 So good afternoon, everyone. I can see that our participant numbers are slowly rising, but it's two o'clock. So I think we should be British and get going with this webinar. I'd like to welcome you all to this premiere of a documentary, Protracted Displacement and Urban Crisis that has been put together by SDI Kenya, Koch Films and New York City TV. My name is Lucy Earle. I'm a principal researcher in the Human Settlements Group at IID. And I lead our work here on forced displacement in urban areas. So I've realized that moderating a type of virtual event, I don't need to shout over a busy room, bang a spoon on a glass, or knock a gap on the table. What I do have to do is convince you that you want to stay with us in this window and watch the film with us this afternoon. But I really think that we are going to be able to hold your attention. This film really is a fantastic portrait of life for refugees in Nairobi. And after we've watched the film, there's going to be an opportunity from the people involved in making it and also making it happen. And there will also be opportunities to ask questions. We're going to have an introduction to the software after the film. But there is an opportunity to ask questions of our panelists. We also have a presence on Twitter this afternoon. So the hashtag is protracted displacement. And there is an opportunity to comment and ask questions there as well. So I'm going to give a full introduction to our speakers later on after the film. But for now, I'm going to hand over to Andrew Norton, who is the Executive Director of IID for some opening remarks. Thanks, Andy, over to you. Thanks very much indeed, Lucy. And welcome to everyone to this event. Effectively, the premiere of a very powerful film, Protracted Displacement in Urban Crisis. I'd like to welcome the participants to return from Norik, Jack McCow, from SDI Kenya, Jacqueline Wanyoni, Project Coordinator SDI Kenya, Joahid from Koch Films, Camila Abdirahman, who also worked on the documentary, and Enoch Oyu, documentary chief editor of Koch Films. So I just wanted to go through that because it is a very informative, a very powerful, very compelling, and I think also a really important film. There's a lot you can get out of this. So we're very pleased to welcome you to this premiere. The film was funded jointly by Norik and IID's frame funds. The issues are of great interest and concern to us, and all the partners, particularly at this moment, this pandemic moment, which is intersecting with so many other crises and sources of vulnerability and stress on various communities. This is a partnership with some Shackdweller's International Kenya. IID has a very long standing partnership with SDI, which is a sort of multi-country federated network of grassroots organizations that historically have focused on activities like community savings, also empowering people through enumeration and engagement with municipal authorities, to workable solutions for slum upgrading and for improvements to basic services. I want to just note how significant it is that SDI in Kenya are seeking to understand better the experience of refugees living in Nairobi slums. About 60% of refugees globally live in urban areas, but as they don't receive humanitarian assistance, at least on the same scale, they are not well documented or understood. This film plays an important role filling that gap. IID is also working to fill these knowledge gaps through the research project Protracted Displacement in an Urban World, led by Lucille, who's moderating today's events, that compares the livelihoods and well-being of refugees to the well-being of refugees. There's the livelihoods and well-being of refugees in camps and in urban areas in four countries, Kenya, Ethiopia, Afghanistan and Jordan. SDI is one of our partners in Kenya, alongside Masinian University and Samuel Hall, which is a social enterprise. Now, what you're about to see in terms of the content of the film is challenging. It's emotionally powerful, I think, and it's particularly timely. Given the way in which COVID is affecting multiple communities, but we're focusing particularly today on the precarious livelihoods of refugees. And again, to see a grassroots organization rooted in the Kenyan environment taking on this issue is particularly heartening and particularly important. So at this point, I'd like to hand back to Lucille and just, again, thank everyone involved in the production of the film that you're about to see as well. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you very much. Thank you. At least what all come in here, and daily we come to visit them, we come to see them. But because of the coronavirus, the city is locked down. And the people who come to see us in the hotel, they come to see us. They come to see us, they come to see us. They come to see us, they come to see us. What the government has done to save the public money. We just can't work. We have to go and make our lives better. The corona situation is very important. Now we are working. We are running out the cold. I'm not sure if they are going to be able to do this. I'm not sure if they are going to be able to do it. I think that if they are going to do this, I would say that it is better to stay at home. I would say that it is better to stay at home. I would say that it is better to have an appointment, then we can go to Kuba. We also have the opportunity to go in, we can go to the hospital. The moment we are saying this is the first time that Corona has hit us, I'm not sure. Some of the hospitals are closed. I'm not sure if it's because of the pandemic. I don't know if you can see it, but I'm sure you can see it. If you see it, some of the men I'm talking to are going to be appointed. I'm not sure if it's because of the pandemic. But some of the men who are on TV, some of them are not. This is the reason why I decided to come here, to help the women and children in the hospital. The most important thing is to be able to eat, to be able to be a chief, to be able to work at home, and to be able to register and ID. So most of the people who work at Convict 19 are the ones who pay for food and are left behind. And the ones who are left behind are the ones who account for foodstuff. I don't know, but I think we should make sure we account for them. When I was in Kenya, I didn't know that I was a refugee. I was in Omba, but when I was in Skia, I didn't know where I was. I was in Kenya, and I was told that this was my story. I was told that I was a refugee. When I was in Mordja, I was told that I was a refugee. When I told Aus worldwide, I didn't really make use of it. Now, when I see something happening, I follow it. I'm used to it. So I used to commute from work to work. Then I could work at a home. Obviously I had lots of friends in Kenya. We stayed together in TAO. We had a kitchen and a place. What really hurt me the most was the death of my husband. My father was a coward. He was the most powerful one. He was a very strong man. But I didn't know him. I didn't know him as a man. What happened was that I stayed and was shot dead, then I went to the hospital. So in the case that I was going to attend and I was told that there was a problem, I was told that the house was broken, and I was told that it was a crime. I was told that there was a report and that I was going to attend and that there was a problem. I was told that there was a report. And that's it. Namo's Cageto Foundation also has a justice centre. So, we are coming to report harassment here to the police and also to the community, so they see them as a threat. Because I'm from Ethiopia, I'm from Somalia and I'm from Al-Shababab. I'm from Uganda, I'm from the Philippines, I'm from New York, because of the documents I've been given. And any time I come in, I come out. Now I'm holding them and the documents I've been given to them and I'm going to send them to the police station. If they come in, I'm going to send them to the police station, I'm going to send them to the police station. I'm going to send them to the police station. We did not help our family. We did not have the strength to help our children. We had not had the strength to help our children. We did not have the strength to help our children. I am very grateful to my friends who helped my children. I was a refugee when I started working at the college and after that I became a refugee and I became a refugee. I did not have a program. I started at school. I started from school and then I became a teacher in Kenya. We were sent to school and we needed to go to the school for education. you can't leave them behind. If you leave them behind you, they'll turn things around. I think we're in trouble. But I know we're safe here. The problem is that we're safe, and if we cannot leave us behind we have to leave. So we're not the only ones left, because that's the promote and promote, they're the ones who are in trouble, the ones who're in a fight, the ones who are fighting, The They can't go home. lf something bad happens, we will have to go. We will go and live but we must prevent it. We must live. We will have to pay the cost to keep the house but the house is not going to ours. We have to live in a safe place. There will be no one to let us die. We must survive. We all have problems. When we die, you must know that Because I'm from Kenya, I'm working in a job that's not so well-off. I work in a job that's not so well off. I work in a job that's not so well off. I work in a job that's not so well off. Since I was a mother, I worked in a business town called Kahribisha. Because, in my house, I had a small house where I lived and I had a little caribou house where I lived. And I have seen people moving around, I have seen people go inside and I have seen people going outside. Because I don't know where they are, I don't believe in the kind of house my husband has. So, in the house, I have seen people walking around and seeing the people. Abademuzuri, I laugh at my channel, but I'm even developing my issue. The government has given me the idea to go to a refugee camp in Kenya. But I don't know what to do. I don't know what to do. I don't know what to do. I have to go to a refugee camp because of COVID-19. When I go to Kenya, maybe it's because I don't have a chance to go to Kenya. After a season shift, when I go to Kenya, when I go to my family, I go to Kenya. I've been going to Kenya to go to refugees in Kenya, but I don't have a business there. I went to Kenya to visit my sister, because I want to go to a refugee camp in Africa. I've been going to Kenya to visit my sister, because I want to go to Kenya. In South Africa, I've been going to Kenya to visit my sister, because I want to go to Kenya. I'm not afraid of the Kenyans. They don't like the Kenyans. They are afraid of them. When I first saw my parents, I thought, they must be the Kenyans. They were the ones who did the job. My father was in the village. He worked in the village. He was born there. He was the only one who was working in Kenyans. I'm sure he was not that thin. I just had to put my life on the line with the kids. When I learned I had to thank God for the good things I had done. The good things I did were good books and I had to thank God for the good things I had done. I am really grateful to God for the good things I had done. I've seen it several times now, but each time I watch it, something new strikes me, and I'm really looking forward to having this exchange now. So before we go ahead, I'm just going to briefly introduce Tora Turing from the Norwegian Agency for Exchange Cooperation, Norek, who helped to fund the film. So Tora has worked for civil society projects in Norek for the first five years, and she's currently head of section of the NGO portfolio, and she's worked before Norek, in Nepal, and in both the youth empowerment and human rights project, and I think some of those themes are obviously coming through in the film, which we also talk a bit more about her views on her reflections on what's been produced by SDI and OSTTV. So then we will, I'd also like to introduce the colleagues from Kenya. So we have with us Jack Macau, who's executive director of SDI Kenya. So SDI is Shack and Slum Guards International, and they're a network of community-based organizations of the urban poor in 33 countries in Africa, Asia, and Latin America. And also from SDI is Jacqueline Wanyoni, who's a project coordinator, and at IID we work very closely with Jack and Jacqueline on a number of different projects, including the one that Andy mentioned earlier on Protracted Displacement in Kenya. Then we have three colleagues who were more closely involved in producing the film. We have Abdi Wahid, who's the director of the documentary, and he's from Noyo City TV and Coach Film. We have Camilla Abdul-Rahman, she was an interviewer and the language translator for KYC TV. And then finally we have Enoch Oyo, who is the documentary chief editor, and he also works for Coach Films. So we have a series of questions that we have on our panel. And then also if people start asking questions, we'll see if we can also find some time to put those questions to our panel. We are fairly limited, but we'll see how we get on. So I want to turn first to Toro, and to hear a bit more about how Norik got involved with SDI Kenya, and a bit more about what Norik does, perhaps a bit of introduction for our audience to the organization we work for. Thanks. Thank you, Lucy. Thank you for arranging this event. The film is very powerful, and it's the second time I watch it, and I completely agree with you that it really brings up something different each time. I'm very happy to be here today to share this launch with SDI Kenya, so very exciting. So I work for Norik, as I said. What we do is that we support international partnerships working together. We support the capacity building and development of these partnerships, and we have a special focus on young people and how to lift them in our collaboration with different organizations around the world. So SDI Kenya, we've been working with them for the last four years through their partnership with an Indian organization called Salt Lake City of Pryasam, and what we've supported is the exchange project Media for Mentors. It's a project that SDI Kenya and their partner in India designed with the main goal being to let young people explore their leadership skills through different types of media and filmmaking. So it's been really exciting to follow the project as it's developed over the years. The goal has been to first strengthen the actual skills of the young people in filmmaking, but then also to make them more active citizens in their communities, and I think that's where it links closely to this film. And something that I've liked a lot about the project is that it's always been really important that the young people get to choose the emphasis of what they're working on. This film is one example of how the young people put their own stamp on the project that they deliver, and it's great to see that the quality is so high, really good experience. So briefly, we have been supporting SDI Kenya in this way for the last four years, and most of the crew in the documentary have been on the Media for Mentors exchange project. They've been working in India, and they've been working in an intercultural team with Indian colleagues, and what we see from our point is this kind of collaboration makes you see your home community in a different way. You become more sensitive to the dynamics that are going on there. And I think that's also very visible in this film, that how the refugees are presented I think shows how the participants who have been part of this project have developed their skills through being in an intercultural environment prior to this project. Yes, so briefly, that's our history of working with SDI Kenya and how we link to this production. Thanks, Tara. Do you want to tell us a bit more about what you took away from the films? Like me, you've said it. Show me what you learned something new. Tell us just a little bit about what was most interesting or what was newest or perhaps most challenging for you to watch. Yeah, well, of course, this is a really powerful presentation of individual stories. And I think there are three things that I took away. It's the fact that it's very respectfully presented. It's a very relevant topic, and it's not very often that this perspective of both the refugee crisis but also COVID-19 is presented in mainstream media. So I think it's an aspect that we need to hear more about. And it's also very high quality. It's skillfully done. Of course, as being an agency that supports international partnerships, we don't have any thematic expertise on migration issues. So for me, what I take away from this is how it's clear that young people have had a very strong and important role in developing this project. And how it's clear that SDI Kenya takes young people seriously. The crew from New York City TV have really been able to explore the stories here and deliver a product that has really high quality. And I think this is also a social issue that the film indirectly addresses. How we have to prioritize young people if we want to see social change in our communities. And seeing how the crew has worked and how they have been involved in this over time, I think that that's an important takeaway as well. So while, of course, the issue of the refugees is the main focus here, I'm championing also the backside of the production with the focus on the young people and the amazing job they've done. Thanks, Doreen, for the middle second part. So I want to turn now to colleagues from Kenya who are involved in the ideas for the film originally and then colleagues from New York City TV who actually went out and made the film. So I suppose the first question really is probably for Jacqueline or maybe for Jack and I'm happy for anyone who wants a little butt in, feel free, if you have some extra things you want to say to the panel. But the first question I suppose is why did you decide to make this documentary about refugees in Matari? And perhaps colleagues from SDI could say whether how much engagement they'd had with refugees in Nairobi before this. So over to you guys. Thank you, Lucy. You know, for the last 20 years SDI and you've gotten into social movement in Kenya has wiped on issues of unright and housing and infrastructure, what we call the urban development world. And that is where we have existed. Issues of refugees have been present if you go through slums then you will see that there are people from other countries. But it's been very marginal. And it's not been it's not been an issue that SDI previously has worked with. So when we started to work with IID and talk about doing a research, it was fascinating. One because of the responses that we were getting from people in Matari and in other settlements in saying, yes, this is a big issue. Has it been in your blind spot? So in thinking about doing the phone, it looked like we are at a place where we started to frame an issue where two walls and urban development world and migration world come together. Migration and refugees in Kenya is a big issue, but it's not a city issue. There are no departments in the city. There are no people who think and work with migrants and refugees. Everyone who works with migrants and refugees is at the UN level and is at national government and in departments like security and internal affairs and therefore another world. So doing the phone seemed to be a nice place to start to start to tell a story, a story that we can share with host communities, the refugees themselves, the city and just try and bring all those voices and say, actually, there is an issue here. So that's where the phone comes from. Thanks. But maybe Jackie, back to you. I think what Jack says, essentially during the COVID-19 period, we had a COVID-19 tracker that essentially tracked the COVID-19 infections in formal settlements. And so we wanted to link this with trying to find out more about the refugee population in ASLAMS and particularly in Madari. And so essentially we're also linking it to the protracted displacement in an urban world project. And so we have not focused on refugees in the past. And so for us, we thought then we'd start creating those linkages through this documentary. And so during the documentary then has been sort of like a way for us to start doing the research, but also then getting familiar with the population as far as livelihoods and well-being is concerned. And so I'd say for now one of the key things that we have realized if we were to link that to the protracted displacement in an urban world project is that we have, as far as the Somali community is concerned, we have realized that most of them may not necessarily be in Madari. And so what we would have to do then when we get to the focus group discussions is that we expand the geographical area for the research in order to focus on that particular population. But as far as then answering the question for what opportunities were presented to us as far as going into this documentary is that the KYCB team was already documenting COVID-19 experiences of people living in informal settlements and more so in the Nordic project, Media for Mentors Exchange, which was abruptly cut short at the start of this year. And so the participants had to come from India in March instead of June. And so we had to meaningfully engage them in some way. And so now tying that with what we were doing with IED that was an opportunity we did not want to miss. Other factors were most of the KYC TV crew have been familiar in documenting refugee experiences in Kakuma in the dub camps. And so we thought, why not? Why not do it in an urban setting and see how that goes or how that informs our work? Also then the initial idea was to do sort of like a juxtaposition as far as looking at Mother Islam, refugees living in Mother Islam, and those ones living in Isli, which is just the adjacent neighborhood. And I think we've seen that in the documentary, some of the cutaways that we have there. But at the time then we had government restrictions like a lockdown or a containment measure in Isli, whereby then people are not let to go in and out due to the COVID-19 situation. However, our team, some of our team have international press passes like Khabdi and others. And so we thought then we could also leverage on that or at least use that opportunity to do that kind of documentary. And so looking at all those factors, we had sort of like a comparative advantage. And so we approached IED and also Norik for the funding. And that is how then this came to be. Thanks, Lucy. Thanks. It's great to hear a bit more about the background and to hear how this is a bit new in some ways for SDI, this type of content, certainly not filmmaking but the content. So we are getting a few questions on the Q&A about the audience for this film and whether or not it's going to be shown to the UN and how people can use this. So before I'm handing over to colleagues to answer that question, I can tell you that people in the UN have already seen it. And they certainly seen the short version of the film. So we got some emails last week from the UN Refugee Agency who'd seen a three-minute clip of the film that we had uploaded onto IED's website. And they have included some information about the work that SDI are doing in a briefing to member states that's happening right now. So as soon as this film finishes, I have to jump off and join another one and another webinar and tell everyone about this film. So it's already being seen in its short version and I'll be able to share the link with member states and UN agencies this afternoon. So that's a kind of international audience but I think it's quite important, as Jack mentioned, that the city starts to hear about this type of issue as well. So I'm going to hand over back to Kenyan colleagues who can talk a bit more perhaps about the audience in Nairobi. Okay and I don't know if you want to come in but Lucy, generally, as you say, the movie is almost an invitation to as many stakeholders as the social movement then is learning and working with refugees and migrants. And so the film is an invitation to start a conversation, to join in the research and to build different networks that have been sort of grappling with migration and displacement for a long time. But I don't know, Abdi, do you want to come in? Yes, I'd like to add something that we might do a close screening which will involve the stakeholders that are involved mostly in refugee-related issues in Nairobi and also the government of Kenya, the part that mostly deals with identification of refugees, like giving them the alien card because most of them, the five people we have interviewed, only one of them had the opportunity to get the alien card and they have been here for more than like 10 years. So it's like they really need, we really need to show them and for them to realise that it's a big problem and they do something about it. Thank you. Yes, I think it's clear that the issue of documentation is a really difficult one and one that prevents people from accessing the healthcare they need and from contributing to the local economy by running businesses and it's a very powerful message, one of the very powerful messages from the film and one would assume that it's not so difficult for bureaucrats to start thinking about how to make that process a bit smoother. I wanted to also, Jacqueline and other colleagues, as this was quite new content for you, looking at refugees in Nairobi, was there anything in particular that surprised you when you went out and started interviewing refugees in Matare? Yes, I'll start by saying that during the COVID-19 period, there are a lot of government and private sector food distributions in informal settlements and so refugees being a vulnerable group, the immediate assumption is that they would immediately get relief from these programmes and so having going to the field and interviewing this sample group is that we realised that they were completely left out from the process. They could not access any kind of relief, even if they did present their UN documents, even as Michael has say during the film, is that they are turned away by the full managing that process and so that was really heartbreaking in a sense because then the humanity aspect of it is sort of removed from people who are managing these processes and so they had to rely then on perhaps say their neighbours and say the Muslim community, if you're a Muslim, dream Ramadan to get access to these basic needs. Another surprise at least for me and I'll let my colleagues also speak is that they sort of like are straddling between two worlds in that then some of them are registered in camps and they also live in the urban areas and so it's sort of like a hedging bet kind of a situation being registered at a camps that their hope will be to be resettled in that third country sorry and so they also live in the urban areas just to be self-reliant which is very unreasonable as a human being and so whichever option comes fast, which we think from the documentary will be resettlement, is that that is what their hope really lies and one of the factors sorry just as I finish is that the reason as to why we think that we have not worked with them specifically as a group within SDI and the savings groups is that they really do not foresee savings as a long-term plan for them and so for them to join you know federation within SDI for them that is just you know that's long-term and they actually envision themselves being in the urban areas of camps in the short run and so maybe that's why then we have not really had the chance to really delve deeper into into that topic of you know refugees and displacement thank you but let me let my the crew to speak for itself so maybe Kamila for me what really surprised me and what I learned is that I came into I came to terms with the harsh reality that these people have to deal with imagining that these people cannot access basic needs especially during this time of COVID-19 these people cannot access food donation in their area because they cannot they don't have a Kenya identity card which is a requirement these people they don't they don't have any family member to rely on while they're here in Kenya they have children they have houses to pay rent you can imagine such a dilemma they are in to deal with their daily life you're such heartbreaking to listen to their stories what I can say is that what really surprised me is I think documentation because if you don't have anything to prove that you are either a refugee or a Kenyan it's hard for you to get access to basic needs or support and also I think corruption corruption I think also it gets in that's why I think Maiko said in the documentary that it's sad for them to get because they don't have money to bribe the people who deal with giving them alien cards to prove their identity and also it's hard for them when you're given an appointment later only and it's like for a month you are told that come after two months will help you so it goes on for like 10 years and you don't get any help so that's that's really surprised me and I was like it's really hard for them maybe Enoch can add something basically prior to the prior prior prior to the filming of the documentary I believe that the refugees being the most vulnerable group in a country that the people should be be getting the medical attention first from the government or from any organization that might be hosting them but when I came to realize that most of the refugees Kenya basically in Magare they don't get access to the medical attention from the from the hostry from the host organization which is the UN basically because they don't have the alien card because most of them most of them find it hard to access the alien card so this also affects this this also affects this also affects them in accessing medical attention and just as we realize what one of the interviewers just say that uh there are being no uh an organization called Medicines Medicines and Frontiers if it were not being if if it were not being in Magare they would have been finding it so hard help to us because it's the only organization it's the only organization supporting them to in accessing medical attention and that was really hard thing yes that's um that was also a quite a shocking thing that the interviewer said that without the idea was without that there'd be there'd be almost nothing and one of the other refugees was saying that she would have to just self-medicate and use herbal recipes because there was this idea that she wouldn't be able to get assistance from elsewhere so that was a very um was quite a shocking statement um I wanted to ask some just a few uh sort of more practical questions about um how you found the the refugees that to take who took part um I wondered um but it was difficult to convince people to to speak in front of the camera we sometimes get the impression that refugees moved to urban areas to kind of disappear and not be visible um to try and live a normal life and not be under scrutiny or labeled as a refugee so I was curious as to how you how you found those people to speak with and whether it was difficult to convince them to speak on camera what I can say is that it wasn't it wasn't easy to find them we had a fixer who was who lives in madara and I talked to him and then he went with him a few times to try and convince uh the refugees to tell their stories and from my experience uh I worked in Dadaab and also Dadaab refugee camp and Kakuma refugee camp so I interacted with the refugees in our camp setup so now it was like an urban setup it wasn't so hard to convince them because it was like a willing by a willing say a kind of situation whereby they really wanted to talk to someone and tell their stories and they could find someone it's like we came at the right time to them and it was but I had to go like three times not just once so that I'll tell them I'm not alone I'll come with a crew the camera people some other guys so don't be afraid we had like six people at the end of the beginning and one of them dropped the last day when we were shooting she was like afraid when she saw like the crew there are a lot of people there and she wasn't willing to tell her story so we understood her and we continued with the others the others who really wanted to share with us that part of their story. Thanks Abdi and I'm really glad you managed to convince most most of the people to speak with us and I think the final comment was quite powerful from Michael saying well I'm glad you've come to make this film because people need to hear this story and I should say that it's not it's not unique to Kenya or to Nairobi this situation we have a partner organization in Kampala where similarly refugees have really struggled to get assistance and to get food during during COVID so it's not a it's not unique it's certainly not unique to to Nairobi. I had just one I think perhaps final question I think it's perhaps more for Jack and it's a question it's a sort of amalgamation of a question that we already wanted to ask you but also there's been a question from on the Q&A as well so the question was really about how you think you might work more in future with refugees in Nairobi and is there the question was specifically how how you think we're going to be able to change things for refugees and I think it'd be great to hear from Jack what future plans you have not just in the ambit of the research project we're working on together but actually more broadly working with the city what how you think we can start to to make things change. Thank you Lucy so so our immediate plan and and I think this is then the stepping stone to the longer plan is is to research more which we will do together with IED and and other partners the Masano University in Kenya and Sambal Hall another research organization within within the project one just to create information that the stakeholders and especially the city can can bite to and understand and to be able to frame this issue and frame it a bit differently from the way it has been framed as as a national security issue and and a UN refugees issue to make it a livelihoods discussion a discussion that affects not only the refugees but also the communities that that host them and and their economies their significant economies and so on so so so our long-term strategy then is is to invite more the city into the discussion and start to speak to people in social departments and in housing departments and in planning departments and say this is is not going to end tomorrow it needs to be a planning issue it needs to be in that space where we discuss what we do with informal settlements and and other ways in which urban poverty has many manifested so so we see that as our sort of longer-term vision make it bite-sized right right it's it's a real issue that that even local councillors and and and organizations and a lot of organizations in Madari and elsewhere that are providing charity and relief but that can contribute to the systemic issue of of migration so that's how we see it thanks Lucy thanks I just wanted to invite participants to make any final comments before we hand over to Andy and to our executive director to to give his reflections on the film and to close what I wanted to just check if we've if you said everything you want to say or if there's anything else you'd like to say to our audience online well in that case Andy can I ask you to come back on screen and tell us your your main takeaways from the film thank you very much Lucy and huge thanks to all the partners to Norek who co-funded it to the filmmakers who did a fantastic job and it was fascinating to hear from Abdi about the empathy and the sort of human contact that was needed to get these stories and also of course to SDI Kenya it's just really heartening to see basically a grassroots organization from you know urban centers in a country like Kenya taking up this issue with solidarity with compassion and with empathy and seeking to take it forward with stakeholders you know using their voice so all fantastic just three things really I'd like to finish on that the film demonstrates you know the medium as obviously an instrument for telling stories and the stories are incredibly powerful and at times distressing but they also show the dignity and determination of the people whose stories we come to learn something about and that's really important too it's an instrument of voice Lucy you picked up that very powerful quotation at the end from one of the main characters we follow the young man a chance to put his lived experience in front of stakeholders who could make a difference whether they're in the city in the country or even globally and we from IID now have a responsibility to work with others including SDI over a very powerful international network to do that to put these stories in places where they can make a difference but finally and most importantly I think the film is a call to action it demonstrates how major these challenges are COVID has brought all kinds of challenges the ones we see but others as well borders are being shut there are all kinds of things which are getting in the way of the kind of just an inclusive global response that we need in these vital areas refugee hosting and protection this issue of the right to identity and documentation comes up regularly and powerfully and you watch it with a sense of frustration that this must be something that can be fixed and we have examples also of organizations like MSF that work effectively even in that environment but that thing about the barrier that the lack of papers creates for accessing relief social protection but also basic services this also is just very powerfully expressed and expressed indeed as a call to action so I'd like to finish again with huge thanks to the partners and you know from IID's point of view also huge thanks to you Lucy and to the others working on this really important program thank you thank you very much Andy now as we just bring this webinar to an end we'd like to encourage you to complete our survey to help us improve our online events we really appreciate your feedback in your comments and also if you want to learn more about IID's work responding to protracted displacement you can find it in the link that I'm just about to put into the chat box thank you very much for your time and we will end the webinar there