 (36,706 enrolled at NUoL). By 2008, 86 private higher education institutes were active in Lao PDR, enrolling a total of 20,000 students in 2007 (up from 4,000 in 2000). Still, enrolment at tertiary level has remained low at 12 per cent in 2021 (1.14 gender parity) following an all-times high of 19 per cent in 2012.(3)

In Laos, seats available for university enrolment are set top-down. Once announced, secondary school graduates can register for entrance exams. Registration can be done online, yet the actual exam must be taken in person. Because of quota set for several groups (women, ethnic minority groups), some students enter university regardless of taking (or passing) the entrance exam.(4)

Piecing together various data sources , Table 1 shows that the number of candidates taking the 2024 NUoL entrance exam was indeed very low and even lower than 2021-22 Covid affected year. Table 1 further shows a gradual decline in the enrolment quota since 2020-21. Whereas the drop in ‘demand’ has received ample attention in Lao media, the opposite is true for the apparent reduced ‘supply’. It is also unclear if this NUoL trend is also reflected in enrolment trends of private higher education institutes in Lao PDR, or alternatively whether we see a shift from public to private higher education or into other forms of public education.(5)

Table 1: NUoL student figures 2015-2024

Pursuing higher education abroad has remained common in segments of the Laotian population. Yet, destinations and conditions have changed remarkably since the revolutionary days. Lao PDR ranks second on the list of international students studying in China (and many doing so on a Chinese government scholarship), others pursue higher education in Australia, the USA, Japan or in Europe, sometimes on scholarships of the host-country but not-uncommonly also self-financed reflecting the presence a class of super-rich. This latter group is relatively unaffected by the rising cost of living.

For 2023, the World Bank calculated a 31.2 per cent increase in consumer prices in Lao PDR, following a 23 per cent increase for 2022. This has contributed to putting higher education out of the financial reach of the (lower) middle class in particular. In fact, increasingly Laotian students are leaving formal schooling prematurely. The total number of students taking the secondary year 4 exam dropped from 83,544 in 2022 to 68,850 in 2023 (-18%), while for the final secondary school exam (year 7) the number declined from 55,828 in 2022 to 50,276 in 2023 (-10%). Additionally, there is low prospects for gainful employment in Lao PDR following higher education graduation. This has been a challenge for long, including large numbers of young Laotian working across the border in Thailand. Perhaps what has changed most profoundly is the rise in technology related earning possibilities in the Lao PDR, ranging from platform-mediated food-delivery and ride-sharing work to using social media platforms for commercial activities, including in rural areas.

In sum, the ‘record low’ in NUoL entrance registrations is likely because of young people of (lower) middle class background (including ethnic minorities) discontinuing their studies confronted by two intersecting realities. First, due to rising cost of living completing secondary schooling and pursuing higher education has become a substantially larger financial challenge. Second, there is easily accessible migrant work and a rise in domestic income earning opportunities. Both do not require higher education and contribute to reducing some immediate financial pressures. Against such a background, a call for more scholarships to ensure that Laotian higher education remains accessible also for those with fewer financial means is unlikely to make much of a difference.

Endnotes

During the 1970s about 10 per cent of the population of what is now Lao PDR fled the country, among them many of the higher educated elite.
Following the communist take-over in 1975, Sisavangvong University in Vientiane (established in 1958 by the Royal Lao Government) was dissolved into various colleges.
World Bank data show a gross enrolment rate for primary schooling of 97 per cent in 2022 (0.97 gender parity) and an all-times high of 122 per cent in 2012. For secondary education, the gross enrolment rate was 57 per cent in 2022 (0.95 gender parity) and an all-times high of 66 per cent in 2017 and 2018.
Note also instances of cheating or side-stepping exams, e.g. https://laotiantimes.com/2016/09/14/students-to-resit-nuol-entrance-exams-after-questions-leaked/
Government resolutions seek to channel students into shorter, and cheaper ‘courses at vocational training schools’ in ‘priority fields’ (Vientiane Times, p2, 28 July 2023). Yet the scale of these initiatives is unclear.
From the academic year 2020-2021, there are more than 16,700 students who registered for the online exam, but more than 14,000 people came to the real exam, among which the university plans to enroll more than 9,000 students in all system.

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About the Author:

Roy Huijsmans is a teacher and researcher at the International Institute of Social Studies, Erasmus University Rotterdam. His research focuses on the role of young people in processes of development and change.

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Creative Development | Moving national narratives: artistic expressions of flight, refuge and belonging by Roy Huijsmans

By ISS Blog Bliss 31 January 20205 October 2020 1930 views

National historiography often takes the form of a single story propagated by those in power, thereby muting alternative experiences of ordinary citizens of these celebrated events. In Laos, the country’s National Day coincided with an international dance festival, showing different ways of recounting histories. In this blogpost Roy Huijsmans suggests that in the creative realm and performing arts we may find articulations of the subjugated narratives of the collective memory of the nation.

When visiting the Lao People’s Democratic Republic (Lao PDR) late November 2019 for the Fang Maekhong International Dance Festival I found myself also witnessing the preparations for the celebration of the 44^th Lao National Day. Government buildings were being adorned with freshly purchased national flags, always flanked by the Lao People’s Revolutionary Party flag in bright red and sporting the familiar hammer and sickle in yellow. There were the inevitable banners, too, carrying slogans celebrating the nation and the progress made under the leadership of the communist Lao People’s Revolutionary Party.

In Lao historiography, the establishment of the Lao PDR is presented as the logical endpoint of a long struggle by the Lao peoples against imperial forces – first French colonial rule, then Lao Royalist Governments backed by the United States of America as part of its broader stakes in the Second Indochinese War. Around each national day (2 December), the various Lao newspapers and television stations contribute their bit to the reproduction of the national narrative, with specials about revolutionary heroes, heroic battles, and by detailing the development progress made under revolutionary rule. The same narrative is presented in school text books, musea, and in public speeches by officials.

All this is not particular to the Lao PDR. National historiography often takes the form of a single story told from the vantage point of the victors. Thereby it silences the many different experiences that were generated by these very same historical events (Evans 1998). For example, the narrative of a united revolutionary struggle against foreign powers and influence hides the many internal conflicts and civil war that were also part of the making of the Lao PDR.

A key element missing from the Lao narrative is the fate of the about 10 per cent of the then population that left the country throughout the 1970s and early 1980s. They left because they found themselves on the wrong side of history or simply escaped the impoverishment and repressive political climate characterising the infant years of the Lao PDR.

Virtually everyone in the today’s Lao PDR knows someone who has fled the country. Stories of flight, refuge, and increasingly also about return are told, yet often in private. These are the stories of uncles and aunts now living in France, the USA, or Australia. These stories have found no place in school textbooks or in any of the official commemorations around the Lao national day. Yet these stories matter because these, too, are a part of the collective memory of the nation.

The arts: subtle propositions going beyond the national narrative

Artistic initiatives are turning the tide to make the voices of migrants and refugees heard, however. Parallel to the preparations for the Lao National Day celebration, Vientiane also witnessed the 10^th edition of the Fang Mae Khong International Dance Festival. The French-Lao dancer Thô Anothaï was part of the impressive line-up comprising Lao national and international dancers. In his contemporary dance titled Mekong, Thô enacted his personal experience of fleeing Laos at a young age. Through his dance, by means of movements rooted in hip-hop and contemporary dance, he represented memories of his flight, such as a boats man paddling him across the Mekong River in the deep of the night.

As Thô took the stage, the first lines of a Lao traditional song were played. Soon the music gave way to soundbites of women’s voices in French, Lao, and the Vietnamese language that graphically described moments in the experience of flight and refuge. The song accentuated Thô’s personal account as a Lao story; the women’s voices referenced the broader context of the aftermath of the Second Indochinese War in which we must understand Thô’s experience. Through his performance Thô invited the audience to accompany him in his journey across the Mekong River, recalling his childhood experience of flight expressed through the serene and stunning beauty of his dance.

The themes of flight, refuge and identity are also central to Nith Lacroix’s 2007 documentary film titled Pierre & Pierrot. The film focuses on twin brothers of a French father and a Lao mother who were separated at a young age in their flight across the Mekong River into Thailand.

Thô Anothaï and Nith Lacroix’s artistic work are first and foremost works of art. Yet, by staging their work for audiences in the Lao PDR, the art may become more than just that. For more inclusive celebrations of national events, it is important to recognise the suffering and pain that is also part of the collective memory of the nation.

References

Evans, G. (1998). The Politics of Ritual and Remembrance: Laos since 1975. Chiang Mai: Silkworm Books.

This article is part of a series on Creative Development. Read more articles of this series here.

About the author:

Roy Huijsmans is a teacher/researcher at the ISS.

Creative Development | Migration and musical mobilities in Sudan and Laos by Roy Huijsmans, Katarzyna Grabska and Cathy Wilcock

By ISS Blog Bliss 31 January 20195 October 2020 3385 views

How are belonging, citizenship, and rights contested through creative practices such as music and dance? What role do the creative industry, international cultural institutions, and the mobilities of performing artists play in this? And what is the significance of all this for rethinking development in post-conflict settings such as Sudan and Laos? This article briefly reflects on these questions that are driving a new ISS-funded research project.

Researching development through creative practice

A new research project led by ISS researchers Katarzyna Grabska, Roy Huijsmans, and Cathy Wilcock called Creative Development: Migration and musical mobilities in Sudan and Laos seeks to investigate the intersection of migration and creative practice. The project commences in 2019 and involves qualitative, arts-based and ethnographic field research in France, Laos, Sudan, and the UK. This research will contribute to an emerging body of work studying the relations between arts, popular culture, migration, and development.

In development studies, there is some recognition of the role of popular culture in development practice, perhaps most noticeable in research on the phenomenon of ‘celebrities’ as goodwill ambassadors (e.g. David Beckham, Shakira, Angelina Jolie). In migration and refugee studies, the engagement with the arts has been more profound and has gone beyond a focus on the rich and famous, also breaking with a western-centric view of development.

A good example is the collaborative project led by Dave Lumenta at Universitas Indonesia. The project is entitled ‘Performing out of Limbo’. It is a musical/research collaboration between Oromo refugee youth from Ethiopia and musicians, students and academics from Indonesia (see a short YouTube clip here, and a write up here).

Music and dance as acts of citizenship

The project’s conceptualisation of citizenship and belonging draws on the work of Engin Isin. In the social sciences, citizenship is mostly treated as a ‘status’. In their 2008, book ‘Acts of Citizenship, Isin and Neilsen depart from such a view and approach citizenship as an act. Such a conceptualisation of citizenship enables us to rethink ‘who’ can be a citizen based on ‘collective and individual deeds that rupture socio-historical patterns’ (p13).

This approach enables viewing music and dance performances as acts of citizenship, as explored by Aoileann Ní Mhurchú in her article ‘Unfamiliar Acts of Citizenship’. Here she engages with the experiences of young migrants in Ireland and their engagement with hip hop and vernacular languages. Their practices do not fit into conventional categories of belonging based on language use, ethnicity, or nationality, and are better described as processes facilitating ‘creative hybrid refashioning of self’ (p163) through which political identities and relations of belonging are renegotiated. Although these songs, like much hip hop, come with a message, the focus on processes and effects lead us to go beyond a discursive analysis of the lyrics to ask what senses of belonging those involved in these musical practices realised through them.

Creative development and contested acts of national belonging in Laos and Sudan

This research project will build on the work of Ní Mhurchú and others through examining music and dance as acts of citizenship in post-conflict settings. With recent histories of violent internal conflict, followed by regime change Laos and Sudan offer fertile terrain for studying acts of citizenship in and through (re)emerging creative practices.

In both Laos and Sudan, questions of national belonging are delicate matters. Expressions of citizenship are not only regulated through legal practices, but also actively promoted through national education curricula and state-censored media. This indicates that citizenship in these contexts is much more than a matter of status, but also a matter of conduct, and one that comes with a strong national(ist) morality. From such a perspective, it is not difficult to see why a music video by the popular Thai national country singer Lumyai shot in the Lao tourist site of Vang Vieng stirred debate in Laos. Although the lyrics hardly refer to national belonging, other elements of the clip do. The music video is shot in a famous rural Lao location, and in her dance moves Lumyai weaves together elements from the traditional Lam Fong dance with sexually provocative moves. As such, Lumyai transgressed norms about proper (gendered) conduct on Lao soil.

Emplacement and movement in creative development

Due to recent histories of violent conflict, there are significant Lao and Sudanese diaspora, and the diaspora play an active role in the creative scene. Migration, like popular culture, is a transnational phenomenon. Moreover, culture is also transnationalised through international cultural institutions. This is evident from the work of the Institut Français in Laos and in Sudan and the Goethe Institute in Sudan. Culture has always flown, but this is particularly true in the present-day social media landscape. In addition, diaspora networks and international cultural institutions also facilitate the movement of artists and creative development. At the same time, dance and citizenship become acts of citizenship when they are emplaced—that is, when these creative expressions become meaningful in relation to more territorialised relations of belonging. Hence, the research project will pay close attention to the dynamics of mobilities and placemaking in the manifestations of creative development under study. Stay tuned!

On 5 February 2019, the ISS will host a workshop on ‘Moving methods: creative approaches to experiences of displacement, migration, social justice and belonging’.

Roy Huijsmans is a teacher/researcher at the ISS.

Katarzyna (Kasia) Grabska is a lecturer/researcher at the ISS and a filmmaker.’

Cathy Wilcock is a postdoctoral researcher at the ISS, with a background in critical development studies. In her role at ISS, she is continuing her work on political belonging in the context of forced migration.