Mugambi holds that the project of reconstruction involves various levels of consciousness
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9 http://www.bu.edu/wcp/Papers/Reli/ReliMwas.htm
"from the individual to the family, congregation, local community, nation, region, continent and (the) global society" (2003:128). These "concentric levels of social engineering correspond with the concentric levels of ecclesial reality" (2003:129). He goes on to cite the ecumenical movement as one that should provide a model on the basis of which the society can be rejuvenated.
Mugambi (1995:15) describes the three major levels of reconstruction as being, personal, cultural and ecclesial. He does not however rule out the possibility of other levels of reconstruction, for reconstruction is an all-inclusive concept whose parameters are difficult to define. As Mugambi can assert, "this theme (of reconstruction) needs further development as a paradigm of Christian theological reflection in Africa" (2003:15). Nor does he claim to be the final authority on the emerging theology of reconstruction. Hence, in responding to his earlier critics, Mugambi can state,
Professor Tinyiko Maluleke was among my earliest critics, long before we became acquainted. I am grateful to him for cautioning all theologians to avoid any pretentious claims to final theories or systems. Though my book did not make such a claim to finality, I have always appreciated his insistence that all theological and philosophical systems are tentative and subject to revision. In the same way that Theology of Liberation needed revision, so does the Theology of Reconstruction.
Otherwise it will become obsolete and redundant (Mugambi 2003: ii).
As denoted above, Mugambi's comment that "my book did not make such a claim" refers to his publication, From Liberation to Reconstruction: Africa after the Cold War, (1995), which gave a detailed analysis of the three levels of reconstruction. This large work comprised of fourteen chapters, each of which built relevantly on the theme of reconstruction, and in a language that appeals to everyone. As Mugambi explains:
The book will be useful to theologians and Pastors of all denominational persuasions, considering that the task of social reconstruction ought not to be restricted to particular religious or denominational confines. It will also be relevant to trainers and trainees in theology, humanities and social sciences. Its inclusive and integrative thrust is derived from my deep involvement, during the past twenty-six years, with Christian scholars and church leaders of Catholic, ecumenical and evangelical orientations (Mugambi 1995:vii).
In the coming subsection, we will seek to analyse the three major levels of reconstruction as per Mugambi's proposal (1995; 2003). This will strengthen the argument of this present study and the research problem on the appropriateness (or the inappropriateness) of the call for a paradigm shift in African theology of the twenty first Century. It will also assist us in reinterpreting Mugambi's critics.
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5.2.1. The individual level
In Mugambi's view, reconstruction begins at the individual level. Consequently, he equates the human heart, which Jeremiah (17:9) holds is deceitful and beyond cure, to a motor vehicle engine which must be well serviced before one sets out on a long journey.
He therefore means that people must change their attitude - from within their inner being - before they can set out on a journey to rejuvenate that, which is wrong within society.
Consequently, it will be ineffective if we seek it (individual reconstruction) from a pharisaic perspective - where what we say is not rooted from our inner persons (the psyche) (see Matthew 6); hence it does not match with our doings.
In quoting the rebuke by Jesus of the scribes and the Pharisees for their insincerity in the socio-religious domain (Matt. 23:1-13), Mugambi (1995:15) sends a strong message to Pharisaic reconstructions, which because they are not rooted in the heart will fail. That also means that the beacons of social reconstruction in Africa, should not be like the Pharisees who, "love to pray as they stand in the synagogues and on the street corners" in their hypocritical bid to be seen and praised by the people, rather than by God (Matt. 6:5).
In contrast, social reconstruction in Africa, will call for the strengthening of virtues such as sincerity, justice, truth, love and care, hence the desire to do the best that we can, to make Africa a better place to live in.
In view of this, Mugambi (1995:15f) cites four cases of Christian revival hymns that guide us to see the shape of individual reconstruction. These include, "Amazing grace," "Teach me thy way O Lord," "Take my life and let it be," and "Just as I am without one plea." In assessing these songs, one realises that they describe the inner plea, or expression of praise to God at the personal level, as opposed to the communal level. In a sense, they consist of prayers and thanksgivings to God, which directly affects the individual who wants to enjoy fellowship with God on a personal level. For example, in the well-known revival hymn "Amazing Grace," the speaker describes himself or herself as a former wretch; one who was previously and spiritually lost and blind. S/he had no vision and no hope. Yet, after receiving God's "amazing grace" whose sound was sweet, s/he encountered peace in God who reconstructed his or her life. It is from here that the individual must now move to reconstruct the rest of society, now that the plank in his or her eye has been removed. For
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as Jesus asked:
Why do you look at the speck of sawdust in your brother's eye and pay no attention to the plank in your own eye? How can you say to your brother, "Let me take the speck out of your eye," when all the time there is a plank in your own eye? You hypocrite, first take the plank out of your own eye, and then you will see clearly to remove the speck from your brother's eye (Matthew 7:3-5).
Interestingly, Farisani is critical of Mugambi's use of the above hymns. He says, "It seems to me that Mugambi uses these hymns in the same way he uses the biblical texts above, namely in a literal way, without addressing the context out of which they emerges (sic)"
(2002:100). This argument, fails however to acknowledge that Mugambi appropriately uses both the sacred text and hymnology with regard to his methodology. He approaches theology from the perspective of systematic theology and philosophy, while Farisani approaches theology from the perspective of Biblical scholarship, hence their differing V points of departure. Indeed, even Farisani's analysis does not rule out the applicability of
hymns building upon a theology of reconstruction, nor does he suggest an alternative hymn whose context would agree or disagree with Mugambi's contention.
Farisani's caution however is worthwhile considering there are some Christian fundamentalists who refuse to analyse the message and text of the bible, and thus pose a real risk of diluting the meaning of Christianity, in Africa and beyond. This is the danger of "Biblicism," a phenomenon that in taking the Bible literally discards exegesis in favour of receiving "the word of God accessed to us directly" (Draper 2001:153-158). Obviously, Mugambi, as an African theologian of high standing, does not fall into that category, and I believe Farisani is conscious of that. Equally, an over-emphasis on biblical exegesis and the surveying of its historical contexts may, at times, undermine the meaning of the Bible as "scripture" (Grenhohn and Patte 2000) or as "sacred text" (Draper 2001: 153-158).
Indeed, Mugambi, in my considered opinion, approaches the Bible from a "believer reader" perspective (Grenholm and Patte 2000: passim), which is also the preferred approach in this study.
Mugambi's use of hymns and biblical texts also finds agreement with Bediako (2001:2), when he states, "Scripture...is the authoritative, normative deposit given to us of the divine-human encounter that lies at the heart of our faith." It is "our road map" (Bediako
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2001:2) and "our story" (2001:3). The concept of reconstruction in African theology can thus be best understood in dialogue with sacred texts and hymns,10 as Bolaji Idowu's well- considered assertion makes clear:
Songs constitute a rich heritage for the whole of Africa. For Africans are always singing and in their singing and poetry, they express themselves. In this way, all their joys and sorrows, their hopes and fears about the future, find an outlet.
Singing is always a vehicle conveying certain sentiments or truths. When songs are connected with rituals they convey the faith of worshippers from the heart-faith in the Deity, belief in and about divinities, assurance and hopes about the present and with regard to the hereafter (Idowu 1973:84).
At this stage, it is important to acknowledge that the use of sacred hymns to drive home his theme of reconstruction is more of a continuation from his earlier works. Hence, in his book, African Christian Theology: An Introduction (1989b: 10-11), Mugambi uses the same Hymn-biblical text methodology to drive home the theme of liberation.
Mugambi's innovative approach is within the framework of the African ethos where important issues (or sometimes people who are considered as dignified members of the society) must be "escorted" with a memorable and/or relevant song, gives authenticity to his work, considering that his primary audience is African. Neither in the church, politics, education, nor in social life, have spiritual songs and sacred hymns lost their value in Africa (Gathogo 2001:81-82). Chima stresses this point when he asserts:
Whether songs are used in rites of passage (birth, puberty, initiation, marriage, etc) or in the various human activities (work, hunting, harvesting etc) and whether their contents refer to birds, animals, seasons or humans, songs have human life, behaviour and relationships as their main interest" (1994:60).
This reveals that songs (or sacred hymns) in Africa are not just a concordance of notes and voices, but each expresses the general mood and meaning of a given situation.
Thorpe introduces another element of singing in Africa where drama and dance accompany the art of music (1991:116). This builds on the importance of Mugambi's use of sacred hymns in developing a theology of reconstruction in African theology. For Thorpe, Africans dance to celebrate every, "imaginable situation -joy, grief, love, hate, to bring prosperity, to avert calamity. In addition, singing and joyful conversation enable African people to minimise tensions within enclosed community (1991:116).
10 Songs and sacred hymns in African theology conatjtate what is commonly referred to as oral theology in Africa. Although it was not discussed in depth in this study as a source of African theology, its importance cannot be downplayed.