Against the backdrop of the dramatic social and economic divides characterizing contemporary South Africa, my research on Zionist Christianity offers the South African public an in-depth example of religion's role in pioneering equitable societies. My AHRC Fellowship examines the democratic resources of a transatlantic Protestant faith healing movement called Zionism. I show that in both the United States and South Africa, the Zionist church has been favoured by working-class individuals marginalized by those in power and who, in their conversion to Zionism, found new possibilities for self-assertion. For example, its doctrine encouraged adherents to eschew the expertise of medical professionals in favour of the simple prayer of ordinary people. By the early twentieth century, Zionism had been transmitted to South Africa via American missionaries. Its teachings regarding the equality of all humanity - regardless of race, class or education - meant Zionism found great success amongst black South Africans seeking to claim status and dignity amidst the strictures of a racially segregated state. While the movement declined in the USA, Zionism is today South Africa's largest religious group, with over 12 million believers. I argue Zionism continues to powerfully shape visions of egalitarian society within contemporary South Africa. While conducting research in South Africa, I encountered the prize-winning photographer, Sabelo Mlangeni, himself a life-long Zionist believer. Over the past year, Mlangeni and I have developed a proposal for a photographic exhibition at the renowned Wits Art Museum (WAM) in Johannesburg, displaying Mlangeni's 60 black and white photographs on contemporary Zionists. The exhibition will be entitled Amakholwa, isiZulu for 'The Believers'. The photographs foreground the intimate, affectionate ties between Zionist believers. Mlangeni uses close-up perspectives and full-frontal portraits to portray the bonds of support between fellow believers. These photographs also emphasize the egalitarian nature of Zionist community; they depict 'the believers' as a group of people amongst whom clerical hierarchies are largely invisible. The overall sense is of a horizontal gathering of young men and women. In this way, Mlangeni's photographs engage with my research's exploration of the importance of religious affiliation in transcending social divides by reconstituting individuals as 'believers', erasing former divisions of class, ethnicity and socio-economic status. In conversation with WAM, the project partner, I have identified four user communities who will benefit from creatively engaging them with the exhibition and the research underpinning it. These include 1000 secondary school students, 200 Zionist believers, 40 photography students and at least 3000 members of the Johannesburg public. With respect to the school audience, we have identified a need for high-quality discourse on the role of Zionism in the public sphere as this is largely absent from religious education curricula. The second audience - Zionist believers - would benefit from a visual representation of their religious identity by an 'insider' voice such as Mlangeni. Zionists' knowledge of their origins would be enhanced through their engagement with the exhibition's text panels and the catalogue. Photography students in South Africa need teaching on the intersection between photographic practice and depiction of religious life, while the South African public would benefit from thoughtful commentary on the significance of religious communities such as Zionism (which receives little coverage in the national media) for transcending social divides. These four audiences will be engaged via walk-arounds, a photography workshop and participation in religious rituals dynamically interacting with the exhibition. Audiences' engagement will be assessed through follow-up questionnaires, focus groups and media monitoring.