Academic literature on the topic 'Independent Holiness Churches'

Pentecostalism in Africa has evolved as different streams characterized by particular modes of articulating the Christian message. The older independent churches were known for their emphasis on healing and prophecy and the classical Pentecostals talked much about speaking in tongues and holiness. Although these themes are present in contemporary Pentecostal discourse the new churches are best known for their messages of empowerment and prosperity that are meant to address the aspirations of Africa’s upwardly mobile youth. Using the writings of two of the movements most influential leaders from Ghana, this article discusses the ways in which the story of the Patriarchs, especially Jacob, has been reinterpreted to fit into the message of upward mobility and the principles that are meant to lead up to it. It is argued here that although the authors did not intend to misapply Scripture, by reinterpreting the schemes of Jacob in terms of the principles of success, they fail to take account of the element of ‘grace’ which is able to turn the worst of sinners into saints. Jacob did not succeed because he applied the principles of success but because God touched him with his grace during the time of wrestling with the angel.

Revivals have been a regular feature of the missionary enterprise. The modern Catholic and Protestant missionary movements themselves emerged from major religious revivals in the Western world. On the nineteenth-century China mission fields, Protestant missionaries from the mainline denominations frequently lamented the fact that their often nominal convert communities were lacking in Christian spirit and called for reinvigoration campaigns. It was, however, in the twentieth century that several large-scale revival movements occurred, starting with the ‘Manchurian revival’ of 1907–8 and culminating in the great ‘Shandong revival’ of the 1930s. The years after 1908 saw the rise of Chinese ― as well as some foreign ― full-time revivalists engaging in evangelistic efforts to reach the native Christian as well as non-Christian populations. The Canadian Presbyterian Jonathan Goforth (1859–1936) and the Shandong evangelist Ding Limei (1871–1936) are the most prominent representatives of the early campaigns of Christian renewal. In the 1920s, in spite of the fundamentalist/modernist controversy and anti-Christian agitation by nationalist and revolutionary forces in China, revivalism actually intensified. The principal focus of this paper will be on the new currents of spiritual regeneration that came with the proliferation of mostly small and sectarian missions of Holiness or Pentecostal provenance. Pentecostal ideas, in particular, contributed to the growth of Chinese independent churches and the wave of revivalism that swept across parts of China in the early 1930s. Such ‘gifts of the spirit’ as prophecy, divine healing and speaking in tongues, as well as a strong pre-millenarian belief, energised many of the more radical indigenous revivalists at this time. Other well-known Chinese evangelists had been influenced by the Holiness movement or Plymouth Brethren ideas. The Chinese dimension, especially in the context of Shandong province, is receiving particular attention in this paper.

Abstract A comparative study of William Wadé Harris, 1865–1929, and Apolo Kivebulaya, 1865–1932. The Liberian Harris’s short evangelistic tour of the Ivory Coast and western Gold Coast, 1913–1915, laid the foundations of contemporary Methodism, Catholicism, and the independent Harrist Church in Côte d’Ivoire and Church of the Twelve Apostles and others in Ghana. The Ugandan Anglican priest Kivebulaya ministered in the kingdom of Toro in western Uganda, 1895–1915, and in northeast Congo, 1915–1933, and is acclaimed as the founder of the Anglican Church in the Congo.

The subjects of the article are the philosophical concepts stated by His All-Holiness, Archbishop of Constantinople – New Rome and Ecumenical Patriarch Bartholomew I in addresses during his stay in Kyiv on the occasion of the 30th anniversary of Independence of Ukraine. These balanced canonical addresses in two languages, including Ukrainian, are independent subjects of philosophical analysis. All conceptual statements have a multidimensional character and can be studied in connection with the canonical, ecclesiastical, religious and philosophical grounds. The stay of His All-Holiness, Archbishop of Constantinople – New Rome and Ecumenical Patriarch Bartholomew I in Kyiv ended with the formation of an independent source base for historical and philosophical research. A set of philosophical terms and concepts that create an original philosophical lexicon was identified. Among the leading philosophical concepts, the polemical opposition of the "pyramidal structure of church organization" and the Eastern Orthodox Church "Pentarchy" model is distinguished by its energy. The historical and philosophical explication of the logical structure of both ways of building the Church is an important factor in elucidating the differences between the autocratic and equal in components systems. This philosophical concept and its careful study can be urgent in establishing strategic directions for the development of both the Orthodox Church of Ukraine and the secular system of government of the state of Ukraine, based on the principle of separation of powers into components. The addresses also contain a number of concepts of philosophical and theological content, which substantiate the logic of the "non-pyramidal" system of organization and have an unconditional modern meaning for the existing Ukrainian- language philosophical lexicon.

In this article, an attempt was made to make a preliminary religious analysis of the phenomenon of foolishness from the perspective of the modern methodology of the Dutch researcher J. Waardenburg. It was noted that earlier in the Russian science of religion, this phenomenon practically did not become an independent object of study. The systematic concept of J. Waardenburg assumes a consistent consideration of religious facts from the perspective of four approaches of equal importance: historical, comparative, contextual and hermeneutic. The collection and primary analysis of empirical data is a necessary and preliminary condition for a full-fledged study of the phenomenon of foolishness. Foolishness arises in Byzantine society and is perceived ambiguously by the contemporaries. The article indicates the sources of the phenomenon of foolishness in the Byzantine tradition: ancient cynicism in the person of Diogenes Laertius, healed the demoniacs who spend a lot of time near temples, Old Testament prophets. This work also reflects the historical process of the gradual separation of foolishness as an independent rank of holiness. Its biblical justification is the multiple references on the pages of the Gospel to the madness of the world and the wisdom of the unwise. The fact that the foolishness was known to the culture of the Romans is evidenced by the fact of the spread of the phenomenon of false ugliness, which the official Church tried to fight. The reason for the appearance of foolishness in Byzantium can be called the extinction of spiritual life after its rise in the first centuries of the spread of Christianity. The tradition of honoring extraordinary ascetics, as well as the formation of iconography, was slow. Only at the end of the VIII century the process began to gain momentum, which was connected with the approval at the Seventh Ecumenical Council of the veneration of saints as a necessary element of Christian dogmatics. In the Byzantine Church, six holy fools were canonized. Despite their small number, the hagiographic literature of Christian ascetics of the first centuries often offers examples of episodic foolishness. The article concludes that the genesis of foolishness in the Byzantine tradition required a long time for its development. In Russian culture the phenomenon of foolishness has found its full-fledged development, becoming an integral part of Russian culture. The author assumes, that this phenomenon requires its further empirical study as an objective religious fact.

Fredrik Franson (1852–1908), a dual citizen of Sweden and the USA and an international revival evangelist, is among the most significant mission founders and mobilisers of the Holiness Movement during the last quarter of the 19th century and the beginning of the 20th century. Within 22 years he founded 15 faith missions, four free-church federations in Europe and North America and several independent churches in the USA, New Zealand and Australia. This article focuses on the episodes of his life relating to southern Africa, namely the sending of the first missionaries of the Free East Africa Mission, the Scandinavian Alliance Mission of North America, and the founding of the Evangelical Church in Swaziland in 1893. Furthermore, it deals with Franson’s evangelistic campaigns in southern Africa, his visits to mission stations, participation in mission conferences and his partnership with Andrew Murray, Worcester, between spring 1906 and summer 1907. The article closes with a brief reflection of the lasting impact of Franson and his missionaries in southern Africa.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

In Natal and Zululand Swedish missions had precedence through the Church of Sweden Mission from 1876 on, the Swedish Holiness Mission from 1889 on, and the Scandinavian Independent Baptist Union from 1892 on. Between 1876 and 1902, thirty-six women were active in these South African missions. The history of all these women are explored on an individual basis in this, for the most part, empirical study. The primary goal of this dissertation is to find out who these women missionaries were, what they worked at, what positions they held toward the colonial/political situation in which they worked, and what positions they held in their respective missions. What meaning the women’s mission work had for the Zulu community in general, and for Zulu women in particular are dealt with, though the source material on it is limited. Nevertheless, through the source material from the Swedish female missionaries, Zulu women are given attention. The theoretical starting points come, above all, from historical research on women and gender and from historical mission research about missions as a part of the colonial period. Both married and unmarried women are defined as missionaries since both groups worked for the missions. In the Swedish Holiness Mission and in the Scandinavian Independent Baptist Union the first missionaries in Natal and Zululand were women. The Church of Sweden Mission was a Lutheran mission were women mostly worked in mission schools, homes for children and in a mission hospital. Women were subordinated in relationship to male missionaries. In the Swedish Holiness Mission and in the Scandinavian Independent Baptist Union women had more equal positions in their work. In these missions women could be responsible for mission stations, work as evangelists and preach the Gospel. The picture of the work of female missionaries has also been complicated and modified.

John Wesley founded Methodism as an evangelical renewal movement within the Church of England. That structure encouraged both establishment impulses and Dissenting movements within Methodism in the North American context. In Canada, British missionaries planted a moderate, respectable form of Methodism, comfortable with the establishment. In Ontario, however, Methodism drew from a more democratized, enthusiastic revivalism that set itself apart from the establishment. After a couple of generations, however, these poorer outsiders had moved into the middle class, and Canadian Methodism grew into the largest denomination, with a sense of duty to nurture the social order. Methodism in the United States, however, embodied a paradox representative of a nation founded in a self-conscious act of Dissent against an existing British system. Methodism came to embrace the American cultural centre while simultaneously generating Dissenting movements. After the American Revolution, ordinary Americans challenged deference, hierarchy, patronage, patriarchy, and religious establishments. Methodism adopted this stance in the religious sphere, growing as an enthusiastic, anti-elitist evangelistic campaign that validated the spiritual experiences of ordinary people. Eventually, Methodists began moving towards middle-class respectability and the cultural establishment, particularly in the largest Methodist denomination, the Methodist Episcopal Church (MEC). However, democratized impulses of Dissent kept re-emerging to animate new movements and denominations. Republican Methodists and the Methodist Protestant Church formed in the early republic to protest the hierarchical structures of the MEC. African Americans created the African Methodist Episcopal Church and African Methodist Episcopal Zion Church in response to racism in the MEC. The Wesleyan Methodist Church and the Free Methodists emerged in protest against both slavery and hierarchy. The issue of slavery divided the MEC into northern and southern denominations. The split reflected a battle over which religious vision of slavery would be adopted by the cultural establishment. The denominations remained divided after the Civil War, but neither could gain support among newly freed blacks in the South. Freed from a racialized religious establishment embedded in slavery, former slaves flocked to independent black Methodist and Baptist churches. In the late nineteenth century, Methodism spawned another major evangelical Dissenting movement, the Holiness movement. Although they began with an effort to strengthen Wesleyan practices of sanctification within Methodism, Holiness advocates soon became convinced that most Methodists would not abandon what they viewed as complacency, ostentation, and worldliness. Eventually, Holiness critiques led to conflicts with Methodist officials, and ‘come-outer’ groups forged a score of new Holiness denominations, including the Church of God (Anderson), the Christian Missionary Alliance, and the Church of the Nazarene. Holiness zeal for evangelism and sanctification also spread through the missionary movement, forming networks that would give birth to another powerful, fragmented, democratized movement of world Christianity, Pentecostalism.