Article
Church and state
Culture
Freedom of Belief
War & peace
7 min read

Nigerians plead for an end to rampant murder

So-called ‘grazing conflicts’ need to be treated as a real humanitarian crisis

K.C. Nwajei is a freelance journalist based in Nigeria. 

Small huts in a crowded refugee camp.
Displaced villagers shelter in refugee camps in Benue State.
Open Doors.

 

In the state of Benue in the North Central region of Nigeria, life has become short and brutish, as mothers bury their husbands and children in an endless grief pervading Nigeria’s Middle Belt region. 

In a region where women and families once tilled the soil for sustenance as children played freely on farmlands, an unrelenting nightmare now unfolds with worrisome and haunting regularity. 

Vicious and armed herdsmen, cloaked in impunity, have turned many villages and communities in the area into killing fields. They leave behind mass graves, charred houses, and shattered lives. 

As the world watches in silence, cries from the bloodied farmlands, a steady but unabated genocide unfolds, bringing in its wake ashes of burned houses and orphans, the human cost of Nigeria’s silent killings. This is the sad reality of our times. 

Many human rights groups and people of conscience say this is no longer a local conflict over grazing routes but a serious humanitarian crisis—the agony of abandoned lives in Nigeria’s killing fields crying out for justice and urgent, pragmatic international intervention before the region is wiped off the map. 

The most recent of these gory tales is the Yelewata Massacre in the Guma Local Government Area of Benue state. Reports have it that more than 200 innocent, vulnerable and unsuspecting persons—children and elderly from 47 families—were killed by suspected herdsmen on June 13 and 14. 

In a shocking revelation by the Nigeria’s National Bureau of Statistics, 614,937 people were killed in the country in the past year. According to a local newspaper report (Daily Trust, June 22), the death toll figure is 10 times more than in war-torn Russia and Ukraine, which stands at 67,000. 

A victim of the mayhem, Janet Erdoo Terhemba, recounted her ordeal, in the news reports of the This Day newspaper. 

“I wasn’t around when it happened. At first, I was told my uncle was missing. Later, they said they found my father and stepmother. But my uncle and others, including a toddler, were burnt beyond recognition. They were butchered before they were set ablaze. My uncle was butchered—his wife too. In total, I lost eight people in one night … they were killed.” 

Ajim Doowuese is an internally displaced person from Yelwata. “All my children were burnt to death,” she said while sobbing. “Now I am childless.” 

David Tarku recounts this: “I traveled out of town and returned late in the night. Suddenly, the herdsmen attacked. I started running with my family, but my cousins were not lucky. They were killed.” 

These massacres have provoked reactions from Christian leaders, government, human rights groups, and well-meaning Nigerians, calling for decisive government actions. Pope Leo XIV, in his first official statement regarding the crisis in Nigeria, described it as “a terrible massacre in which mostly displaced civilians were murdered with extreme cruelty.” The pontiff offered prayers for security, justice, and peace for rural Christian communities he described as “relentless victims of violence.” 

The Rt. Rev. Dr. N.N. Inyom Bishop Emeritus of the Diocese of Markurdi, confirmed the story, while emphasizing that this is a “genocidal attack targeted at predominantly Christian communities.” 

Inyom has been a member of the Benue State Security Council through the past two administrations, and is a specialist in conflict and peace studies. “By any stretch of imagination … this is not a conflict,” he said. “It is pure genocide. … These are purely activities of terrorists to take the land of the communities. I have documents to support what I am saying, and pictures and names of the families and people killed in the Yelewata community.” 

“We have been living with this crisis over the years,” he added. “The Yelewata catastrophe is unimaginable.” 

“Benue state has 23 Local Government Areas, and about 17 are completely devastated. Over 1.5 million (mostly women and children) villagers are living in Internally Displaced Camps in the state. 

“Before my retirement, I had six archdeaconries. Out of these six, four have been sacked by the invading terrorists,” the bishop said. 

To buttress his claim, the bishop presented a list of the names and families he says have been killed during the Yelewata crisis. 

He challenged church leaders, irrespective of denomination, to speak up. “If the Pope could speak from the far-away Vatican, what happened to our local leaders? Let the church not just busy or bury itself in ‘spiritual deliverance.’ We need physical deliverance for our people who are being killed. I read a book on Rwandan crisis where the United Nations was asking, ‘Where was the Church before the escalation of the Rwandan crisis?’ Let the Church in Nigeria arise and let the leaders unite and save these communities.” 

He challenged the government to prioritize its duty of ensuring the security of lives of their citizens. “Government is not just about winning elections. They are looking at 2027 general elections. Meanwhile, people are being killed in 2025. Government must stop playing politics with the lives of its citizens.” 

“The greatest problem, he said, is that over time, government has not summoned the political will to implement the recommendation of the Peace and Reconciliation Commission. 

He called on the federal government to set up a Commission of Enquiry on this recurring crisis. 

Bishop Inyom called on the international community to intervene: “This is a Macedonian call. The international communities must speak up because a serious humanitarian crisis is looming.” 

Meanwhile, Amnesty International has been documenting the alarming escalation of attacks across Benue, where gunmen hold sway over the territories. 

Some prominent traditional rulers and Christian leaders have continued to express frustrations. 

In a strongly worded statement shared on X .com, Apostle Johnson Suleiman described the killings as evil, barbaric, and a mayhem. 

At a town-hall meeting with Nigeria’s President Bola Ahmed Tinubu, professor James Ortese Iorzua Ayatse expressed his alarm: 

“We do have grave concern about the misinformation and misrepresentation regarding the security crisis in Benue State. It is not herders-farmers clashes, it is not communal clashes, it is not reprisal attacks or skirmishes. It is such misinformation that has led to suggestions such as “remain tolerant, negotiate for peace, learn to live with your neighbour. 

“Your Excellency, what we are dealing with in Benue is a calculated, well-planned, full-scale genocidal invasion of land-grabbing campaign by herder terrorists and bandits which has been on for decades, and it is worsening every year. 

“Wrong diagnosis will always lead to wrong treatment. So we are dealing with something far more sinister than we think about. It is not learning to live with our neighbors. It is dealing with the war.” 

The leader of North Central Peace Advocates, Frank Utor, in a This Day newspaper report, wrote that the killers are well-trained members and affiliates of international terror groups with the mission to levy war against the indigenous communities of Benue, Plateau, and other parts of North Central. “The killers do not rear cattle, they do not engage in any known pastoral activities,” he said. 

Several media outlets have quoted elder statesmen in the communities expressing concerns about what some of them described as the “genocidal activities” of the criminal herdsmen. Some have argued and lamented that governments have failed to live up to their constitutional responsibility of protecting lives. 

The media, particularly social media, are awash with news berating the political elites in the state for failing to present a united, formidable, and common front to tackle the gruesome serial murders and carnage perpetuated by these criminal armed men. 

At a recent forum during the presentation of a posthumous award to Late Chief Raymond Alegho Dokpesi, a media mogul and founder of African Independent Television, the Rev. Father George Ehusani, a prominent Catholic priest and civil rights activist, said: 

“A lot of the clashes in Benue state are not clashes between two people. People are in their farms and 100 people in motorcycles with AK-47 riffles invade their village, sack them, and kill many. That is not ‘two fighting.’ That is one group of people going to kill people and sack them from their villages. 

“If AIT [a TV news channel] reports the news as “Clash over land in Benue state,” that would not be correct. That would be a lie.” The fact that we should communicate with gentleness does not mean we should tell lies.” 

According to monitored media reports, less than 72 hours after the mayhem, a combined force of Nigeria’s military and police chiefs launched a joint, cross-border manhunt for the gunmen who killed around 200 villagers in Yelewata on the night of June 13. 

Gen. Christopher Musa, the chief of defense, and Kayode Egbetokun, inspector-general of police, arrived in Markudi on June 16 to coordinate the operation. After assessing the carnage, Musa vowed to take the battle to the terrorists by changing the military’s strategy to fit the situation on ground. 

President Bola Ahmed Tinubu, who had previously condemned the violence in Benue state, had also directed security chiefs to implement his earlier directive to bring peace and security to the state. 

Following his visit to Benue on June 18, President Tinubu directed the Benue State Governor, the Rev. Hyacinth Iormem Alia, to set up an all-inclusive peace committee for the resolution of contentious issues that have rendered past efforts fruitless. 

In response, HURIWA, a human rights group, accused the Governor of showing what it describes as “aloofness to the gravity of the situation of mass slaughter of his people—women and children—by the terrorists masquerading as herders.”

This article first appeared in Livingchurch.org. Reproduced with permission. 

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Review
Culture
Film & TV
Language
Music
6 min read

The Phoenician Scheme - opening the mind to wider horizons

Wes Anderson's new film widens our vision to a bigger world

Oliver is a Junior Research Fellow at Pembroke College, Oxford, writing and speaking about theology and AI.

Characters from a Wes Anderson film sit in a stylish plane interior.
Benicio del Toro and Mia Threapleton star.

Wes Anderson’s latest film – The Phoenician Scheme – has caused as much confusion amongst critics and viewers as it has the usual delight. It tells the story of Anatole – Zsa-Zsa – Korda, his mad-cap business scheme across an imagined near-Eastern world, and his growing relationship with his daughter (apparently), Liesl, a novitiate nun. There are the usual Anderson-ian tropes and characters, with superb cameos by Tom Hanks, Richard Ayoade, and Benedict Cumberbatch (worth watching in itself), and a real star turn for the young Liesl, Mia Threapleton.  

I first watched it on a transatlantic flight (viewer advisory: there are several scenes in rickety planes). I was hooked from the first moment. Why? Not just the usual Anderson style and panache and dead-pan weird story and acting. It was the music. Anderson himself first trained as a musician. It shouldn’t be a surprise that amidst the rest of Anderson’s meticulously designed and curated world the music should carry so much meaning.  

The opening scene (no spoiler, it’s in the trailer), involves the burning wreckage of a plane (viewer advisory). There are birds – crows, hovering. And from the wreckage, bloodied but unbowed, emerges Korda. We hear from a voiceover that this is by no means the first assassination attempt he has survived. It won’t be his last. But the music at this precise point? It is a dark and brooding short melodic fragment. Does this portray a dark and brooding – evil, even – presence in the main character? Indeed, this dark melodic fragment follows Korda around the whole film, a leitmotif.  

But far from it. And this is what delighted me and hooked me. Because this isn’t just any old dark and brooding melodic fragment. It is the opening notes of Stravinsky’s magnificent ballet score, his first hit for the Russian impresario in Paris, Diaghilev and his ‘Ballets Russes’, The Firebird. Now here’s the fun thing. If you know the ballet, you know that it is the magic of the firebird’s feather which brings new life out of death in the ballet’s wonderful conclusion. And that is because the Firebird story itself is based on another mythical bird-creature – the phoenix (remember the title of the movie). The mythical phoenix is a bird which cyclically dies in flames, only to be reborn from the ashes to new life. So immediately, even though all we can see is the burnt-out wreckage of a plane, what we might think to ourselves if we know our Stravinsky, is that perhaps what this melodic fragment signifies, far from a brooding menacing presence, is someone who is constantly going to reemerge from the ashes to new life. In fact, I immediately felt I would be surprised if that wouldn’t happen. Korda himself says at a certain point ‘I won’t die, I never do’. Just from a musical fragment, the whole story can be seen in one glimpse.  

There are two other Stravinsky ballets which Anderson skilfully deploys (although less intrusively than the Firebird theme): the joyous whirligig of the opening of Petrushka, and the searing epilogue of the ballet Apollo. Now the Petrushka music does seem to be associated with another character, just like Firebird is associated with Korda. In the movie, Petrushka appears in two moments of significance for Liesl, (apparently) Korda’s daughter, the novitiate nun (and therefore herself already intimately associated with music – The Sound of Music). But the telling thing here is that, unlike Firebird, Petrushka (the ballet) doesn’t end well for its eponymous puppet-hero. Petrushka is killed by another puppet, with only a fleeting appearance at the end as a ghost. So the music of the ballet of Petrushka, despite the excerpt we hear being full of joyousness and innocent youthful energy, and its association with Liesl, suggests that her journey in the film is going to go in a very different direction to the convent of her initial intentions. Once again, knowing the music and the whole pattern of it can foretell an entire history that will unfold, even just from a mere fragment.  

Now the next thing that is so fascinating here is the combination of Stravinsky and Wes Anderson. Stravinsky wrote several ballet scores for the ‘Ballet Russes’ and Diaghilev in the glamour of Paris of the 1920s and 1930s (amongst other famous ones are The Rite of Spring (which caused a riot), Orpheus, and Pulcinella). They are highly stylised pieces, often returning to Classical ideas and tropes (musically, as well as in theme), presenting stylised and formal dances, tableaux. And whilst all these descriptions could be applied to Anderson’s films, The Phoenician Scheme itself presents a series of quirkily introduced tableaux, with their own distinctive characters and settings. And, in the concluding scene, set in a theatre, all the characters are present all at once. A miniature mechanical device representing all of Korda’s business interests appears on a stage. And the music at that point? The opening movement of Pictures at an Exhibition (by Mussorgsky, a Russian composer from the generation before Stravinsky), music which presents its own series of musical tableaux. Artistic tableau, musical tableau, ballet, and now film presented as a series of tableaux all coming together in Anderson’s fertile imagination.  

But there is one last thing that is fascinating for us in this presentation of music and art and film and plot. There is a much earlier precursor for the technique I referred to above, of one musical fragment potentially carrying with it the implication and meaning of the whole work. That earlier precursor for this technique is found in the New Testament. The authors of the New Testament, especially Paul, were saturated in the texts which we now call the Old Testament, or what they thought of as their Scriptures (just as, we might say, Anderson is clearly saturated in Stravinsky). Scholars think the New Testament writers assumed a familiarity with those Scriptures in the hearers and readers of their new writings, or, alternatively, they were helping their hearers and readers newly think and imagine along the lines set out in the Scriptures. Time and again, as Richard Hays masterfully showed (in Echoes of Scripture in the Letters of Paul, and Echoes of Scripture in the Gospels), the authors resort to a technique called metalepsis. That is, in quoting or near quoting a few words or a phrase from their Scriptures, not only are the hearers/readers meant to understand that it is a quotation, but to import the sense of the entire passage or even book from which that miniature quotation emerges. It was Richard Hays’s groundbreaking work on this literary hermeneutical aspect which caused a sensation in New Testament studies in the 1980s and 1990s when it first emerged, because it opened up whole new lines of interpretation, without any question remaining about their veracity. What it means is that, as we read the New Testament, we have constantly to be aware of what Scriptures the writer had in mind, either consciously or semi-consciously, in order to allow that thought-world to permeate our reading. It is a reminder, whatever we are reading or watching or listening to, never to be too reductive about our own cultural horizons when we approach such a text, but to be listening and open and willing to be enlarged by the life-world of the text before us, as the great philosopher Paul Ricoeur used to say.  

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