‘Art’ fails to transcend humanity

I sat in front of the TV with a hot cup of black coffee and some freshly baked cookies to watch YouTube’s coverage of last week’s opening of the Paris Olympics.

I was surprised to see a musical with LGBTQ individuals, including a child, dressed in “Moulin Rouge-inspired clothing,” expressing it as a work of “art.” It was a parody of Leonardo da Vinci’s 1498 iconic wall painting in Milan, “The Last Supper.” The drag queen table scene was complemented by a blue-colored singer appearing in the middle of a fruit basket like he was the main menu.

The Olympic Games — an international sports festival aimed at uniting nations — caused shock and disbelief instead, as many Catholics, specifically French bishops and other bishops across the globe, deplored the inglorious act.

After serious concerns were raised about the opening ceremony, International Olympic Committee officials quickly went into damage control mode and apologized for any offense caused by the presentation.

It also prompted the event’s artistic director to clarify that the depiction was not of the “Last Supper” but of the “Feast of the Gods,” based on a 1635 painting by Dutch artist Jan Van Biljert. It was such a flimsy excuse for such an easily identifiable magnificent artwork as “The Last Supper,” which Christians consider a very significant event in the life of Jesus.

The negative responses and criticisms expressed in both traditional and social media underscored the potential for this to become one of the biggest public relations failures in Olympics history, casting a shadow over the event.

By disregarding Christian athletes and the approximately 2.4-billion Christians worldwide on the first day, it likely also alienated individuals with diverse religious beliefs.

It wasn’t artistic license at its best; it was more like a drag celebration of diversity, with actors openly mocking those of different beliefs. I wonder if the Paris Olympic Games would still go on if they had mocked Mohammed and what the repercussions would be.

Rule 50 of the Olympic Charter prohibits any demonstration of political, religious, or racial propaganda at the Olympic sites, venues, and other areas. This rule is intended to maintain the focus on sports and unity during the games. However, the Paris Olympics opening ceremony seemed to defy this rule, sparking controversy and criticism instead of unification.

This brings us back to the social media videos of Filipino drag queen Pura Luka Vega, who sang a rock version of The Lord’s Prayer while dressed as Jesus in a bar, causing a massive uproar in a predominantly Christian country.

One should be open when faced with a significant backlash from a perceived lack of cultural sensitivity and representation. Critics argue that the event failed to showcase the diversity of global cultures, instead it offered a narrow and homogenized view of the world.

The Paris Olympics opening ceremony was accused of appropriating religious and cultural symbols without understanding or respecting their significance.

It did not revolve around sports or camaraderie. Instead, it invoked significant criticism from Christians, surpassing initial expectations. Hence, there should be greater accountability and responsibility in organizing large-scale public sports spectacles.

The criticism and opposition in response to this situation highlight the numerous challenges and obligations associated with planning and executing large-scale global events. They emphasize the importance of promoting understanding, diversity, and longevity in these undertakings.

When a work of art fails to transcend humanity, the piece or creative work does not rise above or surpass its limitations or shortcomings.

Instead of evoking deeper emotions in the audience, sparking intellectual engagement, or conveying profound messages, it remains confined within its own superficial or flawed boundaries, failing to resonate or connect on a deeper level.

In essence, the Paris Olympics opening ceremony was where art fell short of achieving the transformative and transcendent impact often associated with great works of art.

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