A UK-based Ghanaian spiritualist and high priest of the Kubala Kingdom, Kofi Offeh, also known as Atehene, has issued a public challenge to Prophet Kwabena Boakye Asiamah, the founder of the Ajagurajah Movement, accusing him of deceiving Ghanaians with a fabricated deity named Ajagurajah. Atehene, a recognized musician and opera singer described by the BBC as “Nino, the opera singer challenging perceptions,” asserts that Asiamah’s claims about the fallen angel Ajagurajah are baseless and have no theological foundation. He argues that the name Ajagurajah doesn’t exist within the established hierarchy of angels recognized within the Hebrew scriptures, which Asiamah frequently cites. Atehene calls upon Ghanaians to be discerning and reject what he terms as religious manipulation by figures like Asiamah. He further contends that for the past four centuries, Ghana has not witnessed the emergence of any authentic religion or divinely appointed prophet.
Atehene’s challenge takes a dramatic turn as he proposes a public spiritual confrontation with Asiamah in Kumasi, Ghana. He invites Asiamah to demonstrate the power of his alleged deity, Ajagurajah, against the power of Yahowah, the God Atehene himself serves. He sets high stakes for this spiritual duel, declaring that if Asiamah succeeds in overpowering his god, Atehene will accept being burned alive as punishment. Conversely, if Asiamah fails to provide tangible evidence of Ajagurajah’s power, Atehene demands that Asiamah be publicly flogged forty times by forty of his followers for misleading them with a fabricated deity. This public challenge underscores the deep-seated conflict between the two spiritual leaders and their respective belief systems.
Atehene’s pronouncements are laced with strong convictions about the spiritual state of Ghana. He claims that those who died without realizing the alleged falsehood of prevailing religious narratives in Ghana have perished in vain. This bold statement underscores his belief in the urgency of his message and the gravity of the deception he alleges Asiamah is perpetrating. His assertion about the absence of true prophets and religions in Ghana for four centuries broadens the scope of his critique beyond Asiamah, encompassing a wide swathe of religious practices in the country.
Atehene’s background as a musician adds an interesting layer to his persona as a spiritual leader. His artistic recognition in the UK, particularly his description by the BBC, highlights his existing public profile before his transition to a more overtly spiritual role. This background suggests a potential blend of artistic expression and spiritual conviction in his pronouncements. His reported acts of rebuking people in Britain for the historical enslavement of his ancestors further indicate his willingness to engage with social and historical issues through a spiritual lens.
The core of Atehene’s argument revolves around the authenticity of Ajagurajah as a divine entity. He challenges the very existence of such a being within the established theological frameworks, particularly those derived from Hebrew scriptures. By calling Ajagurajah a “fictional angel,” Atehene directly attacks the legitimacy of Asiamah’s teachings and his claim to spiritual authority. He calls upon Asiamah to prove the existence and power of this entity before the public, essentially demanding a public demonstration of supernatural power to validate Asiamah’s claims.
The proposed public confrontation in Kumasi carries strong symbolic and performative elements. It is designed as a spectacle, a public test of spiritual power intended to expose what Atehene believes to be Asiamah’s deception. The dramatic consequences proposed for both parties – being burned alive or being publicly flogged – highlight the gravity of the challenge and the unwavering conviction of Atehene in his own beliefs. This public display of spiritual authority is reminiscent of historical power struggles between religious figures, underscoring the enduring human fascination with contests of spiritual power and legitimacy.
