Category: Journal Issues

Noting how Richard Twiss was a voice for reconciliation in evangelicalism beyond a spoken apology, Smith describes how Twiss called for decolonization instead of proselytizing. Specifically, Twiss and Wiconi International facilitated the return of 40 acres of land to the Wiyot tribe in Eureka, California. And the call for decolonization extended beyond Native Peoples to include Palestinians and the LGBT community. Committed to the idea of being fully Christian and fully Lakota, Twiss was criticized for being syncretistic but continued his pursuit of justice and holistic reconciliation between majority and minority groups.

Inciting prayer for those who remain after Twiss’ passing with the work of justice and reconciliation for indigenous peoples, Metzger describes the challenges that continue. The prayer is not only to see justice for those suffering under the injustice done in colonization, but also for those in the Anglo majority who are blind to the societal structures and consumeristic practices and the evil of syncretizing them with Christianity.  He also issues a call to get dirty in the causes Twiss championed, knowing Christ holds the victory and will bring us into his reward, the same reward Twiss now enjoys in heaven.

Jenson sets up the essays and letters that follow addressing the controversy and context that surround the Word mural, a twenty-seven foot painting of Jesus at the center of Biola’s campus. He notes the different perceptions held by the greater community, minority groups and the arts community at Biola. He also notes the role of Biola’s president, Barry Corey, in deciding the future of the mural and the process Corey took in making his decision.

Written in 2009, the letter describes the historical context for the controversies surrounding The Word mural, including discussions following the Rodney King trial and riots in April of 1992 and formation of groups on Biola’s campus representing and supporting different minority groups and campus diversity. The letter defines the major contentions with the mural—Jesus being portrayed as white, Jesus as an imposing and authoritarian figure, and the alienation of non-Christians and those of minority ethnicities. It also outlines four suggestions for addressing these issues with the mural as a way to move forward.

Biola University’s Professor of Art offers a description of the creation of the Word mural as well as background on the artist, Kent Twitchell, including mention of his other works and the development of religious imagery in them. Krammes also reflects on his own experience with the controversy surrounding the mural, as both a member of the arts community at Biola and one who wishes to partner with and support minority groups on campus. He states that the mural, in its limited portrayal of Christ, will continue to challenge individuals in their own perception of who Jesus is, but offers the possibility that God is able to work through this imperfect and flawed portrait.