Sacred Art, African Soul: SIGNIS Africa Unveils Inculturated Iconography in Enugu
-By Ruben Mario Brodrick
Enugu, Nigeria – In a vibrant convergence of faith, art, and communication, SIGNIS Africa, in collaboration with the SIGNIS Foundation and Regina Cultural Art Initiative, is currently hosting its 2nd Conference and Art Exhibition at the Holy Ghost Cathedral in Enugu. From June 11th to 14th, 2025, this historic gathering, themed “Sacred Symbols, Cultural Identities: Rethinking Iconography and Imagery in Global Religions,” is challenging conventional interpretations and fostering a new understanding of religious imagery within an African context.
The conference officially commenced with an opening declaration by Most Rev. Callistus Onaga, the Bishop of Enugu, represented by the Enugu Diocesan Director of Social Communications, Very Rev. Fr. Anthony Aneke.
Rev. Fr. Prof. Walter C. Ihejirika, President of SIGNIS Africa, warmly welcomed participants, setting the stage for crucial discussions.
These include explorations into “The Intersection of Culture, Religion, and Technology in Reinterpreting Media Iconography within Cultural Identity” by Sr. Mary Lucy Okwuowulu, DMMM, and “Media and Information Literacy and the Interpretation of Iconography among African Catholic Youth in the Digital Era,” co-presented by Sisters Budzee Appolonia and Elizabeth Titilayo Aduloju, Ph.D., from the Catholic Institute of West Africa, Port Harcourt.
Windows to the Divine: A Call for Authentic African Expression
The powerful keynote address, “Windows to the Divine: Iconography, Religious Images, and Communication as Instruments of Evangelization, Catechesis , and Inculturation in Nigeria,” delivered by Bishop Gerald M. Musa, the Pioneer Bishop of Katsina, resonated deeply with the audience. Bishop Musa began with a thought-provoking anecdote about a missionary’s image of the Sacred Heart in a Nigerian village, leading an elderly man to suggest, “next time, let him wear our kind of wrapper so my grandchildren will know he is for us too.”
This anecdote, Bishop Musa stressed, perfectly illustrates that “religious images are not neutral; they communicate meanings, evoke emotions, and speak volumes where words fall short.” He passionately argued that iconography, religious images, and communication are potent tools for evangelization, catechesis, and inculturation, especially in Nigeria.
Defining core concepts, Bishop Musa explained an icon as a sacred image offering a “window into the divine mystery,” while iconography is its study and creation for spiritual and theological instruction. He further clarified religious images as diverse visual representations and religious communication as the sharing of beliefs through various means, including visual arts and digital media. Inculturation, he highlighted, is the vital process of integrating the Gospel into a specific culture, transforming it while being expressed authentically within its own terms.
Bishop Musa then identified pressing challenges in Nigeria concerning iconography and religious communication:
* Cultural Alienation: The dominance of European features in most religious images creates a disconnect, fostering the perception of Christianity as a foreign religion.
* Misunderstanding of Images: Many groups reject religious images outright, associating them with idolatry, while even within Catholic communities, inadequate catechesis often leads to superstition or rejection.
* Dearth of Trained Local Artists: A significant lack of collaboration between trained local artists and theologians hinders the creation of visual theology that authentically reflects Nigerian spiritual and cultural realities.
Drawing on rich theological and communication scholarship, Bishop Musa cited St. John of Damascus’s description of icons as “theology in colour” and highlighted the power of religious images to shape devotional practices. He also referenced Justin Ukpong’s call for a contextualized Christian theology expressed through culturally resonant symbols in Nigeria. The Bishop emphasized how digital religious communication now offers immediate and impactful engagement with faith.
To cultivate a robust Nigerian Visual Theology and Religious Communication, Bishop Musa proposed actionable strategies:
* Emphasize Catechesis: Teach the faithful that religious images are signs pointing to the divine, not idols. Parish catechesis programs should incorporate visual literacy.
* Train African Artists: Dioceses and seminaries must encourage the training of artists who can infuse theological depth with African artistic forms like wood carvings, textiles, beadwork, and murals.
* Foster Collaboration: Theologians and clergy should actively collaborate with visual artists to ensure religious images convey sound doctrine while resonating culturally.
* Promote Digital Evangelization: The Church should produce and distribute high-quality, doctrinally sound digital icons and religious images that are visually captivating.
* Integrate Local Imagery: Parishes can incorporate African images and symbols in liturgical art, including altar designs, Stations of the Cross, and stained glass.
African Iconography: A Source of Moral Formation and Identity
The conference also featured compelling presentations on “My Own Iconography and Inculturation in African Christianity,” specifically focusing on African representations of the Blessed Virgin Mary through art. These discussions underlined that such iconography serves to:
* Reflect African cultural values (e.g., community, dignity, family).
* Serve as moral and spiritual role models.
* Integrate Christian faith with African culture (inculturation).
* Act as powerful tools for evangelization and moral formation.
Presenters showcased inspiring examples from various African contexts, including artworks depicting the Virgin Mary with African features, local symbols, and traditional attire, demonstrating their profound impact on faith and daily life. They affirmed that these representations significantly shape moral values like respect, dignity, and compassion, inspiring individuals to live out their faith authentically.
Discussions also explored the delicate balance between using images in Christian worship and the potential for idolatry, referencing biblical concepts and the importance of focusing on God’s unseen nature. The conference further addressed the role of African youth in iconography in the digital age, examining how media literacy can empower them to interpret and create meaningful icons while navigating challenges like excessive media exposure.
The importance of visual arts in communicative education for national development was also a key theme. By integrating visual arts into the curriculum, it can foster creativity, communication skills, cultural awareness, active citizenship, and contribute to social and economic progress. Nigeria’s rich cultural heritage, exemplified by Igbo, Benin, and Ife art, was cited as a vital resource for instilling cultural consciousness and promoting national development.
A Global Message of Prayer and Presence
Helen Osman, the World President of SIGNIS, conveyed a heartfelt goodwill message from the Isaac Hecker House of Paulist Fathers in Washington, D.C., an order renowned for its commitment to being present in culture through media. “Behind me are icons of Catholic saints from around the world, on display in the dining room of the Hecker House,” she shared in her video message. “I will be remembering you in prayer in a special way as I gaze on these beautiful icons and reflect how people use their God-given talents to express love for God and for all people,” Osman concluded, offering prayers for a fruitful conference.
The conference’s anticipated highlights include the unveiling of a significant Marian Icon, the celebratory cutting of the Art Exhibition cake, a vibrant cultural carnival, and a powerful Rosary procession accompanied by traditional music and dances, all designed to deepen the appreciation for the profound interplay of faith, culture, and art.
