Throughout the US, satirical holiday exhibits are on display that comment on hardline federal immigration enforcement policies. These installations reimagine the traditional nativity story, portraying the infant Christ and his family, Joseph and Mary, as figures caught up in the actions of enforcement agents.
One powerful installation at a church in Evanston, Illinois features the infant Christ lying in a manger out in the snow. Yet, the figure is wrapped in the type of thin, foil thermal blankets often distributed to those in custody and has its hands secured by plastic restraints.
Nearby, the figure of Mary stands outside the building, equipped with a respirator. Such gear has been used by protesters attempting protection from tear gas. Beside her are figures of ancient soldiers, but in this scene they are wearing tactical vests marked with the acronym “ICE.”
At another Chicago place of worship, the usual figures of the holy family are nowhere to be seen from the traditional nativity scene with camels and donkeys and Magi. In their place, a sign carries a simple statement: “Due to ICE activity in our neighborhood the Holy Family is in seclusion.”
“The holiday season is a time where we have public art in front of the church and we get an chance to make a statement,” said a church leader involved with one of the installations.
These visual protests reflect the prominent part played by religious communities in ongoing protests against federal policies. Comparable political exhibits have appeared in other states.
In one New England state, a church took away the tiny figure of Christ from its nativity scene. Left behind was a handmade notice that stated: “Immigration authorities were here.” Church officials reportedly remained firm despite criticism from both religious and agency officials.
According to those behind these scenes, framing the age-old story of Christ’s birth within a modern sociopolitical context helps bring focus to current administrative priorities. They argue that the family's experience as refugees mirrors the actual anxieties and realities of numerous families today, including family separation and the removal of working loved ones.
It is not the initial instance congregations have used nativity scenes for social commentary. In previous years, installations have highlighted topics ranging from war to the environmental emergency.
The messages are not always universally welcomed. A church minister involved noted that some critics either misinterpret the message or “consider it very difficult to their conscience and are lashing out at the art rather than considering what the actual message is.”
In a physical sense, the elements have also impacted one display. At a separate church, the figure of Joseph was blown down in a storm and was unable to be repaired. A substitute notice now occupies the space, stating: “Joseph didn’t make it. We hold this space to honor and remember all the victims of enforcement actions.”
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