Article
Change
Freedom of Belief
Middle East
7 min read

Letter from Amman: discovering resilience around the dinner table

Dining in a different culture lets Belle TIndall contemplate struggle and belonging across the heartlands of the Middle East.
a Lebanese meal of many dishes displayed on a table.

Did you know that a traditional Lebanese meal is usually served in four or five courses?  

First comes the vegetarian feast; a smoky eggplant dip, a mountain of pita, grape leaves that are rolled around vegetables, rice and nuts, bowls of pickled turnips and ribboned cucumber.  

Then a hint of meat is introduced; chicken wings and slow-cooked liver, beef meatballs unfused with onion and parsley and smothered in breadcrumbs, all served alongside more dips, more vegetables and more pita.  

The third time the servers come around, you are presented with the climax of the meal - a plate of painstakingly cooked lamb and chicken skewers. Only once that has been enjoyed can you expect desert before a final course of fresh mint tea and little almondy-flavoured treats.  

Each time the servers re-appear, you find yourself convinced that there cannot be enough room on the table to accommodate yet another round of plates. And each time you realise that you were wrong. Lebanese cuisine, similar to many other Middle Eastern cuisines in this respect, is designed to be enjoyed slowly, continually, and communally.  

I did not know this.  

When I found myself at a Lebanese restaurant in their neighbouring country of Jordan (affectionately referred to as ‘the oasis of the Middle East’ throughout the evening), I naturally loaded up my plate on the first round, wondering why everyone around me was being so overly polite with their miniature portions. That was, of course, my mistake. By the third (and arguably best) course, I was defeated. My far savvier dining companions that evening were Christians leaders from across Jordan, the Middle East, and beyond. Among those present were Anglican bishops and archbishops, those whose provinces spanned countries and even continents. Leaders from the Oriental Orthodox family – representing Coptic Orthodox, Syriac, Indian, Greek and Armenian. There were Maronite leaders from Lebanon, Lutheran leaders from Jordan, and Anglican leaders from Israel to name but a few. And then there was me. I am twenty-seven years or so into this Christian life of mine, and as well as being exposed to six or seven different expressions of ‘church’ in my lifetime, I also read a lot. So, I had kidded myself into thinking that I understood the immense diversity encapsulated in the term ‘Christianity’. It turns out that I was wrong, again (are you beginning to sense the theme of my trip?).  

If there is such a thing as sacred geography, I think I may have experienced it that afternoon.  I was able to soak in the past, and it was glorious. Almost as glorious as the glimpse of the present that I was granted that evening. 

Utterly honoured to be at that table in Jordan’s capital city of Amman, I was exposed to more diversity in that one meal than I had experienced in my entire life. I am truly not exaggerating when I say that there wasn’t a single minute spent at that restaurant where I wasn’t soaking up something entirely new; whether that be a story, a statistic, a taste or a custom. There were seemingly endless details to learn about differing expressions of a faith that I knew so well, lived out in contexts that I knew not at all. The whole experience was a sledgehammer to any notions, consciously denied yet subconsciously held, that Christianity had come to set up its largest camp in Europe.  

On the contrary; we are, at present, but a quarter of the story.  

Furthermore, the Middle East, in many respects, is the birthplace of Christianity. These countries are the ‘biblical heartlands’, as Rupert Shortt puts it. The Christian presence there dates back to the lifetime of Jesus Christ himself, who travelled and taught throughout the then Roman-occupied lands. As a Biblical studies scholar, one of my favourite oddities of Christianity is that it is, to a degree, situated. There’s human context involved; tangible, immersible, learnable context. The death and resurrection of the Son of God happened in human history. Of course, Christianity simultaneously bursts the banks of such contexts; in a far truer way it is unplaceable and certainly uncontainable, transcending time, space and matter. It resides beyond all that we can measure. God is, after all, over all things, through all things, and in all things (to borrow a phrase from Paul… who wrote this in a particular letter, to a church rooted in the particular city of Ephesus, during the particular timeframe of 60-62 AD. So you see my point…).  

But still, the context is there: the depth of history, the breadth of legacy. As Augustine once said of the Church: it is on a pilgrimage through time. And I would suggest that nowhere is such a pilgrimage more obvious than the ‘biblical heartlands’ of the Middle East. Indeed, one of the variables that fed into me being embarrassingly eager at the dinner table that evening was the appetite that had been worked up that day. An appetite caused by venturing into the Jordanian wilderness, walking along the Jordan River, journeying up Mt. Nebo, looking out over the landscape that one can find detailed in the pages of the Bible.  

‘Not a bad place to have a cup of tea, aye?’, remarked the Archbishop of Dublin (who knows these regions well), as we sat next in the grounds of a Franciscan Monastery on the top of Mt. Nebo, looking out over the Dead Sea and all that surrounds it.  

If there is such a thing as sacred geography, I think I may have experienced it that afternoon.  I was able to soak in the past, and it was glorious. Almost as glorious as the glimpse of the present that I was granted that evening.  

I began to ponder at length what faith looks like when it is laced with defiance. By the third course I was beginning to appreciate (albeit in an incredibly limited sense) what hope feels like when it must be stubborn to survive. 

Over a long and shared meal, the kind that makes getting to know the stranger opposite you quite inevitable, I was able to hear about what it’s like to be a Christian in the Middle East in the here and now. The hospitality extended to me at the table included me being so generously provided with stories of what it can be like to be a Christian in their contexts.  

Of course, many stories shared throughout my time in Jordan were pertaining to the on-going Israel-Palestine conflict. I was able to speak with a Greek Orthodox Bishop about the Greek Orthodox church, filled to bursting with refugees, which was struck and destroyed in a Gaza City blast. I was able to hear about the Anglican-run Cancer Treatment Centre of the al-Ahli Arab Hospital, which was hit and damaged in a similar way.  

I learnt about the Christian communities who are readying themselves to respond to the needs and trauma of those who may, eventually, be able to seek refuge in their countries. I heard compassion flow from people whose eyes hadn’t for one moment turned away from the on-going plight of the Palestinian, nor the Israeli, people.   

I also realised that evening, just how much there is much to be learnt about the faith that one has taken for granted, from those for whom the very same faith is a source of discrimination, even danger. The pressure that 360 million Christians across the world are living under is referred to by Rupert Shortt as ‘christianophobia’ and profoundly coined a ‘360-degree threat’ by Janine Di Giovanni.  

I heard how it feels to receive word that members of your community have been executed for their Christian faith; how such news incites instant fear and unimaginable grief. I spoke to one man who plans to leave the country he’s currently residing in as soon as a certain political leader is no longer present, because according to him, this sympathetic leader’s presence is the only reason his Christian faith has been tolerated thus far.  

And very quickly, I realised that I was no longer learning about these Christian leaders and the communities they represent, I was learning from them. I began to ponder at length what faith looks like when it is laced with defiance. By the third course I was beginning to appreciate (albeit in an incredibly limited sense) what hope feels like when it must be stubborn to survive. I glimpsed first-hand the difference that resilience can make to one’s compassion. Like I say, I was intending to learn about these communities, but I found myself learning from them.  

Sitting at a table in a country that I had never been to before, with a group of people who were all strangers to me before this trip, trying to wrap my head around contexts that I have no experience of, the words of the afore-mentioned Janine Di Giovanni sprang to mind,  

‘It (Christianity) combines ritual, which soothes in anxious times, with a vast sense of belonging to something much larger and greater than yourself.’ 

How, in that situation, where I had utterly misunderstood the meal-time etiquette, could it be that I felt a sense of belonging? On one level, it could very well have an awful lot to do with how naturally hospitality seems to come to people in Jordan, and it appears, the Middle East in general. But, I would suggest that it is something else too; something larger, something greater, something unseen.  

Perhaps Christian community, in accordance with the Son of God upon which it is built, is both completely situated in one’s individual time and place, and simultaneously utterly un-containable.  

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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