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

Art

Community

Culture

12 March 2025

5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan Gray

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.

The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity.

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions.

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up.

Artists can also create spectacles of togetherness and joy.

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse.

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity.

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew.

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life.

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter.

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could.

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership.

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.”

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.”

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew.

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope.

Community groups taking part in Berwick Parade.

A projection of a horse and rider against a barracks wall.

Clergy process as they are filmed for a projecton.

A projection of a parade of young people dressed theatrically against a barracks wall.

A projection of soldiers marching and carrying flags.

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