Interview
Coptic Church
Creed
Egypt
Freedom of Belief
Middle East
Monastic life
S&U interviews
9 min read

An Archbishop’s life: monasteries, martyrs and media

Archbishop Angaelos, the leader of the Coptic Church in the UK, is one of the most respected and recognisable Christian leaders in the UK and around the world. He shares his journey and that of the Middle East's largest church in conversation with Belle Tindall and Graham Tomlin.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An archbishop wearing a black hat and robes stands next to a new building's plaque, while King Charles, wearing a suit stands the other side holding a mic.
The archbishop with King Charles at the opening of a Coptic Church centre.

Archbishop Angaelos, the first Coptic Orthodox Archbishop of London, tells Graham Tomlin and Belle Tindall what life is like as a Coptic Orthodox monk, what makes this church so distinctive, and why, despite the harrowing danger that so many Christians are in, we should not consider them to be victims.  

We wanted to discover your background and what has led you to where you are today, yet also about the situation faced by the Coptic Orthodox Church, both here in Europe, but also in Egypt as well.

But I'm just going to start off the conversation by asking you about your own story. You were born in Cairo, in Egypt - did you also grow up there? And how did you become an Archbishop in the Coptic Orthodox Church?

By complete surprise to me. 

I was born in Egypt and we migrated as a family to Australia when I was five. I finished my education there, completed my qualifications, worked. And then I decided to go back to Egypt to join the monastery, expecting that I would live the rest of my life in, quite literally, the desert.

How old were you when you decided that? 

I was the ripe old age of twenty-two. 

And what prompted it? That’s quite an unusual decision. 

It is, I think, like any sort of ministry, a calling.

And no, there were no bright lights or big voices. But I do remember the exact moment in my room, I was doing some postgraduate studies, so I had my books surrounding me, and all of a sudden I felt this incredible calling, this feeling. I remember I closed my book, put it on the side, and never looked back.

And that was it – I was going to the life of the monastery. But then in retrospect, you realise that the calling has been happening over a long period. That's the wonderful benefit of the hindsight. So many things had been preparing me for that moment, but that's the moment when it became real.

And so, you moved back to Egypt, and you joined one of the monasteries, which of course goes back to the days of Antony, back in the second century, and that long tradition of Egyptian desert monasticism? 

I did.

The monastery is halfway between Cairo and Alexandria. And it's said that that part of wilderness was a monastic area where there were, at one stage, 10,000 monks and nuns. There were 50 major monasteries and 500 settlements. It has been there for 1,500 years, which is quite the history.

I remember one particular instance when I was there, towards the end of my time (I was there for six years before I was sent to the UK to serve), I was walking down a tunnel, a tunnel that links the back of the church with the refectory. Because, of course, monks would come from the desert, gather for Liturgy in the church, and then after they finished, would move into the refectory to break the fast. And I just had shivers down my spine. I don't know why, but for the first time, it struck me that monks had been walking up and down this tunnel for 1,500 years, and I was the latest generation of monks to do that very thing. It was just such a beautiful feeling.

There's been quite a revival of Coptic monasticism in Egypt in recent decades.

What has stimulated that revival?

It was stimulated by the late Pope Shenouda III, who was our Pope before the current Pope Tawadros II. He was a monk from the same region, the same area. He had a great love of monasticism, and really did reinvigorate monastic life through small things, such as that he ensured that his residence was in the monastery. 

He wanted the monasteries to have more of a presence in people's lives. Because, if you imagine a community that is living under persecution, they need their monasteries as a haven. I remember one particular day, it was 6th October, which is the Egyptian Day of Independence, and a public holiday. I went to the main monastery and spoke to one of the monks who looked after the guests, and he had said that on that day, 10,000 pilgrims had come through the monastery. They come in busloads from all over the country. It becomes their haven, their escape. 

Monasticism is one of the three major pillars of the Coptic Orthodox Church, along with theological teaching, and martyrology. So there is still a great space for monasticism, and we have a very specific experience of it, because we have an oversubscription of people wanting to be monks and nuns. For that reason we're constantly building monastic cells in our monasteries and our convents, to keep up with the demand.

It's quite a rigorous life. We wake up at 4am for what we call midnight praises, which are preceded by the Midnight Prayers, one of the seven offices that are prayed throughout the day: a series of psalms, Scripture readings and litanies. That will go through to about 6am, at which point there will be a Eucharistic service, and then monks go back to their cells. Those who don't have to work very early will get a little bit of sleep, others will go straight into their work. All of the monks work.

They do everything from overseeing agricultural work, to construction and maintenance. There is a workforce of about, let's say, two to three hundred, just to oversee these incredible acres of agricultural farmland. We also have livestock.

There are monks who will be responsible for guests, engineering, and so on. So, everyone has a job. It's like a city. It's a complete community.

In the evening, at sunset, we meet in church again for the evening prayers, where again, we chant the Psalms, read Scripture, and then we literally go out and walk in the desert, and just greet sunset in the desert, then come back and then do our own studies.

Do you miss being there? 

Well, I still have my cell there, because monks die to the world. You see, there are two parts of a monastic consecration service. The first half is a full funeral service, where you lie on the ground, are covered with an altar curtain, and there’s a full funeral service for you. Your old life has concluded. The second part is a joyous service where you get up, are given a new name, and are welcomed into monastic life. The monastery becomes your family. So, my cell will remain mine in my monastery until I die, because I have nowhere else to go to. It’s home. 

Tell us a little bit about the Coptic Orthodox Church, what makes it distinct?

Well, Coptic simply means Egyptian. 

Christianity has been in Egypt since the first century. In 55 AD, St Mark the Evangelist, the writer of the Gospel, went to Egypt and started preaching Christianity there.

It spread quite quickly because of the foundation of ancient Egyptian theology and mythology. In the Egyptian spirituality, you already have concepts of deities, an afterlife and of judgment. It was easy for Egyptians to absorb and accept the idea of Christ and Christianity.

Within a few centuries, Egypt became 85 per cent Christian. The church has remained there. St Mark is considered our first Pope, and we’ve had an unbroken succession of priesthood until now; so I can trace my priestly ancestry all the way back to St. Mark, and through him, to Jesus. 

We are also a very scriptural church, with the Bible is core to all things. It's also a deeply sacramental church.

While Islam and Arabization in Egypt started in the seventh century in Egypt, Christianity went back to the first century. So, our roots are in ancient Egypt.

I think that's important for us because it shows not only the longevity, but the resilience of the Christians in Egypt, who have been persecuted massively. If it wasn't Rome, it was Byzantium, the Turks, and many others. And yet the church remains strong. It still remains the largest Christian gathering in the Middle East, with  about 15 million Christians in the Egypt. 

You began talking about the reality of persecution. This always strikes me when I meet Coptic Christians. I have a Coptic friend in Jerusalem who has the cross tattooed on his wrist, as all Coptic Christians do.

Yes. It’s a proclamation of Faith and a daily witness.

And I suppose, most people’s minds go to that horrific event in 2015 when 21 Coptic Christians were lined up on the beach and beheaded by ISIS.

I just want to offer a slight correction, there were 20 Coptic Christians and one of them was a Ghanaian whose name was Matthew.

You must remember that time. Do you remember where you were when you heard that and what your reactions were and what were your feelings around that time? 

Absolutely. The Libya martyrs were pivotal in my life.

You were talking about tattooed Coptic crosses, I have one on my right wrist on the inside of the wrist, if you imagine palm facing up.

I didn't have one originally because I grew up in Australia. I had it done in 2015 after the Libya martyrs because I was so moved by their story and I was so moved by their witness. And so this was done in memory of that.

I remember it very well. I was visiting a family and over the course of the day, we were receiving lots of communications backwards and forwards that these men, who had been kidnapped and we didn't know where they were, had died. The Egyptian foreign ministry said they had died. Then they said they hadn't. There was confusion all day.

And then I finally got a call around 8pm from a news organisation to say that there was a video.

I remember jumping in my car and driving. I stopped along the way because I thought people wanted to know. I posted on my Twitter account that it had been confirmed that these men had died, and that we were praying for their families and communities.

I don't know why, but I felt compelled to write ‘father forgive’ at the end of my message. It's just what I felt. I went and did this interview, and the interviewer asked - how can you talk about forgiveness? How does a Coptic bishop, who sees this happen to his spiritual children, talk about forgiveness? Quite simply, that's really what we've been taught by our church: forgiveness, resilience, and reconciliation. 

I remember, during the next 24 hours, I must have done something like 36 back-to-back interviews between television, radio and press, and the whole conversation became about forgiveness.

Even right up to today, it's remarkable how much the witness of these men has touched so many lives. 

We can spend a lot of our Christian lives only pondering the hypothetical. And yet, some of the real tenets of Christianity are laser sharp for those who face persecution. They're focused and their witness is vibrant. Those of us who don't have pressure put on us for our faith have so much to learn from them about the preciousness and resilience of our faith. 

This has been the story of Christianity since the beginning, since our Lord Jesus Christ himself walked on this earth. He was rejected and persecuted. He was captured, tortured, killed, and so that is our story. It's one of carrying that cross, but carrying the cross comes with grace.

One thing concerns me sometimes - when we speak of Christians who are persecuted, we speak of them as victims. The language we use is ‘survivors’, not ‘victims’. Christian communities have survived, and survived incredibly well, with great courage and grace.

Interview
Art
Culture
Freedom of Belief
Trauma
9 min read

The women with tears of gold

Artist Hannah Thomas’ visceral and moving portraits offer a glimpse into suffering, and healing, souls.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A triptych of three portraits depicting of white shawled women agains a gold background
Hannah Thomas

“We may understand the statistics of violence against women, and the catastrophic effects such violence has on the fabric of society, but we don’t comprehend it until it is associated with a face, a voice, a story.”

Christopher Bailey, World Health Organization  

In March of this year on International Women’s Day, I was invited to attend the art exhibition and book launch of Tears of Gold by artist, Hannah Rose Thomas. Visceral and moving, the exhibition included both Hannah’s paintings and the self portraits of women survivors of ethnic and religious persecution, forced displacement and sexual violence; Yazidi women who escaped ISIS captivity in Iraq, Rohingya women who fled violence in Myanmar and Nigerian women who are survivors of Boko Haram and Fulani violence.  

As I walked around the exhibition looking at the faces of thirty-three girls and women ranging in age from twelve to fifty years old, I saw faces that radiated dignity and resilience but also pain and grief that is beyond words. Most are looking away, but a few look straight ahead, their eyes locking with the eyes of the onlooker.  

One was of Charity. As a woman myself, I felt an unexplained connection with this woman looking straight at me from the painting. She asked without words that I try to understand something of her suffering. Charity was held captive by Boko Haram in Northern Nigeria for three years and forced to “marry” one of her captors and convert from Christianity to Islam. She was raped and gave birth in captivity to a baby girl named Rahila. When Charity was eventually rescued from her ordeal and reunited with her husband in a camp for internally displaced people, her husband beat her and rejected her baby. Now on a daily basis, she faces abuse and isolation in the camp. Although she is no longer harmed by her perpetrators, she is still paying for their crimes.  

Another, Basse. The raw pain in her eyes strikes me. At the time Hannah painted her in 2017, it was three years since Basse’s daughter (age six) had been taken by Daesh (ISIS) after their Yazedi community was attacked and displaced in Sinjar in Iraq. She had since found her daughter’s photo on a “marketplace” website of girls for sale. As a mother myself I can only just begin to comprehend her anguish as one mother to another we gaze at each other through the painting.  

As works of art, the portraits are extraordinarily skillful and beautiful, but they are so much more than that. They offer a glimpse into the soul of women who have experienced the most unspeakable suffering. In the words of Prince Zeid Ra’ad Al Hussein, the former UN High Commissioner for Human Rights, they are Hannah’s “witness statement” for and on behalf of thirty-three brave women survivors, as well as shining a spotlight on the issue of gender-based violence that affects millions of women (a staggering one in three according to UN Women) across the world today.  

From refugee camps to Whitehall  

When I caught up with Hannah recently, she spoke about the privilege of meeting these women during the trauma-healing art workshops she organised with support of local partners and the sponsorship of charities (including BRAC, Open Doors, World Vision and Bellwether International).  

Starting out as an Arabic student in Jordan, she had her first opportunity to work with Syrian refugees for the UN Refugee Agency (UNHCR) in 2014. She began to paint the portraits of some of the refugees to show the real people behind the statistics of the global refugee crisis. This first gave her a glimpse of the healing potential of the arts and how it can be used as a tool for advocacy. Since Jordan, she’s been able to organise art projects with Yazidi women who escaped ISIS captivity in Iraqi Kurdistan in 2017; Rohingya refugees in Bangladeshi camps and Christian women survivors of sexual violence at the hands of Boko Haram and Fulani militants in Northern Nigeria, both in 2018, and most recently with women from the asylum-seeking community in Glasgow and Ukrainian refugees in Romania. 

Warm and immensely articulate, Hannah seems impossibly young, grounded and humble to have been on such a remarkable life journey already, from working with the women in the camps to exhibiting her paintings in numerous places of influence including the European Parliament, the British Houses of Parliament and Buckingham Palace, even meeting HRH King Charles and showing him her portraits of the Yazedi women.  

She describes King Charles, who went on to write the foreword for her book, as “genuinely interested in the stories of the women and really touched by them.” 

Easing the burden 

Creativity and an interest in the power of the story has always fascinated Hannah since she was a child. And as she writes in the introduction to Tears of Gold, all her work has a common thread of intention, “the restoration of these women’s voices”. She longs to give them a unique platform to tell their stories and refers to Holocaust survivor Primo Levi who describes the “unlistened-to story” as the enduring burden of the survivor.  

This desire to give a voice to the voiceless has dove-tailed in a surprising and powerful way with her love of creativity. She says,  

“Ever since I was young I have…had this desire to be a voice for the voiceless somehow but never imagined this could be through art. For many years there has been this tension between these two aspects of myself – this longing to express something of the beauty of God through my paintings and yet another aspect compelled to work in the sphere of social justice and human rights. God has woven together these two separate strands in the most beautiful and unexpected way.” 

Drawing on the writings of the French Philosopher Simone Weil, Hannah asks in her book:

“can the creative arts create a space to pay attention to the unspeakable suffering of another? Can this help restore her?” 

She tells me about the privilege of seeing the transformative impact on some of the women in her workshops as she taught them to put brush to paper to paint their self-portraits as a way of telling their stories. Many of the women painted themselves with tears. What is striking is that the stories behind the art reveal survivors not victims. One young Nigerian women Aisha, who had suffered rape at the hands of Fulani militants, painted gold tears she said symbolised God bestowing on her a crown of beauty instead of ashes; the oil of joy instead of mourning. Her story is about being precious in God’s eyes and his restorative healing in the face of unimaginable human-induced suffering.  

One girl who took part in the Nigerian art project, Florence, had been raped by Fulani militants when she was ten years old. On her last day at Hannah’s art project she said, “Here I have found peace of mind.” God using his healing hand through art. 

Connecting through vulnerability  

“I had been on my own journey through post-traumatic stress disorder and depression. Painting has been an important part of my recovery journey and how I learned to find my voice again. This was one of the key motivations behind these art projects as I wanted to be able to bring this gift to others.” 

The stigma that survivors of sexual violence face in their own communities when they return home is particularly painful. During the art project in Northern Nigeria, Hannah publicly shared about her own struggles, following a traumatic experience as a young woman, with survivors of rape by Boko Haram and Fulani militants. The women later reflected together that this vulnerability connected them as women and helped them realise that they were not to blame and need not be ashamed. It began to break the stigma and silence and to create a safe space of mutual trust so they could begin to share their experiences.  

Hannah writes, “Sharing our stories enables us to connect, and reminds us that we have more in common than divides us”.  

Most precious and in the image of God  

Coming face to face with the portraits painted by Hannah, as the daughter of a Portuguese Catholic father, I recognised the likeness of the style, colour and reverence to the icon painting of Jesus that my parents have on their wall at home.  

Drawing on Mother Theresa who talked about “seeking the face of God in everything, everyone, everywhere, all the time . . . especially in the distressing disguise of the poor,” Hannah’s portraits seek to revere each woman, to paint them with the love and devotion that God might. They remind us that they are all of exquisite value in God’s eyes.  

Hannah’s expression lifts as she explains the methods of iconography that she studied and practiced in order to paint the women’s portraits and the palette she used. Gold leaf as a symbol of their sacredness to God regardless of what they have suffered, and lapis lazuli, the most expensive and illustrious blue pigment sourced from the mountains of Afghanistan and used by artists such as Michelangelo in the Renaissance period, unparalleled for its depth and richness and purity.  

Each painting takes a long time to complete, around nine days, due to a layering process required to build up the colour in the natural pigments that are used, Hannah says:

“I'm interested in the quality of attention. And the contemplative prayerful aspect of the paintings. For me they're a form of prayer. Praying for each of the women I've met.”

She explains that the process of Byzantine painting is like a prayer. Starting with the under painting with all the dark colours, the background tone, and then slowly progressing on a journey, adding in highlights, from darkness to light. It’s “symbolic of the journey of the soul” she says.  

And how are they received in the political corridors of power? Hannah pauses.  

“The fact that it takes so much time. It’s different from a photograph. It invites people to contemplate in a way that's quite unique. In a place with such high pressure where there isn't much time to pause. It’s about creating space for contemplation. Where mentalities can shift. When you slow down and attend to the story.”  

Impossible to measure the impact of such a shift, but when Hannah tells me about the number of politicians moved to tears by both the paintings and the women’s stories, it is clear the impact is there, measurable or not.

The art of attention 

Tears of Gold opens with Hannah’s reflection on the art of attention. The word “attention” comes from the Latin ad tendere, meaning to reach towards. She writes:

“Only by reaching out in love and understanding can we overcome the agendas of violence and polarisation that seek to divide us.” 

According to Rabbi Jonathan Sachs, this “reaching out” requires a commitment “to see in the human other a trace of the divine Other... to see the divine presence in the face of the stranger.” 

When we reach out and allow ourselves to connect with the suffering of another whose pain is unimaginable – in Hannah’s words, to reach across the abyss of difference between us - we take a step towards understanding that suffering. Art can be a way of bridging that abyss, of opening a passage between us and the other. By taking a step towards the other and understanding just a fraction of their pain, we can be stirred.  

Does the arts have the ability to stir us beyond the self-centred voyeurism that an overload of media imagery may have reduced human suffering to? By the way Hannah’s portraits have been received in the corridors of power in the Global North, we can only hope that the answer is yes.  

Perhaps the arts are the answer to stirring humanity’s compassion to move beyond complacency.  

And to demand a different way.  

 

Tears of Gold by Hannah Rose Thomas can be purchased from Plough. All publisher profits from this book will be donated to relevant charities.