Article

Comment

Community

Development

27 February 2023

5 min read

Religion and prosperity: how Nigeria’s diaspora is changing the West

Superlatives may describe Nigeria, but it is vital to understand what drives its people, especially those abroad.

Chris Wadibia

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

Mushin Market in Lagos.

Omoeko Media, via Wikimedia Commons

Superpower superlatives

Nigeria is the economic and human capital giant of Africa. Nigeria has almost 100 million more people than Ethiopia, the country with the continent’s second largest population. Nigeria’s 2021 GDP of $440bn led the continent for the eighth consecutive year. Helped, no doubt by its oil production, the second biggest in Africa. Since gaining independence in 1960, the Nigerian economy has suffered from incessant fluctuations but its population has experienced consistent growth. As of today, Nigeria’s population of 211 million is about two-thirds the population of the United States’ 332 million. All living on sovereign territory one and a half times the size of Texas.

The oil curse

Spotlighting these statistics uncovers another side of Nigeria's place in ‘Giant of Africa’ discourses. With over 300 distinctive ethnic groups, it has one of Africa's highest levels of population density. Ethnic competition for control of state economic resources, mainly oil revenues, has evolved into a leading theme influencing Nigeria's postcolonial development. Nigeria first discovered its oil-harvesting potential in 1956. However, the oil curse, and the high-level corruption that characterises it, would not fully commandeer Nigerian governance until the concluding decades of the 20th century. Some have argued that the curse of corruption grew in these decades into a chief impediment preventing national development. Nigeria is equally blessed and cursed, and this curse affects how it behaves internally.

Transnationalism

High potential Nigeria is hobbled by a curse that also has significant effects internationally. Thanks to Nigeria's large diaspora, these effects impact the UK. It is therefore important to understand who this diaspora is and what it believes. Many have written about the relationship between corruption, transnationalismm, and capital flight in Nigeria; however, another, less researched case of trans-nationalisation has unfolded in recent Nigerian history that has relevance for global economics. Since the 1980s, many thousands of Nigerian Christians have emigrated abroad to the UK, USA, and beyond, regularly citing economic, political, and religious factors as influences behind their decision to leave.

This emigration takes with it a practice that has reshaped not only Nigeria but the destination countries. It has led to the dawning reality among people researching global Christianity that Christendom's geographical locus of power, in terms of total number of Christians and theological influence, is shifting away from the West to the Global South. The faith of the immigrants drives their emigration and results in a variety of economic and social impacts in their destination countries. So, it is vital to understand their faith and its practices. More than any other Christian denomination in Nigeria, the confluence of Christian spirituality, migration, and economics heavily informs the religiosity of Pentecostals, whose churches frequently send them out as missionaries in service of a highly ambitious vision to evangelise the entire non-Christian world.

What drives the diaspora?

Nigerian Pentecostals relocate to the UK emigrate with two main interests: evangelising Britons and building personal wealth. In recent decades, the prosperity gospel has emerged as the defining doctrine of Nigerian Pentecostalism, the country's most politically and economically dynamic denomination. The prosperity gospel lionizes wealth and its linchpin theological premise argues that God wants Christians to enjoy this-worldly lives characterised by material blessings and holistic success. Believers in the prosperity gospel understand material wealth as an important component of their spiritual inheritance and ardently strive to secure material prosperity for themselves and families.

The materially intoxicating nature of prosperity gospel sensibilities have spilled over into other denominations in Nigerian Christendom to the extent that many Nigerian Christians today believe that God wants them to enjoy a life marked by wealth and health. Correlations between belief in prosperity theology and increased individual wealth remain difficult to prove indisputably, but the prosperity gospel's way of inculcating in believers the desirability of material wealth certainly makes them more comfortable working to acquire it, whether in the UK or the USA or elsewhere.

Go global

With upwards of 1.3bn people of Black and African descent living worldwide, Nigerians account for over one out of every six Black and African individuals globally. The instilling of prosperity gospel-friendly values in the minds of globally mobile Nigerian Christians conditions the latter to contribute to the local economies of their new home countries.

Go West

Nigerian-Americans have grown into one of America's wealthiest migrant groups. For decades the typical Nigerian-American child has grown up aspiring to become a doctor, lawyer, engineer, or businessperson, and today Nigerians can be found in senior positions in America's highest-grossing industries. Increasingly, this dynamic applies to the UK.

Nigerians in the UK

Nigeria, once a British colony, enjoys membership in the commonwealth; this geopolitical affiliation makes it easier for Nigerians to relocate to the UK and secure British citizenship. Aware of what they perceive as the ongoing secularisation of the West, many of these Nigerian Christians move to the UK inspired by a vision to re-evangelise the motherland, and this vision has given rise to the emergence of what is sometimes called ‘reverse mission.’

A succession of military dictatorships from 1966 to 1999 compelled many Nigerians to flee Nigeria to the UK in search of a better life. As a result, approximately 250,000 Nigerians live in the UK. Nigerians have evolved into one of the UK's largest and most influential African migrant communities. A disproportionate level of popular and scholarly attention devoted to the presence of Nigerians in the UK focuses on how Nigerian elites continue to buy expensive properties in London and the appreciable number of Nigerian students enrolled at UK universities. However, the landscape of Nigerians living in the UK contains additional dimensions in need of analysis and one of the most under-discussed of these dimensions concerns the influence of Nigerian Christian values on UK economic life.

Economic influencers

Based in north London Brent Cross' district, Jesus House is one of the UK's largest and most popular Nigerian Pentecostal churches. Like many other churches in the UK, Jesus House has joined the Warm Welcome Campaign in an effort to provide warm spaces to members of its community suffering from excessive exposure to cold winter temperatures. Yet, long after winter passes, this warmth will continue playing a valuable role by helping thaw the keys opening the ostensibly frozen doors to the next generation of UK prosperity.

Like in the USA, Nigerians in the UK envision for themselves lives marked by material prosperity. This vision regularly inspires them to pursue lucrative jobs and engage in entrepreneurship. For many UK-based Nigerians, prosperity gospel sensibilities, reverse mission interests, and the aim to build a better life intersect in ways that have constructive, wide-reaching social and economic consequences for the UK.

Sure, the prosperity gospel has its critics and its problems, but viewed positively, it can provide a source of economic energy for countries like the UK.

Inspired by Christian devotion and the belief that despite transient seasons of difficulty, prosperity is a sign of divine favour, Nigerian Christians contribute to the UK economy every day in consistent, substantive, and innovative ways. In a time when homes across the UK remain far colder than they should be, the prosperity-friendly piety of the UK's many Nigerian Christians offers a source of Christian warmth that deserves to be recognised more widely than it is.

Review

Culture

Film & TV

Identity

Music

20 November 2025

6 min read

Life is complicated, and Alan Bennett knows it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger Standing

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

Ralph Fiennes conducts.

Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal.

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble.

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts.

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours.

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society.

At one point he recites

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!”

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy.

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring.

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny.

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen.

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus.

Complicated!

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind.

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.

“Purgatory …” says Clyde, “… I could take you there tomorrow!”

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell:

“Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.”

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is:

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.”

And Guy Lodge in Variety observes:

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …”

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common.

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion.

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point.

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them:

“There is always one fact more in every man’s case about which we know nothing.”

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly.

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack.

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