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Hospitality
Trust
4 min read

The toy blocks building trust, love and understanding

There’s a beautiful kind of hospitality, and this is it.
A baby plays with wooden toys on a carpert.
Photo by Troy T on Unsplash.

The leftovers were being gathered up, chairs being put back in their place, and happy looking people were dispersing. The last child there, his mum helping to wrap things up in the kitchen, was clinging onto a toy that I, in my imagination, like to think he makes a B-line for every time he spots it. It was an ordinary scene, but there was something undeniably extraordinary underpinning it.  

Although it’s hard to articulate with words (which is admittedly not ideal when the objective of the visit was to write about it), it was immediately clear to me, I had walked right into the aftermath of something truly special. I sat down with Joey and Sarah, two of the Growbaby team, to figure out what it was.   

Growbaby is an international children’s supply charity, providing clothing, equipment and everyday essentials for children up to five years old. Launched in 2003 and rooted in a local Vineyard church in Kingston Upon Thames, there are now multiple Growbaby hubs, one of which just happens to be at the end of my road in Cardiff. What started as a cupboard crammed with donated supplies is now a source of wholistic support for over one hundred families.  

As requests flow into Growbaby HQ, packages are lovingly compiled and then freely given. These packages are put together on a case-by-case basis and can include anything from nappies to pushchairs, clothes to cots, formula to toys. Such support doesn’t tend to be offered from a distance, on the contrary, every Friday morning families (mothers and little ones, primarily) are welcomed to ‘stay and play’, and to subsequently receive the kind of support that can’t be handed over via a package. The aftermath of one of these events was the context for my short but ever so sweet visit.  

The ways in which Joey and Sarah find themselves serving these families is constantly bursting the banks of their expectations. 

The depth of relationship that has naturally built through their time together, with every Friday morning acting as a building block of trust, has meant that the ways in which Joey and Sarah find themselves serving these families is constantly bursting the banks of their expectations. The team have assisted in getting families set up with child credits and social services support, frequently acted as translators, ferried families to A&E, thrown baby showers, booked GP appointments, been birth partners, and even sought out affordable kitchen flooring on Facebook Marketplace.  

Working for the well-being of these families has also involved appealing to the Red Cross to try and re-unite a Sudanese mother with her twelve-year-old son who has been unable to get out of the war-torn country. With families from Syria, Sudan, Iran, Iraq and Somalia (to name but a few), many of whom have found themselves in Cardiff as refugees, Growbaby is far more than a resource centre, it is a beautifully diverse community, the most understanding of support networks, a means of building a home away from home.   

When Russia launched its invasion of Ukraine last year, the Growbaby team’s minds immediately went to the Russian women within their community, those who had brought their families to the UK in search of political asylum. These women had built a home for themselves and their children here, and yet, the news of the Russian offensive was likely to make them feel as vulnerable as the day they arrived. So, the team gave each of these women a card; a small but mighty gesture that let these women know that they were seen, safe, understood and loved in the place that they now called home.   

The team here are also hosting these families’ trauma and their fears, they’re holding space for their joys and their victories. 

I was struck by the fact that whole lives have been enhanced in this room; friendships have been forged, babies have been celebrated, all kinds of needs have been provided for, and women who came to Growbaby for help are now the volunteers who offer it. And these stories are a mere scratching of a powerful surface, the beaming smiles on both Joey and Sarah’s faces tell a thousand more. The impact that these women have had could never be adequately squeezed into an article (again, not ideal when an article is the objective).  

Stepping foot into the room that Friday morning was stepping foot into the most tangible sense hospitality one could imagine. Of course, there are the obvious, and utterly essential ways, that these families are being hosted – through resources, supplies and practical support. But the team here are also hosting these families’ trauma and their fears, they’re holding space for their joys and their victories. Each person that walks through the door of Cardiff’s Growbaby are finding a community who will welcome and host the whole of them, who will weep with them when they’re weeping, and celebrate with them when they’re celebrating.  

It’s a beautiful thing.  

We could be forgiven for thinking that this kind of no-strings-attached hospitality is a myth. If it ever did exist, it’s bygone, and therefore dwells only in the realms of nostalgia. So, counter-cultural is it, that we’d be suspicious if ever we were to stumble upon rumours of it.  

Well, no suspicion necessary here. It truly does exist; you can take my word for it. And I can’t imagine people more in need of it than parents, the guardians and nurturers of little lives.  

If you are in need of the kind of support that Growbaby can offer, you can see if there’s a Grow Baby near you by using its directory. 

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

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

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