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Freedom of Belief
War & peace
7 min read

Updated: the war that we’re not seeing

Nagorno-Karabakh remains the epicentre of a complex and ongoing conflict, Belle Tindall probes at the way religious identity is being continually targeted.

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

An aerial view looking down the damaged spire of a cathederal to a holes in the roof caused by shelling.
Ghazanchetsots Cathederal, Sushi, damaged in the 2020 Nagorno-Karkabah war.
ԶԻՆՈՒԺ MEDIA, via Wikimedia Commons.

Update from September 2023: 

It's been six months since I wrote this piece about a war that has been raging under our noses, hidden in plain sight. Six months since I spoke to people trapped in their cities, people cut off from their families, people scared for their lives. 

Since then, the situation has only worsened. On the 19th of September, after ten months of blockading Nagorno-Karabakh (cutting off any access to Armenia), Azerbaijan launched an aggressive attack on the enclave. Calling it an 'anti-terror' operation, 60,000 Azerbaijani soldiers have forcefully taken control of main roads, villages, and major cities. This is a major offensive against a region with a population of only 120,000. 27 people, including civilians, are reported to have been killed in the past twelve hours alone. And with Azerbaijan declaring that it will not retreat without complete surrender from the Armenians living in Nagorno-Karabakh, the violence is unlikely to cease in the near future. 

This is a humanitarian crisis; one which deserves our full attention. The piece below was originally written in March 2023, it provides the long and complex context for what is currently happening in Nagorno-Karabakh - the war which can no longer remain invisible. 

 

The war that we're not seeing

In the landlocked region of Nagorno-Karabakh (Artsakh in Armenian), peace has not yet had the final say.  

Since the 12th of December 2022, the Lachin Corridor (referred to by Armenian inhabitants of Nagorno-Karabakh as the ‘Road to Life’) has been blocked, and the 120,000 people who call the 4,000 square km enclave home have been effectively trapped. This corridor is the only physical link that Nagorno-Karabakh, which is internationally recognised as territory of Azerbaijan, has to Armenia. Subsequently, the trauma of this essential road being obstructed is twofold:  

Firstly, the very nature of this blockade means that there is a dangerous shortage of food, medication and other every-day essentials being brought into the region. Speaking to a Priest who is among those currently trapped in Nagorno-Karabakh, he described what he is experiencing as a humanitarian disaster, he explained ‘I am witnessing the stripping away of my community’s human rights’.  

Secondly, the people of Nagorno-Karabakh are experiencing the trauma of being disconnected from friends, from family, and from their sense of self, as almost the entire population identify as Armenian. To fully appreciate the situation that the small region currently finds itself in, it is necessary to zoom out of the detail of the current blockade and briefly take a wider view of historic relations between Armenia and Azerbaijan.  

The context of conflict  

The blockade of the Lachin Corridor is the latest incident in what has been a complex and enduring conflict between the neighbouring countries. Since the disintegration of the Soviet Union and the re-mapping of territorial boundaries throughout the twentieth century, the countries have fought over the legal governance of Nagorno-Karabakh. The 21st century has therefore been characterised by both recurring attempts at reconciliation and episodic clashes. This culminated in a short but devastating war in 2020, resulting in Armenia being forced to relinquish any military control over the region.  

The Armenian people of Nagorno-Karabakh have not moved, and yet the entirety of their ethnic identity has been frequently altered. Their home has been absorbed by a neighbouring region, and conflict has been a constant reality.  

While both Azerbaijan and Russia are determined that the people of Nagorno-Karabakh are being kept safe and well, it seems that such an insistence isn’t quite translating into action. As one interviewee put it,  

‘Azerbaijan won the war, now they need to win the peace’. 

The immediate vulnerability of the people of Nagorno-Karabakh cannot be overstated; as is being exemplified by the severe destabilisation that the blockade of the Lachin Corridor is causing.  

A faith that is targeted   

This is, undoubtedly, an ethnic and political conflict. It is the residue of the re-drawing of territorial lines and the legacy of a fragile form of peace. Local leaders stress that it is not primarily driven by religion. They are critical of foreign commentators who position it as such. 

What is not being understood, even still, is the way that religion is being targeted, weaponised even, within this ethnic and political conflict. Religious aspects being either sensationalised or ignored by the global media.  It serves one well to be wary of one-dimensional interpretations of this conflict, this includes narratives that reduce it to a quarrel between two world religions. However, it is equally unhelpful to ignore the way in which the people of Nagorno-Karabakh's sense of self is being tactically targeted. This includes their profoundly Christian heritage.   

On October 8th, 2020, the Ghazanchetsots Cathedral in the city of Shushi was shelled by Azerbaijani forces. It was struck not once, but twice, within the space of only a couple of hours. Despite Azerbaijan’s insistence that the Cathedral was not their intended target, the Armenian Ministry of Défense remain resolute that the destruction of their cathedral was intentional. Having had Nagorno-Karabakh on his radar for many years, it was the footage of the Ghazanchetsots Cathedral in ruins that caught the attention of Rt. Revd Dr Christopher Cocksworth, Bishop of Coventry. Filming a message from the ruins of Coventry cathedral, which was largely destroyed by German bombs as part of the Coventry blitz during WWII, Bishop Christopher wanted to let Armenian Christians know that they weren’t unseen, nor were they alone. 

From Coventry to Nagorno-Karabakh

Subsequently, Bishop Christopher has become a long-standing advocate and ally for the people of Nagorno-Karabakh, having visited the region on numerous occasions, including with a parliamentary group in 2022. When asked about the instrumentalization of religion within the ongoing conflict, Bishop Christopher observed that:  

‘if you want to get at people’s identity, you get at their religion. If you want to destroy their identity, you destroy their religious symbols’.   

And this is arguably what is being seen in Nagorno-Karabakh, a Christian enclave that, according to tradition, traces its Christian roots back to the first century AD.  

To intentionally target sites of religious and/or cultural importance has long been considered an international war crime. This is largely because of the profound and lasting effect it has upon those who accredit a sense of belonging to such places – such an obliteration strikes at the heart of their sense of self. And yet, according to reports, the 2020 destruction of the Ghazanchetsots Cathedral (intentional or otherwise) is by no means anomalous.    

The seemingly systemic disappearance of religious and cultural sites of significance in Nagorno-Karabakh has led researchers and reporters to interpret what is happening in the region as a 'pattern of total cultural erasure' and communicate their fears of the eventual disappearance of Nagorno-Karabakh as a self-identified Christian enclave.  

A faith that is responding  

Ironically, the people’s Christian faith, and the hope that it offers, is one of the only things that has not, and cannot, be stripped away.  

Despite the immense pressures being placed upon the residents of Nagorno-Karabakh, Bishop Hovakim Manukyan, Primate of the Armenian Churches of the United Kingdom, is assured that ‘the people’s faith is stronger than ever’ and that it ‘has not, and will not, ever be abandoned’. 

Speaking once again from within the currently entrapped region, a local priest tells of how church attendance and a sense of spiritual unity is particularly strong. Is seems that this is partly because the residents of Nagorno-Karabakh don’t believe they are receiving the help they require from their global neighbours, making God their most tangible solution. This is also, in part, a rebellious dedication to their faith. It is people holding onto a Christian identity in defiance of any attempted erasure of it. 

This is not unusual. Interestingly, it is in places where the possession of Christian faith can bring forth difficulty, discrimination, and even danger, that it sees its most rapid growth. As is exemplified in various countries, both historically and in the present day, a dangerous faith simply does not equate to a disappearing one.   

A faith that can reconcile?  

Is reconciliation between Armenia and Azerbaijan, and ultimate peace Nagorno-Karabakh, possible? This was my final question posed to both the Bishop of Armenian churches in the UK and the Bishop of Coventry, a city which has affectionately been entitled the City of Peace and Reconciliation (due to its response to the afore mentioned Coventry-blitz). 

Bishop Christopher of Coventry was profoundly hopeful that reconciliation is possible. After all, this is by no means an ancient conflict. However, the process of reconciliation will undoubtedly be long and complex and must begin with an immediate cease in the ‘nurturing of hate’.  

Bishop Hovakim also shared his hopes for reconciliation, that although reconciling the deep divisions will undoubtedly be ‘challenging and painful’, it is by no means impossible. He places emphasis, not on the moments of intense conflict, but on the times where Armenia and Azerbaijan have been neighbours ‘living side-by-side' and ‘sharing so much’.   

Surely, just and lasting peace can only be possible when the people of Nagorno-Karabakh are re-afforded their safety, their security, and their fundamental human rights. Considering that possession of one’s own identity has long been considered one such human right, the reinstatement and reparation of the Christian heritage and identity of the people of Nagorno-Karabakh must surely be an essential ingredient in any reconciliation.  

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.