I do enjoy French quirkiness and the absurd. It is often playful and sometimes provocative. And sometimes it is attention-seeking and puerile.
I loved much of the innovation and freshness that the French gave the opening ceremony of the Olympic Games. The interplay between art and athletes, and the sitz im leben of the city instead of stadium was pretty cool.
During the Opening Ceremony, there were many highlights, and of course, there was controversy. There was the mass reenactment of Marie Antoinette’s beheading with geysers of blood reaching the skies. If blood lust didn’t do it for you, another scene was depicted, and unsurprisingly it was most controversial, consciously so. although as myopic and unoriginal as a school kid’s impression of Monet’s water lilies.
I’m still unsure how Leonardo Da Vinci’s The Last Supper relates to the Olympics. Let’s leave aside that the painting is Italian, not French. The French do however enjoy the question and leave us without the answer. In this Olympic staged drama, the French have, as artists previously mimed, revised this Biblical scene where Jesus teaches his disciples over the Passover meal, on the night before his crucifixion. The French Jesus isn’t a male. Of course, let’s turn Jesus into an obese woman with a halo hovering over her head. The disciples can’t be men either. No, let’s have men in drag and a child and a splash of androgyny.

More than a few people are angered by or upset by this depiction of Jesus and his disciples. I don’t like it either. Mocking Jesus is kinda stupid and unoriginal. It’s a pale copy of the original setting where the crowds, Pharisees, and soldiers mocked Jesus every step to and on the cross.
Bear with me, but this reminded of the sermon that I’ve prepped for church tomorrow. W e are looking at that most famous and intriguing saying of Jesus,
“the truth will set us free”
Without giving too much away ,there is a line in my notes where I explore contemporary understandings of freedom and at one point, already with the French in mind, I say this,
‘When it comes to art, in painting, music and film, it does is pushes into the absurd or obscene, because freedom requires difference, new and fresh.”
The French have just provided a classic example! In this sense, the artistic directors for the Opening Ceremony are doing little more than conforming to the overdone narrative that is now basic to university education, social commentary and Parliamentary halls.
France is famous for revolutionary undertones; it’s part of the kindergarten curriculum: how to protest and exhibit violence 101. For example, French Protestant Christians were nearly wiped out in the 16th and 17th centuries, and Christianity has been a tiny minority ever since. In a way, Christianity is an easy target for the French (and yes, for Aussies too). Although, if the organisers had thought for more than a French moment, they’d have realised that more many African and Asian and South American Olympians, Jesus isn’t a parody or obtuse figure of derision; he is worthy of more honour and glory than all Olympic gold combined. Maybe they aren’t so concerned about social and international tolerance!
If the French were really daring, they would imagine an Islamic scene and the prophet Mohammed But of course, we know how that would quickly turn into real bloodshed (by the way, I think that would be a really dumb idea for all kinds of reasons: not least, because it’s not a way to love our Muslim friends).
So why depict Jesus and his disciples in feminine and trans robes? Is it a call to equality or sexual expression? Is the city of love trying to deconstruct the patriarchy? Like many things French, who knows! One thing on display however is this return to paganism that is popping up in Western cultures. The Olympic Games have their origins in paganism and as recent Olympic Games have intimated, we are returning to these superstitious waters.
This dramatic display turns the Last Supper into a hyper-sexualised trans orgy with Greek mythological overtones (hence Bacchus the smurf turning up).
I suspect this is not the intention, but there is in this boorish parody of The Last Supper, something that at least opens a question to what Jesus was showing that night.
The revolution planned by God before all eternity and carried out by his Son involved the shedding of blood, as the Passover meal vividly showed. The bloodshed didn’t involve chopping off the heads of his enemies, but dying in their place for their salvation.
If we are looking for the absurd and obscene, the beautiful and original, the cross of Jesus Christ to which the Last Supper prepares, is as French as it gets. It is the efficacious symbol for the peoples of the world. Not for the glory of sport, but where God’s good news draws people from everywhere corner in freedom and truth and love and grace. And yes, this will include people whom we find unlikable and uncomfortable or just different from us. That’s true originality: the cross speaks volumes about the foolishness of freedom searching without God and of staggering Divine love for these very people. As those who don’t fit gaze upon the crucified and risen Christ, there is not an emptiness or sterile religion, but a holy and loving God who forgives and frees. Stick that in your baguette and enjoy it!
Update Jul 29.
Olympic organisers have apologised. They confirm that the scene was depicting the Last Supper, infused with Greek paganism (Bacchus the blue smurf). It was a conscience artistic and moral judgment to sexualise and trans the Last Supper and with pagan elements added into the mix.
The apology sounds like the unrepentant juvenile caught stealing on CC TV, but I can afford to accept the apology.
One wonders what the closing ceremony will include!
https://www.yahoo.com/news/paris-olympics-producers-confirm-last-173957068.html?






