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Identity
Nationalism
Sport
6 min read

The Euros and the problem of nationality

In a world of populist nationalism, should you support your national team?

Sam Tomlin is a Salvation Army officer, leading a local church in Liverpool where he lives with his wife and children.

Two England fans stand in stadium seeting holding up their flag.
England fans at Euro 2024.
@FBAwayDays.

Tony Cascarino was a footballer in the 80’s and 90’s, playing for various clubs including Aston Villa, Celtic and Chelsea. He also won 88 caps for the Republic of Ireland scoring 19 goals. A good but fairly unremarkable career was turned on its head in 2000 when it came to light that he was never actually eligible to play for Ireland. After being rejected for an Irish passport in 1985 and learning on his Irish grandfather’s deathbed that he was not the natural father of his mother, Cascarino did not tell anyone and just kept playing international football. He only went public after he retired and published an autobiography. Quite simply he represented the Republic of Ireland without being Irish. 

Sport is a key marker for national identity in most nations’ cultural imaginations. Whichever nation wins this year’s Euro football tournament will have millions watching and tens or hundreds of thousands lining the streets for a victory parade, with national flags, politicians and celebrities in tow. The case of Tony Cascarino, however, exposes the shaky foundations of national identity. 

The general rule of international sport is that if you are born in a country, have a parent or grandparent born there, or have lived in it for a certain number of years, you can represent that country. Over the years this has led to some odd scenarios like 23 of 39 players in a recent Scotland rugby squad being born elsewhere or England’s 2005 Ashes hero Kevin Pietersen speaking in a broad South African accent. My children could technically represent Zimbabwe at international sport through a grandparent born there, even if they never set foot in the country. Declan Rice will be at the heart of England’s midfield in this tournament, but even he represented the Republic of Ireland three times at senior level, being able to switch teams because those matches were only friendlies. Gareth Southgate once commented: ‘first we had to convince him it would be a good decision [to switch to England].’ Far from being core to our identity, it seems as if nationality can often be chosen after weighing up the pros and cons. 

The best Christian teaching on identity undercuts both sides of the culture wars in a way that also avoids a centrist fudge.

Identity is a key aspect in dominant cultural discourse at the moment. The phrase ‘identity politics’ is often thrown at those who are perceived to locate the most important aspects of identity in one’s sexuality, gender or skin colour. Those on the other side are just as keen to define identity, but will stress the importance of national heritage along with accompanying national values. 

What does Christianity contribute to debates about identity? It is not hard to find activist Christians on both sides of these debates, especially on social media. Yet Christian belief has something more distinctive to say than the usual tropes in wider society. The best Christian teaching on identity undercuts both sides of the culture wars in a way that also avoids a centrist fudge. 

Jesus speaks about being ‘dying to yourself’ and being ‘born again’ when someone starts to follow him. While some associate these loaded phrases almost solely with a question of  eternal destiny after death (heaven or hell?), surely their meaning goes beyond this to the central question of identity. In essence, Jesus tells people that the things that used to be central to their identity actually become less important once you enter the kingdom built around him – you literally die to them and are born again. The centrality of national identity is relativised in parables like the good Samaritan where it is the enemy nation rather than the compatriot who offers help. The role of women is often flipped on its head as they provide the model of discipleship where the male disciples fall short. Wealth is stripped of its cultural power as Jesus’ followers are commanded to share and hold things in common. The allure of social status and significance is shorn of its potency as we see ourselves in the light of a God who made and cares for all of us without exceptions, and indeed holds special favour for the lowly and ‘unimportant’ in the eyes of everyone else. A Christian is not supposed to allow things like nationality, wealth, status or gender be too important in comparison to her identity in Jesus Christ and the community she enters when she begins to follow him. 

No other ideology or -ism in history has centred this self-giving relationship (not just ‘relationality’) at its heart. 

Both sides of the culture wars – what have become known as ‘woke globalism’ and ‘populist nationalism’ – have their own promises of community. Yet neither ultimately escape the rampant individualism of our culture, the unmistakable product of Enlightenment thinking. On the ‘liberal left’, personal preferences and choices are advanced as the central parts of identity. Yet on the other side, the logic of nationalism and even patriotism, however, is still built around the self – drawing a picture of the world which looks and sounds like me as much as possible. A Christian vision of identity is founded outside of the self - on God. Christian thinking has always been wary of any self-oriented ideology because it will be unsustainable in the long run. 

Other ideologies can offer a vision of identity beyond the self – communism, fascism, capitalism, for instance; all promise a fulfilling life if you submit yourself to them just as Christianity does. At their heart, however, these ideologies are simply that – ideologies without a face. Christians have always maintained that the living Jesus can never be separated from his teaching as if it is an ideology. At the heart of this faith and promise of identity is not first and foremost a way of life but a person with whom you can have a relationship. The mode of relationship is also in line with the teaching and life he lived – laying his life down for others. This, in turn, is the model for Christians – in humility considering others better than ourselves. No other ideology or -ism in history has centred this self-giving relationship (not just ‘relationality’) at its heart, and has therefore ever been able to offer as deep and fulfilling vision of identity and fellowship. 

Will I be supporting England, the country of my and my parents’ birth, then? Of course I will. The call to die to yourself and the things that used to define you does not mean I can exist as a Christian without any other cultural framework that makes up my existence in the world. I am not a citizen of ‘nowhere.’ I was born in England, and have lived my life here. I understand certain cultural references, humour, enjoy certain foods. These are not bad things, and indeed create community and shared understanding. From this perspective, I will join with other English men and women to cheer Southgate and his team over the coming weeks. 

But what I will resist is some deeper meaning and identity in my nation where my life and all that is important to me are seen through its lens. My Englishness is there, it has some influence in my life, but ultimately it must be subservient to my identity in Jesus Christ. It is one thing among many that in New Testament language must be ‘put under his feet’. When there is a choice between serving my nation and serving Jesus Christ, I will always choose the later and assume there will be times when this choice is a real one. I will watch this summer’s Euros with members of my church who come from various nations of the world. We will join together without denying our respective nationalities and cultures – as we do every week – but in a manner where these cultures do not get in the way of genuine fellowship as we seek to embody what the Bible speaks of as a ‘new humanity.’ 

Review
Art
Culture
Identity
6 min read

How the incomer’s eye sees identity

A re-invigorated art gallery highlights synergies between ancient texts and current issues.

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

A painting depicts a round table in a room. Those sitting around it rise up as a Christ figure enters.
Horace Brodzky, Supper at Emmaus.
Ben Uri Gallery and Museum.

Ben Uri was founded in 1915 in London’s Whitechapel and was named after Bezalel Ben Uri, the craftsman who designed and built the Ark of the Covenant.  

Originally it was an art venue for Jewish immigrant artists who were unable to gain access to mainstream art societies at that time. Today it has been reimagined and relaunched, becoming an expansive digital platform designed to be the first stop for information on Jewish, refugee and immigrant artists, designers, dealers and scholars who have made significant contributions to the rich and diverse British cultural mosaic.  

In 2023, I curated an online exhibition for Ben Uri exploring migration themes in Biblical images drawn from their Collection.  

Themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection. As a result, the exhibition that I curated, Exodus & Exile: Migration Themes in Biblical Images, includes a range of Biblical images from the Collection. This is in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. The images are presented broadly in the order that the stories on which they are based appear in either the Hebrew or Christian scriptures. 

The combination of images and texts I selected from the Ben Uri Collection enabled a range of different reflections, relationships and disjunctions to be explored. These include the aesthetic, anthropological, devotional, historical, sociological and theological. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration. This was important in writing for an audience including people of all faiths and none, and in writing for an organisation which seeks to surpass ethnic, cultural and religious obstacles to engagement within the arts sector. 

“Most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs.” 

Sam Wells

Engaging in a dialogue between images and texts and with an audience made up of people of all faiths and none, can be revelatory for all involved, particularly those doing the writing. In an essay related to the exhibition, about which I will say more shortly, I discuss the impact of émigré artists, many of whom were Jewish, who contributed artworks that greatly enriched British culture and churches. Another example of someone impacted by the insights of those from another faith community is that of Lord Maurice Glasman, who has written of the part played by Catholic social thought in restructuring his politics, ethics and orientation of thought. He writes that: “It established the Common Good – a negotiated settlement between estranged interests – as the ultimate end of politics. It is Catholic social thought that has guided me through the 2008 crash, Brexit and now the coronavirus. It has been my inspiration and I will be eternally grateful to Catholics and the Church. It was a very generous gift. In the darkest moments, it lights the way.” 

Sam Wells, Vicar of St Martin-in-the-Fields, argues that the Bible itself is founded on six journeys, all of which have a bearing on themes of migration: “Jacob and his entourage migrate to Egypt in the midst of famine. This is an economic migration, but really it’s a journey of survival. Moses and the children of Israel migrate from Egypt to the Promised Land. They leave as refugees to flee slavery. They take 40 years to reach their destination, and, when they get there, they face a very hostile environment indeed. Judah loses a battle and is displaced 500 miles to Babylon. There, as Daniel shows, exiles play a vibrant role in public life, and bring unique qualities, represented by the ability to interpret dreams. Jesus travels from Galilee to Jerusalem. He’s living during the occupation by an invading power, Rome. Finally, Paul migrates from Jerusalem to Rome. He’s searching for legal protection in an empire where citizenship transcends geography.” His conclusion is that “most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs”. As a result, we don’t get Judaism or Christianity without migration. 

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. 

Wells’ approach is one that I adopted in exploring migration themes through Biblical images in the Ben Uri Collection and many of the journeys he mentions feature in the exhibition images. The images I chose, begin with an L. Michèle Franklin watercolour of Adam and Eve. In her image they are naked with heads in hands, lamenting their loss, as they leave Eden. This is an archetypal image of forced migration, with those who have become migrants mourning the loss of the home they loved. The creation stories contained in the Bible quickly lead to a founding act of exile as Adam and Eve are banished from the Garden of Eden. One reading of this story suggests that we are all migrants, outside of a truly harmonious relationship with the world we inhabit but looking to return to our harmonious origins. 

The exhibition ends with Horace Brodzky’s 'Supper at Emmaus', an image which comes at the end of a journey and depicts the moment of realisation that the one who had been lost and mourned had in fact been with the travellers throughout their journey. As a result, the realisation comes that what we seek may be with us on the journey or Exodus we undertake, rather than awaiting us at the end. This realisation results in a new journey for the exiles and a return to their people and purpose.  

In between come stories of migration in the lives and experiences of the artists who created the images included in the exhibition, with aspects of those stories becoming entwined with the Biblical narratives depicted. Attention is drawn to René Girard’s mimetic theory, whereby imitation of one another gives rise to rivalries and violent conflicts that are then temporarily solved by scapegoating others. Some artists of Jewish origin included in the Collection addressed their experience of persecution through crucifixion imagery and, thereby, played their part in exposing and subverting this scapegoating mechanism.  

Many of these artists were part of a remarkable generation of refugees from Nazi-dominated Europe who contributed artworks that greatly enriched British culture and churches. After the Second World War, there was an almost unprecedented expansion of the number of church buildings containing works of art, as churches were repaired or built with new work installed in them. This was a time of impassioned artistic activity, in which the catalyst for the Church was, to a significant extent, émigré artists, many of whom were Jewish. I explore the contribution made by this group of artists in a related essay called Debt Owed to Jewish Refugee Art which is also available through Ben Uri Online.  

Will Hutton, writing in The Guardian in 2015, noted that refugees “are, as migration specialist Ian Goldin characterises them, ‘exceptional people’”. He continued: “Over centuries, as [Goldin] painstakingly details, it has been immigrants and refugees who have been part of the alchemy of any country’s success: they are driven, hungry and talented and add to the pool of entrepreneurs, innovators and risk-takers. The hundreds of thousands today who have trekked across continents and dangerous seas are by any standards unusually driven. They are also, as Angela Merkel says, fellow human beings. To receive them well is not only in our interests, it is fundamental to an idea of what it means to be human.” The history of émigré artists in the twentieth century, and the part of that story I explore in this essay and exhibition, reiterates and demonstrates the continuing relevance and significance of that message.  

In relation to the story told in my essay, it is a story in which the Church is at the heart of welcome and hospitality, combined with awareness of the immense contribution that refugees make to the culture and economy of their host countries. Our current lack of appreciation for that story, these artists, and their works, is, perhaps, symptomatic of the place in which our nation’s conversation about immigration is currently stuck. My hope is that this exhibition and essay can play a small part in changing that situation. 

 

View the Exodus & Exile: Migration Themes in Biblical Images exhibition.