Interview
Creed
Freedom of Belief
Middle East
S&U interviews
5 min read

Searching for purpose landed me in an Iranian court

Hassan tells how changing his belief is perceived as a threat to Iran’s national security.
A man walks through a dark alley, looking to one side, illuminated only by roof lights.
An alley in Zanjan, Iran.
Bahram Bayat on Unsplash.

Hassan is Iranian and a Christian; now living in the United Kingdom, he tells Belle Tindall his story. His name has been changed to protect his identity.  

Can you tell me your story, tell me how you became a Christian and what life in Iran was like as a result of that decision? 

Yeah, actually, I was born in Iran and in Muslim family. I grew up as a Muslim, and then at the age of sixteen, I became a Christian. I was questioning whether God exists or not, asking what the purpose of my life was, the purpose of the whole world, in fact. And, if there is a God, why are there so many injustices in this world, and around me?  

I went to Islamic theology first, because that’s what I knew. But, it left me feeling empty.  

And I remember, one day, I cried out to God, I said – ‘I don't know if you exist or not, I don’t know if you can hear my voice or not. But if you exist, and if you're hearing my voice, please talk to me directly.’ 

I was really desperate.  

A few months after that prayer, I was alone at home and suddenly a crucifixion appeared in my front of my eyes. I had no knowledge about Jesus’ death on the cross or anything like that. But that was it.  

I didn’t know that the Christian church was being persecuted at this point. And I remember, in the early years, learning that I couldn’t attend any church service because they weren’t able to accept Muslim converts. But I just couldn’t ignore this very strong voice in my mind and heart, telling me that only Jesus could save me. So, I had very deep peace in my heart. 

And am I right in thinking that you were arrested for your Christian faith?  

Yes, intelligence police came to my home one morning, showing me a paper that permitted them to search my flat. They didn’t actually tell me that it was because of Christianity, they just searched everything, took photos, and seized anything that was related to Christianity.  

Then they told me – ‘this is happening because you’re a Christian’, and they sent me to court. But, during my trial, they presented me with different charges: undermining the government and posing a threat to national security.  

So, how long were you in prison for? 

I as in solitary confinement for a month. But they couldn’t keep me in prison because years before I had gone through the process of becoming legally recognised as a Christian convert – when it wasn’t illegal. So, they had to release me. I also had human rights organisations putting pressure on the government to release me, they were working on my case. So, after a month I was released on bail.  

And is that when you came to the UK?  

Yes, because even when I was released, I wasn’t safe. They would call me all the time, they would call me in for interrogation constantly – they wanted to show me that they were still in control, that they knew everything. I was being monitored always. And so, mentally and emotionally, it was very difficult for me to stay there. I spoke with some leaders in my church who told me that it would be wise for me to leave Iran. It wasn’t safe for me; I didn’t have a choice.  

And how has your experience been, here in the UK?  

To be honest, to begin with, it was really difficult. Because of the torture that I had endured, I had a lot of trauma – and when I came here, I had nothing. I was learning a new culture, a new language. And I carried this trauma here with me. Spiritually, mentally, emotionally, it’s been very hard for me to be here.  

It was very dark.  

Can I ask you, in light of everything that you’ve experienced, what you think of the recent comments about the church ‘aiding bogus asylum claims’? 

I was a refugee. And when I arrived, my interviewer was a very kind lady. To get my immigration status only took two or three weeks, but that could have been because my story was already quite well-known, so there was evidence that I had been persecuted because of my Christian faith. My case had been on the internet.  

And I understand that some people aren’t honest about being Christians – and that would make it difficult for people like me. It’s tricky. I don’t want to judge anybody, because I understand, I’ve seen the other side.  

And it is a challenge.  

But I feel positive that even if somebody hasn’t been to church in Iran, it’s a good opportunity to share the gospel with them here in the UK. It’s good news that they’re here – even if they’ve come for a different reason.  

But I really do think that people are coming because they’re persecuted. They’ve been through so much. It’s hard for the Home Office, but the church have an important role to play – to support the people who have been persecuted, who have never before had a place to learn about or worship God. Those who have never had the freedom to express their faith, or live in their faith. I think the church has a really, really important job - to support them and stand behind them and speak for them.  

Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Associate Minister at Holy Trinity Clapham, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’