“ÚLTIMA CEIA” nas OLIMPÍADAS? | Historiadora comenta a abertura dos jogos olímpicos de Paris

Juliana Cavalcanti

29 Jul 202414:22

Summary

TLDRThe video script delves into the controversy surrounding the performance by drag queens at the Olympic Games opening, accused by fundamentalists of blasphemy due to its resemblance to Leonardo da Vinci's 'The Last Supper.' However, the Olympic Committee and various news outlets argue it was a reference to a Renaissance painting by Jean Bigel depicting a feast of the gods, symbolizing the Olympic Games' origins. The script explores the connection between Western foundations, the Renaissance, and the Greco-Roman universe, highlighting the influence of ancient mysteries cults on early Christianity and the modern Olympic Games.

Takeaways

🎭 The drag queen performance at the Paris Olympics opening ceremony sparked controversy due to perceived references to religious art.
⛪ Fundamentalist Christians labeled the performance as blasphemous, claiming it resembled Leonardo da Vinci's 'The Last Supper'.
🖼️ The Olympic Committee and other sources countered, stating the performance referenced Jan van Bijlert's 'Feast of the Gods', featuring Bacchus/Dionysus.
🎨 Renaissance art often incorporated themes from Greco-Roman mythology, as seen in the works of Leonardo da Vinci, Giovanni Bellini, and Jan van Bijlert.
🍷 The drag performance connected to the ancient traditions of mystery cults, particularly those dedicated to Bacchus/Dionysus, which influenced early Christian practices.
📜 Renaissance art revived Greco-Roman elements, using them to portray banquets and other themes found in ancient iconography from Pompeii and Herculaneum.
🔄 The performance at the Olympics highlighted the historical continuity between ancient traditions and modern cultural expressions, countering the fundamentalists' narrative.
🕊️ Fundamentalist reactions overlooked the broader historical and cultural context, focusing narrowly on Christian themes while ignoring Greco-Roman influences.
🔍 By examining Renaissance art and its references to antiquity, we understand the performance's deeper connection to Western cultural foundations.
📚 Education and historical awareness are crucial to countering narrow, fundamentalist interpretations and appreciating the rich, diverse heritage of Western civilization.

Q & A

What controversy sparked around the performance by drag queens at the Olympic Games opening ceremony?
-The controversy arose from accusations by fundamentalist Christians who claimed the performance was blasphemous, resembling Leonardo da Vinci's 'The Last Supper', while others argued it was a reference to a Renaissance painting depicting a feast of the gods.
Which two religious figures are connected in the discussion about the opening ceremony's performance?
-Jesus and Dionysus are the two figures connected in the discussion, with the debate focusing on whether the performance referenced a Christian or a pagan theme.
What is the argument made by those who claim the performance was blasphemous?
-The argument is that the performance by drag queens at the Olympic Games opening ceremony was blasphemous because it was seen as an inappropriate adaptation of Leonardo da Vinci's depiction of 'The Last Supper'.
What counter-argument is presented against the blasphemy accusation?
-The counter-argument is that the performance was not a reference to 'The Last Supper' but rather to a painting by the Dutch Renaissance artist Jean Bigel, titled 'The Feast of the Gods', which features Bacchus or Dionysus instead of Jesus.
What is the significance of the Renaissance in this discussion?
-The Renaissance is significant because it represents a period when European art began to incorporate Greco-Roman elements, including themes of banquets and mysteries, which are referenced in both the paintings and the Olympic opening ceremony performance.
Why are both Jesus and Dionysus relevant to the discussion about the Olympic Games' origins?
-Both Jesus and Dionysus are relevant because they were part of mystery cults in antiquity, and their inclusion in the performance connects the modern Olympic Games to their ancient Greek origins.
What is the connection between the Olympic Games and the Greco-Roman universe?
-The connection lies in the fact that the Olympic Games have their roots in ancient Greek tradition, and the Greco-Roman universe, with its gods and rituals, was a significant influence on the art and culture of the Renaissance, which in turn influenced the modern interpretation of the Games.
What role do the excavations of Pompeii and Herculaneum play in this context?
-The excavations of Pompeii and Herculaneum provided artists of the Renaissance with direct visual references to Greco-Roman culture, including the theme of banquets, which became a common subject in their works.
How does the script address the fundamentalists' criticism of the performance?
-The script argues that the fundamentalists' criticism is misguided because it ignores the broader context of Western heritage, which includes not only Christianity but also the Greco-Roman tradition that influenced the Renaissance and, by extension, the modern Olympic Games.
What does the script suggest about the purpose of the Olympic Games opening ceremony performance?
-The script suggests that the performance aims to remind the Western world of its roots in both Christian and Greco-Roman traditions, reinforcing the continuity of these cultural heritages in the modern era.
What is the script's final stance on the controversy?
-The script concludes that the performance by drag queens is not blasphemous but rather a reflection of the transformative power of education and a reminder of the diverse cultural heritage that forms the foundation of Western civilization.

Outlines

00:00

🏳️ Controversy Over Drag Queens' Olympic Performance

The script discusses the controversy surrounding the performance by drag queens at the opening of the Olympic Games. It highlights the two opposing views: Christian fundamentalists who see it as blasphemy, associating it with Leonardo da Vinci's 'The Last Supper,' and the Olympic Committee and media who argue it's actually a reference to a 16th-century painting by the Dutch artist Jan van Eyck, titled 'The Feast of the Gods,' featuring Bacchus or Dionysus, the god of wine and revelry. The video aims to deconstruct myths around the Renaissance painting and emphasize the importance of understanding the broader context of Western foundations, which include both Christian and Greco-Roman elements.

05:00

🎭 The Connection Between Ancient Mysteries and Modern Art

This paragraph delves into the connection between ancient Greco-Roman themes and Renaissance art, particularly focusing on the theme of banquets, which were part of everyday life in ancient Greece and Rome. The script explains how the first excavations during the period of modernity unearthed Greco-Roman themes that influenced Renaissance painters. It also discusses how the performance at the Paris Olympics opening ceremony, with its depiction of Bacchus or Dionysus, relates to the ancient mystery cults that were widespread in the Mediterranean basin. The script contrasts the fundamentalists' ignorance of the Western Greco-Roman heritage with the artistic references to these cults in the works of Renaissance artists like Bellini and van Eyck.

10:01

🔍 The Misunderstanding of Religious Contexts in Antiquity

The final paragraph addresses the problematic nature of the accusations of blasphemy regarding the Olympic opening ceremony. It points out that critics overlook the religious context of antiquity, where Christianity was just one part of a broader Mediterranean religious landscape that included mystery cults like that of Dionysus or Bacchus. The script argues that the performance is not blasphemous but rather a reminder of the Western heritage that includes both Christian and Greco-Roman traditions. It concludes by criticizing the fundamentalists for promoting hate, pseudoscience, and negationist discourses, and calls for education as transformative, contrasting it with the divisive intentions of the critics.

Mindmap

Keywords

💡Drag Queens

Drag Queens are performers, often men, who dress and act in an exaggeratedly feminine manner for entertainment purposes. In the video, Drag Queens perform at the opening of the Paris Olympics, which sparked controversy among Christian fundamentalists. This performance is central to the discussion, as it challenges traditional notions of gender and art, drawing on historical and cultural references that extend beyond the typical frameworks embraced by these critics.

💡Christian Fundamentalists

Christian Fundamentalists are individuals who adhere to a strict interpretation of Christian scriptures and oppose changes to traditional beliefs and practices. In the video, they criticize the Olympic opening performance by Drag Queens as blasphemous, drawing comparisons to Leonardo da Vinci's 'The Last Supper.' This criticism is highlighted as a misunderstanding of the historical and cultural context of the performance, reflecting a broader tension between modernity and traditional religious views.

💡The Last Supper

'The Last Supper' is a famous painting by Leonardo da Vinci depicting Jesus Christ's final meal with his disciples before his crucifixion. The video mentions that Christian fundamentalists mistakenly associate the Drag Queens' performance with this artwork. The video uses this example to illustrate the misunderstanding and misinterpretation of artistic references, emphasizing how these historical artworks have been subject to reinterpretation and appropriation across different periods.

💡Renaissance

The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, marked by a revival of classical art, literature, and learning originating in Europe. The video discusses how the Drag Queens' performance draws on themes from Renaissance art, highlighting the connection between Jesus and Dionysus (Bacchus) and showing how the Renaissance itself was a time of blending and reinterpreting ancient cultures. This period is presented as foundational to modern Western culture, serving as a backdrop for understanding contemporary artistic expressions.

💡Dionysus/Bacchus

Dionysus (known as Bacchus in Roman mythology) is the Greek god of wine, fertility, and ritual madness. In the video, Dionysus is a key figure connecting the Drag Queens' performance to ancient mystery cults, illustrating the theme of transcending ordinary experience through ritual and celebration. The video's analysis suggests that the inclusion of Dionysian elements in the performance underscores the historical depth and diversity of cultural traditions that inform Western art and society.

💡Mystery Cults

Mystery Cults were religious groups in the ancient world that practiced secret rites and rituals, often promising initiates special knowledge or a closer connection to the divine. The video highlights that both Christianity and the Dionysian cults were mystery religions in antiquity, offering transformative experiences through their sacred ceremonies. This comparison is used to challenge the simplistic dichotomy between Christian and pagan traditions, suggesting that modern performances like the Olympic opening reflect a complex interplay of these ancient influences.

💡Cultural Appropriation

Cultural Appropriation refers to the adoption or use of elements from one culture by members of another culture, often without permission or understanding. In the video, the performance at the Olympics is seen as a modern interpretation of Renaissance art, which itself was a reimagining of ancient Greco-Roman culture. This layered appropriation is presented as a natural evolution of art and culture, challenging the notion that such acts are inherently disrespectful or blasphemous when done with understanding and creativity.

💡Banquet Themes

Banquet Themes are depictions of communal meals and feasts, common in both ancient and Renaissance art. The video discusses how these themes appear in various historical contexts, from Dionysian feasts to Christian Last Suppers, symbolizing community, celebration, and religious communion. The Drag Queens' performance incorporates these motifs, highlighting their enduring significance and the way they bridge different cultures and eras.

💡Western Civilization

Western Civilization refers to the cultural, political, and intellectual heritage of Europe and the Western world, often traced back to Greco-Roman and Judeo-Christian roots. The video argues that Western civilization is not solely based on Christianity, as often claimed by fundamentalists, but also on Greco-Roman traditions. The Olympic performance is presented as a reminder of this multifaceted heritage, celebrating a broader, more inclusive view of Western identity.

💡Performance Art

Performance Art is an art form that combines visual art with dramatic performance. In the context of the video, the Drag Queens' act at the Olympics is an example of performance art that uses historical and cultural symbolism to convey a message. This type of art challenges viewers to engage with complex ideas and encourages dialogue about cultural identity, tradition, and innovation.

Highlights

Controversy over drag queens' performance at the Olympic Games opening, accused by fundamentalist Christians of being blasphemous due to its similarity to Leonardo da Vinci's 'The Last Supper'.

Olympic Committee and news outlets argue the performance was actually a reference to the Renaissance painting 'The Feast of the Gods' by Dutch artist Jan van Eyck, featuring Bacchus or Dionysus instead of Jesus.

The performance connects to the foundations of Western civilization, established during the transition from the Middle Ages to modernity through the Renaissance.

The theme of banquets links Jesus with Dionysus, as both had mystery cults in the ancient context.

The Renaissance period saw European art reviving Greco-Roman elements, including the theme of banquets that were part of everyday life in ancient Greece and Rome.

Artists like Giovanni Bellini also depicted banquets for the gods during the 15th century, showing the popularity of this theme.

The references to Greco-Roman elements by Renaissance artists indicate a dialogue with the past and the invented tradition of the Renaissance, where Jesus, Dionysus, and other deities are seen as foundational figures of the West.

Fundamentalist attacks ignore the Greco-Roman universe that was also a reference for Renaissance artists.

The performance at the Paris Olympics opening reinforces the idea of linking the West of the 21st century with its ancestors.

The accusations of blasphemy forget the religious context of antiquity from which the West inherits, as shown by Renaissance paintings.

The performance also evokes the idea of mystery cults, widespread in the ancient Mediterranean, which influenced early Christians.

Ancient art, such as mosaics from Gerasa, shows processions reminiscent of the Bacchic rituals dedicated to Dionysus.

Early Christian art also features processions with the idea of belief in resurrection, similar to the initiation rites of the Bacchic cults.

Both Bacchic processions and early Christian narratives work with the concept of mystery cults, where initiates gain access to divine secrets.

The opening ceremony's performance is problematic for fundamentalists because it reminds the West of its inheritance from antiquity, including both Christian and Greco-Roman traditions.

The Renaissance is a pivotal moment for both the fundamentalists and the Olympic Committee, as it marks the origins of modernity and the invented tradition that dialogues with the past.

The performance by drag queens is a reminder of the Renaissance context and the broader discussion about the transformative power of education, in contrast to the hate and pseudoscience propagated by fundamentalists.