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Opening South Africa's Churches Amid COVID-19 Will Result in More Deaths.

Op-Ed: Opening South Africa's Churches Amid COVID-19 Will Result in More Deaths

Churches get away with a lot in this country and now is as good a time as any to put an end to that.

It was a day like any other at the Global Reconciliation Church in the Free State province. Congregants were gathering for a prayer event which no doubt included praying about what was then an impending 21-day national lockdown due to COVID-19. What no-one had anticipated however, was that five tourists who had already tested positive for the coronavirus, would come into contact with an estimated 1600 other congregants––three of whom have since died as a result.

One gathering, three deaths. This is what South Africans pushing the government to open places of worship, seem to forget. And while the government has remained steadfast in the face of very public backlash following a number of tough decisions during this national lockdown, it seems that churches may just prove to be their kryptonite.


The ugly truth is that a lot of these South African churches need to open because the so-called men of God want their tithes and no pandemic will stand in the way of that.

While the push is for all places of worship to be opened, churches are significant in the South African context because they represent a large group of people who are of significant political interest––Black people. Any sensible political party knows that in order to win the vote of Black people, there is no better endorsement than that of church leaders.

"Black people may not always turn up to political rallies but they will show up to church."

As a result, the power that religious leaders wield over their 'flock', is easily politicised and subsequently weaponised during election campaigns.

Initially, church leaders called for the churches to be allowed to operate as an essential service. First, the church is not an essential service and second, its practices are not limited to a building. This latter is not just a secular "hot take" but a teaching that can be found in the very doctrines esteemed by church goers themselves.

This teaching speaks to the "true church" being one that is made up of the people and not any building with four walls. And so it becomes crucial to acknowledge the important roles churches play in providing a space for believers and shelter to refugees, undocumented foreign nationals, women and children while also pointing out how reopening during this lockdown is, in many ways, about exploiting the poor.

South Africa's national lockdown has been far from perfect but it has prevented the country from following in the trajectories of many European and American countries battling to contain their numbers. While the country initially came together in its famed "rainbow nation" style to prevent numbers from soaring, over time, people have become restless and started to push back against the lockdown restrictions.

Whether it's been White people bemoaning the inconvenience of not being able to walk their dogs and go surfing or the very real threat of starvation and loss of livelihood for poor Black people, the lockdown restrictions have caused raging debates among South Africans. With President Cyril Ramaphosa having recently announced that most parts of the country would enter slightly more relaxed level-3 restrictions, the debates have only raged on.

However, the call to open churches is not where it ends. The state has consistently turned a blind eye to transgressions made by church leaders over the years. The rise in the number of Charismatic churches in South Africa, has also seen the rise in extreme religious practices which have threatened human health in very real ways.

These so-called men of God are free to brazenly declare that they have found the cures to various diseases, COVID-19 included, with no fear of reprimand from the state whose duty it is to safe-guard its citizens against misinformation and harmful concoctions with no scientific backing. People have died because of this. The likes of TB Joshua, Walter Magaya and Shepherd Bushiri––all alleged 'prophets of God' who have been involved in scandals around having found cures for HIV/AIDS and yet continue to profit from their mega churches. And now that COVID-19 has become the 'the next big thing,' it's hardly rational to assume that all churches have the best interests of their congregants at heart.

Although shared as memes on social media, the gravity of pastors spraying congregants with insecticide, running them over with vehicles, feeding them petrol, and even sexually assaulting them all in the name of 'miraculous healing', is not lost––it cannot be. And yet very few of these religious leaders have been brought to book and when they have, charges have eventually been dropped. And so the deceiving of those who are desperate for tangible change in their unfortunate circumstances, continues.

"While it may sound blasphemous to some, the reality is that churches are increasingly becoming places of business."

And because South African law does not require churches to pay taxes on the monies they receive, it becomes a lucrative space that can easily be hijacked by charlatans who are not interested in the faith itself but the potential Rands brought in every week.

"Closing the church is not the solution, we need to be praying in these difficult times," says Bheki Ngcobo, the Bishop at Inkanyezi Church of Christ during an interview with Radio 702 recently. In another interview conducted by radio Cape Talk shortly before Easter, Ngcobo said, "This is not the first disease to come to South Africa...This is spiritual warfare." And while it is a constitutional right of his and others, to believe that this pandemic requires spiritual intervention and not physical measures based on expert advice, that right cannot supersede the sovereignty of a secular country nor steer the government's decision to lift or enforce restrictions as they see fit.

Although the government itself has emphasised that strict measures would have to be followed in the event that churches are opened, because there is no way to police that consistently, the rules will inevitably be broken. Churches founded on not turning away souls (or wallets) will not keep to the maximum of fifty people at a time. And just as we saw with the Global Reconciliation Church, the deaths of congregants are almost guaranteed.

It is up to the democratically elected body put into office to safeguard the interests of its citizens and map the way forward without showing favour towards churches. How President Ramaphosa's cabinet responds right now, will set the precedent going forward because if churches can open, then restaurants, hair salons and other places of business should also be allowed to operate under the same restrictions. Many would agree that this flies in the face of a phased-out lockdown in the first place.

Finally, the decision to keep churches closed should not be viewed as a war against any particular faith or religion but rather a war against the loss of life, religious or not.

News Brief
Photo Credit: Getty

South African Protests Breakout Over Uganda’s Anti-LGBTQ+ Law

South Africans swarmed the streets of Pretoria and Cape Town to protest Uganda’s recent LGBTQ ban.

A crowd of South Africans swarmed the streets of Pretoria and Cape Town to protest Uganda’s new controversial law concerning the LGBTQ+ community on Friday (March 31). During their protest on Friday, South African allies called on Uganda’s president Yoweri Museveni, not to sign off on the law.

According to Reuters, there were about 100 at the demonstration at Pretoria, which took place outside the United Nations Information Centre. Papa De DeLovie Kwagala, one of the protesters on the scene, and Ugandan LGBTQ rights activist said:

"World leaders should put pressure on Museveni to not sign the bill because it's not only a Ugandan issue, it is an African continent issue."

South Africans protest Uganda's anti-LGBTQ lawwww.youtube.com

Earlier in March, Uganda lawmakers passed a law that would make it illegal for people to openly claim to be affiliated with the LGBTQ+ community. Although Uganda is one of the numerous African countries that have declared same-sex relationships illicit, it would be the first country to legally ban identifying as LGBTQ+.

If it is set in motion, Uganda’s new law will subject members of the LGBTQ+ to closer scrutiny, and life imprisonment. The East African country’s legislature will also target people who aid and abet homosexuality.

South Africa has had a long history of LGBTQ+ activism. In 1994, it became the first country in Africa—and the fifth in the world—to legalize same-sex marriage. In spite of its allyship, South African LGBTQ+ members also face discrimination and violence.

In recent years, there has been an increase in the number of protests by the LGBTQ+ community in South Africa. In 2021, members of the community spoke out about the increasing homophobic attacks that they were receiving.

News Brief
Photo By Sean Zanni:Patrick McMullan via Getty Images

Trevor Noah To Host Prime Video's First South African Show

Trevor Noah is teaming up with Prime Video to Release the a new South African Show Called ‘LOL: Last One Laughing.'

Trevor Noah is taking his comedic chops to Prime Video with LOL: Last One Laughing, a six-episode stand-up comedy competition series that will be released in 2024.

Noah will be hosting the show, which will feature 10 South African comedians competing to see who can keep a straight face the longest while also trying to make their opponent laugh. The comedians will be given a list of challenges and scenarios in which they must maintain a stoic expression. Each episode will end with the "Last One Laughing" taking home a cash prize of 1 million Rand. LOL: Last One Laughing will be Prime Video’s first South African Original. And with Noah’s sharp wit and comedic acumen at the helm, it will be interesting to see LOL: Last One Laughing come to life in South Africa.

In a statement released to Variety, Noah said:

“I’m excited to be back home to host Prime Video’s first South African Original, LOL: Last One Laughing, and to have a chance to connect with my home audience... I am equally delighted for the opportunity to be working alongside my fellow home-grown comedy stars on a show that not only entertains but gives back to the South African production and charity communities.”

Ned Mitchell, head of Africa and Middle East Originals at Amazon also spoke highly of the upcoming show.

“Comedy, in all its forms, shines among South Africa’s most valuable treasures. Together with an A-list roster of this country’s incredible home-grown comedic talent competing for a great charitable cause,” Mitchell said. “Trevor and Prime Video are demonstrating the depth of our shared ambition to invest and elevate the very best of South Africa for audiences locally and around the world.”
Music Brief
Image courtesy of We Talk Sound

Davido's 'Timeless' is Getting Rave Reviews on Social Media

The Nigerian singer's first full project in three years has reminded fans why he's one of the best in the game.

Nigerian Afrobeats champion Davidoreleased his highly anticipated fourth studio album Timeless on Friday, and the world is already eating it up. The singer-songwriter's project has set numerous records in the less than 24 hours since its release, namely being the first African album to hit No. 2 on Apple Music's Top Albums chart, as well as hitting over seven million streams in the 20 hours since it was released on African-focused Boomplay.

The 17-track album boasts a variety of features and sounds that highlight the journey the singer has taken over his 11-year career and has pleased fans across the spectrum and the world. Davido called on Beninese legend Angelique Kidjo, Nigerians Asake, The Cavemen, as well as new Davido Music Worldwide signees Morravey and Logos Olori to bring life to the well-received album. Musical comrades Lojay, Ckay, Mayorkun, and more have all taken to their socials to share their support for the singer and his delectable release.

When the album dropped, the singer reached out to his fans via Instagram writing: "At long last – WE are back. The journey from my last album to this album has been a whirlwind, to say the least. I recall sitting and staring over the ocean not too long ago, wondering if I could get here again, after all I’ve been through… but with your love and support, we made it. I’m not sure what comes after this but I wanted to give you my heart, soul, and energy. Today I present you “TIMELESS". ⏳"

The singer's release set the internet ablaze as fans shared their reactions with each other online

Art
Image courtesy of Oyinkansola Dada/Okra Agency

Oyinkansola Dada Is Mastering The Art of Discussing Art

OkayAfrica sat down with the Nigerian lawyer and gallerist to discuss the blossoming African art scene and the ingenuity it offers the world at large.

At just 26 years old, Oyinkansola Dada is creating the art world of her dreams.

Named one of Forbes’s 30 under 30 in its 2023 Arts & Culture category, the young Nigerian gallerist is stoking the flames of the international art world as she spotlights African artists, and marches the continent’s blossoming creative scene to center stage. Dada is a full-time solicitor, and part-time gallerist living in London after having moved there from Lagos, Nigeria to pursue a law degree at King’s College London. While waiting to convert to training as a Solicitor, Dada moved back to Nigeria to surrender to the energy of homecoming and explore Nigeria’s emerging art scene.

Now, the emerging art mover and shaker is connecting continents, both in person and through her online art publication, DADA Magazine, an art collector’s dream dedicated to highlighting the unfathomable talent found in the motherland.

A woman holds a copy of DADA Magazine and stands in front of a painting in a gallery. Image courtesy of Oyinkansola Dada/Okra Agency

POLARTICS and a London law degree

Dada began her ascent into the art world in 2015, when she started her online art blog POLARTICS, while in her second year of law school. “It became a very fundamental part of how things grew into what they’ve become,” she told OkayAfrica. “I wrote about art, politics, and the literature that I was reading and just sort of shared my thoughts on the things that I liked. And then I’d post it." The exposure saw Dada seek out more opportunities to engage with the art world by attending exhibitions, shows, and museums to get a keener understanding of the people behind the creations. Perhaps one of the most underrated gifts that exploring art can give is the tendency to trigger a rediscovering of self — something that Dada can speak to. “It was also a very important time in my life because I started to understand Blackness and my identity,” she said. “Moving to London after living in Nigeria, and what that felt like, and really understanding my place in the world. That was the beginning of everything.”

This introduction was enough to inspire Dada to use her experience to carve out physical space for all of the Black and African creators she connects with along the way. Presently, DADA Museum’s first manifestation sits in London on a temporary basis. “We don’t have to hold the space all year long. So, it’s not quite permanent, but it’s still a physical space,” the gallerist said. Next on the agenda is carving out a permanent gallery in Lagos to fully embrace and house Nigeria’s buzzing art scene. The benefits of an online gallery are great, but, as Dada puts it, “With art, a lot is lost by looking at images”. The young solicitor’s recipe for prioritizing community engagement and support seems to be one made for success. Dada’s bi-continental experiences have given her a certain advantage— assimilating to the needs of two markets and cultures that undeniably bleed into one another.

Spending time between the two bustling cities guided and championed Dada’s decision to create a physical space in Lagos, hopefully opening up later this year. The city is home to a community of artists that has galvanized Dada’s desire to emerge fully into developing and nurturing the talent that is so often overlooked. “It just feels like home to me,” she says, “It’s more personal.” And the importance of community sits at the heart of Dada’s “why”, as the gallery owner explains, “Apart from selling art or finding collectors, physical spaces and exhibitions are sites of engagement and for building community. I think for an artist to grow, both in their practice and in their career, it's very important for them to engage with people in person and let them see the work with their own eyes. London presents chances for expansion because there’s a lot happening in terms of market activity. Although there are amazing artists in Lagos, we also need international exposure.”

DADA Magazine

Staying close to her roots ingrained in the internet, the curator launched DADA Magazine in December 2022, highlighting the maturation and artistic exposure that Dada has experienced since her first online-based project POLARTICS. “I thought there was a gap, in terms of art magazines and representation of Black artists, and I wanted to fill it.” Dada favored extending the conversations beyond seasonal exhibitions, creating a community of engaged audiences who could interact with one another all year round. “It’s something that anybody can buy, at any point,” Dada said. “I also wanted some sort of knowledge bank and archive for younger collectors and art enthusiasts that are trying to figure out and demystify the art scene. It’s not a magazine that’s hard to understand or too critical.”

The relationship between African artists and the internet has been shown to be mutually beneficial. Having an online presence offers interconnectedness and the ability to be discovered outside of an artist’s own space, something Dada has witnessed firsthand. The discovery of new cultures and artistic approaches isn’t just set for international audiences, either. Africa is home to a myriad of styles, ideologies, and crafts, and Dada continues to learn and grow alongside her company in understanding the range and reach. “It has been eye-opening to experience things that are just so different from where I’m from and to be able to travel. It’s been good to come out of the bubble of what I understand. I think a lot of times people think that their reality is the only one that exists.”

A DADA Magazine cover. Image courtesy of Oyinkansola Dada/Okra Agency

Dada bases a lot of her work and outreach and an inherent desire to build community

Her wildest dream for the continent and industry lies in something that comes naturally to Africans — community. To center ourselves and rid Africans of the historically compromising act of participation. A world where artists on and from the continent can be self-sufficient, with the support of institutions that affirm creators, collectors, and galleries in their pursuit of personal and professional success. Too often, African stories of triumph become stronger the further away you get from home. Although Dada is still a full-time lawyer, the decision to pivot toward the art world did not initially sit well with her family. “In the beginning, there wasn’t any support, so I had to do a lot of it on my own, with the assistance of any other artists who were willing to take a chance. I would have liked to get an art degree, but it just wasn’t a possibility.” And then, the Universe stepped in: “I got funding from the firm that I was working with while at law school. I was able to save money and plant the first seeds of the business. That’s how I was able to get started otherwise it wouldn’t have been possible.”

Arguably, rejecting creative education or careers is a common theme within generations of Africans. And it makes sense. Many are forced to make those choices based on survival, not passion. However, as institutions grow – in both funding and their ability to offer serviceable degrees and experiences – so will the tolerance for those who are artistically inclined. “It needs to be seen as something that’s valubale,”, Dada says. “An actual career path. Then, I think people would be more incentivized to let their children do it.” As we continue to see ourselves in positions of power and leadership, the reality of what is achievable widens for those who look like us.

Issue #1 of Dada Magazine is available for £29.95.

A DADA Magazine cover showing a man painted gold.

Image courtesy of Oyinkansola Dada/Okra Agency

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