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Freedom of Belief
7 min read

How an oppressed people are finding a home in Britain

While repression continues in their homeland, Iranian converts to Christianity are building communities in the UK. Robert Wright meets with them.

Robert is a journalist at the Financial Times.

 

Community members celebrate at lunch in a church hall
Community members celebrate at lunch.
Jonathan Samadi.

On the first Saturday each month, in the basement of St Luke’s, an Anglican church in Earl’s Court, west London, a group of around 20 people gathers to go through the familiar rituals of the church’s Eucharist – or holy communion – worship service. Led by a priest, the group sing praise songs before preparing for communion. The pattern has been honed by millennia of Christian tradition. 

Yet, while the service’s structure and rhythms would be familiar to any regular Church of England worshipper, the liturgy is entirely in Farsi, the language of most of the 88mn people of Iran. The organisers of such a service would risk imprisonment if they mounted such a service in Iran for people who, like most of those at the Earl’s Court service, were born in that country as Muslims and converted to Christianity. 

The group is one of a growing number in Iran as well as the UK and other countries catering to Iranian Christian converts. While the exact number who have changed religion is unclear, an estimate used by the British government says there are at least hundreds of thousands in Iran and possibly more than 1mn. The number compares with an estimate of just 500 Christians in the country in 1979, when a revolution led by Shia Muslim clerics installed a government determined to rule the country according to a highly conservative interpretation of Islam. 

The rapid growth is partly a reflection of the growing, widespread discontent within Iran with the clerical regime’s hard-line rule and its strict interpretation of Islam, according to Margaret Walsh, a Roman Catholic nun based in Birmingham. Walsh, who for many years worked with Iranian converts and other people seeking asylum, founded St Chad’s Sanctuary, a church group that works with people in Birmingham seeking asylum. 

Iranians’ unhappiness has been highlighted by the outbreak of widespread, large anti-government protests following the death in September last year of Mahsa Amini, a 22-year-old Kurdish-Iranian woman arrested by morality police for breaching religious rules by covering her head inadequately.

'She subsequently sought asylum after Iranian security forces raided her parents’ home seeking information about her.'

Walsh says Christianity provided some of those she met with “an alternative to the regime”. 

“This was a way that they could protest by embracing Christianity and rejecting Islam,” she says. 

In the UK, however, converts have faced scepticism, especially after Emad Al Swealmeen, an Iraqi man who converted to Anglicanism in 2015, died in a botched, Islamist-style bombing attempt outside Liverpool women’s hospital in November 2021. The incident prompted a Home Office official to tell the Times that many would-be refugees from Muslim countries sought to “game” the asylum system by converting to Christianity. 

Jonathan Samadi, an Iranian-born Church of England priest who is leader of the Persian Anglican Community in the Church of England’s London diocese, acknowledges some converts are insincere. Samadi, who oversees the Earl’s Court congregation as well as serving as a vicar in Staines, in Surrey, says some people disappear from church once they have been granted refugee status. 

Nevertheless, while he hesitates to give precise numbers, he insists that there is also a significant, large-scale spiritual movement under way. 

“I’ve seen hundreds and hundreds of migrants converting to Christianity over the years and remain faithful disciples and Christians,” Samadi says. 

The converts and those who work with them, meanwhile, tend to stress the vividness of the spiritual experiences that prompted them to become Christians. Many testify that helped them to withstand sometimes harsh treatment at the hands of the Iranian authorities. 

One member of the Earl’s Court congregation, who gives her name only as Marta, describes how she faced academic sanctions after becoming a Christian while studying medicine in Isfahan, one of Iran’s centres of clerical conservatism. She left to study in the UK after her parents grew worried about her safety. She subsequently sought asylum after Iranian security forces raided her parents’ home, in the city of Shiraz, seeking information about her. 

Other converts tell stories of fleeing police raids on house churches or even periods of imprisonment for converting to Christianity or proselytising – both regarded as serious crimes under Iran’s Islamic legal code for people born Muslim. 

Marta insists the difficulties only deepened her commitment. 

“I relied more on Jesus,” she says. 

At the heart of many of the converts’ accounts is a sense of disenchantment with Islam as practiced in Iran. They say they have found far greater satisfaction in Christianity. 

Samadi, the priest, recalls how a conversation with a Christian friend while he was studying in Armenia prompted him to start reading the New Testament. 

“After Chapter Six of the Gospel of Matthew – the sermon on the mount – I could really see how much God is on my side,” Samadi says. “The whole sermon on the mount, the values of God and his kingdom, were very refreshing for me.” 

'She fainted after realising it looked exactly like the building in her dream.'

Marta, meanwhile, says that, after an ethnic Armenian friend suggested she try going to church, she had a dream in which Jesus spoke to her directly. When she followed His direction and went to her friend’s Armenian Orthodox Church, she says she fainted after realising it looked exactly like the building in her dream. Churches serving traditionally Christian communities, such as Armenians, are allowed to operate in Iran, while the authorities treat harshly anyone proselytising Muslims. 

“When I woke up and opened up my eyes, I saw lots and lots of Armenian ladies around me and they tried to pray for me,” Marta says. 

Marta says she subsequently started reading the Gospel of John and was immediately struck by the first verse – “In the beginning was the Word, and the Word was with God, and the Word was God”. 

“It was very, very amazing and I felt really, really moved by that verse,” Marta says. 

'They were also disturbed by the harsh punishments, including executions, meted out to dissenters.'

A similar disillusionment with Iran’s state religion motivates many asylum-seekers who convert after leaving Iran for non-religious reasons, according to people who work with the group. Brother Benedict, a monk in the Anglican Society of St Francis, who accommodated some Muslim convert asylum-seekers when he lived in north-east Leeds, says that many were disillusioned by how women were treated in Iran. They were also disturbed by the harsh punishments, including executions, meted out to dissenters. 

“This made them question their faith,” Benedict recalls. “Many of them were Muslim in name only. Many of them were recommended by a friend when they came to the UK, ‘You go to a church’.” 

Benedict stresses that he sought to avoid rushing into steps like baptism, trying to ensure that converts were sincere and understood the step’s significance before they underwent it. Others working with converts say they take a similarly cautious approach.  

Margaret Walsh introduced a ceremony of Christian initiation for converts, allowing them to make a public sign of commitment before they were ready for the more rigorous process of undergoing baptism. 

Benedict would nevertheless sometimes go to asylum tribunals and other court hearings with converts to testify to their being regular church attenders. 

“The important thing for us was that they had a relationship with Jesus Christ,” Benedict says. “That was the fundamental thing. Although I was going to the court with many of them, that wasn’t really the purpose of the church. The purpose was to give them a good foundation in the Christian faith.” 

Yet, however robust their new faith, there remain considerable challenges for Iranian converts who have fled to the UK. Marta, who left Iran in 2008, has only just received her full qualification to serve as a doctor in the UK. Marta, who is 40, has resumed her medical career, working as a general practitioner in Oxfordshire. Her younger brother, Simon, 37, who converted separately and fled to the UK after a short period of imprisonment, is still learning English in the hope of resuming his medical career. 

Samadi has a vision that Farsi-speaking believers will support each other as the community puts down deeper roots. 

“I’d like to see a network operating and connecting them together,” Samadi says. 

Brother Benedict says help from local, English-speaking congregations will be critical to supporting Iranian converts as the asylum process moves them to different parts of the UK. 

“I’d like to say many more need support from English congregations but I think it needs a bit more encouragement,” he says. 

'Life in the UK remains a second-best compared with an eventual return to Iran.' 

Yet, for Samadi, life in the UK remains a second-best compared with an eventual return to Iran. Like many other converts, Samadi hopes that the current pro-democracy protests could eventually bring about the transformation in the country necessary to allow that. 

“For those Christians I’ve served in the UK, I think their intention and their dream is to see people in Iran can worship God in freedom, without fear of persecution and being interrogated or deprived of their freedom and rights,” Samadi says. 

The “dream”, Samadi goes on, is to be able to return to Iran to worship in freedom with the Christians who remain in the country. 

“For all those Christians, the whole intention is one day they can share the gospel freely and worship freely with all those who are Christians,” he says. 

Interview
Art
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Freedom of Belief
Trauma
9 min read

The women with tears of gold

Artist Hannah Thomas’ visceral and moving portraits offer a glimpse into suffering, and healing, souls.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A triptych of three portraits depicting of white shawled women agains a gold background
Hannah Thomas

“We may understand the statistics of violence against women, and the catastrophic effects such violence has on the fabric of society, but we don’t comprehend it until it is associated with a face, a voice, a story.”

Christopher Bailey, World Health Organization  

In March of this year on International Women’s Day, I was invited to attend the art exhibition and book launch of Tears of Gold by artist, Hannah Rose Thomas. Visceral and moving, the exhibition included both Hannah’s paintings and the self portraits of women survivors of ethnic and religious persecution, forced displacement and sexual violence; Yazidi women who escaped ISIS captivity in Iraq, Rohingya women who fled violence in Myanmar and Nigerian women who are survivors of Boko Haram and Fulani violence.  

As I walked around the exhibition looking at the faces of thirty-three girls and women ranging in age from twelve to fifty years old, I saw faces that radiated dignity and resilience but also pain and grief that is beyond words. Most are looking away, but a few look straight ahead, their eyes locking with the eyes of the onlooker.  

One was of Charity. As a woman myself, I felt an unexplained connection with this woman looking straight at me from the painting. She asked without words that I try to understand something of her suffering. Charity was held captive by Boko Haram in Northern Nigeria for three years and forced to “marry” one of her captors and convert from Christianity to Islam. She was raped and gave birth in captivity to a baby girl named Rahila. When Charity was eventually rescued from her ordeal and reunited with her husband in a camp for internally displaced people, her husband beat her and rejected her baby. Now on a daily basis, she faces abuse and isolation in the camp. Although she is no longer harmed by her perpetrators, she is still paying for their crimes.  

Another, Basse. The raw pain in her eyes strikes me. At the time Hannah painted her in 2017, it was three years since Basse’s daughter (age six) had been taken by Daesh (ISIS) after their Yazedi community was attacked and displaced in Sinjar in Iraq. She had since found her daughter’s photo on a “marketplace” website of girls for sale. As a mother myself I can only just begin to comprehend her anguish as one mother to another we gaze at each other through the painting.  

As works of art, the portraits are extraordinarily skillful and beautiful, but they are so much more than that. They offer a glimpse into the soul of women who have experienced the most unspeakable suffering. In the words of Prince Zeid Ra’ad Al Hussein, the former UN High Commissioner for Human Rights, they are Hannah’s “witness statement” for and on behalf of thirty-three brave women survivors, as well as shining a spotlight on the issue of gender-based violence that affects millions of women (a staggering one in three according to UN Women) across the world today.  

From refugee camps to Whitehall  

When I caught up with Hannah recently, she spoke about the privilege of meeting these women during the trauma-healing art workshops she organised with support of local partners and the sponsorship of charities (including BRAC, Open Doors, World Vision and Bellwether International).  

Starting out as an Arabic student in Jordan, she had her first opportunity to work with Syrian refugees for the UN Refugee Agency (UNHCR) in 2014. She began to paint the portraits of some of the refugees to show the real people behind the statistics of the global refugee crisis. This first gave her a glimpse of the healing potential of the arts and how it can be used as a tool for advocacy. Since Jordan, she’s been able to organise art projects with Yazidi women who escaped ISIS captivity in Iraqi Kurdistan in 2017; Rohingya refugees in Bangladeshi camps and Christian women survivors of sexual violence at the hands of Boko Haram and Fulani militants in Northern Nigeria, both in 2018, and most recently with women from the asylum-seeking community in Glasgow and Ukrainian refugees in Romania. 

Warm and immensely articulate, Hannah seems impossibly young, grounded and humble to have been on such a remarkable life journey already, from working with the women in the camps to exhibiting her paintings in numerous places of influence including the European Parliament, the British Houses of Parliament and Buckingham Palace, even meeting HRH King Charles and showing him her portraits of the Yazedi women.  

She describes King Charles, who went on to write the foreword for her book, as “genuinely interested in the stories of the women and really touched by them.” 

Easing the burden 

Creativity and an interest in the power of the story has always fascinated Hannah since she was a child. And as she writes in the introduction to Tears of Gold, all her work has a common thread of intention, “the restoration of these women’s voices”. She longs to give them a unique platform to tell their stories and refers to Holocaust survivor Primo Levi who describes the “unlistened-to story” as the enduring burden of the survivor.  

This desire to give a voice to the voiceless has dove-tailed in a surprising and powerful way with her love of creativity. She says,  

“Ever since I was young I have…had this desire to be a voice for the voiceless somehow but never imagined this could be through art. For many years there has been this tension between these two aspects of myself – this longing to express something of the beauty of God through my paintings and yet another aspect compelled to work in the sphere of social justice and human rights. God has woven together these two separate strands in the most beautiful and unexpected way.” 

Drawing on the writings of the French Philosopher Simone Weil, Hannah asks in her book:

“can the creative arts create a space to pay attention to the unspeakable suffering of another? Can this help restore her?” 

She tells me about the privilege of seeing the transformative impact on some of the women in her workshops as she taught them to put brush to paper to paint their self-portraits as a way of telling their stories. Many of the women painted themselves with tears. What is striking is that the stories behind the art reveal survivors not victims. One young Nigerian women Aisha, who had suffered rape at the hands of Fulani militants, painted gold tears she said symbolised God bestowing on her a crown of beauty instead of ashes; the oil of joy instead of mourning. Her story is about being precious in God’s eyes and his restorative healing in the face of unimaginable human-induced suffering.  

One girl who took part in the Nigerian art project, Florence, had been raped by Fulani militants when she was ten years old. On her last day at Hannah’s art project she said, “Here I have found peace of mind.” God using his healing hand through art. 

Connecting through vulnerability  

“I had been on my own journey through post-traumatic stress disorder and depression. Painting has been an important part of my recovery journey and how I learned to find my voice again. This was one of the key motivations behind these art projects as I wanted to be able to bring this gift to others.” 

The stigma that survivors of sexual violence face in their own communities when they return home is particularly painful. During the art project in Northern Nigeria, Hannah publicly shared about her own struggles, following a traumatic experience as a young woman, with survivors of rape by Boko Haram and Fulani militants. The women later reflected together that this vulnerability connected them as women and helped them realise that they were not to blame and need not be ashamed. It began to break the stigma and silence and to create a safe space of mutual trust so they could begin to share their experiences.  

Hannah writes, “Sharing our stories enables us to connect, and reminds us that we have more in common than divides us”.  

Most precious and in the image of God  

Coming face to face with the portraits painted by Hannah, as the daughter of a Portuguese Catholic father, I recognised the likeness of the style, colour and reverence to the icon painting of Jesus that my parents have on their wall at home.  

Drawing on Mother Theresa who talked about “seeking the face of God in everything, everyone, everywhere, all the time . . . especially in the distressing disguise of the poor,” Hannah’s portraits seek to revere each woman, to paint them with the love and devotion that God might. They remind us that they are all of exquisite value in God’s eyes.  

Hannah’s expression lifts as she explains the methods of iconography that she studied and practiced in order to paint the women’s portraits and the palette she used. Gold leaf as a symbol of their sacredness to God regardless of what they have suffered, and lapis lazuli, the most expensive and illustrious blue pigment sourced from the mountains of Afghanistan and used by artists such as Michelangelo in the Renaissance period, unparalleled for its depth and richness and purity.  

Each painting takes a long time to complete, around nine days, due to a layering process required to build up the colour in the natural pigments that are used, Hannah says:

“I'm interested in the quality of attention. And the contemplative prayerful aspect of the paintings. For me they're a form of prayer. Praying for each of the women I've met.”

She explains that the process of Byzantine painting is like a prayer. Starting with the under painting with all the dark colours, the background tone, and then slowly progressing on a journey, adding in highlights, from darkness to light. It’s “symbolic of the journey of the soul” she says.  

And how are they received in the political corridors of power? Hannah pauses.  

“The fact that it takes so much time. It’s different from a photograph. It invites people to contemplate in a way that's quite unique. In a place with such high pressure where there isn't much time to pause. It’s about creating space for contemplation. Where mentalities can shift. When you slow down and attend to the story.”  

Impossible to measure the impact of such a shift, but when Hannah tells me about the number of politicians moved to tears by both the paintings and the women’s stories, it is clear the impact is there, measurable or not.

The art of attention 

Tears of Gold opens with Hannah’s reflection on the art of attention. The word “attention” comes from the Latin ad tendere, meaning to reach towards. She writes:

“Only by reaching out in love and understanding can we overcome the agendas of violence and polarisation that seek to divide us.” 

According to Rabbi Jonathan Sachs, this “reaching out” requires a commitment “to see in the human other a trace of the divine Other... to see the divine presence in the face of the stranger.” 

When we reach out and allow ourselves to connect with the suffering of another whose pain is unimaginable – in Hannah’s words, to reach across the abyss of difference between us - we take a step towards understanding that suffering. Art can be a way of bridging that abyss, of opening a passage between us and the other. By taking a step towards the other and understanding just a fraction of their pain, we can be stirred.  

Does the arts have the ability to stir us beyond the self-centred voyeurism that an overload of media imagery may have reduced human suffering to? By the way Hannah’s portraits have been received in the corridors of power in the Global North, we can only hope that the answer is yes.  

Perhaps the arts are the answer to stirring humanity’s compassion to move beyond complacency.  

And to demand a different way.  

 

Tears of Gold by Hannah Rose Thomas can be purchased from Plough. All publisher profits from this book will be donated to relevant charities.