Article

Comment

Development

Politics

25 February 2025

4 min read

Downsizing in DC undercuts the lives of millions in Nigeria

Nigeria’s Christian communities will bear the brunt of USAID’s demise.

Chris Wadibia

Chris Wadibia is an academic advising on faith-based challenges. His research includes political Pentecostalism, global Christianity, and development.

Patient wait in a street clinic beside a sign.

A health project clinic in Lagos, Nigeria.

Christendom, the global community of over 2.5 billion Christians living worldwide, has many geographical capitals. Nigeria, like the United States, is one of them. Upwards of 100 million people living in Nigeria identify as followers of the Christian religion. These Nigerians belong to Christian denominations like Roman Catholicism, Anglicanism, Baptist Christianity, and Pentecostalism. On 6 February the Trump Administration announced plans to downsize USAID, the US government agency that administers foreign aid. In 2023 it managed over $40 billion, and has played a significant role in delivering aid and development support in Nigeria for decades.

Nigeria has one of the world’s lowest levels when it comes to spending on social issues. Its government’s underspending has trapped tens of millions of Nigerians in horrific, inescapable mazes of poverty. The significant challenges Nigeria faces are well-documented -socioeconomic, geopolitical, and religious ones. The protracted and infamously bloodthirsty Boko Haram insurgency (headquartered in the northeastern corner of the country) has led to the deaths of tens of thousands of Nigerians and displaced over two million people, disproportionately affecting vulnerable women and children.

Abandoned by the government, many Nigerians look to their ethnic communities, religious groups, and even other state’s agencies and charities for the support and solutions they require to survive.

In 2021 USAID commemorated 60 years of providing development assistance to Nigeria. Its historical activity has prioritised agriculture and food security, democracy, human rights, and governance, public health, and energy production. In just 2021, USAID provided Nigeria with more than $787 million in development and humanitarian assistance.

Whilst USAID support for Nigeria has historically been blind to religion, the Trump-led downsizing of development and humanitarian assistance for millions of people living in Nigeria will especially impact tens of millions of Christians, They struggle to lead lives in a country rife with Christian suffering that is ignored by powerful global actors with the financial, political, and military resources to intervene in substantive and peace-generating ways.

Southern Nigeria is disproportionately developed compared to the North. Lagos, the economic capital responsible for a third of Nigeria's GDP, sits in the southwestern corner. The south contains a majority of the leading private universities, many of which are owned and funded by Christian churches, and is home to Nigeria's largest international airport. Literacy levels among Christians in Nigeria dwarf literacy levels among Muslims, especially when compared to Muslims living in the religiously archconservative northern states.

The southern region of Nigeria has an appetite for development and the political will needed to implement an inclusive development vision that simply does not exist up north. Downsizing USAID activity in Nigeria will disproportionately affect Christians in Nigeria who for historical and contemporary reasons have been able to benefit from USAID assistance in ways developing themselves to help Nigeria compete in the global economy.

In the current 21st century geopolitical climate US-Nigeria relations are far more likely to become more rather than less relevant.

Muslims in Nigeria, if unbridled by extreme religious dogma, could just as easily undergo the processes of self-development needed to excel in 21st century economic marketplaces. However, as Nigeria's religious landscape stands today, tens of millions of Muslims simply lack access to opportunities to gain the education, training, and work experience that could unleash the full potential of the legendary Nigerian human capital famous globally.

Millions of educationally and professionally ambitious Nigerian Christians view their work in vocational terms. Inspired by scripture and theological resources like Catholic Social Teaching and the Pentecostal Doctrine of Prosperity, these Christians intentionally seek out educational and professional opportunities because they believe their faith in Christ commands them to provide for their households and invest into their communities. They believe contributions to their homes and communities double as offerings to God himself. For over six decades, USAID has administered development and humanitarian assistance in Nigeria in ways hugely benefitting millions of Christians ignored by their government.

Administering USAID aid in Nigeria has never been perfect. Bad actors, many of them government officials exploiting the authority of their offices, have stolen development funds intended for marginalized Nigerians and used it to fund their kleptocratic networks and lavish lifestyles. However, in the current 21st century geopolitical climate US-Nigeria relations are far more likely to become more rather than less relevant. USAID support provides a valuable source of American soft power able to win over the hearts of vulnerable Nigerians whose children might one day seize the reins of state power. It also continues the postcolonial project of assisting in the sociopolitical and economic development of the Giant of Africa.

Downsizing USAID assistance to Nigeria undercuts investment in the lives of millions of Nigerian Christians disproportionately positioned to drive the country in the direction of evolving into just the kind of capable ally in Africa the US wants to work with long term.

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Review

Culture

Film & TV

Monsters

Race

28 April 2025

4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles Gough

Giles Gough is a writer and creative who hosts the God in Film podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.

Delroy Lindo, Michael B. Jordan, and Ryan Coogler.

Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night.

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise.

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.

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