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. 

Review
Books
Culture
Music
5 min read

The Creative Act by Rick Rubin – no prisoners taken

A biography lacking in personal anecdotes, makes up for it with a profound understanding of the creative process. Imogen Stokes recommends an essential read on art’s transformative power.

Imogen Stokes is a musician and member of Voka Gentle. She is also part of P.S. a missional community of multidisciplinary artists supporting and encouraging each other to cultivate a biblical culture of worship and fellowship in the heart of industry.

Rick Rubin | The Creative Act: A Way of Being

From Johnny Cash to Kanye West, Rick Rubin has worked with some of the biggest names in music. Notably titled ‘the most important producer of the last 20 years’ by MTV, the famously bearded founder of Def Jam records has nine Grammy awards under his belt and is one of the most sought-after producers working today. 

Written over the course of four years, a period that saw Rubin work with bands such as The Strokes and The Red Hot Chilli Peppers, The Creative Act: A Way of Being might promise a memoir yet assumes the form of something more like a self-help guide. Rubin distils what he has learned throughout his illustrious 40-year career into a series of short chapters that read somewhat like meditations, contemplating the meaning of art in general; how to make it well and why it matters to keep trying. While its dearth of personal anecdotes may be disappointing to fans hoping to gain insight into some of the producer’s many exploits, this book requires little to no contextual knowledge of Rubin’s life and work to enjoy. 

“There was a version of the book three years ago,” Rubin told The Bookseller magazine last October. “The content was similar but the feeling of it... it did not feel like a call to action. It was beautiful, but it wasn’t inspirational.” If inspiring artists to create meaningful art is Rubin’s primary aim, suffice to say The Creative Act: A Way of Being largely succeeds.  

Happily, this book is not just for musicians; for any working artist in search of practical guidance, Rubin offers encouragements and hands-on suggestions for how to cultivate discipline, maintain creative perspective and successfully finish work. His tips are, in many cases, refreshingly rudimentary. Set up a daily schedule of practice and stick to it. Level up your taste in the medium you are working in. Allow yourself to be distracted sometimes. Such instructions immediately reminded me of Oblique Strategies, Brian Eno and Peter Schmidt’s tarot-like deck of pithy creative prompts, conceived in 1975 as a work of art and designed to stimulate creativity. And the advice is sage. As an artist myself, I had barely gotten halfway through when my highlighter began to run out of ink.  

Rubin’s thesis on art-making is full of self-aware contradiction. It is a serious matter, he says, but it’s also reliant on play. One should employ a rigorous schedule yet embrace rest and spontaneity. Practise your craft but be aware of the value in naivety;  

‘often the most innovative ideas come from those who master the rules to such a degree that they can see past them or from those who never learned them at all’,  

and remember that both years of artistic toil and a five-minute flash of inspiration can both produce a valuable result.  

[It] does an excellent job of meeting the creative in their tiredness while celebrating their bravery.  

It is this ability to understand and speak to the tensions faced by an overwhelming majority of artists that is a real strength of this book and a testament to Rubin’s experience as a producer. The creative process is rarely straightforward; success can be difficult to define and inspiration elusive. However, he admits, in the pursuit of great art ‘there are no shortcuts.’ The Creative Act: A Way of Being does an excellent job of meeting the creative in their tiredness while celebrating their bravery. It exists, at the end of the day, to remind them why it’s important to make art at all. I can corroborate this with my own experience: as a reader I brought all the baggage of any working artist. I felt understood and reassured, both by Rubin’s reverence for art-making and by his admission that art is rarely straightforward, and that artists can be hard to understand. This, for Rubin, is by no means an indictment. It’s part of the journey, and an important one at that.   

Rubin’s reverence for the power of art and the significance of the artist is without question. This can sometimes, though, verge on the eulogising of unhealthy behaviour— an issue, I can’t help but feel, is endemic to the music industry at large.  

'The great artists in history… are protective of their art in a way that is not always co-operative. Their needs as a creator come first. Often at the expense of their personal lives and relationships',  

writes Rubin, excusing selfishness as a ‘childlike spirit’ to be aspired to. Surely, while singular focus is key, this doesn’t need to override a generosity of spirit, does it? Van Gogh certainly didn’t think so, famously writing: 

 ‘there is nothing more truly artistic than to love people.’ 

There’s an evident undercurrent of divine inspiration woven throughout the book, too. Rubin acknowledges and explores the cosmic thread that runs through all things, the energy of which the artist both observes and channels through their work. The artist without this spiritual viewpoint, he posits, is at a crucial disadvantage. For Rubin, the spiritual world provides a crucial sense of wonder and a degree of open-mindedness rarely found within the confines of science. A dedication towards a deeper connection with and understanding of the ‘Source’ (the creative force of the universe) will inevitably merit a greater artistic encounter. Rubin therefore encourages artists to be disciplined in their spiritual practice in order to ‘build up the musculature of the psyche to more acutely tune in and receive from the divine’.  

Rick Rubin with Neil Diamond, 2006. Photo by MusicLoverDiamond. 

Rick Rubin with Neil Diamond

As a believer, of course I perceived Rubin’s ‘Source’ to be a metonym for the God of the Bible, and while occasionally Rubin’s universalism strays into abstraction— perhaps even cliché— there is genuine substance here; many of his spiritual encouragements overlap significantly with Christian teachings, for instance his appeal to artists to be ‘in’ currents of culture, not ‘of’ them, and the assertion that ‘it is better to follow the universe than those around you’. He admires the biblical attitudes of patience, discipline and child-likeness, and even quotes directly from the Bible’s book of Ecclesiastes, ‘for everything there is a season... ’,  when illustrating the rhythms of nature. 

Although it might be viewed as a simple guide to creative rules and rhythms, at the heart of this book the challenge is set.  

You are either living as an artist, or you’re not. You are either adopting this way of being, or you aren’t.  

Rubin takes no prisoners. The Creative Act: A Way of Being is an essential read for anyone looking to explore the importance of art or to remind themselves why they shouldn’t give up. For Rubin, a facilitator and a collaborator, the transformational powers of art are undeniable and artists themselves are almost magical creatures who need understanding and care. This book is both about, and for them.