Article
Change
Development
6 min read

The women driving African Christianity’s global reach

African Christianity has exploded to reach all countries in the world. From villages to megacities, Harvey Kwiyani outlines the significant role women are playing.

Harvey Kwiyani is the CEO of Global Connections and a lecturer in African Christianity at Church Mission Society. He also leads Missio Africanus.

A group of women stand and dance at a celebration in the street, wearing matching skirts..
Igbo women at a celebration in Nigeria.
John Mic on Unsplash.

In the past fifty years, African Christianity has exploded to reach all countries in the world. A Nigerian Pentecostal denomination, the Redeemed Christian Church of God, boasts of having congregations in every country in the world. Another African Pentecostal denomination, the Church of Pentecost (from Ghana), is present in 160 countries around the world. Here in the UK, these two are the largest African denominations with almost 1000 and 200 congregations, respectively. Most of their members are African, and the African woman is at the centre of it all (even though, of course, their leadership structures say otherwise). So, this article sets out to show the particular contribution of women to African Christianity.

“To develop a community, you must educate its women.” This is what we were told several decades ago when African countries like Malawi (where I grew up) wanted to encourage communities to send young girls to school. Of course, this is not untrue. Living standards in communities where women had access to schools were noticeably better than in societies where women had not attained basic education. Educationally empowered women tended to help uplift their communities towards better living. While politicians and activists preached about educating young girls, Christian communities took a similar approach to evangelism, mission, and church growth. “If you want to save a community,” they said, “you must convert the women.” They believed that when women became Christians, the men and children in their communities would also convert. A great deal of the evangelistic campaigns was shaped to appeal to women.  

African women themselves took advantage of this and became missionaries and evangelists in their own communities. Looking back at that era, there is no doubt that African women played a very significant role in the remarkable spread of Christianity through the continent over the past century. In part, this is why women and girls make up a majority of Africa’s Christian population. While 52 per cent of Africans are female, women and girls make up well over 55 per cent of Christians in many African countries. 

Female African evangelists, many of whom would not even identify as such, took the good news to their communities and spoke about the transforming power of Christian faith with fellow women wherever they gathered—whether fetching water, walking to the maize mill or, indeed, for their regular village women’s meetings. Slowly, one by one, they evangelised their families, friends, and co-workers. These went on to convert their own families, clans, and communities too. Men played a role too, and this is often acknowledged. Women’s work, however, is usually under-appreciated. Christian mothers often taught the basics of the faith to their children, tilting their worldview towards Christianity in their formative years. In most cases, Christian women worked as teachers in early primary education. Their Christian faith and lifestyles were part of their teaching and testimony. In teaching primary school Religious Education, for example, many teachers catered to the curious needs of young inquisitive minds living in a religiously charged atmosphere. Alongside this, because of their profession, most female Christian teachers often ran Sunday school classes in many churches.  

Furthermore, women often took on the responsibility of praying for their families and communities. The importance of this work cannot be understated. The people I grew up with in Southern Malawi used to say that behind every successful boy or girl is a praying mother. Indeed, my grandmother, one of the female evangelists in our community, used to say, “Our children’s futures are shaped on the knees of the mothers.” Rightly so, bent and broken on their knees, the women of my community prayed for their children’s educational, social, and spiritual well-being. A female Nigerian pastor told me an adage, “If you have not seen an African woman travailing in prayer, you have not seen prayer yet.” Of course, this is hyperbole, but it was said for a reason.  

Today, in the 21st century, African women continue to be the backbone of the Christian faith in the continent as well as in the African diaspora. 

While African Christian women can be good teachers and build their communities through prayer, it is their commitment to hospitality that stands out.. Their hospitality provided missionaries and evangelists with a platform that helped their work of preaching Christianity. By opening their homes to house the missionaries, even temporarily, and making sure that those who went out to preach the gospel—and this included numerous female evangelists—were fed, they facilitated a network that helped accelerate the growth of Christianity in Africa.  

Today, in the 21st century, African women continue to be the backbone of the Christian faith in the continent as well as in the African diaspora. A Burkinabé female theologian, Ini Dorcas Dah, has discussed the role of African women in both the churches as well as in society in her 2017 book appropriately entitled, Women Do More Work Than Men. She is following in the theological footsteps of the matriarch of African women’s theology, Mercy Amba Oduyoye who, back in the 1980s started questioning the male domination of a majority female church in Africa. Oduyoye would, in 1989, start the Circle of Concerned African Women Theologians to enhance the feminist critique of African Christianity. Her book, Daughters of Anowa: African Women and Patriarchy, has grown to become a classic. The Circle continues today as many African female theologians such as Esther Mombo, Telesia Hinga, Isabel Phiri, and Wanjiku Kihuha have picked up the baton and published many books over the past twenty years. 

In her master’s research, done in 2018, Modupe Adefala, a Nigerian pastor of Word Fountain Church in Oxford, suggested that African women pioneered a great deal of African origin church ministry work in London. Her biographical sketch of five female Nigerian pioneers in London revealed larger-than-life ministers doing outsized work in the city. Sheila Akomiah-Conteh, a Ghanaian theologian who works for Missio Africanus and teaches at Church Mission Society in Oxford, adds that African women are busy serving God in migrant churches in every city in the country—churches that are usually unseen, making the work of the women serving in them even more hidden from society. They silently do what they need to do, away from the spotlight. Both of them are keen to recognise that a younger generation of female African Christians is emerging that is ready to serve while living right in the spotlight. Modupe’s daughter, Wonuola, carries a good portion of her ministry on Instagram. She is one of many young African women ministering significantly on social media.  

To get back to the statement at the beginning of this article, Akomiah-Conteh is concerned that African women have very little access to theological education and ministry training. She is right. Wanjiku Kihuha says that as a female theologian teaching in Nairobi, she is usually the only female in her classes. Another scholar added that for every 15 males in theological education in East Africa, there is only one female. This incongruence, especially in a church context where females significantly outnumber males, is quite troubling. Here in the diaspora, it is not too different. African women theologians are hard to come by, and when one is found, she will most likely be overstretched between family, ministry, and a career. African churches are an increasingly prominent presence in UK cities and towns. For them to have the deep positive impact that they have the potential to bring, we need both to pay attention and to support the women who so often are the backbone of these churches    

 

Missio Africanus, has a commitment to equip and empower African women both through theological education and ministry training. It is convinced that to mature a Christian community, its women must have access to theological education. It welcomes any support we can get for this. 

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

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. 

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