When Washington D.C. mayor Muriel Bowser had BLACK LIVES MATTER painted in gigantic yellow letters on 16th Avenue near the White House, America’s racist-in-chief displayed his predictable rage. But the local chapter of the Black Lives Matter Global Network voiced their own objections to the street mural.

“This is a performative distraction from real policy changes,” they tweeted. “Bowser has consistently been on the wrong side of BLMDC history. This is to appease white liberals while ignoring our demands. Black Lives Matter means defund the police.”

I am not familiar with the relationship between the mayor and the activists, and as a white liberal I am hardly qualified to weigh in on the passion or the politics behind that tweet. I am aware that many D.C. residents, longing for concrete change, are calling the mural a meaningless stunt. But as a long-time liturgist, I would argue that symbolic “performance” need not be a substitute for or distraction from social change. Public art can produce transformative effects.

The problem with living within a particular “social imaginary” is that alternative ways of constructing our common life are not just utopian, they are literally inconceivable. Systemic racism, like so many other social ills, has long cast its spell of inevitability. But as events of the last week have shown, the spell can be broken. It may be only for a moment; America may yet resume its slumber. But an alternative future, by showing itself however briefly, can never again be unseen.

“Insurrectionary art” is not a distraction from prophetic vision, but a powerful means of making a new world visible. It does not inhibit concrete change; it anticipates it. The mass protests themselves are performance art, symbolically showing a new social order––where solidarity dances with diversity, and God’s new song breaks open the tombs of death and despair.

Four years ago, in the dark night of post-election depression, I wrote “Insurrectionary Imagination and the Art of Resistance,” citing many creative examples of prophetic art designed to awaken and empower. And I argued that symbolic or ritualized enactments of the “not-yet” are not only useful, but essential:

“In dark times, we can, we must, still live as children of the light—the custodians of hope—enacting rituals and images, as well as daily practices of kindness, solidarity and justice, to express and anticipate the emergent world of divine favor and human flourishing. As for the powers, God laughs them to scorn, and God’s friends, thankfully, are in on the joke.”

This is why I believe that those three words painted on 16th Street––words of revolutionary power pointing like an arrow at the heart of the beast––may now be counted as one of our capital’s greatest monuments––not to past glories and aspirations, but to a better future, cresting like a wave that wants to crash on the shore of the Now.

Words are not just descriptions; they are events. Language and action have been inextricably bound together ever since God spoke the world into being. By speaking, we make the unsaid suddenly conceivable. We begin to “make it so.”

e.e. cummings imagined the world’s creation this way:

when god decided to invent
everything he took one
breath bigger than a circustent
and everything began

The dying world wants to rob us of that breath. It wants us to believe that we can’t breathe something better into existence. But the divine Breath animating all existence cannot be choked. It blows, blasts, breaks forth in words that shatter, contradict, imagine, make new.

And the Word becomes actual, and dwells among us. 

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