Interview
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Gaza
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S&U interviews
Suffering
War & peace
11 min read

Eye witness: life and death in Gaza’s European Hospital

Returning plastic surgeon Tim Goodacre reports on the struggles, the despair and the dignity of the people and the medics of Gaza during their long nightmare.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Medical staff stand beside a bed in which a man lies with an amputated leg.
Medics confer about a patient in Gaza's European Hospital.
Tim Goodacre

Tim Goodacre is a vastly experienced plastic surgeon who recently spent two weeks in a hospital in Khan Younis treating the extensive injuries of the people of Gaza. I caught up with him to ask about his experience there.  

Graham: Let me start by asking what was it like getting into Gaza? What was the process and how difficult was it to actually get in in the first place? 

Tim: We went in as an emergency medical team under the under the auspices of the World Health Organisation, which is coordinated with UN OCHR. It was easy obviously to get to Cairo. Then we joined a convoy, a group of cars convening in the small hours of the morning in Cairo and then being escorted across the Sinai desert. We got to the border in time for dusk. What was staggering at that stage was seeing the number of lorries lined up, waiting on the Egyptian side to get in. They were two deep on one side, one deep on the other with a thin passageway through which we could drive through for mile after mile after mile of these lorries. 

Was this humanitarian aid sent from other nations? 

Absolutely. It was aid labelled from different countries or agencies. Crossing Rafah the next morning was all pretty haphazard and chaotic, but we met our driver on the other side. We then had to travel to Khan Yunis on the coast road because it was the safest part of the south Gaza strip. We went through a route called the Philadelphia Road, which is a gap between the two borders. As we drove along, we immediately were jumped on by some young lads who had put razor wire across the road. We picked up two of them who hung onto the car each side, with our window s firmly shut. As we sped along, they were our ‘protectors’, taking a pitiful sum to ensure that we would not be stopped at further razor wire and our vehicle plundered. It was our first experience of the lawlessness that's inherent at the moment in Gaza. 

All along that side of the road there were people putting up new tents after a recent further mass displacement, as far as the eye could see. It made a huge impact on me - the devastating plight of the people who were there. It looked like those pictures of Glastonbury or Woodstock, where as far as you could see, the rolling fields or sand dunes or whatever were totally covered in makeshift dwellings. It was pretty cold and windy. And subsequently, while we were there, it rained an awful lot and your heart just went out to these people.  

So these were people living in tents and temporary shelters? 

 Well, not really. They're barely tents. They're just finding flimsy bits of wood, putting them up and nailing them together. And these are not just the very poorest of the poor. This is everybody. Many of them were people from very well-to-do houses whose families have been displaced. I've worked in many parts of the world where there's poverty, but I’ve never seen so many people displaced.  

One of the things that's remarkable however is the relative cleanliness, the desire to maintain dignity in the most appalling circumstances. But a young lad who’s now a young doctor (who I have worked with for a decade now) came to see me and he was the most dejected person I've ever met. He said to me ‘they've taken away my dignity’. The abject pain in his face was something that I won't forget.  

You’ve been to Gaza many times before. What was different about this time? And you've seen it in the aftermath of previous wars and conflicts. What was what was particularly different this time? 

 It's utterly different – it’s the displaced population with nowhere to go and seeking shelter. When I first went in 2014 after Operation Protective Edge, I was taken to a huge neighbourhood of northeast Gaza, which had been flattened and at the time the impact on me was extraordinary. When I’ve visited subsequently over the last decade, they will show you this bombed out building and that flattened area, but I've never seen such vast numbers of displaced people. On the second day we moved into the European Gaza Hospital (EGH), which is where we were going to stay for the two weeks we were there. Inching slowly along amidst endless hordes of people walking around, seeing the dejection, despair, the hopelessness with nowhere to go - this for me is what defines this whole episode and makes it very different from others. This is in no way a diminution of other conflicts and human tragedies, but when there was bombing in Baghdad or in Kiev and Ukraine, people might go into underground shelters - there are places they can perhaps go to escape. Even in massacres such as in Darfur or Congo, there are places to run to. There is nothing like that in Gaza. 

Was there a pattern to the kind of medical emergencies and wounds that you were having to deal with? 

 The vast majority of injuries were the impact of high explosives, so we naturally saw quite a lot of burns, although the majority of severe burns alone were being managed by the Red Cross team also at EGH. Some of them were people who had been crushed and pulled out of buildings which had collapsed. But that was that was the minority. The majority of our cases were direct results of bomb blasts. Every time you hear a bomb, somebody is being killed, yet many others are caught on the fringe of that. Shrapnel travels at astronomical speeds and hits people in in a completely random way. These injuries are devastating. There were scores of people coming in with limbs missing. Seeing somebody with a leg off at the thigh, a leg off below the knee, an arm ripped off was all too common. It was hard to take in - you have to become somewhat immune to the backstory behind each dreadful injury, and concentrate on the carnage in front of you, to be able to deal with the constant onslaught of cases. 

How were the medics coping with it? You were there for two weeks. They are there for months, presumably on end? 

 I think it's incredibly important that we don't focus on the visiting medics. I usually peeled off at about 9pm or so in the evening - I had to go to bed and had to have a rest, but there were people trying to work through the night. What I want to focus on is the local people, particularly a young colleague, Ahmed, who was 36 years-old. He was statesmanlike in his ability to pull things together. His family are actually mostly in Dublin as they've got Irish passports. I cannot tell you how much admiration I have for that young Gazan man who shared his room with me.  

He has been managing to create a team who work alongside him, since many of the staff who had worked at the hospital before (some of whom we had trained over several years in limb reconstruction) were not there. That is because they might not be alive, or having to support their displaced families, or simply are afraid to travel in daily to the hospital, or whatever. It is a huge demand on individual doctors to leave a family group (who invariably try to stay together, so that if they are bombed, they all die together and do not have to be a sole survivor.) to then work away from such possible loss of all their family members. It's an incredible sacrifice to be working in medical care when your family are all huddled together in a place where they may all lose their life, and that gets to them in the end.  

The orthopaedic side is almost on its knees. Most of the system in the hospital is utterly on its knees. There were early years medical students who had been taught quickly how to manage wounds and to skin graft. They haven't got any pay, but some people have given a little money to my colleague’s account to try and give them some support. There were IT students and all sorts of others pulling together. How people can work in in such adversity and make things happen is quite a testament to the to the strength of humanity.  

It all begins to play on your mind, and you start thinking is there another one coming? And you get no warning when the attacks are unleashed. 

What was it like living under the bombardment, which was presumably pretty constant during your time there? 

There may have been the odd period of four or five hours when there was no sound of close bombardment at all, although during that time there was probably small arms fire going on somewhere. But otherwise, it was relentless. One became somewhat used to the bombs in the distance, but when they're close by… Every time one of these bombs goes off, there are people dying. And that really that played on your mind. So huge numbers were seeking shelter anywhere in the vicinity of the hospital. If you can imagine a hospital corridor where every route is full of makeshift shelters, and you just go up around a stairwell and on the corner of each stair, there will be a family which will be hanging drapes up, trying to find some sort of privacy and dignity among the utter destitution.  

I found it very difficult to sleep during those times. The hospital is in a quadrant, a square. On one corner there was a supermarket which latterly was hit by an F16 delivered weapon. You could hear the sound of the rocket go off alongside the scream of the low flying fighter jet, and the whole building shook. There's also the incessant sound of drones. It all begins to play on your mind, and you start thinking is there another one coming? And you get no warning when the attacks are unleashed.  

It made me realise what soldiers undergo when they get what used to be called shell shock. There, even if you're not injured yourself, this constant shocking damage gets to you. I knew we had the knowledge that after a short time, we would be getting out - but it made me realise how tough Ahmed and others working there have to be. It will be having a devastating impact on the population, and for a nation.  

I imagine the psychological effects of that are going to last for a long time in the lives of these people. You don't get over that quickly. If you live with that level of tension, thinking any moment now, I could die, that must stay with you and the marks of that stay for a long time. 

I'm sure that's true. I'm not an expert in PTSD and things like that. Ahmed is a Muslim and said to me more than once that when you believe in an afterlife, you believe that your time will come at some point, and you accept that. We don't know when it is or where it is, but it will come. I have frequently wondered whether any of the fighter jet pilots have ever experienced themselves what it’s like to be underneath the impact of one of their weapons? Having felt somewhat what it is like to be on the other side of such an onslaught, I do wonder whether very many of those involved in ordering conflict really have any kind of understanding of what devastation feels like, when there is nowhere to run? I fear for what this conflict does to the humanity of both sides. 

I genuinely don't feel brave, I don't. I'm not the kind of person who sees lights in the sky, but I know it was God’s calling to go there. It was simply the right thing, 

Did you see any sign of hope or anything that gave you a sense of the way out of this? 

 The sense of hope is within the people who are there. There are many people who say they still really don't want to leave. They feel this passionately. It's their land. They do want to see a new Gaza. I tried to be somebody who lifted spirits. Communities can be rebuilt and there may be a new future which will come from the dust. I've been in touch with people in my University Medical school in Oxford to see whether we can do something about getting these young people's education continued.  

You can imagine there wasn’t a lot of laughter in the whole environment, but on the few occasions when I did gather together with my colleague’s small group of young students and volunteers, usually late into the night, we would eat whatever food goodies they had to hand, and their sense of fun would burst out. Together there was a very strong sense of community amongst them. 

How did your Christian faith inform the way you interacted with the situation? How did your Christian faith help you process what you were seeing and experiencing there? 

 I must say it was a deeply spiritual time for me. It was absolutely powerful to me to know that God cares and loves each and every one of these people. I longed to organise a football game with the kids. I was told that they had tried to do that, and it had become too dangerous. So there seemed to be no organisation around looking after the well-being of the children, their education, or the deeper impact on them of this war. People were jammed into the hospital, obviously because it was seen as a safe space, and it was humbling to think that us (as foreign workers) being there made them feel somewhat safer. It humbled me immensely.  

I felt nothing but a sense of privilege in being a witness to all this. I was reading the Psalms regularly in daily prayer. There's also something about that land being the place where God himself suffered in Christ and went through his own agony, and that the Holy Family escaped through Gaza to Egypt.  

I genuinely don't feel brave, I don't. I'm not the kind of person who sees lights in the sky, but I know it was God’s calling to go there. It was simply the right thing, a privilege and an honour to have such access which comes with having my particular background of skills and past history with Gaza. God is over all these matters, and we are compelled to respond. 

 

Tim Goodacre is a Reconstructive Plastic Surgeon based in Oxford, with extensive experience of working in diverse environments outside the UK. He is immediate past Vice President of the Royal College of Surgeons of England. 

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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