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Freedom of Belief
7 min read

The right to believe – or not: how's the UK doing?

As the UN passes its first ever resolution on freedom of religion, Philip Mounstephen, author of the UK Government review, appraises progress on the issue.

Philip Mounstephen is Bishop of Truro and Founding Chair of the UK Freedom of Religion or Belief Forum.

A person stands in the burn out shell of a church in Nigeria.
The shell of a burned out Nigerian church.
Open Doors.

I had an unusual start to my Christmas in 2018 when I was rung up by the Archbishop of Canterbury to ask me if I’d be willing to lead a review of the way the Foreign Office had addressed - or otherwise - the persecution of Christians. It became clear that this was a request from the then Foreign Secretary, Jeremy Hunt, who was very moved by the issue and clearly concerned both about the human stories of Christians caught up in persecution, and worried that his department just wasn’t doing enough about it.  

Six hectic months later, almost exactly four years ago, my review was published and the Government (and not just the Foreign Office) accepted my recommendations in full. So how has the UK got on with their implementation? 

Before I address that, however, let me deal with two key aspects of my findings and recommendations which are vital for getting inside this issue. 

First, I argued that the most effective way to address the persecution of Christians is to guarantee freedom of religion of belief for all – and that includes the right not to believe - and my recommendations were all framed around that conviction. To argue for special pleading for one group over another would be deeply un-Christian. It would also, ironically, expose that group to greater risk, by isolating them and unintentionally portraying them as agents of the West. We must seek freedom of religion of belief for all, without fear or favour. 

Second, we need to understand why this is a such a serious issue in today’s world. 

If you lift the stone of persecution and look underneath, what is it that you find? You find authoritarian, totalitarian regimes that are intolerant both of dissent and of minorities; you find aggressive militant nationalism that insists on uniformity; you find religious zealotry and fundamentalism in many different forms that often manifests itself in violence; and in contexts where governments are weak you find gang welfare on an industrial scale driven by drug crime. And you often find those phenomena combined too. In other words, we find massive threats to human flourishing and harmonious communities and ultimately we find in those things significant threats to our own security as well. We can no longer say that this is a sidebar issue of a special interest group. These are huge issues that we face in the world today. 

And, the global situation as regards freedom of religion or belief is getting steadily worse, not better, not least in the world’s two most populous countries, China and India. It has certainly worsened significantly since my Review reported. It’s for that reason that the last of my recommendations was that implementation of them all should be independently reviewed three years on from their acceptance. That piece of work was published last summer, just before the UK hosted a major International Ministerial Conference on this issue. 

So what did the reviewers conclude? To quote their report:

There has been a positive overall response to the Recommendations, with active steps being taken towards implementing an overwhelming majority of them. However, some of those steps have been taken relatively recently. 

I think we can unpack that statement a little. What does ‘There has been a positive overall response to the Recommendations, with active steps being taken towards implementing an overwhelming majority of them’ mean? It means what it says, but it also means that a number of recommendations are in the process of being implemented, but have not yet been completed. And of course it also means that some recommendations remain to be implemented. And what does ‘some of those steps have been taken relatively recently’ mean? Well, it might imply that there was a certain rush of action in the light of the review team’s work being undertaken – all of which underlines the wisdom of including that final recommendation in the first place.  

Also of note is the response that the then Foreign Secretary, Liz Truss, made to the reviewers’ work:

We welcome and accept this expert review on progress and in line with the findings, accept their assessment for the need to continue to work to promote and strengthen Freedom of Religion or Belief as a fundamental human right for all… 

The independent assessment concludes that the majority of the recommendations are either at an advanced stage of delivery or in the process of being delivered, whilst noting that there is still more to do.  

Those skilled at reading statements such as this will point out to you the significance of the Foreign Secretary not just welcoming but accepting the findings. And note too the force of that phrase whilst noting that there is still more to do. 

And, as I said, that assessment of progress was published just before the UK hosted the International Ministerial Conference last year. And a great event it was. Through it the UK put down a significant marker as to the significance it attaches to this issue. And we have also taken a leading role in the recently established inter-governmental International Religious Freedom of Belief Alliance, with Fiona Bruce MP, Prime Minister’s Special Envoy for Freedom of Religion or Belief currently holding the chair. I take no personal credit for this, but I doubt that either the UK would have hosted the Conference or that Mrs Bruce would have chaired the Alliance had not Jeremy Hunt launched the review – a review which earned him very few political ‘brownie points’ – four and a half years ago. 

And yet not all in the garden is rosy. There has been a marked reluctance in some parts of the Foreign Office to recognise the religious dimension in some contexts. 

Consider the approach that had been taken to the Middle Belt of Nigeria and the phenomenon of the conflict associated with the Fulani herdsmen. The standard Foreign Office line has been that this is an old conflict between contrasting lifestyles exacerbated by climate change. In other words, the religious dimension is significantly underplayed. A year or so ago the then relevant government minister claimed in a letter to be ‘unaware of substantiated evidence that extremist Islamist ideology is a driver of intercommunal attacks’. I’m afraid that is so completely at odds with the evidence, including that cited in my Review, as to be literally incredible. And, of course, if the Foreign Office claims there is no religious component to the violence they will fail to come up with religiously literate responses to it. 

Happily, however more recent statements, in a clear change of tack, have begun to recognise the religious dimension to this unfolding tragedy. 

Or take the recent violence in the Indian state of Manipur, with hundreds of churches targeted and destroyed, several killed and thousands displaced. Foreign Office replies to Parliamentary questions about it have been anodyne in the extreme. They remind me of the egregious attitude of the East India Company 250 years ago which protected trade at any price, even in the face of human rights abuses they could otherwise have addressed. Plus ça change.  

However even as this article was being written there’s been a further and very significant positive development. Recommendation 20 of my Review called for the UK to sponsor a UN Security Council resolution on this issue. The panel of experts who reviewed implementation last year were not optimistic that it could be achieved. However, on 14 June 2023 the Security Council adopted resolution 2686, a UK-UAE joint resolution on tolerance and religious freedom. Its text addresses growing concern at hate speech and incitement to violence, and calls for action on the persecution of religious and other minorities in conflict. This is the first ever Security Council resolution on this issue, putting it firmly on the international geopolitical table. 

In the UK, as elsewhere, we need to recognise that a commitment to freedom of religion or belief is not a ‘nice to have’ in today’s world, additional to the hard world of realpolitik. Not at all it. It touches upon and highlights some key issues in today’s world such as the rise of fundamentalist, nationalistic and authoritarian regimes of all kinds the world over whose treatment of vulnerable minorities is often not short of appalling and whose actions threaten not only the lives and livelihoods of those minorities but also threaten to destabilise international order, increase insecurity, (including food insecurity, as we have seen in this last year) and make it all the harder to address big ticket global issues such as climate change. 

Indeed I believe that the wholesale denial of freedom of religion or belief is just one such a big ticket item and I hope and pray we remain sensitised to this issue and appreciate the vital importance of all of us, governments, churches, other faith groups, civil society, and individuals, addressing it with the seriousness and urgency which it undoubtedly requires.  

 

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.