Article
Culture
Freedom of Belief
Language
5 min read

Translating heart-languages

For two Iranian women, home and danger are often synonymous. Belle Tindall shares why they translate a defiant message.

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

An illustration of a woman with dark long hair looking to the right.
'Miriam'
Open Doors.

This weekend (16th September) marked the first anniversary of the death of Mahsa Amini. Mahsa, also known as ‘Jina’, was a 22-year-old Iranian woman who was arrested by the Iranian ‘morality police’ and tragically died while being held in police custody. Her (alleged) crime was a violation of Iran’s strict dress code, as she was caught in the city of Tehran without her hair adequately covered.  

News of Mahsa’s unjust arrest and harrowing death quickly spread throughout the world, building a momentum of grief, shock, and defiance.  

Of course, we mourned the tragic loss of a precious life. A woman was lost; a daughter, a sister, a friend, a person. Mahsa’s life was taken away and we watched the world grieve as if she belonged to us all. Billions of hearts were breaking at the loss. However, accompanying such deep grief was a profound sense of rage. We were faced with the reality that women in Iran aren’t safe. On the contrary, they are in danger of arrest, violence and death – all at the hands of those who are supposed to protect, all under the guise of that which is meant to empower. In Iran, as in so many countries, a woman is simply a dangerous thing to be.  

Another people group who find themselves living in continual danger in Iran is its Christian population. In a population of 86 million, 1.2 million are believed to be Christians. With Christianity perceived as a threat to the State and an insult to Islam, Christians in Iran are often severely discriminated against. What’s more, the Human Rights charity, Open Doors, have observed that the tightening of the Penal Code in 2021, the force of which was keenly felt in the way in which protestors of Mahsa Amini’s death were so harshly dealt with, are making things increasingly difficult for Christians.  

So, to be an Iranian woman is hazardous. To be an Iranian Christin is hazardous. It therefore goes without saying that to be an Iranian woman who is also a Christian – well, such an identity comes with such difficulty, it can be hard to fathom. For such women, home and danger are often synonymous. Which is why the stories of Miriam and Stella, two Iranian women who are secretly translating the Bible into their own languages, is so astonishing.  

‘Miriam’  

Miriam is Iranian, but she also belongs to the fifty per-cent of the Iranian population who do not speak Farsi/Persian (the national language) as their first language. Azeri, Kurdish, Baluchi, Armenian Gilaki, Luri, and Arabic are all spoken throughout the country. Therefore, despite Farsi being the official language of Iran, almost half of the population aren’t fluent, while millions of Iranians are visually illiterate in the Farsi script. 

Miram, who despite it not being her first language, has learnt to speak and read Farsi to a high level, became a Christian through secretly watching online classes on Christianity. Being married into a strict Muslim family, Miriam kept her Christianity a secret from her husband. That was, until he walked in on her watching one of her classes. Despite the immense dangers she faces as a result of the minimal rights that a Christian woman holds in Iran, Miriam decided that she would be honest with her husband about her new-found Christian faith. Miriam still marvels at the unexpected response from her husband, who said,  

‘I know you are a serious-minded woman and if this is important to you, it’s OK.’ 

Out of curiosity, Miriam’s husband joined her in watching the online classes, until he too became a Christian.  

For the past three years Miriam has been secretly working on translating the Bible from Farsi into her ‘heart-language’ (for the sake of Miriam’s anonymity, she has kept her ‘heart-language’ confidential). She tells us that she is willing to take the profound risk of doing this work because, 

‘We are not allowed to study our heart languages in Iranian public schools. This is a limitation for our people. Iranian leaders use my people as political tools. I wanted to do something good for my people. I have this language specialty and experience, this expertise, so I can help my own people. People like my mother can read this book.’ 

Being the first person from her community to do such work, Miriam states that,  

‘Despite having two children and knowing that my life is at risk for believing in Jesus in Iran, I cannot even imagine leaving this work unfinished. I must complete this work and see the result.’ 

'Stella'

A woman with dark hair looks straight at us.

'Stella'

Stella is also Iranian, and also speaks a ‘heart-language’, one that is shared with even fewer people than Miriam’s.  

After tragically losing her husband in 2013, Stella had to battle her late husband’s family to keep custody of her then seven-year-old son. As the battle continued to rage on, Stella fled Iran with her son, leaving behind her entire life in order to keep hold of her child. As a refugee, Stella’s life is not without its ever-present difficulties as she is continually fighting to stay in the country that she and her son have now called home for ten years.  

Stella became a Christian twelve years ago, while she was in the middle of the fierce battle to keep hold of her son while mourning the loss of her husband. As sorrow and desperation raged around her, Stella simply knelt on her floor and spoke into the silence ‘if you are God, save me’. She has been a Christian ever since.  

Just like Miriam, Stella is secretly working to translate the Bible from Farsi into the language of her community. With tears in her eyes, she says,  

‘There is no other job that your boss is God. I love my mother language. I'm telling the poetry; I write the context. I write the sentence, I record it… I am thinking about my mum, my father, my childhood. And everyone that doesn’t have it (the Bible) right now. I really want to bring God to my town and my people.’ 

Stella can’t return home, but she is nevertheless determined to work for the spiritual well-being of those whom she was forced to leave, regardless of the immense risk. 

The heart language that both Miriam and Stella speak of, and are translating the Bible into, is the vernacular that binds their communities together in their home country of Iran. But to me, hearing these stories; the term that Miriam coined feels loaded with depth of multifaceted meaning.  

The language with which they speak of their faith is unfused with resilient hope and faith-fueled boldness. 

Their words when they speak of their home are dripping with resilient affection, obvious frustration and forgiveness.  

The way in which they speak of themselves, and their dangerous task, is undeniably defiant and astonishingly selfless. 

Weekend essay
Art
Climate
Culture
9 min read

Life Is more important than art

Recent art exhibitions tackle life’s big questions. Jonathan Evens reviews their themes and the roles creators take.

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

A photo-realistic work of art depicting a fiigure raised on fire wood wearing a colour of large metal rays, against a desertifying landscape of dead trees.
The Prophecy, Untitled No.9, Fabrice Monteiro.
The Sainsbury Centre.

Life Is More Important Than Art claimed the recent summer exhibition at Whitechapel Gallery. Taking inspiration from African-American writer and novelist James Baldwin, who proposed that life is more important than art which is why art is important, the exhibition explored the intersection of art and everyday life and the role of contemporary art institutions in a time of uncertainty and change. As Whitechapel Gallery Director Gilane Tawadros has explained, Baldwin “meant that we have the bare necessities of life - a roof over our head, food to eat and so on - but life should be more than the bare necessities” and that’s “where art comes in.”  

The Whitechapel Gallery has not been alone at this time in exploring the place of art in relation to big issues and contemporary challenges. Recent exhibitions at the Gagosian, Hayward and Tate Galleries have each used specific philosophical theories to explore the legacy of colonialism and posit creative ways forward in the future, while Dear Earth, also at the Hayward Gallery, explored themes of care, hope, and emotional and spiritual connection with our environment. 

Their approach understands art as alive and capable of engaging people with the fundamental questions of life. 

Norwich’s Sainsbury Centre has perhaps been most systematic and ambitious in pursuing this particular trend in exhibition curation. In September, the Centre launched the first of its new Big Question seasons exploring the theme of Planet for our Future: How do we adapt to a Transforming World? The Centre is setting the exploration of big issues at the very heart of their exhibition programming, seeking to empower art to address fundamental societal challenges. Their approach understands art as alive and capable of engaging people with the fundamental questions of life and will see artworks from all over the world travelling to the Centre to pose urgent, global questions to visitors and help them find the answers. Future seasons will ask: What is truth? (Spring 2024); Why do people take drugs? (Autumn 2024); How do we resuscitate a dying sea? (Spring 2025); Can humans stop killing each other? (Autumn 2025); and What is the meaning of life? (Spring 2026). 

Planet for our Future has an interconnected programme of exhibitions, interventions, collection displays, an artist residency, museum-late, artist-led workshops, and special projects, taking place across the whole art landscape and out into neighbouring communities. It aims to empower art to generate a living dialogue with visitors, inviting them to consider the global challenges of pollution, environmental destruction, and climate change. The wider aim is to mobilise the Sainsbury Centre as a space of hope through the transformative power of art: a space where we can imagine better futures in which collective human behaviour mitigates the effects of climate change. 

Given the extent to which the exhibitions mentioned above include themes of spirituality, it would seem that Greenberg and his ilk were on the wrong side of history in this respect too. 

These approaches represent a remarkable success for the arguments that artist and academic Suzi Gablik made in the 1980’s and 1990’s in books such as Has Modernism Failed? and The Reenchantment of Art. Gablik contrasted ‘Art for Art’s Sake’ with ‘Art for Society’s Sake’ whilst arguing for the latter, a prescient choice given the current approaches of curators. At the time, Gablik was challenging the received wisdom of art critics such as Clement Greenberg who “rejected the notion that there is any higher purpose to art, or any ‘spiritual’ point to its production.” Given the extent to which the exhibitions mentioned above include themes of spirituality, it would seem that Greenberg and his ilk were on the wrong side of history in this respect too. 

I recently took part in The Art of Creation, a conference held at King's College London and organised through the National Gallery’s Interfaith Sacred Art Forum, which brought together speakers from a wide range of disciplines to explore the intersection of art, theology, and ecology. The conference was part of a year-long series of reflections on three paintings from the National Gallery’s Collection – Claude Monet’s Flood Waters, Vincent Van Gogh’s Long Grass with Butterflies, and Rachel Ruysch’s Flowers in a Vase - which raise ecological concerns. The papers exploring aspects of these paintings drew on an eclectic, yet fascinating, range of sources including: Maori beliefs; the Jewish and Christian scriptures; South African poetry; the Nouvelle Theologie; the theology of resonance; the writings of Gerard Manley Hopkins and Marilynne Robinson; and a range of related artworks including the work of Barnett Newman and Regan O’Callaghan. The conference initiated a dialogue regarding ways in which art and faith together can help us make reparative connections in a fragile world and its approaches suggest ways of engaging with the big issues that artists and curators are exploring. 

This relationship with creation mirrors that of artists (in the broadest sense), who are both sub-creators and co-creators. 

In my paper, which brought verses from Chapter 38 of the Book of Job into dialogue with the three paintings, I argued that God is calling humanity into a relationship with creation in which we respond with humility, awe and wonder to its abundance and diversity, which always exceeds our grasp however much knowledge of it we gain. I suggested, too, that this relationship with creation mirrors that of artists (in the broadest sense), who are both sub-creators and co-creators. As sub-creators, artists recognise that we cannot create from nothing (‘ex nihilo’) and are, therefore, always in a humble, interdependent state where we are as aware of boundaries, edges and frames as we are of openings, doorways and possibilities. As co-creators, we are called to work with the grain or tend the essence of creation and its creatures, as in the approach of sculptors who seek to be true to the materials they use or in the ideas Gerard Manley Hopkins developed regarding inscape and instress. 

This section of the poem concerning Job begins by initiating a dialogue as God challenges Job to stand up and answer the questions he poses about the created order; questions such as, do you know the measurements of the earth or the sources for oceans, light, snow and rain? At the time of writing Job, and the writer of this poem, could not answer those questions, so are left simply in a state of awe and wonder. We, however, are, often, able to answer such questions and are, as a result, able to discuss the meaning of such knowledge while also retaining an awareness of the vast dimensions of the abundance and diversity of creation within which our expanded and expanding knowledge remains infinitesimal compared with the whole. Interestingly, the novelist Marilynne Robinson suggests in an essay on ‘Psalm 8’ that, 

 “A question is more spacious than a statement, [being] far better suited to expressing wonder”. 

Artists have regularly worked with just such a balance through an awareness of being sub-creators and co-creators with God. Artists, including those considered by The Art of Creation conference, have often had a different relationship with the divine and with creation. Whether figurative artists working from nature, as are the three principal artists considered by The Art of Creation conference, or symbolic artists creating secondary worlds, artists are often aware of themselves as co-creators or, in the words of J.R.R. Tolkien, sub-creators. We are sub-creators or co-creators when we recognise that we create from creation, not ex nihilo, which involves humility in order that we tend, rather than dominate, creation.

Van Gogh paints an expanse of grass extending beyond his canvas in Long Grass with Butterflies, while Rachel Ruysch’s Flowers in a Vase brings flowers that bloom at different times of year together in one image. Awareness of edges, frames, borders, boundaries and other constraints in regard to their canvasses are used by these artists as an element in contrasting the limits of human understanding and the fecundity of nature. Even when artificially exceeding these boundaries, as Ruysch does, this can be in order to highlight our inability to do so in our primary world.  

Co-creation is a concept which takes us further in that it involves human creation which is in line with the essence of God’s creation. Another creation story, that of Adam naming the animals, this time from the Book of Genesis, is key to understanding this aspect of creativity. Names in ancient times described the essence of the creature or object so named. That is what is described in this story. In our naming of the animals together with God, we look for the essence of each creature and then name that essence. This suggests a path to exploring possibilities within creation in partnership with God by creating the new in harmony with the essence of the actual.  

This process of paying attention to come to know the essence of a thing by imaginatively exploring its various possibilities in order to realise its distinctive essence is what the poet Gerard Manley Hopkins called instress. He also called the essence that we identify the inscape. Ultimately, he suggests, “the instress of inscape leads one to Christ, for the individual identity of any object is the stamp of divine creation on it.” He wrote more about this understanding in the poem ‘Kingfishers catch fire’: 

Each mortal thing does one thing and the same: 

Deals out that being indoors each one dwells; 

Selves — goes itself; myself it speaks and spells, 

Crying Whát I dó is me: for that I came. 

  

I say móre: the just man justices; 

Keeps grace: thát keeps all his goings graces; 

Acts in God's eye what in God's eye he is — 

Chríst — for Christ plays in ten thousand places, 

Lovely in limbs, and lovely in eyes not his 

To the Father through the features of men's faces.  

  

In an essay entitled ‘Wonders Never Cease: Integrity & the Modern Intellectual Condition’, Marilynne Robinson suggests that a theistic vision of the world, like that of Hopkins, “is freer to see the world whole, as it is in itself, so to speak” and she quotes Hopkins who says, “The world is full of the grandeur of God. / It will flame out, like shining from shook foil”. She continues: “Within this great given, that Being is an astonishment, any aspect of being can be approached with an expectation of discovering wondrous things. The slime that comes up from the depths of the sea in fishermen’s nets is a ruined universe of bioluminescence. Microorganisms live in clouds, air moves in rivers, butterflies navigate the earth’s magnetic field. The matter cosmologists call “dark,” which makes up most of the mass of the universe, seems to be non-atomic. Wonders never cease.”  As a result, in her essay on ‘Psalm 8’ she gives this credo,

“I have spent my life watching not to see beyond the world, [but] merely to see, great mystery, what is plainly before my eyes … [as] With all due respect to heaven, the scene of miracle is here, among us.”  

The approach that Robinson and Hopkins advocate as artists is one that could assist us more generally in relation to the climate emergency, while the sense of wonder found in their work is replicated in the images of Monet, Van Gogh and Ruysch and is, I suggest, what God looks for from us in the questions that are posed in the Book of Job. By responding to a wide range of ideas and sources, The Art of Creation conference demonstrated a similar balance to awe and knowledge, recognising that this attitude and approach opens up reflection on the abundance of the world and cultures that God created and also holds out the possibility that new inspirations will be sparked from the interplay of ideas that ensues. These ways of relating art, creation and faith suggest one approach to engaging with the big issues that artists and curators are exploring and which faith communities, including the Church, have explored throughout the history of humanity.