The Sound of Resistance | Sojourners

The Sound of Resistance

Making art, not destroying it, as a climate activism strategy.
John Mark Rozendaal plays his cello in front of Citibank headquarters in New York City as part of summer-long protests by climate activists, dubbed the "Summer of Heat."
Stephanie Keith / Getty Images

NONVIOLENT DIRECT ACTION is a relatively new invention — though prefigured by the Cross, it was Gandhi, Rev. Martin Luther King Jr., and a million others whose names we don’t know or remember who introduced this technique to us over the course of the 20th century. There’s no handbook for how it’s done, and no West Point equivalent — which means that we largely proceed by trial and error as we try to move the conscience of the world. We make it up as we go along. Which is fine, but you must be honest about what works.

Over the last year, one tactic that climate activists have tried is attacking cultural works — iconic paintings, right up to the “Mona Lisa,” and great shrines of humanity, most notably Stonehenge. They’ve been responsible, figuring out ways to do minimal damage, and perhaps such methods were worth a try: When you’re losing, you throw Hail Marys. And the people who carried out these actions clearly should not be subject to ridiculously punitive sentences.

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A rosary, an open-faced locket, a flip-flop, a used water bottle, and a dying flower lying abandoned in the dirt.
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