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.  

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.
An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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