Snippet
Change
Development
Migration
5 min read

Travelling in a world of refugees

Reconciling the contrasting journeys of travellers and the migrant.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

Migrants on a freight train reach for food bags held aloft by people on the track side.
Migrants on La Bestia being passed bags of food and water.
Pequeño Mar, CC BY-SA 4.0, Wikimedia Commons.

I’ll never forget the sight, 10 years ago this month, as I hitchhiked north through Mexico, of dozens of migrants hanging off the side of a goods train as they made their own journeys towards their Promised Land. 

Like me, these migrants - of whom there must have been at least 30 - were heading for the United States. Unlike me, they were doing so not for fun but for their futures. 

“Come with us!” some shouted, as my wife and I lugged our backpacks towards what we hoped would be our next successful hitchhiking post, having begun our journey seven months prior at the southern tip of Argentina. 

We declined the offer, but I wondered then - and still do - whether they had known we were in a different position to them, or had simply assumed us to be in the same metaphorical boat. 

Around the same time, a new wave of refugees were making their way westward across Turkey and Europe, in a reversal of my first hitchhiking adventure, which took me eastward from the UK to Malaysia. And again, I found the contrast between the respective circumstances of our two journeys confronting. 

There I had been, a post-university thrill-seeker, taking to the road with my best mate to open my eyes to the big wide world beyond these shores, and now six years later, these poor souls were moving in the opposite direction - again, not for fun, but through sheer desperation. 

Many were fleeing ISIS, who took control of Mosul while I was hitchhiking through Brazil at the time of the 2014 Football World Cup. My chief concern during those days were the occasions hitchhiking proved less straightforward. On some days, we had to wait hours for a ride. Sometimes, night would set in as we waited, and we were forced to call it a day. 

There were times, too, when we fell foul of the law, such as in the States, where a policeman told us off for hitchhiking on the freeway. But undoubtedly the most challenging moment of that trip was the time we ended up back in the same hotel we had been in two days prior, having done a 1,000km round trip only to find ourselves right back where we started. 

This came about in Prince George, Canada, after we had been encouraged by a trucker on the so-called “Highway of Tears” to take a different route to our final destination: Alaska. I can still remember the feeling, as I woke up early the next morning, in the very same room of the very same hotel, of such a lot of effort wasted and a deep desire to get moving again as swiftly as possible, if only to enjoy a sense of progress. 

No doubt, there have been many refugees who have experienced the same emotions - only, one imagines, with much greater intensity. Perhaps they have been deported back to where they began their journey, or simply sent back to the last country from which they arrived, in the process undoing in their minds and hearts all of the efforts that went in to getting them there. 

No doubt, many of these refugees will also have fallen foul of the authorities. Some, will have been detained; others deported. Perhaps some will also have been told off for walking on a highway, or illegally crossing a border, as I myself tried to do between Bangladesh and Myanmar back in 2008 - only to be picked up by a border patrol and taken back to where I’d started again. 

Yet, unlike me, I doubt many refugees were offered helping hands by strangers along their way, or at least not so frequently, and I expect many more of them experienced harsh words from passersby than the few jokey thumbs-downs or shouts of “gringos!” that I received on my own journeys. 

And while I, with my Great British passport, was able finally to arrive at my goals and to feel the joy of that completion, many refugees will not have been so fortunate. And while I was able eventually to return home and continue my life - in whatever way I saw fit - for many refugees, their own journeys will still be ongoing, and there will still be a lack of clarity regarding what the future may hold. 

I always used to say, standing beside the side of the road, that if only we knew how long it would be until the next ride, we needn’t worry. If someone could tell us that in four hours we’d be picked up, or that although we wouldn’t get another ride that day, that on the very next we’d be adopted by a lovely family who would end up taking us with them for 10 days (as happened in northern Argentina), then all our worries would melt away. 

I felt the same way during the years in which my wife and I struggled to conceive, post-adventure. Were someone to have told us then that in a few years, we’d have three beautiful boys, we need never have suffered such heartache. 

So too for refugees: if only someone was able to tell them when, where and how their journeys would end, they would be able to come to terms with what lay ahead, and to stop feeling so anxious about the many unknowns. 

But of course that’s not how life works - whether you’re lucky enough to have been born with a British passport that enables you to see all the world has to offer without a second thought, or whether you’ve had the misfortune of being born in a country within which you find yourself unable to remain. 

I have long wrestled with the question of whether my travels were simply a selfish waste of time. Not that they didn’t bring me great joy and truly opened my eyes to the big wide world - they most surely did - but whether I might instead have used that time in some nobler endeavour. 

I find encouragement today in knowing that my love of people of different countries - and especially Iran - was birthed during those travels, and that I probably would not be doing the job I am now, had it not been for those experiences. But it doesn’t make it any easier to reconcile the contrasting journeys of travellers and refugees, which although they may share many parallels, also exhibit some stark differences. 

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