Explainer
Culture
Freedom of Belief
Migration
7 min read

From Nigeria’s killing fields to Europe’s shores, the data behind the domino effect

While Nigeria thrives, some left-behind are desperate to escape.

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

A data map shows circles of varying size across a map of Nigeria
Fatal attacks map.
ORFA.

Just as every coin has two sides, every soul contains the equal capacity for good and evil. Just like affairs of the soul, migration has the ability to strengthen or weaken societies.  

Nigeria, the Giant of Africa, has one of the world’s largest and most professionally distinguished diasporas. Over 17 million Nigerians live in other countries. The most famous members of the Nigerian diaspora, figures like Ngozi Okonjo-Iweala, Chimamanda Ngozi Adichie, Anthony Joshua, John Boyega, Giannis Antetokounmpo, and Wally Adeyemo, have achieved stardom thanks to talents that impact or entertain millions of people globally.  

However, these famous figures merely represent the glorious one percent of the Nigerian diaspora. Their success can easily distract observers from the grim reality of why so many Nigerians desperately seek to leave a country known for producing world changers.  

Seeking data on violence 

In October 2019, researchers at the Observatory of Religious Freedom in Africa started a project exploring the nature and impacts of of religious violence in Nigeria. The project spanned four years and generated many significant findings. Terror groups in Nigeria killed 31,000 civilians in 7,000 attacks in just four years, the Fulani Ethnic Militia (FEM) accounting for 39 per cent of these killings (a figure dwarfing the killings perpetrated by ISIS and al-Qaeda affiliates),  So called “land-based community attacks,” a concept referring to instances when actors like FEM invade small Christian farming settlements to kill, rape, and abduct Christians and burn their homes, accounted for 82 per cent of civilian killings in the study, Christian death tolls far exceeding Muslim death tolls (2.7 Christians killed for every 1 Muslim killed) in the reporting period, and 6.5 times as many Christian murders compared to Muslim murders relative to average state populations.  

The methodology of the study set out to find data on all the people, regardless of their religion, negatively affected by terrorist violence. However, with every new batch of data collected, disturbing patterns emerged. Since the 2009 birth of the infamous Boko Haram insurgency, global media coverage of the terrorist violence has consistently argued Muslims rather than Christians disproportionately bear the brunt of this Islamist extremist violence. The findings of the study suggest otherwise.  

ORFA data map of fatal attacks across Nigeria.

A data map shows circles of varying size across a map of Nigeria
Source: ORFA.

Shouldn’t the government do something? 

Historically, Nigerian governments have been reticent, even reluctant, to condemn violence in the north associated with the Fulani ethnic group. Former presidents like Muhammadu Buhari, a member of the Fulani, have even gone as far as to dismiss the issue of Fulani ethnic violence as just “cattle rustling.” However, in Nigeria, mere “cattle rustling” to some is a seriously grave situation for others.  

Findings by the Observatory researchers suggest Nigerian security operatives, most of whom belong to the Fulani and Hausa ethnic groups, have a suspiciously selective way of engaging with terrorist violence in northern Nigeria, often leaving Christians distinctively vulnerable. Roman Catholics in Nigeria have even accused Nigeria's military of being a jihadist force. Churches in northern Nigeria live in a constant state of terror and acutely distressing fear.  

In Nigeria, the federal government alone, led by the president, has the final say on matters concerning security and the army. Incumbent President Bola Ahmed Tinubu has notably appointed far more Christians to senior government offices than his predecessor, Buhari. The Nigerian government is famously opaque. Despite its nominally democratic visage, family dynasties and networks continue to dominate political life and business affairs.  

Understanding the religious geography and reaction 

Religion in Nigeria is divided along geographical lines. The northern half is dominated by conservative Islam. Catholicism and Anglicanism reign supreme in the southeast. The southwest functions as a geographical melting pot of Islam (albeit a more secular variety compared to the north) and Christianity (especially Pentecostalism).  The north contains a surprisingly large number of Pentecostals. Many Pentecostal pastors and choirs in the north have been kidnapped by the mercilessly violent Islamist extremists.  

The overwhelming majority of Christians in Nigeria live in the southern half of the country. However, in a Nigeria which has suffered from one oppressive government after another for decades (most of these led by conservative Islamic military and civilian presidents), most Christians struggle to survive and lack the energy to speak up for their northern kin. Despite their weariness, the Southern Nigerian Church (the collective population of Christians living in the south) has a sacred responsibility to awaken and demand greater protections from the federal government and the military for Christians living in the north.   

Local causes, global effect 

Over the last two decades, commentators have routinely pointed to climate change as the primary factor facilitating violent encounters between Muslims and Christians. Fulani cattle herders, guided by the desire for better grazing lands for their livestock, have often encroached on land owned by Christian farmers in the north and middle regions. The findings by researchers at the Observatory suggest significantly more is going on to facilitate these violent clashes than just climate change. Ascribing the challenge of religious violence in Nigeria to just climate change provides a get-out-of-jail free card to the men of violence linked to the orchestrated killings of Christians. 

Ethno-religious violence has quietly become commonplace in northern Nigerian life. The single solution capable of curbing this violence is unprecedented, cross-party, interethnic, and interreligious security reform. Strength of security affects every person in Nigeria. From the richest to the poorest, no one is immune from a sudden kidnapping, suicide bomb, or violent act of banditry negatively changing their life forever.  

Nigeria's neighbours in Europe cannot afford to continue slumbering and must wake up. Readers in Europe feeling insulated from the violence the data records are just as susceptible to the shockwaves that a collapse of the Nigerian state as other West African neighbours. Such an event would imperil the security of citizens in countries like Italy, Spain, and Greece just as much as it would people living in Mali, Chad, and Cameroon.  

Nigeria has never been nearer to a civil war or state collapse since the Biafra War of the late 1960s. Ethno-religious violence disproportionately targeting northern Christians is one of the greatest and most overlooked factors contributing to Nigeria's dysfunctionality. In an unprecedentedly connected world, such a collapse would, in turn, trigger further collapses.  The European Union (EU) does not grasp the severity of how such a collapse would affect its own security and stability. At a time when every day brings news of small boats carrying migrants to European shores, Nigeria's collapse would trigger one of the greatest avalanches of mass migration in modern African history.  

A modern Middle Passage 

Nigeria has a population of over 235 million, the largest in Africa and sixth largest globally. If just 10 per cent of the population attempted to flee in the event of another civil war or a destabilising political event, that is 23 million Nigerians desperately fleeing into any country they reason might welcome them. Many of these millions would gamble by voyaging on the tempestuous Atlantic Ocean in small boats with the goal of beginning new lives in European countries. Some would inevitably perish in what might evolve into this century's Middle Passage. Nigeria’s collapse would destroy the EU by overwhelming its borders and social services. The average population of an EU country is just under 17 million, or the size of Nigeria's diaspora. The unprecedented connectedness of our world means catastrophic destabilisation in one country can have significant consequences for the stability of other countries globally. The EU has a geopolitical responsibility to invest in improving Nigeria's security situation. Abductions, killings, and displacements in Nigeria might trigger instability in Europe and beyond. 

However, the collapse of Nigeria would not only destabilise the EU. ISIS affiliates like ISWAP (Islamic State West Africa Province) have a strategic interest in Nigeria's collapse, because it would open the door for them to expand their control throughout West Africa.  

A team of researchers guided by the goal of better understanding terrorist violence in Nigeria simply followed the breadcrumbs of organically emergent data to show why the broader world should take seriously violence against Christians in the Giant of Africa. Living in an unprecedentedly connected world comes with new privileges and new responsibilities. To simply indulge in these new privileges without standing strong and shouldering these new responsibilities would be foolish, selfish, and nearsighted.  

English poet John Donne once famously wrote,

No man is an island,  
Entire of itself,  of the continent,  
A part of the main.  
If a clod be washed away by the sea,  
Europe is the less. 
Every man is a piece.

The “old self” understanding of global connectedness, ruled by selfishness and ignorance, must give way to the “new self” model of prosperity and security via proactive collaboration. For every one Okonjo-Iweala, Boyega, or Antetokounmpo, millions of Nigerians suffering from the effects of a rapidly destabilising state dream of emigrating abroad. Global Christianity and global security stakeholders each have an interest in a stable Nigeria. A stable Nigeria functions as a wellspring of human capital for the benefit of the entire world.  

Donne, in the same poem, wrote,  

Each man's death diminishes me, 
For I am involved in mankind. 
Therefore, send not to know 
For whom the bell tolls, 
It tolls for thee. 

The world is involved in Nigeria and Nigeria is involved in the world. The death of Nigeria would pave the way for the death of the EU. The bell tolls for the EU community to awaken from decades of neglectfully overlooking its interests in a stable and secure Nigeria.  

 

Further resources 

  • ORFA report summary.
  • ORFA full report.
  • 'No Road Home', a data study on those living in displaced persons camps. Download the study (PDF).
Review
AI
Art
Culture
5 min read

Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions

The digital artist talks about the possibilities and challenges of artificial intelligence.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A darkened art gallery displays images and screens on three walls.
Takeo.org.

In the current fractured debate about the future development of Artificial Intelligence (AI) systems, artists are among those informing our understanding of the issues through their creative use of technologies. British-American visual artist Michael Takeo Magruder is one such, with his current exhibition Un/familiar Terrain{s} infusing leading-edge AI systems with traditional artistic practices to reimagine the world anew. In so doing, this exhibition pushes visitors to question the organic nature of their own memories and the unsettling notions of automatic processing, misattribution, and reconstruction. 

The exhibition uses personal footage of specific places of renowned natural beauty that has been captured on first generation AI-enabled smartphones. Every single frame of the source material has then been revised, reworked, and rebuilt into digital prints and algorithmic videos which recast these captured moments as uncanny encounters. In this exhibition at Washington DC’s Henry Luce III Center for the Arts & Religion, the invisible work of the AI allows people to experience more than there ever was, expanding both time and space. 

Magruder has been using Information Age technologies and systems to examine our networked, media-rich world for over 25 years. A residency in the Department of Theology and Religious Studies at King’s College London resulted in De/coding the Apocalypse, an exhibition exploring contemporary creative visions inspired by and based on the Book of Revelation. Imaginary Cities explored the British Library’s digital collection of historic urban maps to create provocative fictional cityscapes for the Information Age. 

JE: You are a visual artist who works with emerging media including real-time data, digital archives, VR environments, mobile devices, and AI processes. What is it about the possibilities and challenges of emerging media that captures your artistic imagination? 

MTM: As a first-generation digital native, computer technologies – and the evolving range of potentials they offer – have deeply informed my life and art. Computational media not only opens different avenues for artistic expression but provides a novel means to recontextualise traditional artforms and histories of practice; its ephemeral nature is a particular draw. However, this also creates new challenges, especially in areas concerning preservation and access. I sometimes wonder if my art will still exist for future generations to experience in full, or if it will simply fade alongside the technologies that I’ve used in its production. 

JE: To what extent does Un/familiar Terrain{s} build on past exhibitions like Imaginary Landscapes and Imaginary Cities, and to what extent does it break new ground for you? 

MTM: Un/familiar Terrain{s} certainly arises from and expands on the artistic concepts of those past projects. The main difference is that each artwork in Un/familiar Terrain{s} is generated from a small sample of personal data (a scenic moment that I’ve captured intentionally), not digital materials gleaned from large public archives and online collections.      

JE: Do you find that working with images of the natural world (as is the case with this exhibition) as opposed to images of human-made environments (as you did with 'Imaginary Cities') leads to different approaches or inspiration on your part? 

MTM: My projects that explore constructed environments often reference principles of Modernist architecture and design whereas my pieces in Un/familiar Terrain{s} explicitly seek to dialogue with the long history of Western landscape art. The AI systems that I have used in their creation are leading edge but conversely, their conceptual references extend back to long before the onset of what we consider ‘modern’ art.  

JE: I've heard many artists criticise digital art in terms of degrading the principal tools and techniques of artists throughout history and those arguments would be made even more vigorously in relation to AI. In this exhibition you're enabling a conversation about the painterly effects you can create as a digital artist and those that can be achieved through AI, yet without leading us to one side or other of that argument. Is your vision essentially one of wanting to see the possibilities in whatever tools, techniques or technologies we have to hand? 

MTM: Absolutely. For me that’s one of the fundamental purposes of art. AI is unquestionably the most disruptive (and potentially problematic) technology affecting creative communities at present, but it’s just the most recent historical example. I imagine similar criticisms arose during the proliferation of devices like the printing press and the first photographic cameras. Such inventions clearly did not ‘degrade’ art, but they indisputably shifted its trajectory. 

JE: While your work is not expressly religious, you have engaged with theological themes and institutions as with Un/familiar Terrain{s}, which is on show at Wesley Theological Seminary in Washington DC. What do you think it is about your work and the ways you use and explore emerging media that enables such a dialogue to take place?  

MTM: I feel that many of the social and ethical questions raised by the emergence of transformative digital technologies are quite similar (and sometimes identical) to ones that have been traditionally posed by theologians. With that in mind, although the fields are quite different in many ways, at present there are some strange and compelling intersections. 

JE: From your experience, what can theological or religious institutions learn from a more engaged involvement with emerging media, particularly AI? 

MTM: Like artists, perhaps theologians can use emerging (and disruptive) media to not only expand possibilities for their work, but more importantly, to refocus their efforts towards areas that these technologies cannot presently (and will likely never) address. 

JE: Apocalyptic scenarios are often invoked in response to developments such as AI, the refugee crisis, populist political movements or the climate emergency. In De/coding the Apocalypse, you worked with emerging media to explore contemporary creative visions inspired by and based on the Book of Revelation. From that experience, what advice would you give to emerging artists wanting to engage with or invoke apocalyptic imagery? How might emerging artists live in the shadow of apocalypse or what have you noticed about our contemporary fear of modern apocalypses? 

MTM: Throughout history, visions of apocalypse have been consistently rooted in humanity’s prevailing fears. In the Digital Age these sit alongside our growing concerns about technologies that afford increasingly greater potential to create or destroy. Of course, artists should continue to reveal the deeply problematic (and potentially apocalyptic) aspects of new technologies, but they should also highlight their positive aspects to encourage the creation of “a new heaven and a new earth” that can be a better place for all. 

 

Un/familiar Terrain{s}, 30 May – 18 September 2024, The Dadian Gallery, Henry Luce III Center for the Arts & Religion.