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
Change
Freedom of Belief
4 min read

Face to face with the danger of faith

In the face of compassion fatigue, connecting with the humanity of a cause requires the artistic, not just the imperative. Belle Tindall reviews Clay and Canvas.
A refugee looks out from a cover photograph of a book resting upright against a cylinder
The cover of Clay & Canvas.
Open Doors.

In 2018, in the Houses of Parliament, Hannah Rose Thomas displayed a collection of radiant portraits she had painted of Yazidi women who had escaped ISIS captivity. She did this to bring their ongoing plight to the attention of the Government. In 2019, at the London Riverside Development, three photographers (Chris de Bode, Abbie Trayler-Smith and Nora Lorek) used their photographs to powerfully tell the story of the hunger crisis in Sudan, Liberia, and the Central African Republic. In 2021, a 3.5-metre-tall interactive puppet of a 10-year-old Syrian girl named Amal was walked from Turkey to Kent, and in so doing, gave the world a glimpse of what such a journey entails for thousands of refugee children. And in 2022, the advocacy group, Open Doors, published a striking book entitled Clay and Canvas, which compellingly tells seven stories of individuals who have faced un-imaginable trauma because of their belief in Jesus.  

While these projects were created by different people, at different times, highlighting different situations, it seems to me that the powerful impact of all four artistic offerings is twofold. Firstly, they each force us to move beyond numbers and statistics, inviting us to come face-to-face with the humanity behind the headlines. And secondly, the utter beauty with which these pieces have been both created and curated hints at the startling beauty that can be found in the midst of pain. The glimmers of light that are ever present, even in the darkest of contexts.  

This is most certainly the case with Clay and Canvas.  

Its strikingly minimal aesthetic ensures that it can comfortably sit alongside the most classic of ‘coffee table books,’ but instead of being filled with recipes, interior decoration inspiration, or the complete lyrical works of Paul McCartney, this holds within it stories that will simultaneously break and inspire its reader’s heart.  

There are around 360 million people in the world who are currently under some sort of threat because of the Christian beliefs that they hold, and this book tells just seven of those harrowing stories.  

It introduces us to Baheer and Medet, two friends who played together as children, but now find themselves in a torture chamber. One of them is being electrocuted because of his Christian beliefs, while the other is looking on at the torture of the friend that he himself had reported to the authorities. Both are utterly terrified.  

We also meet Rebekah, Eti and Ratina as they are thrown into the back of a police van, sentenced to five years in a high-security prison for telling children about their belief in a man called Jesus.  

And then there’s Kirti, who is being continually hounded by a violent mob, her body repeatedly broken and battered by their sheer anger at her refusal to deny her faith.  

These stories are an afront to the comforting habit one may have of disassociating individual realities from vast statistics.

These stories don’t give their readers the blissful luxury of ignorance. They are an afront to the comforting habit one may have of disassociating individual realities from vast statistics, of regarding this epidemic of violence as some sort of faceless or nameless phenomena.  

Rather, readers are brought face-to-face with the detail of religious persecution. We are shown the thought-processes of a man on the brink of death, we are walked through the moment-by-moment decisions of a person attempting to flee for their life, we are exposed to the agony of three women being separated from their children.  

The writing is heart-wrenchingly powerful, the stories its telling, infinitely more so. This is certainly not your average ‘coffee-table book.’ 

As well as the written stories, there are photographs of these persecuted individuals dotted through-out the book. Readers are not only told their stories, they are also shown their faces. These pictures serve to remind us that this discrimination isn’t happening to people who resemble cinematic-style heroes, it is happening to husbands, wives, daughters, sons, neighbours, friends, mothers, fathers. 

2023 is the most dangerous year to be a Christian on record, it is integral to the increasing number of people who are losing their right to hold their beliefs that this reality is continually, and indeed creatively, amplified. 

And yet, as noted earlier, the darkness of these stories is not devoid of glimmers of light. There is a distinct thread of redemption that is weaved through this resource, and indeed, these people’s lives. The beauty is found in the forgiveness shown by those who have been betrayed, the hope found by those who have nothing else to hold onto, the ‘gentle, defiant glow’ of those who are stubborn in their selflessness – all of it all the more staggering for being completely true.  

This book presents its readers with a costly kind of goodness. A truly counter-cultural form of beauty. If you sit with it long enough, it will begin to chip away at the modern and ever-so-Western tendency we have to consider pain and beauty as forces that are mutually exclusive.  

Art, in its various forms, is one of the most powerful tools we humans have, and that is never more evident than when it is used to communicate circumstances with a depth that statistics alone could never reach. Clay and Canvas is certainly one such example.  

 

Clay and Canvas has been produced by Open Doors in Partnership with Something More Creative