by Luis Josué Salés | Ελληνικά

Amid a nationwide BLM movement calling for the removal of statues and monuments that enshrine, even glorify, the genocidal, colonizing, enslaving, and imperialistic past of the United States, well-known BLM activist Shaun King tweeted that “The statues of the white European they claim is Jesus should also come down” and in his next tweet adds: “All murals and stained glass windows of white Jesus, and his European mother, and their white friends should also come down. They are a gross form of white supremacy. Created as tools of oppression. Racist propaganda. They should all come down.” Predictably, a swirl of some positive and extremely negative responses, including death threats, ensued.
What has struck me as I follow the fallout of King’s response is the opinion shared by some, perhaps by many, that simply put, King is wrong. That he is equivocating when he conflates Sunday’s liturgical art with social realities outside the ecclesial walls. That we can, and in fact should, draw a clear line between the sacred art of “white Jesus” and the atrocities committed on this continent (and others) by whites against native and African folk (in the name of “white Jesus”). In brief, that there is no complicity between the representational modalities of sacred art and genocide, slavery, cultural supremacy, and systemic racism. This perspective is historically and theologically untenable.
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