A video recently emerged featuring a drag queen dressed as Jesus Christ, accompanied by a remix of “Ama Namin” (The Lord’s Prayer) as background music. This performance has sparked a wide range of opinions, with some individuals taking offense and others defending it. Many have accused the Filipino drag queen, Pura Luka Vega, of blasphemy.
To understand this situation, it is important to grasp the definitions of religion and blasphemy. According to the Merriam-Webster dictionary, religion refers to personal or institutionalized systems of religious attitudes, beliefs, and practices. It involves the worship and service of God or the supernatural, as well as a commitment or devotion to religious faith. Blasphemy, on the other hand, entails insulting or showing contempt for God, demonstrating irreverence toward something sacred or inviolable.
There have been endless discussions about whether Pura Luka Vega’s performance constitutes blasphemy. However, this controversy has also provided an opportunity to contemplate the nature of religion and how religious expression, such as liturgy, art, and practical ministry, has influenced people’s desires for salvation, redemption, and liberation.
This incident reminded me of a passage from James 1:26-27 that explores the concept of true religion: “If any think they are religious and do not bridle their tongues but deceive their hearts, their religion is worthless. Religion that is pure and undefiled before God the Father is this: to care for orphans and widows in their distress and to keep oneself unstained by the world” (New Revised Standard Version Updated Edition).
The prayer taught by Jesus, known as “The Lord’s Prayer,” is a beautiful and radical form of poetry-prayer that resonates with the human community. It highlights the need for systemic change, as it calls for God’s kingdom to come and His will to be done. This prayer acknowledges the existence of hungry individuals who are underserved by the current unjust system. Jesus speaks of “daily bread,” addressing the prayer of the impoverished who rely on miracles to sustain themselves, unlike the wealthy who always have access to food. The bread symbolizes how an unfair system produces a multitude of hungry individuals and a few greedy wealthy ones. It showcases Jesus’ bias in advocating for the needs of the poor to be met, as wealthy individuals have an abundance of resources.
Throughout the centuries, “The Lord’s Prayer” has not been exclusive to any specific religious group or institution. It is accessible to everyone as a means of expressing faith or as a prayer—a manifesto for individual or collective longings and desires. No single entity can claim ownership over it. The interpretation of this prayer through various art forms, such as music, dance, visual arts, and theater, is multi-faceted. The manner in which individuals or groups are inspired and challenged by the prayer determines the form and essence of their artistic expression. While institutions and organizations may provide guidelines and instructions based on their agreed-upon systems, policies, and structures, they cannot dictate how the prayer should be uttered.
As we engage in reciting “The Lord’s Prayer,” let us avoid falling into the trap of mechanical and routine prayer, neglecting its profound essence. Instead, may it remind us to be mindful of the needs of the hungry and vulnerable. Let us allow artistic expressions of the prayer or any other form to bring us closer to the hearts of those dear to God—the poor, the oppressed, and the exploited. May we be delivered from the evil forces of corruption, lies, greed, and entitlement that strip the poor of their dignity and worth. In addition to providing basic necessities, such as food, clothing, and shelter, we must also engage in the prophetic act of dismantling the chains of oppression (Isaiah 58:6).
Norma P. Dollaga, Kapatirang Simbahan Para sa Bayan
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