Explainer
Change
War & peace
3 min read

Millions of Ukrainians on the move set off an aid revolution

Christian Aid’s Head of Humanitarian Policy Simone Di Vicenz argues the Ukraine war shows a change in approach is required to respond more effectively to global crises.

Simone Di Vicenz is Christian Aid’s Head of Humanitarian Policy.

People help unload aid parcels from the side of a van, some wearing body armour.
In a recently liberated Ukrainian village, locals unload aid they helped choose.
Credit: Christian Aid.

In the first few months of the war, TV news showed the pictures we have come to expect of civilians caught up in conflict: rapid evacuations, temporary shelters and soup kitchens as millions left their homes for safety. Donations poured in from around the world to pay for this response.  

Christian Aid was at the heart of this by channelling donations to our Ukraine partners such as Hungarian Interchurch Aid (HIA) and HEKS-EPER of the Swiss German church. Nothing was easy in those early frantic weeks but these long-established international charities already working in Ukraine had the contacts and legal permits to scale up their support for those on the move. 

Months later, those donations are still helping and are paying for different kinds of help as the needs of displaced people evolve. Christian Aid has now made its own direct links to Ukrainian national charity organisations like the Alliance for Public Health (APH).  

It’s an umbrella organisation supporting even smaller partners on the ground and through them Christian Aid has pioneered and applied a community-led way of working. It involves displaced people deciding for themselves their own priorities for the kind of support they need. In short, international charities must do more listening and less telling.  

The advantages of this approach, known as survivor and community led response or “sclr” are remarkable. Instead of large impersonal and distant support, agencies are going down to the micro-level of organisation such as church groups, village councils and school parents.  

To succeed, local people need to collaborate on what they want, how to do it and who to involve. It breeds community cohesion, empowerment, and self-help. 

These small, community-level groups know much better their urban or rural needs. For example, Christian Aid small grants of a few hundred pounds, for APH and Heritage organisations in Odesa, bought playground equipment for a children’s centre and a generator to draw water from a well in a recently liberated village. 

Instead of relying on big blobs of non-transparent funding sloshing around vulnerable to fraud and waste, small groups of individuals are much more accountable to each other. Although no system is perfect, locals will know if the cash has been spent because the playground equipment and generator are there or they’re not.    

It’s not just about receiving aid. The process itself brings people together by repurposing existing civil society groups or supporting new ones where Ukrainians have joined up to help those who have left occupied regions.  

To succeed, local people need to collaborate on what they want, how to do it and who to involve. It breeds community cohesion, empowerment, and self-help - especially among women having to operate without their partners. One microgrant provided by Christian Aid to a local kindergarten was used to pay skilled locals to build an internal staircase to a kindergarten bomb shelter.   

The sclr concept has been evolving since it was first used after the Haiti earthquake but the scale of the war in Ukraine has supercharged its application because it can be replicated easily by Christian Aid’s network of faith and non-faith Ukrainian partners across the country. It’s also being enthusiastically adopted by Christian Aid’s bigger partners like HIA and HEKS. They too can see the advantages of moving beyond “traditional” humanitarian support. 

Christian Aid believes this community-led approach is a message of hope for the future as Ukraine moves away from its post-Soviet past. It’s a model for a civil society after the war where local people are entrusted and empowered to decide their own futures. It’s also a model that we’d like to see more aid agencies copy in other global crises. 

Who knows, that in an age of government and institutional distrust, it might even be an approach that could be adapted to revitalise grassroots democracy in the UK.  

 

Find out more about Christian Aid's work on empowering locally-led action in Ukraine.

 

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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