The unveiling of the Virgin Mary statue marks a pivotal moment for Nigerian Catholics and the wider African Christian community. Photo: Courtesy
By Adonis Byemelwa
In a powerful move toward redefining religious imagery, Nigerian priest Fada Angelo Chidi Unaegbu has today 6th September 2024, unveiled a statue of the Virgin Mary with distinct Igbo features, crafted by his late cousin, Fada Elias Chima Unaegbu.
The statue, now standing in front of his chapel in Umueze, Okigwe, is a symbol of reclaiming African identity within Christian traditions. Fada Angelo called on African Catholics to move away from European depictions of religious figures, noting that these images were crafted by Europeans to reflect their likeness, leading Africans to subconsciously view figures like Jesus and Mary as White.
"This skewed perception has been perpetuated for too long," Fada Angelo remarked in a viral statement. "Religious figures should resonate with local identities and cultural contexts. It’s time for Africans to create images that reflect their features and heritage." His statement aligns with growing global discussions about decolonizing religious and cultural spaces, especially in Africa, where Western portrayals of holy figures have long dominated.
This call for religious reimagining echoes the rise of controversial figures like Diana Bundala, alias King Zumaridi, in Mwanza, Tanzania. Bundala, who boldly claims to be God, asserts that Jesus is outdated, dead "like any other mortal," and that she is the true God.
In recent years, Bundala has amassed a following of people who believe her claims of having been to heaven, where she saw Abraham and other saints living in golden storey buildings. Her claims have stirred both fascination and alarm, raising questions about the intersection of religious belief, identity, and the quest for divine representation.
Similarly, the case of Dominique Dibwe, a Congolese pastor whose church was recently banned in Tanzania, adds another layer to the conversation. Dibwe was deported after authorities discovered his church was charging parishioners Sh 500,000 for prayer services, contributions that had made him wealthy enough to build a massive Sh4 billion church in Lubumbashi.
Despite his removal, Dibwe continues to castigate his former parishioners in Tanzania via social media, accusing them of being fooled into paying exorbitant sums for spiritual services.
These cases underline the deep tension between traditional religious beliefs and emerging movements that challenge conventional narratives. Fada Angelo's unveiling of the African-featured Virgin Mary statue may serve as a counterbalance to these more radical developments, offering a path that embraces African identity without rejecting foundational religious teachings.
While figures like Bundala and Dibwe highlight the extreme edges of this discourse, Fada Angelo’s message is clear: Africans should not be tied to European religious imagery that no longer resonates with their own identities.
He emphasized that religious symbols should reflect the people they serve, fostering a deeper connection between faith and cultural heritage. In this sense, his call is not just about aesthetics but about rethinking how Africans see themselves within their spiritual traditions.
Fada Angelo’s efforts come at a time when debates around race and representation are intensifying across Nigeria and the broader African continent. With religious fundamentalism and exploitation also on the rise, his call for an African-inspired Virgin Mary statue could ignite broader discussions about reclaiming religious imagery in a way that honors both faith and African cultural identity.
In light of this, it’s evident that the unveiling of the Virgin Mary statue marks a significant moment not only for Nigerian Catholics but for the broader African Christian community, as they navigate the complex relationship between religion, identity, and cultural authenticity.