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Freedom of Belief
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We need to talk about Nigeria’s brutal war

As Nigerian culture rises globally, why do we ignore seven decades of killing?

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

A TV interviewer sits across from a young woman in an outdoor setting
Michael Palin interviews Amina Ali Nkeki, a Boko Haram abduction survivor.
Themichaelpalin.com

Nigeria is the world's largest Black-majority country. Its richly diverse population includes over 235 million citizens, and its global diaspora numbers 17 million people. Famous for their cultural emphasis on education and professional achievement, Nigerians occupy senior positions of leadership and influence in every prominent industry on earth. From Los Angeles to London and Geneva to Rome, the world is replete with Nigerians working to create better lives for themselves, their families, and their communities.  

In April 2024, British TV station Channel 5 first aired Michael Palin in Nigeria, a three-part travel documentary hosted by English actor and comedian Michael Palin. The series exposed viewers to the magnificence and difficulties of life in the Giant of Africa. From the destitute, famous floating mega-village Makoko in Lagos to thrilling polo games in the North, the docuseries testifies to how the world remains fascinated by Nigeria, despite the significant geopolitical, socioeconomic, and inter-religious challenges it faces.  

Shockingly, one of the gravest of these challenges has escaped the world's gaze for decades. A brutal war has persisted in Nigeria for over 70 years. It has gained scant attention from leading Western media and has been largely ignored by the Nigerian media. Just one short segment of Palin’s series hints at it – when he interviewed a survivor of a Boko Haram abduction of schoolgirls a decade ago. 

The war against Christians in Nigeria began in the middle of the twentieth century but was exacerbated by the Biafra War (1967-1970), a bloody civil war from which Nigerian society has never fully recovered. The war led to over one million casualties. Its causes included economic, political, interethnic, and interreligious factors. It brought out the ugly side of religion in Nigeria: violence between Muslims and Christians colonially coerced to cohabitate.   

Since 2000, over 62,000 Christians living in Nigeria have been murdered for their faith. The International Society for Civil Liberties and Rule of Law reported the killings of over 8,000 Christians in Nigeria in 2023 alone. Perpetrators of these lethal acts of violence include Boko Haram insurgents, Islamic State West Africa Province agents, and militias associated with the Fulani ethnic group. Despite the protracted duration of this unacceptable violence, Nigerian and Western Christian communities continue to turn a blind eye. Monthly attacks against Christians have grown by 25 per cent since 2021 and will likely increase.  

Hundreds of miles from these outbreaks of sectarian violence, many Nigerian Christians feel too geographically removed for the violence to feel relevant to them personally. 

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What factors might explain the global apathy towards anti-Christian violence in Nigeria? I have three answers to this question.  

Firstly, many Nigerian Christians tend to prioritise other aspects of their identity, like their ethnicity or socioeconomic status, over their religion. This is because for these Nigerians ethnicity is the part of their identity most able to help them access networks, opportunities, and protection in a country where ethnic networks open doors socially and professionally. In 2014, Nigeria, then Africa's largest oil producer, had a continent-leading GDP of $574 billion. In 2024, Nigeria's GDP is projected to fall to $252 billion and its oil production has nosedived. Nigeria is experiencing one of the most debilitating downturns in its economic history.  

In a desperate economic climate, many Nigerian Christians find themselves struggling to survive and simply lack the time or energy to support their fellow Christians. Prioritising non-religious features of their personal identity over their Christian faith leads these Nigerian Christians to ignore and emotionally distance themselves from the reality of anti-Christian violence in Nigeria.  

Geography also contributes to this emotional distancing. Most murders of Christians happen in the Muslim-majority North of the country and in the Middle Belt, where the Muslim-majority North and Christian-majority South collide. Hundreds of miles from these outbreaks of sectarian violence, many Nigerian Christians feel too geographically removed for the violence to feel relevant to them personally.  

Black suffering seems to only matter when linked to the Black Lives Matter movement or civil rights abuses of Black Americans mistreated by an unforgiving American system. 

Secondly, the lack of Western Christian interest in Nigerian Christian suffering reflects an ambivalence rooted in a casual Christianity incompatible with biblical Christian solidarity. Christianity, despite misleading popular narratives characterising the faith as a declining religion of antiquity, remains the world’s largest religion by over half a billion followers. People living in Western societies, like the USA, UK, and many European countries, take for granted the civil, political, and legal freedoms they enjoy. They fail to acknowledge the historical spread of Christianity helped create the conditions for these freedoms to emerge. Lukewarm genres of cultural Christianity in the West could not be more different to the pure and authentic faith of Christians in Nigeria killed every day for their loyalty to Christ.  

Thirdly, the Western media gaze deprioritises the significance of Black Christian suffering. In particular, the Western media gaze downplays the relevance and the ratings-oriented worthiness of suffering endured by Black Christians living outside of Western societies. White Christian suffering might appear as a footnote on websites of major media outlets. Black Christian suffering will unlikely be mentioned in the content of these platforms at all. Liberal values of Western media actors only drive them to report news of anti-Christian violence when it is linked to politically sexy stories able to increase consumer engagement. Moral outrage of anti-Christian violence, sometime in the historical lifespans of Western media entities, declined in ways no longer justifying its worthiness of headline coverage. Black suffering seems to only matter when linked to the Black Lives Matter movement or civil rights abuses of Black Americans mistreated by an unforgiving American system.   

Jesus taught that the ultimate cost associated with being one of His true followers is high. Christians in Nigeria killed for their faith represent some of the best examples of genuine Christianity on earth and will be greatly rewarded for their sacrifices in the New Creation. Jesus teaches his followers to fear spiritual death rather than earthly death. Christians living today should do the same. Christianity’s Bible teaches Satan is the king of our sinful world. Satan delights in violence against Christians because as the ultimate predator he seeks to destroy the children of his enemy. The world ignores the killings of Christians in Nigeria because doing so serves the interests of its master.  

The murder of one Christian anywhere globally is an assault on all Christians worldwide. Christians living in peaceful – both socially and religiously – regions of Nigeria (including the Southwest and Southeast) and in the Western world have a religious responsibility to repent of their apathy towards the killings of Christians in Nigeria. Still, more action must be taken. The global Christian community includes many thousands of Christians working in politically and financially influential centres of power globally. These Christians have a sacred duty to leverage their proximity to that power to petition leaders to intervene in any way possible to end the violence against Christians in Nigeria. Until every Christian in Nigeria is safe, the sanctity of the global Christian community will remain blemished.   

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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