Abstract
In southern Ghana, where I have been conducting research on the genesis of popular Christianity for almost twenty years, Christian imagery is everywhere. The Ghanaian state re-adopted a democratic constitution in 1992, and this was followed by a liberalization and commercialization of mass media, which in turn facilitated the spread of Pentecostalism in the public sphere (see De Witte 2008; Gifford 2004; Meyer 2004a). Within this process, Christian pictures have become ubiquitous. Pentecostal-charismatic churches assert their public presence and power via television, radio, posters, and stickers, and there has also emerged a new public culture rife with Christian imagery. This visual and aural expansion of Christianity and its particular aesthetic severely challenges what is being called African Traditional religion, and clashes with initiatives developed by the state and intellectuals to secure a national heritage.
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