Faith

During 2023 I was invited by Camden Council to run a series of collaborative art workshops with a Jewish LGBTQ+ group based in Belsize Park Synagogue. The workshops were part of a pilot project exploring the contested heritages of statues within the borough. Our statue was of author Virginia Woolf whose history was being re-examined considering the antisemitic comments she made within her fiction and her diaries. This revisiting highlighted her complex identity, as an openly queer woman, who was married to a Jewish man, and her visit to Nazi-run Germany in 1935.

As a non-religious queer woman, I was at times an outsider to the group, as well as in ways an insider. To acknowledge this, we organised a group learning session about Woolf, run by Jewish Queer scholar Aviva Dautch, so that, myself and the group could arrive at the subject together. Working with the group, I discovered that they were more interested in exploring their own personal relationships to identity and values through personal narrative, emotion, family, love, friendship and fun, rather than trying to unpick complex histories of societal antisemitism and homophobia. They were interested in expressing their humanity, rather than their perceived place within society. One participant shared with me about her shifting intersectional experience, explaining that in some Jewish run spaces she would conceal her queer identity, but equally in queer run spaces, which are often intended to be progressive and inclusive, she equally felt the need to hide her Jewish identity.

This experience has been enriched by the thinking within Mirza’s text about the impact of secular run university spaces on students who experience gendered religious racism. ‘The teachers’ perceptions of the young women wearing the veil were bounded by popular concerns about their agency and what they perceived to be their cultural and familial disempowerment and restricted scope for choice.’ (Mirza, 2018) For students whose religion is visible, the privilege to keep parts of their identity private is not possible. This can create contexts where others make biased assumptions, leading to such students having to work harder to prove their abilities.

Simran Jeet Singh talks about overcoming the tendency to try and paint entire communities with a single brush. He (Jeet Singh, 2016), explains the importance of demonstrating that differences exist within communities by challenging basic stereotypes through his own behaviour and shows the importance of providing multiple different ways of looking at things. An example which I felt embodies this practice is the Inclusive Mosque’s programme Raise Your Gaze which works with support services to address discriminatory practices, ‘through workshops which tackle the root causes of those injustices so that practitioners are equipped to understand why injustice exists in their sector and how to address it.’ ( Inclusive Mosque Initiative, 2016) This approach exemplifies a critical understanding which can be applied to the studio setting. Within my teaching, it is important to consider how our current practices, such as largely ignoring faith, can be harmful to students, and to actively find ways to explore topics with students, through asking them to consider their own positionalities in relation to these wider research topics.

  • Mirza, H. S. (2018) Threatening Bodies, Black Bodies ‘Out of Place’ in Academic Spaces: Gender, Race, Faith and Culture in Post-race Times. In Dismantling Race in Higher Education, Eds. Arday, J & Mirza, H. S. Switzerland: Palgrave Macmillan. pp 184 – 187
  • Jeet Singh, S, Trinity University (2016) Challenging Race, Religion, and Stereotypes in the Classroom. [Online]. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk Accessed May 2024
  • Inclusive Mosque Initiative (2016) Our Mission [Online] Available at: https://inclusivemosque.org/our-mission/ Accessed May 2024