It’s interesting to think of the Black Lives Matter as a more decentralized movement that, while having key leaders and founders, doesn’t have a really strong centralized system of hierarchy. All that to say, it really is a great example of a powerful grass roots movement.
When concerning the arts, I’m thinking particularly the music industry, I wonder how much music can be a public cry of grief or collective lament when it’s streamlined through such complex set of powerful industrial pieces such as publishing houses, record companies, radio and television companies, and advertisement firms. Does it become heavy ladened and slogged down with greed, disingenuity, and the craving for power and influence? I am grateful for, from at least my vantage point, that the Black Lives Matter movement hasn’t been “bought” by any particular political candidate, burrecrat, or larger special interest group.
I guess at the heart of my meandering here is the question of what larger forces are at work in the world that dispell our liturgies of lament and protest by slowly colluding them with the grasping for power and dominance and when does that shift occur?
After all if someone can make money on a protest movement or a song or a film or a musical, wouldn’t they try? Does this taint and deconstruct true and authentic witness? I suppose the church’s historical relationship with the “world” is a living testimony to this shaky witness.