Essay
Change
Christmas survival
7 min read

An Acton nativity and a new crisis at Christmas time

Inspired by a Christmas visit of Jose and Maria, West London churches aiding asylum seekers now expect a wave of evictions, Robert Wright discovers.

Robert is a journalist at the Financial Times.

 

clients of a charity queue beside a table of suppliers in a church
Ease clients select groceries.

It was the arrival of a single, memorable couple that prompted churches in East Acton, West London, to recognise their responsibility to care for the growing numbers of asylum seekers being housed in the area, according to Jon Westall. The husband of the pair, who had fled persecution in El Salvador, in central America, was named José (Joseph), according to Westall, a Church of England vicar in the area.  José was accompanied by his wife María (Mary), who was, Westall recalls, “heavily pregnant”.  The couple arrived at one of the area’s churches for their Christmas services in 2021. 

When they came to the church, Westall says, José and María were among 400 people living in a local hostel turned into housing for people awaiting decisions on their requests for refugee status. The status, which allows recipients permanent leave to remain in the UK, is awarded to those that prove they have fled danger or persecution. The couple’s arrival struck local Christians thanks to its clear symbolism, Westall recalls. But it also left them initially unsure what best to do. 

Nearly two years on, the church that José and María visited hosts a weekly drop-in for asylum seekers organised by East Acton Support Enterprise, a new charity set up with the backing of a local support group for would-be refugees. Westall, who is a trustee, says that Ease’s volunteers are a “right old mixture” of people of different faiths and none. The group seeks to support the hundreds of people in the Acton and Ealing areas housed in hostels and hotels while awaiting rulings on their asylum applications. Since the summer, it has also been grappling with the effects of new Home Office policies that mean people who succeed in their asylum claims often find themselves evicted from their temporary accommodation with as little as seven days’ notice. 

“It’s the whole community. These people are very passionate, very enthusiastic. They listen. They talk.” 

The effort in Acton is one of scores across the UK helping refugees that is hosted in a local church and that draws heavily on church volunteers. Westall says that, from church people’s point of view, they became involved in the nascent project because it touched them “quite deeply really” to meet José and María at Christmas. Ease prefers not to publicise the location of its drop-in, to avoid attracting attention from demonstrators against migration. 

“Jesus is a refugee,” Westall says. “There were just resonances really.” 

One of his clearest recent memories is of being called to help a man from Syria who had just been evicted from accommodation in the nearby west London neighbourhood of Hillingdon, with only five days’ notice. 

“He was standing on the street corner in Hillingdon with all his bags, absolutely paralysed with fear, this guy in his mid to late fifties,” Westall recalls. 

Sara Nathan, another trustee of Ease, says the drop-in opened at a critical time. She approached the church about using its facilities in January 2022, shortly after José and María’s first visit, after being asked by West London Welcome, another support group, to set up a drop-in in Acton. A new facility was needed to relieve strain West London Welcome’s facility in Hammersmith. Nathan, an active member of West London Synagogue, says the first Ease drop-in session, in February 2022, took place just in time for a surge in demand to help refugees. 

“We set up to start and the day we started was the day Putin invaded Ukraine,” she says. 

The group has been “running to stand still” ever since, under Lissa Pelham, the group’s co-ordinator, Nathan adds. 

“It has been growing considerably,” she says, adding that the group became a stand-alone charity, separate from West London Welcome, in September this year. 

One regular attender at the drop-in, Sobhan, an engineer from Afghanistan, says he values the mix of practical help and emotional support on offer. Sobhan – not his real name - was studying in the UK for a master’s degree when Kabul fell to the Taliban. Because his family was closely involved in the previous Afghan government, his life would be in danger if he returned, he says. 

He adds that it is “very nice” of Ease to organise the drop-in centre, which offers people staying in local hotels and other refugee accommodation free food, sanitary products and other help. The support supplements the £45 a week living allowance that those awaiting decisions receive from the Home Office. 

However, the drop-in is “more than just the help”, Sobhan says. 

“It’s the whole community,” he says. “These people are very passionate, very enthusiastic. They listen. They talk.” 

Involvement in Ease has made her more aware of the real nature of the problems facing people awaiting asylum decisions and more anxious to do something about them.

The complexity of the challenges facing Ease is clear at a drop-in session when Pelham holds her weekly briefing for the 20 volunteers present to help around 100 clients. Pelham starts by asking volunteers to ensure anyone new attending the drop-in is resident in Ealing. The checks are necessary because supplies are limited and there is a risk that asylum seekers travelling from other boroughs will take what is on offer and leave none for the people most dependent on Ease. 

Pelham goes on to impress on volunteers the rules about evictions from asylum accommodation. The warning is necessary because a Home Office drive to clear the hotels housing many of the tens of thousands of people awaiting asylum rulings has prompted a cut in the notice given to successful applicants – those granted leave to settle in the UK - to leave the place they have been housed. 

Successful applicants used to have 28 days from the issuing of their residence permit to leave the accommodation – already a demanding timeline given the need to secure a bank account, deposit for rent and means of paying the rent. Since August this year, however, they have been given only seven days from the issuing of the decision. Because the decision is issued by letter to people living in often crowded and chaotic hotels, if applicants receive their letters late or not at all, as with the Syrian man that Westall helped, the notice period can be shorter or non-existent. 

The change of policy is likely to affect many of the drop-in centre’s clients because as many as 68 per cent of initial decisions on asylum claims in 2022 decided that the person had a genuine claim to asylum. A substantial further proportion are likely to win the status on appeal – around half of completed appeals were successful in some recent years. 

Pelham reminds the volunteers that at times of freezing weather landlords are obliged to give tenants an extra three days’ notice of eviction. She also reminds volunteers that there should be no evictions over the Christmas period, between December 23 and January 2. 

However, there is a resigned recognition that some landlords will ignore the rules. Nathan has brought to the drop-in session a compact tent to hand out to anyone with no better option. A group of 10 Eritrean refugees have been sleeping under a nearby road flyover, she says. She has also been working to house evicted refugees through Refugees at Home, a charity that places refugees in volunteers’ homes. Nathan herself helped to establish Refugees at Home in 2016 and says new volunteers have come forward as a result of the surge in evictions. 

Pelham asks volunteers to ensure the details of any clients reduced to sleeping on the streets are recorded. 

“It keeps getting worse,” Pelham tells them. “It really feels that way.” 

The difficult circumstances and challenging policy background do not noticeably damp the atmosphere at the drop-in, however. In front of a side altar in the church, one would-be refugee uses a borrowed guitar to serenade those present with a string of classic songs such as Elvis Presley’s Baby, 'Let’s Play House'. Some attendees attend an art therapy session, while others work at their English. 

One Christian volunteer, Charlotte Aldridge, says involvement in Ease has made her more aware of the real nature of the problems facing people awaiting asylum decisions and more anxious to do something about them. 

“I suppose from a Christian point of view, I feel it puts the gospel into practice,” Aldridge says. “It’s nice to be part of a positive project that’s doing something practical to help people in the area.” 

“They’re in the UK now. If a British person is nice to them then understands them, that’s a very relieving thing mentally.”

Westall acknowledges that asylum-seekers’ problems are a matter of acute political controversy. There are people among the attendees at the drop-in who made clandestine crossings to the UK by means such as small boats to lodge their asylum claims. 

The vicar insists the asylum-seekers he meets have not come to the UK just in search of a better life but have genuinely fled trauma and situations that would prompt anyone to flee. He reports few complaints from local people about the church’s work. 

“There aren’t many people who stop me and say they shouldn’t be here,” Westall says, adding that the congregation of the church that hosts the drop-in has been “very supportive”. 

Sobhan, who has just received refugee status and is looking for work, says it is a “great thing” that Ease offers companionship to refugees living in the area. 

“They’re in the UK now,” he says of the refugees. “If a British person is nice to them then understands them, that’s a very relieving thing mentally.” 

Westall, meanwhile, along with his wife, is a godparent to José and María’s baby. The family are now living elsewhere in the UK. 

The vicar says, however, that the meeting with the couple provided a window for local Christians onto a world they had not known at all. 

“I’ve learned a huge amount from the people I’ve met and the people I’m getting to know,” he says.

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

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