Article

Culture

Freedom of Belief

Politics

13 March 2024

5 min read

Asylum row pits Church against State

From Westminster to Weymouth, the church incurs the wrath of statesmen.

Steve Dew-Jones

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

A man wearing a waist coats sits at a desk and ask a questions of a panel of people with their backs facing us.

Lee Anderson MP questions clergy.

To tune into yesterday’s Home Affairs Committee hearing on asylum-seekers was to witness the Church in the dock.

The Church is “aiding and abetting” people-smugglers by being so welcoming to refugees, one committee member, MP Marco Longhi, claimed.

There were audible groans when one of the three Church representatives put forward to defend such claims - Baptist Union spokesperson Steve Tinning - revealed that seven asylum-seekers from the Bibby Stockholm have been baptised since October.

There were more groans when Mr Tinning claimed each of the baptisms had involved individuals whose conversions had taken place before their arrival on these shores.

“A likely story!” the groaner - I think it was the new Reform Party MP, Lee Anderson - seemed to wish to say.

The “hostile environment” facing asylum-seekers was referenced several times by the Church of England's Bishop Guli Francis Dehqani, and “hostile” would certainly describe the reception she received.

On the other hand, there was celebration for the “bravery” of the “whistleblowing” former Church of England minister, Rev Matthew Firth, who told The Telegraph recently about the alleged “conveyor belt” of asylum-seekers being baptised after falsely claiming to have converted to Christianity.

One committee member, MP Tim Loughton, suggested Rev Firth might be appointed to a prospective working group on the issue.

There was no such invitation for the other Church representatives.

It seemed in this particular hearing that to speak for asylum-seekers was very much to swim against the prevailing tide.

There perhaps could be no clearer illustration of this than when Mr Longhi flatly accused the Church of England of “working in the opposite direction” to the government’s efforts to deter immigrants from arriving on our shores.

While the Home Office minister tasked with responding to this accusation did not specifically charge the Church of this sin, he did caution them to “think very carefully” about how the work that they do “can be portrayed by those that are facilitating these terrible [Channel] crossings”.

There can be little doubt that the comments of senior figures, including MPs, have contributed to such threats.

Article

Comment

Freedom of Belief

Rows of soldiers march away from the camera, two in the back row turn their heads back.

What the Gaza conflict and the asylum seeker row have in common

Graham Tomlin

Iran’s persecution drives its Christians here. This is their story.

7 min read

16/02/2024

Dame Diana Johnson, who chaired the meeting, paid tribute to the churches “supporting some of the most vulnerable people in our country”, but such tributes were not forthcoming from the other committee members. Quite the contrary.

Dame Johnson also thanked Mr Tinning for highlighting the “sadness and fear” of church members in Weymouth who have been insulted and threatened since the stories of asylum-seekers converting in their church were publicised.

Mr Tinning said the church had received an email saying: “You need shutting down, and the backlash from this will be huge. The truth is, you know you’re lying and cheating our system. Treacherous to taxpaying people! Brace yourself!”

“This church is now fearing the backlash because of language used,” Mr Tinning said, “about whether taxpayers are being ‘scammed’, or others saying that ‘you attend Mass once a week for a few months and bingo, you're signed off by a member of the clergy’. It's just not true. And it's doing damage to the communities that are desperately trying to serve the poor and vulnerable in their areas.”

Dame Johnson said it was “quite disturbing” to hear the Weymouth church had been targeted. But again, this was to swim against the prevailing tide.

There was an eagerness to celebrate the “bravery” of Reverend Firth - this was mentioned by several committee members - to stand up against the powerful Church, while the bravery of regular church members to stand up for refugees seemed to be overlooked.

All of which leads one to wonder which is braver: to stand up against the Church, or to stand up against the State? And which is more powerful?

“The Church of England has come down on you like the Spanish Inquisition!” MP Tim Loughton suggested to Rev Firth.

And when Rev Firth reported being told that “people might try to get you” for speaking out, he received understandable sympathy.

But might it have been even more courageous for the other committee members to have joined Dame Johnson in also speaking out on behalf of church members like those in Weymouth who have been threatened simply for daring to assist asylum-seekers.

And there can be little doubt that the comments of senior figures, including MPs, have contributed to such threats.

Another element in the background of the hearing was Suella Braverman’s contribution, in absentia, by having recently claimed - in another widely read piece in The Telegraph - that churches around the country were “facilitating industrial-scale bogus asylum claims”.

The Home Office Minister, Tom Pursglove, was asked several times whether there was any evidence for this claim, the short answer to which appeared to be no.

“You’ll have to ask her,” was his repeated response.

But as Mr Tinning mentioned in his closing remarks, words are important, and what stood out most from the hearing was that the general consensus among MPs, it would appear, is that those who speak out against asylum-seekers and the Church are to be welcomed - perhaps simply because they are working with, and not against the government.

Perhaps it's little wonder, then, that churches who do stand up for refugees - which in the current climate would appear to be standing up against the State - incur the wrath of statesmen.

The question for the general public to decide is which is more harmful: the desire of the Church to speak up for asylum-seekers, even if some may be found to be bogus, or the desire of the State to stop them arriving at all costs.

Watch the full Home Affairs Committee hearing on Parliamentlive.tv.

Review

Art

Culture

17 May 2024

5 min read

Matthew Krishanu: painting childhood

Portraying family, memories and counterpoints.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

a painting shows Bengali celebrants of a Eucharist.

Preaching, Matthew Krishnau, 2018.

Peter Mallet.

The Bough Breaks by Matthew Krishanu at Camden Art Centre has been described as the most significant exhibition of his work to date because, by showing the drawings and works on paper that he calls the generative heartbeat of his work as well as the works for which he is best known, the exhibition is the fullest expression to date of the expansive world of his artistic practice.

His images are primarily personal stories told through layers of memory, imagination, and conversations with the history of painting, in atmospheric, pared-back compositions which focus particularly on his childhood years in Bangladesh growing up with his brother, and their parents who were a British Christian priest and a Bengali theologian.

He speaks of his images in terms of an ‘I-you-them‘ axis. The work he considers his first painting, from 2005, entitled ‘Boy on a Bed’ was originally a scene of an empty room. He recalls that “late in the night before I was going to be exhibiting it, I sketched in this boy with black hair, brown skin, and a little toy car behind him”. He continues, “I knew that was me, and I knew that there was something I wanted to communicate about the inner world of that child”. In 2012, there came another “fundamental shift” in that “I wanted to paint myself and my brother”. With the first ‘Two Boys’ painting, “I remember it felt like worlds had opened up”. He explains that “when you have a single child, you can project ideas of melancholy or loneliness” but “when you have two, they outnumber the single viewer” and “I think the fact that they are clearly brothers and both have brown skin and often a very direct gaze at the viewer, holds a certain power”.

He recalls being in a show called Painting Childhood: From Holbein to Freud where the very last room was of the ‘Two Boys’: “Having gone through room after room of European children, white children, then coming into a room where these two boys weren't othered in any way, but were taking centre stage in the narrative, was hugely important.”

Adults are excised from the ‘Two Boys’ series “because I want the boys to be out on a limb or up on a hill, without parental supervision”. However, within the ‘Mission’ series - paintings of church life in Bangladesh - adults are seen from the perspective of children. As a result, they are in the ‘them’ part of the axis: “I see the adults in the third person. I'm constructing them as in some way other to the child's eye. This brings in the strangeness of performance and ritual, the stiffness of it too, particularly when you're used to being barefoot on the ground in Bangladesh and, suddenly, are meant to sit still and quiet. For me, it was compounded by the fact that I was brown skinned, as was my brother and mother, and my father was white skinned, and he was a priest, and he was a man, and all the power that comes with being a white man in Bangladesh; just the way he is perceived by his congregation, and even strangers on the street.”

He recalls that: At the time I knew that wasn't right and I didn't like the depictions of God as this white man flying around the sky. As a child, you have quite a raw and immediate relationship to life and nature and spirituality and, for me, it was the religious art that was the fundamental barrier to entering the world of the church. Also, the gendering of ‘Our Father’ or Jesus, the ‘only son’. That's why, as a young teen, I decided I didn't want to be confirmed, because I didn't believe in that construction.”

‘For me, that is where my faith is, in love, in the love of family, in all that a baby calls upon us to give it.’

Matthew Krishnau

In a painting like ‘Preaching’, he is exploring what it is to centre, in a congregation of brown adults and children, “the four nuns and my mother preaching with the two female candle holders and have the men on the sides”. So, “It's all about constructing a world which is both a counterpoint to the world of the two boys and nature, but also a counterpoint to the religious hierarchy we see in the church now”. The ‘Holy Family’ series, “which is of Bengali nuns, priests, and bishops” “is a deliberate response to the white depictions of Christ, baby Jesus, and Madonna”.

He notes that: “It's part of my painting mission to offer a counterpoint on the widest possible framing of an ‘I-to-you’ axis of a brown child, which isn't seen through the lens of National Geographic or Comic Relief ‘white saviours’, but is taken and centred as the heart of a human story. And if there's any spiritual message, then it's about that; of love, of the divinity of children and babies, and the divinity of our beautiful world, the ecological world of trees, water, glorious sunsets and sunrises, and all that comes with the human form.”

He thinks that this show has “set up a kind of a world philosophy” for him: “The core, the heart of the show, for me, is family, particularly of my late wife and my daughter. In and amongst the drawings, there are some pictures of our baby, and my late wife holding our baby or, indeed, holding the tree that my daughter is climbing. For me, that is where my faith is, in love, in the love of family, in all that a baby calls upon us to give it. That is the closest thing to divinity. I won't even use the word God because it's too masculine in our language. The closest thing to the divine, I sincerely believe, is in the eyes of children, is in the eyes of babies, particularly.”

He concludes by saying he would love to expand his practice further in the future, noting “a figure that has really resonated in a way I haven't felt before is the Palestinian priest Revd Munther Isaac and his ‘Christ in the rubble’ sermon”. However, his art always “needs to come from a personal connection to something I've conceptually explored; it needs to have that heart first of immediate one-to-one human connection”.

Matthew Krishanu: The Bough Breaks, 26 April - 23 June 2024, Camden Art Centre, London.