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Development
5 min read

Don't patronise: what the R20 means for development

The R20 meeting at the G20 global summit sheds light on development. Christopher Wadibia makes the case for a change in perception.

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

Swami Govinda Dev Giri Maharaj, Dr. Valeria Martano, and Archbishop Henry Ndukuba, are greeted by R20 founder Yahya Cholil Staquf.
G20religion.org

God is dead,' wrote Friedrich Nietzsche in 1882, in an effort to argue that every European imagination, community, and enterprise developed by faith in the Christian God would inevitably degenerate relative to Europe's dwindling commitment to belief in the former. Nietzsche's argument preceded the once popular secularisation thesis. The view that societies would increasingly adopt non-religious values and institutions as they modernise influenced global development discourse in the 20th century following World War II.   

However, in 2023, a year that marks more than 140 years since Nietzsche first popularised the atheistical three-word phrase ‘God is dead’, anyone familiar with the mechanics and forces driving the modern global development project would point out that faith-aligned actors play a pivotal, and even in some cases, unrivalled role. These actors promote growth, progress, and development globally, especially in the Global South.  

Albeit, Nietzsche once argued that Europe's declining belief in the Christian God signaled God's death, the fact that at least 85% of the world's over eight billion people claim some form of faith. Couple that with the reality that faith actors deliver the majority of local development services in many regions across the globe, and the suggestions is that God has risen from the grave and traded European burial clothes for globalised vocational attire. Far from being dead, God is alive and more engaged in developing the earth than ever before.  

Aside from state and private-sector investment, since the second half of the 20th century, the faith sector, comprised of thousands of actors, has become increasingly responsible for developing the modern world. A recent study on faith-aligned impact investment, completed by researchers at Oxford University's Said Business School, showed that four of the world's most influential religious groups (Christianity, Islam, Dharmic, and Judaism) collectively hold at least $5 trillion in net assets. The study linked this $5 trillion in assets to faith-aligned investment in addressing social and climate-oriented challenges globally.  

The study, which analysed over 360 distinctive organisations, attributed over $260 billion to Christian-aligned capital. Given the difficulty of securing accurate data on the total assets and capital held by the world's many thousands of churches and Christian  organisations, it should be acknowledged that this estimate sits far below the real net assets in Christendom that have been invested into global development. However, a key takeaway from this study is that Christian-aligned capital remains a game-changing force in the global development sector. After all, those organisations serve the approximately 2.4bn Christians alive today.  

  

'The R20's mission was grand but straightforward: fill the gap in world leadership that stresses politics and economics rather than faith and spirituality.'

In November 2022, two weeks before the G20 summit in Bali which brought together the leaders of the 20 countries with the world's biggest economies, another gathering took place in Indonesia that attracted less publicity. For the first time ever, the R20 (the G20 Religious Forum) united leaders from the major religions of the G20 countries whose heads of state would flock to Bali a few weeks later. The R20's mission was grand but straightforward: fill the gap in world leadership that stresses politics and economics rather than faith and spirituality as resources to provide solutions to pressing global challenges.  

One of the R20's more high profile speakers was Archbishop Henry Ndukuba, who currently serves as Anglican Primate for the Church of Nigeria. In his speech, Ndukuba cited the violent persecution of Christians and liberal Muslims in the majority Muslim region of Northern Nigeria. The R20's goal of elevating faith and spirituality in the hierarchy of resources that can be enlisted to engage with global issues should be viewed as noble. However, in practice, the concept of the world's major faith communities petitioning global peace and development stakeholders to be recognised as legitimate contributors to the sacred project of redeeming the brokenness of the world reeks of obsequious servility.  

Moreover, this unequal power relation fatefully overlooks the substantial contributions to peace and development made every day across the world by faith actors. Many of the world's major faith traditions share the vision of developing the world into a place devoid of disease, poverty, and suffering. The global faith and spirituality sector is truly not without its imperfections, but for centuries this multi-faith comity has invested immense resources into making earth look more like heaven. It does so by leveraging faith as a conduit to gather assets that aid in the deeply holy process of chiseling away at the degenerative evils and satanic forces plaguing the world until all that remains is the latter's Edenic base.  

The time has come for the world's faith actors to stop begging secular state actors to recognise them as stakeholders committed to promoting global peace and development. Getting on with the heavenly work of building God's cosmos, in anticipation of the New Creation, requires faith that God will provide the right people, ideas, and resources and that secular state actors should be viewed as partners instead of patrons in this divine enterprise.  

'The work we do in the present, then, gains its full significance from the eventual design in which it is meant to belong.'

N.T. Wright

Secular state actors should better understand what is driving those faith actors and the desire to balance the partnership. In his influential book Surprised by Hope, NT Wright argues that continuities will exist between Christian work completed in service to God in the present age and the eternal life that God's people will enjoy in the New Creation. Wright reasons,

'The work we do in the present, then, gains its full significance from the eventual design in which it is meant to belong. Applied to the mission of the church, this means that we must work in the present for the advance signs of that eventual state of affairs when God is ‘all in all’, when his kingdom has come and his will is done ‘on earth as in heaven’.' 

Every day a faith actor funds a school, hospital, or social development project somewhere in the world. They see these projects function in God's ongoing programme of redeeming the world by means of the intellects and imaginations of themselves and those who benefit. In their eyes, all are made in God's own image. In a world where they see sin's footprints manifest by way of suffering, violence, and destruction, every actor inspired by the faith in their heart to challenge the existence of the former should recognise that the impulse to build a better world is a nudge from heaven foreshadowing the New Eden to come. 

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Character
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Justice
Music
6 min read

A fan’s eye view of the fall of Sean Combs

We believed he was a good guy because we wanted to believe someone was

Giles Gough is a writer and creative who hosts the God in Film podcast.

Sean Combs sits on a golden couch.
Sean Combs, 2019.
Justiceonthebeat, CC BY-SA 4.0, via Wikimedia Commons.

As the weeks-long trial of Sean ‘Diddy’ Combs draws to an end, the world at large has seen an insight into his life that we wish we hadn’t. Combs has just been convicted of transportation to engage in prostitution. Combs had pleaded not guilty and vehemently denied all allegations against him. 

Podcasters and influencers have kept us up to date with every twist and turn of the prosecution’s case, along with a jury member being dismissed and a bizarre visit from Kanye West. Trials of powerful, successful men (and it invariably is men) have become a semi-regular occurrence in the last few years. The #MeToo movement brought justice for victims of abusers like R. Kelly and Harvey Weinstein. But something about the Diddy trial feels different. For hip hop fans of a certain age, the accusations against Diddy were both shocking and hard to accept. Let’s take a deep dive into why that might be.  

For fans who are forty or older, one night looms large in the history of hip hop; the 1995 Source Awards, which distilled the entirety of the East/West coast beef into one evening. West coast rap music was in the ascendence, and New York, the birthplace of rap music and hip hop culture, was not coping with it very well.  

The atmosphere was further exacerbated when a red-shirted man, as big as a house and twice as broad, took to the stage. Marion ‘Suge’ Knight was the head of Death Row Records, a West coast label that had been hoovering up talent like Snoop Dogg, 2pac and Dr. Dre. Suge was an intimidating presence to say the least. His red shirt was a sign of his affiliation with the ‘Bloods’, the notorious L.A. street gang. It was an image of notoriety that Suge leaned into and it was well-earned. In his award acceptance speech, Suge said the most infamous lines he was ever to utter:  

“Any artist out there wanna be a’ artist, and wanna stay a star, and don't wanna – and won't have to worry about the executive producer try’na be all in the videos, all on the records, dancin’ – come to Death Row!” 

This was widely perceived as an attack against Sean Combs, ‘Puffy’ or ‘Puff Daddy’ as he was known back then. As the head of Bad Boy Records, Puffy was not content to simply be behind the scenes; he constantly interposed himself into the songs and videos of the musicians on his label. Whilst these interventions might seem annoying to some, the success that Bad Boy’s artists had achieved couldn’t be argued with, and as a New York native, the audience at the Source Awards saw Suge’s words as an attack on one of their own. So, when Puffy took to the stage later, a response to Suge’s barbs was hotly anticipated. 

But on that occasion, Puffy took a different approach. He acknowledged that he was the executive producer in question, and added: “contrary to what other people may feel, I would like to say that I'm very proud of Dr. Dre, of Death Row and Suge Knight for their accomplishments... and all this East and West [conflict], that needs to stop. So give it up for everybody from the East and the West that won tonight. One love.” 

In this interaction, we saw the aggressive antagonist Suge be met with nothing but love and respect from Puffy. It seemed like a refreshing antidote to the perception of rap music being only violent and misogynistic. Without wishing to overstate the point, Puffy showed that hip hop could be measured, mature and positive. This was an image that, until recently, had held for decades. Yes, there was a fair amount of hedonism thrown in to his public image, but that is priced-in to the cost of being a fan of famous rappers –the excess comes with the territory. For decades we have been dealing with this false dichotomy that Suge Knight was the ‘villain’, and Puffy was the ‘hero.’  

This image of Puffy as, at the very least, a decent man, was further underscored following the deaths of Tupac ‘2pac’ Shakur and The Notorious B.I.G. aka Christopher Wallace. The murders of those two impossibly talented, painfully young men, less than a year apart, represent the point from which all other historical events are judged as ‘before’ or ‘after’. One of the things that came after was Puffy’s release of I’ll Be Missing You, a song in honour of B.I.G, his most popular artist and friend. Sampling The Police’s Every Breath You Take and featuring Biggie’s widow, Faith Evans, on the chorus, Puffy evoked explicitly biblical language with lines like:   

“It's kind of hard with you not around, / know you in heaven, smiling down / watching us while we pray for you / every day we pray for you.” 

These combined with the images in the video, hands in prayer, candles, children dressed in white all served as a fitting tribute. It could have been mawkish, but it met the moment and consolidated Puffy’s good guy image in our heads. We believed he was a good guy because we wanted to believe someone was. Other hits followed, with videos filled with shiny suits and relentless dancing; it was fun, and served as a counterbalance to the grit and grime of gangsta rap. For over two decades, Puffy, now going by ‘Diddy’, had an image that fans still associated with lightness and positivity. Critics like Murs from HipHop DX led conversations painting Diddy as the Superman to Dr. Dre’s Batman. Rumours about Diddy would occasionally surface, but without the mainstream media devoting much time to them, they were easily dismissed. That was until Cassie Ventura, Diddy’s ex-girlfriend, filed a civil lawsuit. 

If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men.

In late 2023, Cassie’s lawsuit accused Diddy of rape and sex trafficking. These allegations were explosive, but just one day later, both parties reached a settlement. The fire of Ventura’s accusations was dampened down by the release of the joint statement a day later. It seemed as if the whole thing was over and done with before many hip hop fans could even hear the news, let alone process it. Fans of Diddy clung to shreds of denial, whilst noticing that no-one else from the hip hop community seemed to be springing to his defence. Almost as if the people who knew him in person had a very different image from that of the persona he cultivated. 

But Cassie’s lawsuit was the first crack in the dam. Law enforcement agencies began investigating, Diddy’s property was raided and by the time CNN got their hands on the surveillance video of Diddy attacking Cassie, the dam had well and truly burst. The video from a Los Angeles hotel dated March 2016, shows Miss Ventura attempting to leave one of Diddy’s freak offs 'parties'. Only to have Diddy chase her down the corridor, grab her and violently assault her. Each kick, drag and object thrown at her slammed another nail into Diddy’s reputation. The ensuing apology he posted on his Instagram was completely invalidated by his earlier statement that his accusers were making false claims in search of a “quick pay day.”  

For those that loved Combs’ music and what it meant to us, it felt like something repellent had crawled into it and died, forever tainting those songs by association. If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men. Firstly, the more powerful a person is, the more they can hone and control their public image, and that they must be taken with a grain of salt. Secondly, always be ready to question a dichotomy. Is this really a hero versus a villain? Or in this case, an example of two demonstrably evil men, one with substantially better public relations.  

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