Article
Creed
Redemption
Trauma
4 min read

The healing power of forgiveness

From Parliamentary Prayer Breakfasts to post-apartheid South Africa and fourth-century desert monks, Julie Canlis explores the benefits of relentlessly pursuing forgiveness.

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

Eastern Orthodox icon depict the Prodigal Son
Eastern Orthodox icon depict the Prodigal Son displayed on Forgiveness Sunday

Last week, the National Parliamentary Prayer Breakfast convened with a focus on the power of the F-word in public life. In our cultural moment, we prefer score settling and retribution to what was once a cherished value: Forgiveness. Can the Christian story offer anything to an era which is caught in endless cycles of violence, conflict, injustice, and vengeance?  

In our lifetime, we have seen the experiment of what happens when a whole country dedicates itself to forgiveness. In South Africa, overcoming the trauma of apartheid did not mean forgetting but choosing to remember collectively. Evil was named. But could this kind of truth set one free? There were no shortcuts to forgiveness. There was no quick wiping the slate clean that avoided the truth. Instead, perpetrators were faced with real people and stories of what they had done. Victims recounted their trauma, but in a new way that enabled them to stop being the victim of what had happened to them. In South Africa, forgiveness was not religiously sanctioned denial. It offered the victims agency, and release from the cycle of vengeance. 

From South Africa, we learned the power in sharing trauma stories. We discovered the importance of looking for underlying causes and ideologies that are contributing factors. But that was not the end. We also watched the power of restorative narratives, testifying to the beautiful fragility and hope of reconciliation. Without forgiveness, no relationship on a personal or national scale can be sustained. What would it look like to begin to create a forgiveness culture amid a culture of hate? 

In the fourth century, there were communities of Christians who fled the Roman empire and set up shop in the desert. They gave their life to prayer and forgiveness because they found that despite fleeing from the “sins” of Rome, they could not escape themselves. They were in the desert with a handful of other people, and yet their hearts still contained hatred. They did not have muscle memory oriented toward forgiveness.  

For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. 

And so, they relentlessly practiced forgiveness. They practiced it by stopping the incessant outward glance at other peoples’ faults. They asked forgiveness constantly, in a bold attempt to own their own culpability and blindness. And they ritualized this practice in a once-yearly “Forgiveness Sunday” which makes many of us squirm just to think of it. The Sunday before Lent, everyone in the community would extend a word of forgiveness to each person, and beg their forgiveness in turn.  

Forgiveness Sunday is still practiced annually in Eastern Christian churches (often Greek or Russian) where you can still wander in on the Sunday before Lent, and work on your F-word muscle memory. In case you find yourself in one of these churches, the script goes something like this: 

Person 1: Forgive me, sister. 

Person 2: God forgives you. And so do I. Forgive me brother. 

Person 1: God forgives you. And I forgive you. 

Of course, this exchange can be rote. But for some for whom there has been anything amiss, eyes well up with tears. Perhaps it is the letting go of an exhausting grudge. For others, hearing that they are forgiven forty times finally cracks through a self-defeating wall. And for everyone, it is a commitment to not constantly ruminate on the wrongs of others, reliving incidents to keep the anger going. If done rightly, it allows for the recognition of wrong, while not allowing it to perpetuate itself in you. In essence, it is the cheapest mental health shortcut, available at a church near you. 

Back in the fourth century, Forgiveness Sunday arose as a circumstantial necessity because these desert dwellers would retreat even further into the desert for Lent. Call it a detox camp. Call it a therapeutic immersion. Call it a technology fast. Regardless, due to the dangers of the desert (wild animals and a hostile environment), these Christians wanted to receive the forgiveness of their brothers and sisters (and offer it) in case they did not return to the community to celebrate Easter. For us, a modern equivalent might be simply to enter the liturgical time of confession and forgiveness on a regular Sunday. And to lean more deeply into the well-worn phrase to “forgive us our trespasses, as we forgive those who have trespassed against us.” Would it be possible to treat these words with a whole new level of personal responsibility and vulnerability?   

Forgiveness Sunday is the humble declaration that we are both victims and perpetrators.

Forgiveness, when taken seriously, is a process that takes time. Forgiveness involves great courage, but also the great humble realisation that we could have just as easily done the very act that needed forgiving, under different circumstances. Forgiveness involves neither appeasement nor grovelling. For the church, the ritualised understanding of Forgiveness Sunday is the humble declaration that we are both victims and perpetrators. And that, somehow, Christ accompanies us in the grief of both. 

In the Christian tradition, Jesus founded his new order upon forgiveness. Jesus knew that the unforgiving heart is closed to not just giving forgiveness but to receiving it – it is sealed up like a tomb. That those who are least forgiving also live daily with the fiercest critic – themselves. In other sayings, Jesus highlights that forgiveness is not merely an interior disposition, but also one honours the integrity of the process of working through an injury. And finally, Christians believe that Jesus practiced what he preached: he forgave his enemies (and died for them) to secure divine forgiveness for everyone. For his followers, they had no choice but to forgive – and many of them ended up founding communities of forgiveness. 

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.