A chilling act of defiance has struck the heart of Brussels. Just days after a radically reimagined Nativity scene was unveiled in the historic Grand Place, the head of the Baby Jesus figure has vanished, stolen from the controversial display.
The theft arrives amidst a firestorm of criticism leveled against the scene’s “inclusive” design. Gone are the traditional depictions of the Holy Family; in their place stand faceless figures crafted from patchwork recycled fabrics, a deliberate attempt to represent all cultures and avoid offense.
The city recently replaced a long-standing Nativity with this new iteration, citing the original’s disrepair. The commission came from Mayor Philippe Close, who envisioned a modern interpretation through the work of Brussels-based artist Victoria-Maria.
The artist’s intention, according to those involved, was to create a universal symbol of faith. The faceless forms, constructed from a pixelated blend of beige and brown, were meant to reflect “an inclusive mix of all skin tones,” allowing anyone to see themselves within the sacred story.
But the attempt at inclusivity has backfired spectacularly. Critics are calling the scene a desecration of tradition, a hollow shell devoid of meaning. Belgian Senator Georges-Louis Bouchez likened the figures to “zombies,” branding the display “terrible and an insult.”
The outcry isn’t simply about aesthetics. Many believe the faceless depiction is a calculated move to appease Brussels’ substantial Muslim population, a community whose faith traditionally avoids portraying the faces of religious figures. The scene has become a symbol of a perceived erosion of Christian heritage.
Senator Bouchez passionately argued that true inclusivity should *strengthen* shared traditions, not dismantle them. He demanded the immediate removal of the scene, warning against the continued denial of cultural values.
Despite the mounting outrage, Mayor Close has declared the Nativity scene will remain in place for at least the next five years. However, the theft of the Baby Jesus’ head casts a dark shadow over that commitment, raising questions about the future of the display and the simmering tensions within the city.
The motive behind the theft remains unknown, and authorities have released no information regarding potential suspects or recovery efforts. But one thing is clear: this act of vandalism is more than just a crime; it’s a potent symbol of a cultural battle being waged in the heart of Europe.
