Column
Comment
Middle East
War & peace
4 min read

Cynical twists that make wars unjust

The dodgy deals and human shields of a past war still disgust George Pitcher, who questions if just war criteria remain fit for today.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A destroyed airliner lies on the apron of a war-torn airport.
A destroyed British Airways plane at Kuwait airport in 1991.
USN, Public domain, via Wikimedia Commons.

In the very early hours of Thursday 17th January 1991, I was despatched as a young journalist on The Observer to the dealing rooms of Smith New Court, a worthy firm of stockbrokers in the City of London, to witness how the markets reacted to the outbreak of the first Gulf War against Saddam Hussein’s Iraqi invasion of Kuwait. 

A yellowing newspaper cutting shows I reported that, a little before 8am, Smith New Court’s chairman, Sir Michael Richardson watched prime minister John Major declare war on a TV monitor and then said:  

“I had a nudge on the political line a little early, so I’ve been up all night. We have to keep things tightly under control.” 

He did indeed say those words, but it’s not the whole story. Walking up to him on the dealing floor, I asked how we were positioned in the markets for war. Mistaking me for one of his dealers, my notes showed that he replied:

"Number 10 called me last night, so we could adjust our positions in oil. So we should be okay.” 

It was a magnificent example of insider-dealing, in collusion with the government. A few minutes later a Smith New Court PR woman ran up to me to say that Sir Michael hadn’t meant that and even if he’d said it, I was a guest on the floor and everything said there was confidential. 

Kuwait was always about oil. This was an insight into where the UK’s political and financial priorities lay. Richardson had been at the heart of Margaret Thatcher’s Government as an unofficial adviser to the Treasury. This was his dividend. Eventually he was to lose his dealing licence for making unsafe loans to an American entrepreneur. He died in 2003. 

I’m reminded of this story today, Thursday 21st September, the United Nations’ International Day of Peace, because it reminds me of where governments’ priorities really lie, because these are the priorities that invariably threaten peace.  

And it matters because over 300 people on board were subjected to unimaginable suffering as “human-shield” hostages.

I’m also reminded that only last week passengers and crew aboard British Airways Flight 149 are preparing legal action against the government for being treated as “disposal collateral”, as the aircraft was used to plant special forces in Kuwait in the early hours of 2nd August 1990, as Iraqi forces crossed the border. 

Their claim is that the UK government and BA have “concealed and denied the truth for more than 30 years". The issue has come to a head now because documents released in 2021 show that the Foreign Office was warned of the invasion an hour before the plane touched down.  

And it matters because over 300 people on board were subjected to unimaginable suffering as “human-shield” hostages over the following five months. 

These stories have a common thread. Smith New Court, with the government’s help, was about money. The government, with BA’s help, was about protecting its Kuwait oil reserves. It’ll be proven that the lives of innocent people mattered much less against these priorities, if they win their case. 

That should make us very angry indeed. The sheer hypocrisy of rhetoric that spoke of defending the people of Kuwait is one thing. The idea that they could simultaneously serve God and Mammon is quite another. 

But it may be that just-war criteria have failed to keep up with the motivations of global late-capitalism. 

The principles of the “just war” have enjoyed a long tradition in Christian thought. The foundations that were laid in the classical Greek school by the likes of Aristotle were built upon to provide a moral architecture for armed conflict by the Italian Dominican friar and philosopher Thomas Aquinas in the thirteenth century. 

The just war tradition distils into two sets of criteria:  jus ad bellum (the right to go to war) and jus in bello (right conduct within war). The former set contains consideration of “just cause” and rules out war as a simple means of recapturing things or punishing people who have done wrong. The second includes matters of proportionality. By these clauses, combatants must ensure that harm caused to civilians or civilian property is not excessive in relation to military advantages gained.  

In the second war with Iraq, an adventure that prime minister Tony Blair started with US president George W Bush in 2003, neither of these criteria arguably were met, along with others besides. To paraphrase Wilde, they knew the price of oil and values counted for nothing. 

But it may be that just-war criteria have failed to keep up with the motivations of global late-capitalism. Economic dependence on oil is now more usually something we hear about in the context of the green movement’s war on the climate crisis. Dependence on oil actually has a firmer grip on political control of the cost of living in western democracies. 

These are not issues that occurred to hot-shot stockbrokers playing war games in 1991, nor to a privatised national airline allegedly being requisitioned for military purposes. But it’s surely not too much to hope that the senior actors in either instance should have summoned at least a religious folk memory to say: No, this isn’t right.  

Review
Art
Culture
Film & TV
War & peace
4 min read

Not for glory or galleries, capturing modern wars through art

Mary Kinmonth documents the battles women artists see.
In a bombed-out tiled room, two art works hang in the shape of a tiled jacket and shape
Second Hand 7, by Zhanna Kadyrova
Foxtrot Films.

 

When it comes to war, what do women see that men don’t? This is the question asked repeatedly throughout British filmmaker Margy Kinmonth’s new documentary War Paint: Women at War. The third part of a trilogy, the film focuses on the stories of female artists who have created art in their experience of war and conflict. From British women during the London Blitz to those responding to contemporary conflicts in Iran, Ukraine and Sudan, the film takes a thoughtful look into how war has been experienced by those who have been previously excluded from the story. 

Zhanna Kadyrova is a Ukranian artist working from a progressing front line. One sequence shows a fight against time as her team attempts to remove one of her public sculptures as the front line draws closer. Kadyrova operates in recent conflict zones– one of her series involves transforming tiled walls in bombed-out rubble into clothes that appear to hang from the remaining walls. In the wake of violent destruction, Kadyrova wants you to remember the lives left behind. 

Shirin Neshat is an Iranian photographer and artist working from New York. Her work brings together the weapon, the human body, the veil, and the text of the Qu’ran to ask questions of the impacts of the Iranian war on women.  Neshat makes you look right into the eyes of these women– she puts weapons of war into their hands and thus gives them agency that the Iranian government has taken away. 

Marcelle Hanselaar’s work shows the unspoken side of war- depicting the aftermath of violence and sexual assault that many women experience when conflict rips through their homes. 

Women at War brings the audience through one female artist after another, depicting a diversity of styles, voices, and perspectives that range from official war commissions to illegal graffiti. The artists shown don’t even all agree with filmmaker Margy Kinmonth’s premise - that women always see things differently from men. But what they bring together is a view of war far removed from ideas of national glory that often line the halls of national galleries. 

The filmmaker’s own art teacher, the painter Maggi Hambling, says this: 

“For men, victory and defeat marks the end of a war. For the woman, the war doesn’t end.” 

Knowing the consequences and aftermath of war– destroyed communities, post traumatic stress disorder, sexual violence, broken families, that war is more than valiance– isn’t a perspective held by women alone. 

According to a recent YouGov poll, “a third of 18-40 year olds would refuse to serve in the event of a world war – even if the UK were under imminent threat of invasion.” Among reasons listed are an unwillingness “to fight for the rich and powerful – who they see as profiteers or otherwise unfairly able to avoid the consequences of conflict themselves.”

As one respondent put it: "My life is more valuable than being wasted in a war caused by rich people’s greed."

Women have been speaking up for the last 50 years, and the young have heard them. War is not glory, but trauma. Young people see this when they look around. They don’t easily buy into nationalist rhetoric and have no pretenses about the glory of war. They know war is not a place to seek accolades upon accolades, but an evil reality that pays an inordinate toll on human society. 

Today, global tensions are high, and war seems more possible a reality for many in England than previously. Keir Starmer has said the government will increase military defence spending to 2.5 per cent of the national budget by 2027. But Brits aren’t lining up to buy their uniforms. 

If the UK government expects its young citizens to prepare for conflict, they need to be honest about what that involves. They need to be prepared to face a knowing crowd about the realities of war and show a willingness to fight for their lives during peacetime. It’s not that young people are politically disinterested or unwilling to take a stand when it matters. Students at universities rising up in pro-Palestine protests or climate activism reveal that they care greatly about the world they are living in. They want to take an active role in shaping it, and aren’t afraid to face consequences if they find a worthy fight. 

Political commentators used to think we have reached “the end of history” with liberal democracy the last man standing. But War Paint: Women at War shows us that even an end to war doesn’t bring the end of suffering. It complicates the narrative that war is a path to victory. Everyone pays the price of war, yet those in power rarely bear the burden. If leaders want young people to fight for their country, they must first prove they are fighting for them. Otherwise, no one will answer the call.

 

View stills from the film and find screening times.

Watch the trailer

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