A Biblical-Theological Examination of Afua Kuma's Christology PDF

**A Biblical-Theological Examination of Afua Kuma's Christology: Implications for the Contemporary Ghanaian Socio-economic and Political Spheres** **Isaac Boaheng (PhD)** **Christian Service University** **University of the Free State** **Abstract** **Keywords** **Introduction** African theol...

**A Biblical-Theological Examination of Afua Kuma's Christology: Implications for the Contemporary Ghanaian Socio-economic and Political Spheres** **Isaac Boaheng (PhD)** **Christian Service University** **University of the Free State** **Abstract** **Keywords** **Introduction** African theology comprises various forms of expression that extend beyond the written word. John Mbiti (1979:84) has categorized African theology into three forms; namely, written, oral and symbolic. Written theology reflects the works of literate theologians and scholars, oral theology reflects interpreting the biblical message through verbal forms (like sermons, teachings, prayers, songs, and discussions) (Gehman 1987:28), and symbolic theology is imbedded in artistic creations and material culture. The three-dimensional theological framework challenges the Western bias toward written theology. It also highlights the vibrancy of theological expressions among ordinary Africa Christians, particularly those in rural areas. These Christians may lack access to formal theology but demonstrate deep spiritual insights through their songs, prayers, and cultural artifacts. One such theologian is Afua Kuma whose oral theology captures the faith and experiences of ordinary Christians. Kuma's work has attracted scholarly attention and many publications have come out from it. However, most of these works concentrate on linguistic analysis with adequate biblical and theological engagements. This article fills the existing literary gap by exploring key Christological themes from a biblical-theological perspective. The results of such analysis is then applied to the contemporary Ghanaian context. **Brief background of Afua Kuma** Madam Afua Kuma (baptized Christiana Gyan) was born in Obo-Kwahu in the Eastern Region of Ghana (Laryea 2000:51; Anyidoho 2000, 71; Fretheim 2020, 18). Though the exact date of her birth is not known, it is believed that she was born around 1908 (Fretheim 2020, 23). Her father, Albert Omari, was a senior Presbyter in the Presbyterian Church and notable for being the first person in Obo to own commercial transport vehicles. She grew up in the town of Huhunywa in the Ga Adangbe area, where she assisted her parents with farming and trading (Fretheim 2020, 23). Even though she did not attend school, she was well-versed in her native Twi dialect. This lack of formal schooling did not hinder her; rather, she emphasized the importance of literacy and education to her children and grandchildren (Fretheim 2020, 23). Afua Kuma's journey through marriage and family life was marked by both challenges and moments of profound faith. As a young adult, she was first married to an army officer, with whom she had her first daughter around 1928 (Fretheim 2020, 23). However, her father disapproved of the marriage and eventually dissolved it due to the instability and danger of military life. She later married Opanyin Kwabena Frimpong, a fellow cocoa farmer, and together they relocated to Asempanye Atuobikrom, where worked as a farmer (Fretheim 2020, 24). Their marriage was blessed with six children, along with a set of twins who sadly died at birth. Following her second marriage, Afua Kuma faced significant challenges, especially when her son, Joseph Ofori, was wrongfully detained during Kwame Nkrumah's presidency (Fretheim 2020, 24). Joseph, a driver for the Minister of Education, was accused of being involved in a bombing attempt on the Minister's car (Fretheim 2020, 24). At the time, many detainees were never seen again, which made this situation especially traumatic for Afua Kuma and her family. Kuma's response to the situation was to build a more resilient faith (Fretheim 2020, 24). She believed strongly that God would deliver her son based on her knowledge of biblical stories like that of Joseph in Egypt (Gen. 39-41). She fasted and prayed for her son's release (Fretheim 2020, 24). Eventually, Joseph was freed and he fled to the USSR, where he lived for eighteen years before returning home (Fretheim 2020, 24). In 1961, after the death of her husband, Kuma decided not to remarry (Fretheim 2020, 25). She entered a period of independence and trained as a Traditional Birth Attendant (Fretheim 2020, 25). This phase marked the beginning of her artistic and theological praises which became a powerful expression of her Christian faith. Kuma grew up in the Presbyterian Church, later joined the Catholic Church, and eventually became a member of the Church of Pentecost through her daughter's connection (Fretheim 2020, 25). She admired the Church of Pentecost for its modernity and valued education (Fretheim 2020, 25). While known for her Pentecostal involvement, she also inspired Catholic communities, teaching young women to offer praises publicly (Fretheim 2020, 26). Her efforts promoted unity between Catholic and Pentecostal churches, with many recalling her role in bridging the two groups. In the church she sang "the praises of Christ in the exalted language of praise songs to traditional rulers" (Walls 2008, 193). Madam Afua Kuma gained widespread recognition in Ghana for her gift of offering oral praises, a talent she shared in various Christian settings, during a complex period in the nation's history, from the end of the colonial era into the post-independence period (Fretheim 2020, 18-19). A significant moment in her spiritual journey occurred when she experienced emotional and psychological shock after the death of her brother. During a church service, the congregation was encouraged to remain thankful to God in all circumstances (Laryea 2000:52). Following this exhortation, Madam Kuma was asked to pray. Her prayer amazed everyone, as it was unlike anything heard in the church before. From that day onward, she dedicated herself to composing and performing poetic praises to Jesus at Christian gatherings until her passing in 1987 (Laryea 2000:52). This is how Anyidoho (73) puts it: "When the preacher invited people in the congregation to pray at the end of the sermon, Madam Kuma astounded everyone when she burst out in praise of Jesus in a language so powerful, and unknown in the church. In the words of \[her daughter\] Beatrice Fantoaa, 'from that day God gave my mother a new tongue to praise Him.'" Madam Kuma's prayers and praises, delivered in her native Akuapem-Twi and they were recorded on tape by Peter Kwasi Ameyaw. The Twi transcription of these prayers was carried out by Vincent Adjepong and Michael Owusu Nimako, while Father Jon Kirby translated them into English (Kuma 2011:3). According to Fretheim (2000, 27) Twi orature is categorized into four distinct speech styles: *adehye kasa* (elderly speech), *obuo or opo kasa* (polite speech), *mmea kasa* (women's speech), and *mpanyin kasa* (elder speech or language of depth). Among these, *mpanyin kasa* is considered the most prestigious, characterized by the use of proverbs, parables, by-names, appellations, and metaphors (Fretheim 2000, 27). This style is expected to be understood and used by educated or cultured speakers of Twi, especially in public settings. While women typically are not expected to speak in public using this style, Afua Kuma defied this norm and became known for her mastery of the elders' speech style. She was celebrated not only for her linguistic skill but also for the theological depth she conveyed, earning admiration from those who appreciated her eloquence in Twi. Her work showcases a unique blend of Christian devotion and African cultural heritage. Oduyoye (2006, 153) describes her as one of the first contemporary African females "who weave lyrics about Jesus and pour their hearts out in prayer and praise at all times and in all places, the women whose theology gets 'reduced' into writing by those who can write." Opoku (Fretheim 2000, 36) states: In her *Jesus of the Deep Forest: The Prayers and Praises of Afua Kuma*, Madam Kuma employs the language and imagery of African traditions of worship and chieftaincy to glorify Jesus (Kuma 2011:3). She skillfully uses metaphors rooted in African folklore to create a style that diverges from Western forms of worship. Her work expresses a faith deeply embedded in a traditional African worldview, often described as primal and vibrant (Walton 2018:107). The author's motivation for engaging with Kuma's work has three main reasons. First, the Akan society relies heavily on oral traditions for sharing knowledge and information. This makes the development of oral theology, through works like Kuma's, essential for strengthening the Christian faith in Africa. It also ensures that local communities can actively participate in theological discussions. Since many people in the Akan society are unable to read or write, Christianity could remain limited to scholars unless oral theology is encouraged and promoted. Kuma's use of the Akan language contributes not only to the growth of African contextual theology but also to what is known as mother-tongue theology. Fretheim (2020, 19) rightly opines that Kuma's praises underline her "incredible theological and linguistic ingenuity in adapting a traditional chiefly praise format, familiar in her Akan culture, for vibrant, Christologically-focused praise. Although she drew on aspects of the phrasing and verbal structures of this traditional format, she was the first to transform this rich template for Christian worship." In doing so, she demonstrated how oral theology could serve alongside academic theology, acting as its foundational pillar. Oral theology should work alongside academic theology, serving as its foundation (Bediako 2000:17-18). Without this collaboration, academic theology risks being confined to scholars and may fail to reach the wider population. By exploring Kuma's oral theology, this paper aims to support the growth of what Bediako refers to as "grassroots" or "mother-tongue" theologies, which is vital for making Christianity relevant and meaningful in the Akan and African contexts. While all theology is shaped by its context to some extent, grassroots theologies are especially so (Fretheim 2020, 21). These theologies are less formal, highly contextualized, and primarily oral in nature. They draw inspiration from the theologian\'s culture, community, and Christian tradition, and are often expressed through performative forms such as prayers, praises, songs, and stories (Fretheim 2020, 21). This allows them to address Christian thought and practice in ways that resonate deeply with the community. Additionally, grassroots or mother-tongue theologies are typically delivered in the vernacular, ensuring they remain both profoundly personal for the theologian and easily accessible to their audience (Fretheim 2020, 21). The second reason for engaging with Kuma's work lies in the traditional gender roles within Ghanaian praise singing. Historically, while women participated in various aspects of cultural rituals, only men were granted the role of chiefly praise singers, who held the responsibility of offering praises to chiefs and other important figures (Fretheim 2020, 21). This made the position a highly revered and male-dominated space. However, Afua Kuma, as a woman, boldly and confidently appropriated this traditionally male-dominated genre, breaking with cultural conventions. Her courage and creativity were not only groundbreaking but also earned her widespread respect and admiration within her community. In an interview with Fretheim (2020, 21) Archbishop Emeritus Peter Sarpong remarked, "For her to do this is like a miracle to me -- I don't know where she'd get such words! They are very difficult and obscure; very unusual. It's really wonderful!" Her work truly represented a paradigm shift, as she became celebrated for her mastery of a genre traditionally reserved for men, thereby opening doors for other women to engage in and transform cultural and religious expressions. Bediako (1997, 73) contends that "it is only through the vernacular that a genuine and lasting theological dialogue with culture can take place." Bediako (2000, 9) sees in Afua Kuma's praises "theology which comes from where the faith lives and must live continually, in the conditions of life of the community of faith, the theology of the living church, reflecting faith in the living Lord as present reality in daily life." Another reason for studying Kuma's praises is its ability to highlight areas of connection and difference between African primal imaginations and Christianity. By exploring these aspects, this study can address the issue of syncretism while also showing that God can be experienced in the African context---whether in daily life, cultural practices, or the natural environment (Kuma 2011: blurb). Kuma's work demonstrates that it is possible to hold a primal worldview and still be a faithful Christian. This stands in contrast to the conclusion reached at the first Missionary Conference in Edinburgh (1910), which viewed "animism" (a term then used for African Traditional Religions) as being the furthest removed from Christianity. At that time, African Traditional Religions were placed at the lowest level of a supposed hierarchy of religions, with Christianity at the top as the most civilized monotheistic faith (Bediako 2000:2). Kuma's work challenges this view by showing that Christianity has become \"an African's religion\" rather than just \"an African religion.\" This means that Christianity in Africa is not merely the result of historical circumstances but represents a fully integrated and authentic African experience of the faith (Bediako 1995:60). Through her work, Kuma provides a foundation for identifying and nurturing elements of African primal imaginations that align with Christianity. Her example encourages the development and promotion of these aspects, ensuring they are understood as part of a meaningful and coherent expression of the Christian faith within the African context. With this brief background, the study moves on to explore how the Akan/African Christian can appreciate the atonement of Christ and relate this understanding to everyday reality. Kuma's work bridges the gap between formal theology and everyday spirituality. As an oral theologian, Afua Kuma shows that formal education is not needed to create powerful, and meaningful theology. Who is Afua Kuma? The next section answers this question. **Afua Kuma's Socio-religious and political context** Afua Kuma lived in both pre-independence and post-independence eras. She lived in a period where Christianity was trying to make inroads in the Ghanaian society. Catholic missionaries had planted the Christian faith and other Christian denominations had followed suit to evangelize the Gold Coast. **Afua Kuma's Christology of Power** The expression Christology of power is used in the context of this work in reference to an understanding of Jesus Christ that emphasizes his authority, might, and supremacy over all things. This Christological perspective depicts Christ as having power over nature, spiritual forces, and human affairs. This section presents Afua Kuma's perspective on Christ's power based on three thematic areas; namely, Warrior-King, Economic conqueror, supreme and undefeated. **Afua Kuma's Biblical Imagery for Jesus** In her poem, Afua Kuma skillfully located the intersection between her socio-religious context and biblical narratives, blending them into a powerful theological reflection that resonated deeply with her Ghanaian audience. The following excerpt begins this discussion: In this text, Kuma alludes to two well-known Gospel accounts: the feeding of the five thousand (John 6; Matt. 14:13ff) and the parable of the prodigal son or the parable of the loving Father (Luke 15). These are two great stories in the gospel accounts. Here, Kuma reimagines the feeding of the five thousand and shifts the narrative to highlight Jesus as both the host and provider. Instead of a boy presenting loaves and fishes (ref), Jesus himself is portrayed as the one cooking in "huge palm-oil pots." The dramatic imagery is drawn from Ghanaian culinary practices where large pots are traditionally used for communal cooking during significant social gatherings (such as festivals, weddings, funerals, and other social occasions. These large pots were usually used to process palm-oil; hence, the reference to them as "palm-oil pots." Thus, the mention of "huge palm-oil pots" connects the biblical story to the traditional communal feasts of her culture to reinforce the idea of Christ's provision as both extravagant and culturally accessible. The line, *"Thousands of people have eaten, yet the remnants fill twelve baskets,"* underscores the superabundance of Christ's provision. Kuma's emphasis on the twelve baskets of leftovers symbolizes not just sufficiency but divine overflow. It suggests that Christ's blessings are not limited to meeting immediate needs but extend beyond. The detail of the "twelve baskets" of remnants aligns with the communal experience of feasting, where even after everyone is satisfied, there is still plenty left. In traditional Ghanaian culture, abundance at communal meals is a sign of hospitality, prosperity, and care. This imagery transforms the biblical account into something relatable. In the line, *"We are going to eat with pigs, we are going to be disgraced!"* Kuma draws on the biblical parable of the prodigal son (Luke 15:11--32), where the younger son, after squandering his inheritance, is reduced to feeding pigs and longing to eat their food. In the biblical context, this represents the ultimate humiliation, particularly for a Jewish audience, as pigs were considered unclean animals (ref). The prodigal son's plight is a metaphor for spiritual and moral destitution that results from turning away from God. Kuma employs this imagery to warn against rejecting Christ's provision and blessings. She opines that leaving Jesus equates to abandoning the sustenance of life and descending into disgrace, both spiritually and socially. This reflects her theological emphasis on Jesus as the sole source of spiritual nourishment and dignity. For Kuma, the prodigal son's fall is not just a cautionary tale but a vivid reminder of the consequences of disconnecting from God's abundant grace. This imagery is informed by Kuma's personal experience of hardship and triumph through unwavering faith. Having faced moments of personal and family crises, such as her son's wrongful imprisonment, she understood the vulnerability that comes from being disconnected from divine provision. Her warnings about "eating with pigs" resonate with her audience, blending the biblical narrative with her lived reality. This connection invites reflection on the spiritual consequences of straying from Christ, as well as the eventual restoration that comes through repentance and returning to Him. Her integration of the two stories underscores the sufficiency of Christ and the danger of abandoning His grace, aligning biblical truths with everyday struggles and hopes within her Ghanaian context. ### Atonement as prosperity (*Yiedie* Christology) **The economic context of the Akan community** The economic situation in many African countries remains challenging. Across the continent, evidence of internal displacement and refugee crises highlights the widespread poverty that affects millions. Economic problems such as poverty, high inflation, large budget deficits, rising fuel prices, lack of basic social amenities, inadequate housing, frequent labor unrest, and high unemployment are all too familiar to the average African. These issues touch nearly every aspect of life, making daily survival difficult for many. Aderonmu (2010:201) dramatically describes the visible signs of poverty in African communities: "In the Akan society and most African communities, poverty manifests itself in 'bad roads, women and children walking barefooted and trekking long distances to get water and firewood, pupils studying under trees, dilapidated and ill-equipped health centers, and scores of \[other\] poverty-driven problems.'" This observation reflects the harsh realities faced by countless individuals across the continent. No one in Africa is entirely untouched by poverty, economic inequality, and deprivation, which collectively contribute to the widespread misery that characterizes the region. Some churches have tried to respond to the economic struggles of their members. However, some of these responses are controversial, such as the promotion of lottery numbers or claims of miraculous deposits of money appearing in people's bank accounts without explanation. These practices, though intended to bring relief, raise ethical and spiritual concerns. In addition, many African youth, driven by desperation, resort to harmful and illegal means to address their economic hardships. In Ghana, for instance, some young people turn to ritual money practices or engage in internet fraud, locally known as "*sakawa*." These methods provide short-term financial gain but often lead to moral decay, social unrest, and long-term consequences for individuals and communities. Afua Kuma's Christology emphasizes the economic relief that the atonement of Christ brings. She assures her audience that Jesus has made provisions for their economic needs through his atonement. To convey this assurance, Kuma employs a variety of metaphors to describe Christ\'s role as one who can transform the economic circumstances of his followers. Firstly, Kuma depict Christ as economic canopy by referring to him as *Kwaeɛ Kɛseɛ* ("Big Forest") that "gives us tasty foods" (Kuma 2011:37). Kuma lived in an agricultural setting where the forest was vital to human survival. For the people of her time and community, the forest was more than just a collection of trees; it was a source of water, food, medicine, and game---all essential for daily living. The forest represented abundance, sustenance, and security. The expression "Big Forest" underlines Christ's ability to meet every human need comprehensively. The use of the adjective *Kɛseɛ* ("big") underscores the vastness and dependability of Christ's provision, indicating that his supply is more than sufficient to sustain his followers. Just as a forest provides shade from the scorching sun, Jesus shields his followers from the harsh realities of life. The economic struggles in Ghana and other parts of the world, symbolized by the blazing sun, are alleviated by Christ's generous provision. Kuma's metaphor of "tasty foods" provided by the forest further deepens the understanding of Christ's provision. The term "tasty" evokes feelings of satisfaction, joy, and nourishment. It is in this sense that Kuma (2011:10) also refers to him as *Ɔdɔkɔtobonnuare*, "the hard-working Farmer who gives food to the carefree in the morning." This picture not only illustrates that his gifts are abundant and of the highest quality, but also emphasizes that they are perfectly suited to the specific needs of his followers. It speaks to the richness and completeness of his care---ensuring that believers are not merely provided for, but are blessed with what is truly fulfilling and satisfying. This image reassures the faithful that Jesus's provision goes beyond mere survival; it is of such excellence that it brings lasting contentment and well-being, addressing both social and economic needs. Thus, Kuma (1981, 5) says of Jesus: "The great Rock we hide behind the great forest canopy that gives cool shade the Big Tree which lifts its vines to peep at the heavens, the magnificent Tree whose dripping leaves encourage the luxuriant growth below." Here, Kuma adopts imagery from familiar natural elements---rocks, forests, trees, and fertile landscapes---to paint a vivid picture of Jesus as a powerful, dependable, and nurturing source of strength. The expression "The great Rock we hide behind" (Kuma 1981, 5) invokes the image of a secure refuge, a place where people can find safety in times of trouble (Kwiyani and Ola 2021, 60). This metaphor reflects the common experience of people seeking shelter and protection, much like individuals in Akan society would seek refuge behind a strong, immovable rock Kwiyani and Ola 2021, 60). The image of the "great forest canopy that gives cool shade" further enhances this idea, symbolizing a source of comfort and relief from the harsh realities of life. Just as people in a hot, sun-scorched environment long for the coolness of the forest shade. Thus, Kuma presents Jesus as the provider of relief from the difficulties and struggles of life. The "Big Tree" in Kuma's imagery is another powerful symbol of stability and spiritual strength. She speaks of it lifting its vines "to peep at the heavens." This suggests that Jesus is not only a source of earthly security but also one who connects believers to the divine. The tree, reaching toward the heavens, symbolizes spiritual elevation and the hope of eternal life, while its abundant growth beneath represents the flourishing of those who find their sustenance in him. The "magnificent Tree whose dripping leaves encourage the luxuriant growth below" is a picture of Jesus as a source of abundant life, nourishing His followers and encouraging them to grow and thrive in their faith. Secondly, she likens Jesus to a Weaver who provides *adwinasa* (Kuma 2011:10). The *adwinasa* ("all craft ideas are exhausted") is a highly valued and prestigious Akan cloth which was traditionally reserved for kings of high rank. This design stands as a symbol of the highest level of artistic mastery and holds great cultural importance. It is said that the creator of this cloth incorporated every known weaving motif of the time and, upon its completion, concluded that "all craft ideas are exhausted." Consequently, *adwinasa* is considered the most luxurious and prestigious of kente cloths. It represents royalty, elegance, creativity, excellence, wealth, perfection, and exceptional craftsmanship. Kuma's description of Christ as the weaver of *adwinasa* suggests that what Jesus offers is not only adequate but also of the highest quality. Thirdly, Kuma (2011:30) presents Jesus as "The Chief of Christians whose shade-tree grows money," a metaphor that deeply resonates within the Ghanaian context. In Ghana, workers often refer to payday as "rainy days," a time when money is received as if it were falling from the sky like rain. This reflects the hope and anticipation that comes with receiving financial relief. However, Kuma's metaphor challenges this limited understanding. She suggests that, unlike the occasional nature of rain, Jesus is a constant and reliable provider, like a tree that continuously bears fruit. Kuma's depiction emphasizes that Jesus has the power to radically change the financial and material conditions of his followers. In a country like Ghana, where poverty and economic struggles are common, this imagery resonates strongly. The tree that grows money symbolizes a reliable, sustainable source of provision, showing that Jesus meets the needs of his people in both predictable and unexpected ways. Kuma's understanding is clear: the provision from Jesus is not a fleeting blessing but an unending flow of support. Further still, Kuma (2011:31) also compares Jesus to "The Sea, which gives us fat fish," signifying his care for his followers' material needs, especially their nourishment. In Ghanaian society, where fishing is a key livelihood, the sea is seen as a life-sustaining source. Just as the sea consistently provides fish to those who depend on it, Jesus ensures that his followers' basic needs are met, and more. Kuma (2011:44) further describes Jesus as a rich man who "spends seven hundred pounds on you." This metaphor suggests that Jesus is not just generous but lavishly so, underscoring that his riches far exceed human comprehension. In another striking metaphor, Kuma compares Jesus to the "Moon of the harvest month," a symbol of provision and guidance. In Ghana, the harvest season is a time of plenty, and the moon in the harvest month provides light in times of darkness, much like how Jesus illuminates and guides his followers through difficult situations. Kuma (2011:12) also portrays Jesus as the one "upon whom prisoners depend, just as the tongue depends upon the mouth," thus emphasizing the total dependence believers have on him for their sustenance and survival. From the preceding discussion, it is clear that the economic dimension of the atonement is significant. Through his atoning work on the cross, Christ has secured economic upliftment and provision for his followers. However, it is essential to exercise caution in not overemphasizing material salvation. While material blessings, such as financial provision, good health, and prosperity, are important, they should not be regarded as the ultimate purpose of Christ's death. The death of Christ was primarily about the reconciliation of humanity to God and the restoration of a right relationship with him. Material wealth, beauty, power, influence, fame, glory, and success may indeed be part of the Christian experience, but these are not the core reasons for which Christ suffered and died. On the cross, God demonstrated how apparent weakness, shame, and powerlessness could be transformed into victory and exaltation. The cross reveals that true success in life is not found in the accumulation of material wealth or worldly accomplishments, but in seeking and living in accordance with God's will and purpose. Christ's passion was the means by which he was exalted and glorified, showing that suffering, while painful, can lead to future glorification and eternal reward. Therefore, it is important for Christianity in Akan, and in other contexts, to avoid presenting material wealth as a guaranteed right for all believers. Rather, it should be understood as a privilege---something that God may choose to provide, but not necessarily for everyone. Believers should recognize that it is possible to live a fulfilling and pleasing life to God even without material wealth. It is crucial to note that not all Christians will experience material riches. Some may live in poverty or face financial struggles. Hence, Christians must guard against being blinded by the pursuit of wealth or making material gain the measure of their faith and devotion to God. The true Christian life is characterized by living in obedience to God's will, regardless of one's material circumstances, and trusting in his provision and sovereignty over all aspects of life. , as seen in Isaiah 53:5 This scripture highlights how the suffering of YHWH's servant (identified in the New Testament as Jesus) brings peace (*shalom*). This peace includes not only good health and long life but also material prosperity. Jesus Himself taught that if believers seek first the Kingdom of God and His righteousness, all their needs---including financial ones---will be provided for (Matt. 6:33). Throughout His ministry, Jesus demonstrated care and concern for the economic well-being of people. **One with ultimate power** Ôkatakyi---Hero, brave one! (Kuma 1981, 5, 7, 10, 17, 39); Adubasapôn---Strong-armed One (1981, 7); Okuruakwaban---Source-of-great-strength (1981, 7); Okokurokohene---powerful Chief (1981, 11); Okwatayi-mu-agyabenaa---one who is not limited to a single place (1981, 39); Woyâ saremusâe---Lion of the grasslands (1981, 46); Afua Kuma conceptualizes God as the ultimate power through the use of complex, self-coined praise names that reflect her everyday reality. Drawing from the rich imagery of the Akan culture, Kuma's praise names for Jesus are deeply embedded in the local experiences of strength, resilience, and authority. For example, Kuma refers to Jesus as *Ôkatakyi* (Hero, Brave One). According to Laryea (2000:80) this appellation "is used for war heroes who make a clean sweep of their enemies and return from battle victorious. It is only a brave person and man of valor who fights and covers his back while facing the enemy or does not turn his back to the enemy in battle." Okatakyie reflects the strength and valor associated with heroes in Akan culture, painting a picture of Jesus as a fearless leader who overcomes obstacles for His people. Kuma also describes Jesus as *Adubasapôn* (Strong-armed One), a name that speaks to Jesus's physical and spiritual strength. This title reflects the idea of God as a source of power and protection, capable of lifting the burdens of His people. Similarly, *Okuruakwaban* (Source-of-great-strength) emphasizes Jesus as the ultimate wellspring of strength, portraying Him as the one who enables His followers to endure and triumph over life's challenges. Additionally, Kuma uses the title *Okokurokohene* (Powerful Chief) to portray Jesus as a figure of authority and sovereignty. This title invokes the image of a respected leader who commands power and influence over His people, offering protection and governance. Another title, *Okwatayi-mu-agyabenaa* (One who is not limited to a single place), conveys the omnipresence of Jesus, emphasizing that He is not confined to one location but is everywhere, providing support and guidance to His followers regardless of their circumstances. Finally, Kuma refers to Jesus as *Woyâ saremusâe* (Lion of the Grasslands), a powerful and regal title that evokes the image of the lion, a symbol of supreme power and authority. This name reflects the strength and majesty of Jesus, likening Him to the lion, the king of the animal kingdom, further emphasizing His power and dominion over all creation. In African thought, the Supreme Being is understood as the Lord of the universe, the creator, controller, and sustainer of all that exists, revealing Himself through His works. Afua Kuma echoes this view of divine supremacy by describing Jesus as the all-powerful One, the ruler of all earthly realms. She further emphasizes His mysterious nature by drawing on everyday experiences and objects. For example, she portrays Him as the one who uses a *kono* basket to carry water (Kuma, 1981). The *kono* basket, known for its holes that prevent it from holding liquid, is traditionally used to carry solid items, symbolizing how Jesus accomplishes the impossible using even the most unlikely tools. Jesus! He is the Man of the sea, bravest of hunters on the ocean, leader of a thousand priests, the most handsome of the young men, among miracle-workers, a prophet, wisest of sorcerers. Among soldiers and police, the commanding officer. Teacher of teachers. Holy One! Kuma's poetic praise of Jesus as "the Man of the sea, bravest of hunters on the ocean, leader of a thousand priests, the most handsome of young men, and the commanding officer among soldiers and police" reflects a rich Christology of power. Each appellation portrays Jesus as a figure of authority and capability as the poet draws on imagery from various aspects of human life to emphasize Christ's supremacy. The term *Kronkron* (Holy) ascribed to Jesus in her praises carries significant weight. In pre-Christian Ghanaian usage, *Kronkron* often referred to purity, particularly ethnic or cultural purity. For instance, it could describe unadulterated water, pure bloodlines, or classical Twi language as distinct from corrupted forms. This association with quality, authenticity, and excellence mirrors the cultural reverence for purity and excellence in all things. Kuma, however, transforms and expands this concept. In her context, *Kronkron* is redefined to align with the biblical understanding of holiness---one that combines moral purity with divine righteousness and justice. In biblical narratives, holiness (from the Hebrew *qadash* and Greek *hagios*) signifies separateness and moral perfection. When attributed to God or Christ, it encompasses purity, righteousness, and an unwavering commitment to justice and salvation. Kuma uses *Kronkron* to elevate Jesus as the epitome of these qualities, integrating cultural and biblical dimensions. She shifts the emphasis from ethnic or ceremonial purity to a universal and divine purity that speaks of Jesus' unmatched power and moral excellence. Kuma's Christology of power is not abstract but deeply rooted in lived experience and the biblical narrative. For example, her reference to Jesus as the one whose presence transformed failure into success mirrors the account of Peter's miraculous catch of fish (Luke 5:1--11). After a fruitless night, it is Jesus' intervention that leads to an overwhelming catch. This prompted Peter to acknowledge Jesus\' holiness and his own unworthiness. Similarly, Kuma's portrayal of Jesus reflects her own lived experiences, where divine intervention turned moments of despair into triumph. The phrase "Among soldiers and police, the commanding officer" in Kuma's praise of Jesus captures a powerful image of Christ's authority and leadership. It draws from the structure of human institutions, particularly those associated with discipline, protection, and order, to describe Jesus as the ultimate figure of command and control. In the context of soldiers and police, the commanding officer holds the highest rank, giving directives that must be followed without question. This imagery emphasizes Jesus' unparalleled authority over all forms of power, whether spiritual, social, or political. It portrays Him as the leader who governs with wisdom and justice, ensuring the safety and order of His \"kingdom\" and people. Biblically, this resonates with titles ascribed to Jesus, such as \"Lord of Hosts\" (Yahweh Sabaoth), a name that depicts Him as the commander of heavenly armies (Isaiah 6:3, Psalm 24:10). It also aligns with New Testament descriptions of Jesus' sovereignty, such as being seated at the right hand of God with all power in heaven and on earth (Matt 28:18, Eph 1:20-22). Kuma\'s imagery affirms that Jesus is not just a spiritual savior but also a supreme leader who brings justice, peace, and order to a chaotic world. For Afua Kuma, rooted in a Ghanaian socio-political context, this description may also reflect her understanding of the need for righteous leadership. Soldiers and police in her setting symbolize both the potential for protection and the misuse of power. A great and shining nation belongs to Jesus; the rainbow protects its rampart while lightning marches round. Signs and wonders open its gates, for these are the keys of his kingdom. One does not have to take a mirror there to see one\'s face: the brilliance of the city is his mirror! Almighty God, you are a great Chief. To you belongs the holy city. Truly it is a glorious city. Gold nuggets are strewn about, while streams of precious beads flow through ### OTUMIFO NYANKOPƆN (ALMIGHTY GOD) AND THE CHRISTOLOGY OF POWER Afua Kuma vividly portrays Jesus as Otumifo Nyankopɔn (Almighty God), drawing from both the Akan cultural worldview and the biblical narrative. She describes the holy city belonging to Jesus, where the rainbow and lightning symbolize divine protection and majesty. Her imagery alludes to the New Jerusalem in Revelation 21:22--23, a city illuminated by the glory of God and the Lamb, requiring no sun or moon. In this city, signs and wonders serve as gates, and its brilliance mirrors the radiance of Jesus, eliminating the need for any other reflection. Kuma\'s description of Jesus as a \"great Chief\" reflects the Akan understanding of authority and divinity. Akan chiefs wield significant cultural and spiritual influence, often perceived as intermediaries between the divine and the people. By attributing such authority to Jesus, she bridges her Akan heritage with her Christian faith, emphasizing Jesus\' supreme role as ruler and provider of life. Her use of the title **Otumifo Nyankopɔn**, meaning \"God, the Almighty,\" underscores Jesus\' omnipotence. This title connects with the Akan perception of Onyankopɔn as the creator and moral governor of the universe, whose presence transcends time and space. J.B. Danquah highlights Onyankopɔn as one of the three primary designations for the Supreme Being in Akan thought, alongside Onyame and Odomankoma. The term also aligns with Revelation 1:8, where Jesus declares, \"I am the Alpha and the Omega\... who is, and who was, and who is to come, the Almighty.\" ### Akan Heritage and Revelation Kuma integrates the Akan notion of Onyankopɔn with the Christian God, suggesting a continuity in divine revelation. However, she notes a distinction in her poem: \"Our ancestors didn\'t know of Onyankopɔn: the great God.\ They served lesser gods and spirits and became tired.\ But as for us, we have seen holy men and prophets.\" This statement reflects an important theological nuance. While traditional Akan worship acknowledged Onyankopɔn, the ancestors primarily engaged with the abosom (lesser gods) and nsamanfo (spirits), which were more accessible in their daily lives. Afua Kuma asserts that it is through the advent of Christianity and its messengers---adiyifo (holy men) and nkɔmhysfo (prophets)---that the fullness of Onyankopɔn\'s revelation has been realized. This echoes Romans 1:19--20, where Paul speaks of God making himself known through creation but revealing his ultimate truth through Christ. Jon Kirby\'s translation of \"anhu\" (didn\'t know) as \"did not see\" further clarifies her position. It suggests not a denial of God\'s existence but an inability to perceive him fully. The ancestors' spiritual vision was limited to intermediaries, but Christians, according to Afua Kuma, have seen and understood God more clearly through Jesus. ### A Religious Journey to Jesus Afua Kuma frequently uses journey imagery to describe the Christian faith. She expresses gratitude to Jesus for helping believers \"reach this place\" and \"come this far,\" indicating a spiritual pilgrimage. These phrases reflect both the Akan understanding of life as a journey and the Christian narrative of salvation history. The mention of \"everlasting life\" (John 3:16) as the ultimate goal situates Jesus as the culmination of this journey. By introducing Jesus into the Akan religious framework, Afua Kuma creates a Christology of power that resonates with her cultural heritage. She portrays Jesus not as foreign to the Akan worldview but as deeply connected to their spiritual aspirations. He is the fulfillment of their quest for life, embodying the ultimate source of power, justice, and salvation (John 14:6). ### A Synthesis of Akan and Christian Traditions Afua Kuma's poetic theology exemplifies a harmonious blend of Akan and Christian traditions. Her acknowledgment of Jesus as both the Almighty and the provider of everlasting life mirrors the Akan emphasis on a benevolent ruler who ensures the welfare of the people. In Jesus, she sees the intersection of divine kingship and sacrificial love, a synthesis that invites both Akan and Christian audiences to recognize his unparalleled authority. For Afua Kuma, Jesus is not only the source of life but also the mediator of a transformative relationship with God. Her depiction of the holy city as filled with gold nuggets and streams of precious beads aligns with Akan ideals of prosperity and divine blessing, drawing parallels with Revelation 21:18--21. Her Christology transcends cultural boundaries, presenting Jesus as both a universal and contextual Savior. **References** Kwiyani, Harvey and Joseph Ola. 2021. God in Oral African Theology: Exploring the Spoken Theologies of Afua Kuma and Tope Alabil. Conspectus, Volume 31, 54-66. Anyidoho, Akosua. 2000. "Techniques of Akan Praise Poetry in Christian Worship: Madam Afua Kuma." In Multiculturalism & Hybridity in African Literatures, edited by H. Wylie and B. Lindfors: Africa World Press Walls, Andrew F. 2008. "Kwame Bediako and Christian Scholarship in Africa." International Bulletin of Missionary Research 32:188--93 Fretheim, Sara J. 2020. "Jesus! Say It Once and the Matter Is Settled": The Life and Legacy of Oral Theologian Madam Afua Kuma of Ghana (1908--1987). Journal of African Christian Biography 5(3), 18-38. Oduyoye, Mercy Amba 2006. "Jesus Christ," in the Cambridge Companion to Feminist Theology, ed. by Susan Frank Parsons (Cambridge: Cambridge University Press, 2006), 151--170: 153. Kwame Bediako, "How Is It That We Hear in Our Own Languages the Wonders of God?: Christianity as Africa's Religion," in Bediako, Christianity in Africa: The Renewal of a Non-Western Religion (Maryknoll, NY: Orbis Books, 1995, reprinted 1997), 59--74: 73 Kwame Bediako, "Cry Jesus! Christian Theology and Presence in Modern Africa," in Jesus in Africa: The Christian Gospel in African History and Experience (Akropong: Regnum Africa, 2000a), 3--19: 9. Mbiti, John. 1979. 'The Biblical Basis for Present Trends in African Theology', in African Theology En Route. Edited by Kofi Appiah-Kubi and Sergio Torres. Maryknoll, NY: Orbis Books, 83--94.