I was stood by the door waiting for someone else to arrive when a refugee banged on it. I was annoyed. It wasn’t opening time yet and it’s always awkward explaining that across a language barrier. I took my time coming to the door and fiddled with the key, hoping my body language would set the tone for a short conversation.

“We’re not open yet”, I said as I cracked the door open and felt the chill of the early December cold snap.

The Iranian man looked me earnestly in the eyes, thrust a heavily laden shopping bag into my hands and said in a heavy accent:

“I’m sorry, I can’t come today”.

He flashed me a grin that showed his missing teeth, leaned over to hug me, turned his bike around and rode off up the hill.

I’d known Ebrahim (not his real name) for a few weeks – maybe a month – since another refugee had introduced me to him. I’d heard rumours of his generosity, but this was my first experience of it.

I shut the door to the church against the cold, and as I locked it my mind wandered back to an interaction with John Barclay – a professor at Durham University. I was a PhD student at the University of Nottingham at the time, and he was a world-leading theologian who had been invited to give the Firth Lectures. It was as close as you come in academia to meeting a rock star.

He came to mind as I closed the door because in those lectures, he argued that one of the key reasons the first Christian communities grew was because they practiced risky generosity.

The first followers of Jesus were likely poor enough that they relied on each other to get by: you can borrow my coat today because I’m going to need your saucepan tomorrow. That was not unusual in the ancient world and lots of communities were generous in that way.

What made Christians unique was that they were much more willing to risk including outsiders – they were willing to give to people who they didn’t know well enough to be able to rely on them giving back.

I retreated from the door wondering what had just happened and whether Ebrahim would get a decent meal today if he couldn’t come to our drop in. But mostly, I wondered why he was being so generous and I was so stingy. I mean, one of us is rich by almost any metric – and it’s not Ebrahim.

As I turned round, I saw Sami (not his real name) across the room. He’s been around longer than Ebrahim and has actually been helping us by translating sermons into Farsi for other Iranian refugees. He was already inside because he was helping us today.

They show up with gratitude, and give generously of the very little they have. They practice this risky generosity with no guarantee of return.

I know a bit of Sami’s story – how he has arrived in the UK seeking asylum because his family found out about his faith and suddenly he was no longer safe in his own home. I’ve seen the scars he got from living through that story. And yet, when Sami manages to find a way to work under the radar to supplement the pittance he’s living on and make his days more meaningful, he is as generous with what he earns as he is with his time.

There’s something striking about the risky generosity I see in Ebrahim and Sami. I can’t imagine living through what they’ve endured, but they show up with gratitude, and give generously of the very little they have. They practice this risky generosity with no guarantee of return – not least because the church is so mindful of being taken in by a sob story that we make big demands before we’ll baptise or send letters of support for anyone. It challenges me. Despite the fact that I’m the rich one, my asylum seeker friends seem closer to the attitude of the first Christians than I am.

It particularly challenges me when I then read stories about small boats, Home Secretaries and Rwanda. Because somehow people like Ebrahim and Sami seem to go missing in all the debate.

I’m not in a position to solve immigration, and I’m not for a second pretending it’s not complicated. But I thought about Ebrahim, Sami and John Barclay again when my children’s CofE primary school told me what they were teaching my boys about British values and Christian values. It’s probably no surprise that there was no mention of this kind of risky generosity that was in fact a hallmark of the first Christian communities and that I think I’ve seen in these brothers from another nation. I think that’s a shame.

There’s no doubt that the Bible talks clearly about God providing for his people –wealth is not bad, and Jesus’ call to give it all away came to one particular person rather than to every follower. But God’s own generosity runs like a thread throughout the story told in Scripture.

Maybe that’s why Paul writes that ‘God loves a cheerful giver' . The original Greek word translated ‘cheerful’ there is hilaron and we get the word ‘hilarious’ from that root. It might not be funny, but within the conversation we tend to have about wealth it is surely laughable for Ebrahim to give away a bag full of goodies when he has nothing? It’s risky, certainly: better to hold onto the money as you might need it next month if the Home Office moves you without warning again. And yet, he gives.

And because he gives, he challenges me. If John Barclay is right – and I think he is – Christians have always been the kind of people who take risks to welcome others into their community. That makes no sense if you’re trying to keep your own food and energy bills down in the face of inflation. It’s laughable, in fact. But apparently, that’s the kind of giver God likes – a hilarious one!

I think he likes that kind of giver because when he looks at them he sees the image of his own generosity. After all, according to Genesis, that’s the image humans were made to carry. Seeing Ebrahim and Sami giving reminds me that for all the complexity of the immigration debate these are human beings. Their risky generosity challenges me to live up to the actual values of the first Christian community.

Review

Culture

Music

Race

12 April 2024

6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish Kandiah

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy

Beyoncé at the Houston Rodeo.

Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?”

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts.

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.”

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance.

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.

She challenges the present

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another. Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead.

There’s anger in this record. The first song is “American Requiem” and includes the line:

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?”

Full of confidence and rage she asks over a bed of country music guitar chords:

“Can you hear me? / Can you stand me?”

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast. The smashing of divisions makes way for the building of something new.

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.

Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds. She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”

16 Carriages

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen)

Amen