BIPOC

Immigrants Against Immigration?

We were in our dining room table tomando cafecito and chit chatting. The TV had remained on in the background and Noticias Univision announced that there was a new wave of Central American migrant caravans approaching la frontera. She reacted angrily and exclaimed, “Nada más vienen a robar, a aprovecharse del gobierno y a quitarnos lo que es nuestro” (They only come here to steal, to take advantage of the government and to suck us dry). I had heard this phrase before, but never in my home and certainly never in Spanish. Her comments me cayeron como un balde de agua fría – they destabilized my narrative.

As a second-generation Mexican-American immigrant, I carry my family’s migration story with pride and a great sense of responsibility. Part of my identity was formed by that journey. Although I was born in the U.S., never had to flee my home in search of better opportunities, and have not suffered persecution based on my citizenship status, I am intimately connected to these stories through my family members. As a Christian, I am also linked to the migrant narrative through the Bible. Jesus was an immigrant,[1] and the Bible is filled with stories of people who had to migrate in order to escape violence, poverty, or because they felt God’s calling in a new land.

I’ve carried, protected and defended my immigrant family’s inherent value in a society that devalues them and fails to recognize their full humanity. I’ve clung to the biblical truths that exhort us to love and care for all people, particularly those in vulnerable positions.[2] I am, to a certain extent, accustomed to the anti-immigrant rhetoric repeated by individuals outside of the immigrant community. I am familiar with the misapplied Romans 13 verse used by Christians who oppose (undocumented) migration, but this rhetoric had now infested my home and disrupted my story.     

What was most destabilized were the college applications that I wrote, proudly referencing my family’s migration journey; the lesson plans I prepared for students in which we explored migrant stories in the Bible; the scholarship I produced about the immigrant experience; my multiple conversations with my son about his grandparents’ journey so that he wouldn’t forget and become one of those third-generation Mexican-Americans who ignores the plight of immigrants, or worst yet, resents it. I was haunted by this question: “Does my advocacy and story make sense now that my relative declared herself anti-immigrant in our dining room table?”

We’re used to telling simplified stories of ourselves and others. Dichotomous stories have become our templates: villain/hero, victim/victimizer, good/bad. However, our reality as humans is a lot more complex. In fact, biblical narratives do not rely on utopian, unidimensional characters. The stories told in the Bible direct us towards God’s perfect love, not to our own perfection. As humans, we embody positive and negative traits, and it is only by God’s redeeming grace that we are salvos.

When she pronounced herself anti-immigrant my story became muddied. Frankly, I wanted to pretend she had never uttered those words, but that conversation haunted me. She was a first-generation immigrant herself. How could she speak so vilely about immigrants? Renowned journalist María Hinojosa’s memoir Once I was You describes how her positionality as a 1.5 generation immigrant made her empathetic to the suffering of immigrants and keenly aware of the injustices committed against this group. But my relative, unlike María, had not developed a deeper sense of awareness or empathy. “Once you were them,” I told her, “How can you say all this?”

This article attempts to answer that question. My goal is to engage in an honest, even if difficult, reflection about why members of the Latino community, particularly immigrants, hold anti-immigrant notions. To accomplish this, in the following sections, I will hypothesize on the potential factors that contribute to the existence of an anti-immigrant rhetoric upheld by immigrants themselves.

Hypothesis #1: A distorted view of justice

Last year, when I first heard the rumors about the cancelation of student loans, my immediate reaction was anger. “I’ve paid thousands and sacrificed so much! Why do these people now get to have their loans canceled?” I thought.

My angry reaction about the cancelation of student debt and the belief that, “If I suffered, others must too” was selfish and absurd. In a way, we’ve normalized a warped vision of justice in which we believe that we are entitled to sustaining oppressive systems on the basis that those systems oppressed us. We tend to feel as though the suffering of others somehow justifies our own, but two injustices don’t equal justice. Your suffering doesn’t erase or ameliorate mine. We consider it unfair if others “get a pass” or “have it easier than us.” Some immigrants believe that if they had to go through all those troubles, so do others. We can accept God’s free gift of salvation but cannot tolerate when others are “freely rewarded.”

The parable of the unforgiving servant (Matthew 18:21-35) tells the story of a man who pled for mercy for not being able to pay his debt. After the King shows him mercy and forgives his debt, the man meets a fellow servant that owed him money, demands payment and throws him in jail when he could not pay. Many immigrants are pleading to be let in as they try to find refuge for a multitude of reasons, and some immigrants who are now living in the States refuse to welcome them. In a 2015 survey conducted by the American Values Atlas, 10% of immigrants who had lived in the States for a year or less thought that immigrants threatened traditional American customs and values, and 14% of immigrants who had resided in the U.S. for 20 years perceived newcomers as threats.

In times of financial hardship immigrants become economic scapegoats. “I hear they’re getting free health care,” she said trying to strengthen her case, “and I have to pay for mine out-of-pocket.”

Placing blame on the most socially dispossessed groups of people in our society during times of economic adversity is not uncommon. Perhaps immigrants that have been in this country for decades feel an added sense of frustration as they realize that the promise of the American Dream was not fulfilled in the ways they had imagined and la mentalidad cangrejo or “if I can’t have it, why should others,” prevails. Instead of binding together to help each other, we tear one another down and call that fair, but Christ points us in the direction of love, humility and compassion.

Hypothesis #2: Racism, colorism & nationalism

Although we might be more accustomed to thinking about the evils of racism within a white vs. POC framework, the truth is that racism and colorism also operate within our own communities. Being a Latin American immigrant doesn’t automatically place everyone on an “equal playing field;” racism and colorism don’t disappear in immigrant spaces and these corrupt ideologies often impact the experiences of immigrants in the country of destination.

Pew Research (2021) found that Latino-on-Latino discrimination is almost as common as discrimination experienced from other ethnic groups, and skin color and nativity seem to play a role; 41% of Latinos with darker skin report receiving unfair treatment by other Latinos, compared to 25% of lighter skin Latinos. Latinos born in Latin America are 9% more susceptible to suffering discrimination from other Latinos. Furthermore, close to 50% of Latinos reported hearing racially insensitive or racist remarks about other Latinos often (13%) or sometimes (35%).

In a skin tone stratified society that privileges fair skin, skin color also plays a role in the experiences encountered by immigrants. A recent report published by Freedom for Immigrants revealed that Black immigrants are six times more likely to be placed in solitary confinement; that although Black immigrants only make up 7% of all non-citizens in the U.S., they account for 20% of immigrants detained on criminal grounds. Indigenous peoples are also disproportionately affected by anti-asylum policies, face linguistic exclusion within immigration services, and are victims of anti-Indigeneity racism (Amnesty International 2021).  

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There are also elements of nationalism that play a role in Latino intragroup discrimination. If you are part of a Mexican family, you’ve probably heard many derogatory comments said by your family about Central Americans. The anti-Central-American attitudes predate the migrant caravans, but the influx of Central Americans traversing Mexico has strengthened feelings of hostility and rejection felt by Mexicans towards the Central American community. In fact, a 2019 survey conducted by Washington Post and Reforma found that 6 in 10 Mexicans (who lived in Mexico) considered migrants to be burdens and 55% supported deporting migrants. One would assume that Mexicans, many of whom have family members living abroad as immigrants, would welcome immigrants with open arms.

As a Church, our call is to welcome everyone, not only those who look like us, speak like us or have the same passport as us. Rev. Alexa Salvatierra reminds us that, “The Church is called to embody the boundless love of God by being a community of radical welcome to all God’s children.” Radical welcome embraces the wholeness of the guest and allows engagement in mutually life-giving relationships.

Hypothesis #3: Whiteness as an ideology that also infects immigrants of color

Whiteness is an ideology that can be upheld by white and non-white people alike; much like machismo, a male-centered ideology that is, on many occasions, supported and perpetuated by women. It is perplexing, but we must recognize that as social beings we breathe the same air; whiteness, in this country, is the polluted air we all breathe. Survival is the name of the game for many first-generation immigrants and “the desired proximity to whiteness and white acceptance, and the temptation to protect it once you have it, is a survival mechanism” (Vu). Perhaps the animosity felt by first-generation immigrants towards other fellow immigrants is birthed out of decades of contorting their identities in white-appeasing ways for the purpose of fitting into a society that views whiteness as normal and everything else, as undesirably foreign. 

People of color who uphold whiteness and by extension, immigrants who oppose immigration, seem to be preposterous and self-harming, but internalized oppression leaves us all exposed. In his seminal work, Pedagogy of the Oppressed, Paulo Freire claims that the oppressor’s concern is to change the consciousness of the oppressed in order to convince them that oppression isn’t actually occurring, enabling conformity and uniformity. According to Frantz Fanon, the “breaking in” of the oppressed happens when the oppressed themselves admit “loudly and intelligibly the supremacy of the white man’s values” (The Wretched of the Earth). Internalized oppression occurs when we turn against ourselves, our families, and our communities and we take to heart and mind the lies of the enemy. This type of oppression doesn’t always manifest in loud and clear ways; instead, it lurks in our subconscious, inhabits our deepest thoughts, and expresses itself in the most unexpected ways. Whiteness contaminates our mind. We suck in this polluted air for so long that it becomes our norm, even as it destroys us. This is why people like my relative can have first-hand experiences, intimately know the stories, bear the oppression, and still become their community’s most avid persecutor.  

Final Thoughts

Sometimes the stranger becomes known, the foreign land becomes familiar, and the powerless gain power. Our circumstances may change, but our compassion, empathy and love for each other should not wane. Oppression, says Freire, “is necrophilic; it is nourished by love of death, not life” and God is the antithesis of death.

According to a Pew study, people’s religion greatly influences their views on abortion, the death penalty, and homosexuality, but not immigration. Similarly, a LifeWay Research poll found that only 12% of evangelicals think biblically about immigration, citing the media as more influential on their immigration views. There seems to be an obvious disconnect considering that the Bible speaks amply about immigration and references the foreigner extensively[3]. God doesn’t speak to us tangentially about immigrants; in fact, God commands us to welcome the foreigner (Leviticus 19:34), treat them justly (Deuteronomy 27:19; Exodus 22:21) and care for them (Matthew 25:35-40; Deuteronomy 10:18-19).   

Sinful ideologies can also infect the very same people we’re trying to defend, but our advocacy for the vulnerable should always be guided by God’s unwavering word and His love for immigrants.

“El inmigrante militante”

Aún huelo tu aroma en ese recoveco en el cual te escondiste. Aún siento tu sudor y escucho el pálpito de tu corazón al intentar cruzar desapercibidamente. Anhelabas con que ese espacio minúsculo, carente de luz, te condujera hacia tu nuevo hogar. Y ese hogar te dio tanto, pero también te quitó todo. Treinta años después, la casa de oro te construyó, y el corazón de piedra te formó. Ahora, tú vigilas la frontera, destruyendo sueños ajenos. Pero esos sueños también eran los tuyos. Formaste enemigos imaginarios, volcándote contra ti misma. Creíste la mentira del enemigo, sabiendo por experiencia propia la verdad. Recuerda, hija, el día en que tú saliste de Egipto.

About Dra. Meduri Soto

As an academic from el barrio, Dra. Meduri Soto strives to engage in scholarly work that honors and gives visibility to her community. Her faith drives her passion for justice as she seeks to reveal the ways in which certain language ideologies are constructed to operate unjustly against our communities. Her work acknowledges language as a powerful tool and promotes linguistic diversity in its different manifestations. Bicultural and bilingual identities are at the center of Dra. Meduri Soto’s work. She is a Spanish professor at Biola University where she teaches second language and heritage language learners. To learn more about her work, follow her on Instagram: @la.dra.itzel


Footnotes

[1] See Octavio Esqueda’s What’s Your Immigration Status? Divine (2017)

[2] See Robert Chao Romero’s The Brown Church (2020). 

[3] For theological references that center immigration, consult the Mygration Christian Conference.


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Is your Bible Anti-Black? Pt. 2

Editors Note: Throughout this essay, “black” and “white” refers to the colors, while “Black” and “White” refer to historic racialized communities.

שְׁחוֹרָ֤ה אֲנִי֙ וְֽנָאוָ֔ה בְּנ֖וֹת יְרֽוּשָׁלָ֑יִם כְּאָֽהֳלֵ֣י קֵדָ֔ר

כִּֽירִיע֖וֹת שְׁלֹמֹֽה

אַל־תִּרְאֻ֨נִי֙ שֶֽׁאֲנִ֣י שְׁחַרְחֹ֔רֶת שֶׁשְּׁזָפַ֖תְנִי הַשָּׁ֑מֶשׁ בְּנֵ֧י אִמִּ֣י נִֽחֲרוּ־בִ֗י שָׂמֻ֨נִי֙ נֹֽטֵרָ֣ה אֶת־הַכְּרָמִ֔ים כַּרְמִ֥י שֶׁלִּ֖י לֹ֥א נָטָֽרְתִּי

—Song of Songs 1:5-6

 

This is essay two of two for the mini-series “Is Your Bible Anti-Black.” In the first essay, I engaged renowned Old Testament scholar Wilda Gafney’s critique of how the King James Version renders Song of Solomon 1:5. Whereas the original Hebrew literally reads “black am I and beautiful,” the KJV’s translators choose to write “I am black, but comely [beautiful].” Reflecting on this glaring difference, Gafney argues that the KJV’s translators “could not see blackness as beautiful, and so their whole identity [as self-identified white men] went into that one conjunction saying, ‘in spite of being Black, she’s all right.’ But that is not what the text said. And so that was the first place where I understood that people make choices when they translate [the Bible], and those choices affect what we hear [from the text].” The KJV’s rendering is wrong, Gafney contends, and layers anti-Black racist ideas onto the biblical page. Accepting Gafney’s argument, I extended her work by detailing the KJV’s cultural and racial context and noting how modern versions compare to it.

In this essay, I return to Song of Solomon to offer an interpretation of verses five and six. I again think with Dra. Gafney, following her lead as I listen to this ancient Song’s textual rhythms. Join us.

Setting the Stage: Song of Solomon 1:1-4

Song of Solomon shocks its readers. Whereas the song never explicitly mentions God, it repeatedly and exuberantly details human love. And this is not the love of mere friends. As Gafney observes, the text focuses on “the love of two people expressed sensuously, sexually.” More specifically, the song celebrates “the love of and between two black bodies—offered as scripture and revelation.”

The first black body the song introduces is the text’s lead woman. She is the focus of our passage and essay. And she immediately makes her romantic desires known.

May he kiss me with the kisses of his mouth!
For your love is sweeter than wine.

Your oils have a pleasing fragrance,
Your name is like purified oil;
Therefore the young women love you.
 Draw me after you and let’s run together!
The king has brought me into his chambers. (NASB, vv. 2-4)

Intoxicating kisses, fragrant oils, an alluring name, romantic flight, and a royal bed chamber—these are the Song’s opening themes.

The beloved declares her ballad publicly. She does not conceal her sensuous love. For immediately after we read her love song, an enthusiastic, supportive chorus enters the text, greeting us and the beloved with a celebration of her imminent sexual union.

We will rejoice in you and be joyful;
We will praise your love more than wine.
Rightly do they love you. (NASB, v. 4)

All are joyful. All rejoice. All celebrate a woman’s sensuality and sexuality. All are elated about the beloved’s foreshadowed lovemaking with her beloved.

A Beautiful Black Woman: Song of Solomon 1:5

This women that the chorus celebrates as rightly loved, what does she look like? Verse five tells us.

I am black and beautiful,
You daughters of Jerusalem,
Like the tents of Kedar,
Like the curtains of Solomon. (NASB, v. 5)

As noted above, the Hebrew text literally reads “black am I and beautiful” (שְׁחוֹרָ֤ה אֲנִי֙ וְֽנָאוָ֔ה). The order matters. As Gafney writes, the verse “emphasizes [the woman’s] blackness by opening with it.” Gafney makes a related point elsewhere: When describing the woman—the one her beloved declares the “most beautiful among women” (v.8)— “[b]lack is the first word.”

Like her beloved, the Song’s lead woman champions that black is beautiful. “I am black and beautiful.” The word “and” translates the text’s vav conjunction וְֽ at the start of וְֽנָאוָ֔ה. This basic conjunction stresses blackness’s inherent beauty. Indeed, Rabbi Marcia Falk’s translation conveys the text’s tone: “Yes, I am black! And radiant/O city women watching me.”

The Song’s lead women again highlights her blackness in verse five by comparing it to the tents of Kedar, or Qedar, and Solomon’s curtains. This analogy, Gafney notes, reveals that the women’s body “is blacker than your average brown-to-black ancient Afro-Asiatic person.” The reference to Qedar tells readers that the woman “is black as a black-haired goat.” As Gafney explains, the Song’s woman is “as black as the black goats’ hair tents woven from the famed goats of Qedar renowned for their beautiful black coats in antiquity.” Gafney’s use of “renowned” is important. As Old Testament scholar Aubrey Buster notes, the Qedar’s tents and Solomon’s curtains “were considered to be striking and beautiful” in the woman’s culture. Hence, the Song’s lead woman affirms that her blackness is strikingly beautiful, worthy of renown and communal adulation like Qeadar’s tents and Solomon’s curtains. Thus, verse five starts and ends by emphasizing the woman’s beautiful black body.

Many commentators and translators miss verse five’s celebration of blackness. Gafney laments this trend among translators:

[A] myriad of bible translators continuing into modernity persist with “I am black/dark but beautiful/comely/lovely.” Blackness and beauty cannot occupy the same space in the imaginations so they cannot occupy the same space in their translations, no matter what the text actually says. (emphasis added)

Numerous translators render verse five’s opening vav conjunction “but,” not “and.” This interpretive choice injects an aesthetic distance between blackness and beauty. Nothing in verse five requires this distance. Moreover, and more important: the conjunctive-vav’s common “and” meaning and the positive, culturally loaded invocations of beautiful black goats, tents, and curtains provide immediate linguistic and contextual grounds against this disjunctive, distancing reading.

One respected Old Testament scholar overlooks the previous two points. Tremper Longman argues that readers face a choice at verse five: “Should we translate the waw as a conjunctive ‘and’ or a disjunctive ‘but”?” For Longman, the answer is simple. “The context is actually quite clear. She is not happy with her darker-than-normal skin, so the disjunctive makes sense.” The contrast between Longman’s reading and those of Gafney and Falk is striking. So is Longman’s silence about the rest of verse five. He says nothing about Qeadar’s tents and Solomon’s curtains. It’s as if they weren’t there.

Gafney, Buster, and Falk read verse five as celebrating blackness and its beauty. Longman reads it as lamenting “darker-than-normal skin.” If verse five doesn’t’ drive Longman’s interpretive decision and commentary, what does? His reading of verse six.

Sun Gazed: Song of Solomon 1:6

Desire and joy fill verses two through five. A choir praises the woman after her opening declaration of longing to be with her beloved. Then the woman celebrates her blackness. She is black and beautiful like Qeadar’s famous tents and Solomon’s splendid curtains. Given the prevalence of parallelism in Hebrew songs and poetry, we might expect the chorus to support the woman’s celebration of blackness with their own hymn of praise. But the text doesn’t meet this expectation. Instead, it introduces the Song’s first rebuke.

The translation I’ve used throughout renders verse six thus:  

Do not stare at me because I am dark,
For the sun has tanned me.
My mother’s sons were angry with me;
They made me caretaker of the vineyards,
But I have not taken care of my own vineyard. (NASB, emphasis in translation)

This translation doubly obscures verse six’s first sentence. The word translated “dark” carries the connotation of “black” from verse five. Likewise, the sentence contrasts people’s staring/looking with the sun’s staring/looking. The KJV captures both details: “Look not upon me, because I am black, because the sun hath looked upon me.” Still, the word “stare” better expresses the Hebrew meaning involved in the woman’s rebuke-saturated command to the daughters of Jerusalem. Gafney writes, “It seems the city-women can’t keep their eyes off of her. They keep staring, looking her up and down.” These stares aim to pierce, penetrate, and judge. Again Gafney:

The shout out to the daughters of Jerusalem is an acknowledgement that our bodies are always under scrutiny. We are weighed and measured, consumed and labeled acceptable or defective in a glance. The black beauty Shahorah—we can call her Ebony, Raven, Jet or Onyx—Shahorah says you call me black like that’s an insult. Let me tell you, I am black, as silky-black as the luxurious coat of a Kedari goat, like mink, only blacker.

The Song’s lead woman told the daughters of Jerusalem that she was black and beautiful in verse five. Now she tells them, Gafney writes, “don’t stare at me because my beautiful black skin has gotten even darker while I bask in the sun.”

The sun gazed upon the Song’s black woman and made her darker, gave her a tan. Some modern readers assume that the text’s implied talk of tanning entails that the Song’s lead woman is but a white woman with a tan. This reading projects a white normative gaze onto the text and ignores verse five’s repeated discussion of rich blackness. It also elides the truth that black-skinned people tan. Gafney discusses personally suffering this elision.

I am regularly asked to give an account of my presumptively alternate biology, imagined to be fundamentally different from the interrogator’s own normative experience of being human.

“Can you tan?”

“Do you burn?”

I am expected to answer when questioned. To explain myself and my race. Public access to my body is unquestioned.

And deeply entangled with the notion of otherness is the notion of beauty.

The false assumption that Black people don’t tan which regularly confronts Gafney also occupies a place in study bibles. As Gafney recalls, “Some say...doesn’t verse 6 say that she is sunburned, therefore, she can’t be black – that’s what the notes in my study bible says.” For some readers, “being black and sunburned [is] impossible, as impossible as being black and beautiful” (emphasis in original). Even Tremper Longman joins Gafney in rejecting the assumption that the Song’s lead female is a tanned or sunburned white woman. “The woman was Semitic and likely had a dark complexion to start with. The darkness about which she complains is not her natural skin color but a tan or burn.”

Yet the differences between Longman’s and Gafney’s readings remain sharp. Longman says that the woman “likely had a dark complexion to start with.” Gafney, following verse five’s emphasis on the woman’s blackness, highlights that the woman was black and “revels in the blackness of her skin.” Longman says that the woman “complains” about her “tan or burn.” Though Gafney acknowledges that “the woman in the text ruined her beautiful black Qedari complexion with a sunburn,” Gafney never says that the woman complains about her sunburn. Instead, Gafney says that the woman “embraces the kiss of the sun” while denouncing the Jerusalem women’s glares and how her family treated her. The women’s glares are “reminder[s] that everyone won’t look at [black skinned people] and see the glory that God created.” These glares carry negative class associations with field labor. And her family’s mistreatment of her has left the Song’s lead woman unable to care for her own vineyard—for herself.

Let’s unpack the previous point. Verse six’s second half reads:

My mother’s sons were angry with me;
They made me caretaker of the vineyards,
But I have not taken care of my own vineyard. (NASB)

Though the woman claims her mother, she doesn’t claim her brothers. They are “my mother’s sons.” Similarly, although the woman says her mother’s sons were angry with her, she doesn’t explain why. The text doesn’t say she did anything wrong. It does, however, stress that these sons made her care for the vineyards. The joy of agency is missing; the cruelty of coercion is present instead.   

This is not the only time the Song’s lead woman describes her “brothers” controlling her body. In the Song’s final chapter, we read them saying:

We have a little sister,
And she has no breasts;
What shall we do for our sister
On the day when she is spoken for?

If she is a wall,
We will build on her a battlement of silver;
But if she is a door,
We will barricade her with planks of cedar. (NASB, 8:8-9)

In these verses, men alone speak. We do not hear the Song’s lead woman discussing her body. We do hear the men referring to the woman’s genitals as a “wall” (i.e., premarital chastity) and a “door,” a common Near Eastern image that alluded to a prostitute. As Gafney writes, the “brothers” work “to constrain and confine her.”

And this male coercion returns us to it’s first appearance in the song, verse six. For there we read that the lead woman has not cared for her own vineyard—her own body. Because her “brothers” forced her to labor outdoors, the sun burned her. It harmed her beautiful black body. And in act of resistance, the woman rebukes the Jerusalem’s daughters for trying to inflict similar pain by staring at her. She is black. She is beautiful. She is unashamed of herself and refuses to internalize negative class associations with field labor. And she is tending to her vineyard, she is loving her body and her beloved. “It is time,” Gafney writes, “to tend our own vines and their sweet, luscious, intoxicating fruit.”

Conclusion

Let’s consider one final contrast between Longman’s and Gafney’s readings. Longman argues that “In spite of some ambiguities, [Song of Song 1:5-6] is clear about two matters: (1) the woman considers her dark skin unattractive, and (2) her dark skin is not her natural skin color but rather the result of a tan.” Both claims run afoul of verse five’s celebration of blackness, which verse six never negates. Taken together, Gafney argues, these verses teach that “Black is beautiful. Blackness is beauty. Blackness is worshipful. All blackness is divine. It is the imprint of the holy darkly radiant God in whose image we are created.”


About Dr. Nathan Luis Cartagena

A son of the US South (Mom) and Puerto Rico (Dad), Dr. Cartagena is an Assistant Professor of Philosophy at Wheaton College (IL), where he teaches courses on race, justice, and political philosophy, and is a fellow in The Wheaton Center for Early Christian Studies. He serves as the faculty advisor for Unidad Cristiana, a student group working to enhance Christian unity and celebrate Latina/o cultures, a scholar-in-residence for World Outspoken, and a co-host for the forthcoming podcast From the Underside. He’s also writing a book on Critical Race Theory with IVP Academic.


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Donate today and help us continue to produce resources for the mestizo church.

Is Your Bible Anti-Black

Editors Note: Throughout this essay, “black” refers to the color while “Black” refers to the historic racialized community.

Our theology never comes from a blank space.”
— Elizabeth Conde-Frazier, Atando Cabos
The reclamation of racial beauty in the sixties stirred these thoughts, made me think about the necessity for the claim…Why did [Black beauty] need public articulation to exist?”
— Toni Morrison, The Bluest Eye

Christians are people of the Book, the library of sacred texts that we call the Bible. The Old and New Testaments contain the inspired word of God. They are, as the apostle Paul writes, God-breathed (2 Timothy 3:16). And so, they are “useful for teaching, rebuking, correcting, and training in righteousness.”

Yet none of these inspired texts was God-breathed through a modern language. Each was originally etched in Hebrew, Greek, or Aramaic—not Mandarin, Arabic, Portuguese, or Spanish. Unless you read the former ancient languages, you encounter the sacred page through the veil of translation.  

But even translators of the original biblical languages encounter scripture through a veil. What New Testament scholar C. René Padilla writes about interpreters applies to translators: “Interpreters do not live in a vacuum. They live in concrete historical situations, in particular cultures. From their cultures they derive not only their language but also patterns of thought and conduct, methods of learning, emotional reactions, values, interests and goals.” Translators are socially situated readers and interpreters. Their contexts and commitments—to say nothing of character—infuse their handling of Scripture. As Padilla argues, “whenever interpreters approach a particular biblical text they can do so only from their own perspective. This gives rise to a complex, dynamic two-way interpretive process depicted as a ‘hermeneutical circle’, in which interpreters and text are mutually engaged.”

Recognizing these dynamics, New Testament scholar Esau McCaulley calls for Bible publishers to hire multi-racialized and multi-ethnic translation teams. McCaulley writes:

I’ve discovered that people of color and women have rarely led or participated in Bible translation. On one hand, this doesn’t trouble me much. It is hard to mess up the story of the Exodus, distort the message of the prophets or dismantle the story of Jesus. It is all there in every English translation.

On the other, I believe it matters who translates the Bible, and that more diverse translation committees could inspire fresh confidence among Christians of color….

The insight, experience and skills of female scholars might open our eyes to nuances that a committee of all men might miss. Christians for whom English is a second language might highlight ways in which our word choice is unclear. Similarly, [B]lack Christians may call to mind neglected aspects of the text. 

McCaulley supports his call for diverse translation teams by considering English translations of Exodus 12:38, beginning with the King James Version. When Israel leaves Egypt, “a mixed multitude went up also with them” (KJV). McCaulley notes that “Nearly all scholars agree that the original Hebrew meant to highlight that an ethnically diverse group of people left Egypt with the Jewish people. This group could have included Egyptians and other ethnic groups, such as the Cushites.” So, whereas “The translation ‘mixed multitude’ isn’t necessarily wrong,” McCaulley argues, “It simply does not communicate the power of this simple verse in a way that would be understood by those reading today. If I were translating the passage, I would say that ‘an ethnically diverse crowd’ went up out of Egypt.”

McCaulley’s alternative translation is a mild corrective of the KJV. He does not deem it wrong nor unfit for its time. Instead, McCaulley argues that it and modern English translations that speak of a “mixed multitude” leaving Egypt (e.g., ESV) neglect linguistic frequencies that carry important conceptual and contextual insights for today’s English readers.

I affirm McCaulley’s call for racial, ethnic, and gender diversity in translation teams and his proposed alternative translation of Exodus 12. I’d like to extend both by arguing that anti-Black racist ideas have crept into English Bible translations. To see what I mean, let’s turn our attention to the King James’s translation of a verse in Song of Solomon.

Is Blackness Beautiful?

Song of Solomon begins on an exuberant note. After noting that it is the song of songs and belongs to Solomon, the song’s primary female figure professes her enthusiasm to be with her beloved.

Let him kiss me with the kisses of his mouth: for thy love is better than wine.

Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.

Draw me, we will run after thee: the king hath brought me into his chambers…(vv. 2-4)

A supportive, enthusiastic chorus enters the text to celebrate this highly anticipated joining. “We will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee” (v. 4). All is right. All rejoice.

The text turns to the female’s first self-description. Here’s the original Hebrew, reading right to left:

שְׁחוֹרָ֤ה אֲנִי֙ וְֽנָאוָ֔ה בְּנ֖וֹת יְרוּשָׁלִָ֑ם כְּאָהֳלֵ֣י קֵדָ֔רכִּירִיע֖וֹת

Here’s how KJV reads: “I am black, but comely [beautiful], O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon” (v. 5) Those who read Hebrew will recognize that the KJV has failed its readers.

The failure comes in verse five’s opening. The KJV’s translation team renders “שְׁחוֹרָ֤ה אֲנִי֙ וְֽנָאוָ֔ה” as “I am black, but comely [beautiful].” But as Old Testament scholar Wilda Gafney observes, this translation choice is grammatically impossible. The conjunction וְֽ at the start of וְֽנָאוָ֔ה means “and”—not “but.” Moreover, as Gafney argues, because there isn’t a “but” in Hebrew, authors writing in Hebrew must compile “a bunch of stuff to make a disjunction”; they can’t simply use a conjunction that means “and.”

Gafney realized these linguistic truths as a child. From a young age, she loved learning languages and desired a more direct relationship with the biblical text. As she compared the Hebrew and KJV, she saw “it was wrong in the King James Bible that I grew up with, where it said, ‘I am black but beautiful.’” This sparked a second realization:

The people translating [that passage] could not see blackness as beautiful, and so their whole identity [as self-identified white men] went into that one conjunction saying, ‘in spite of being Black, she’s all right.’ But that is not what the text said. And so that was the first place where I understood that people make choices when they translate [the Bible], and those choices affect what we hear [from the text].     

McCaulley’s alternative translation of Exodus 12:38 mildly corrects the KJV’s. Gafney’s alternative translation of Song of Solomon 1:5 is a damning corrective of the KJV. It highlights that the KJV’s rendering is wrong—and layers anti-Black racist ideas onto the biblical page.

The KJV’s Racial Context

Gafney claims that the KJV’s translation team injected their anti-Black sentiments into the KJV. For many, this claim is jarring. Congregations that use the KJV rarely discuss the translation’s racial context (or content). The same holds for academic treatments of the text. David Lyle Jeffery’s, Alister McGrath’s, and David Norton’s books on the KJV say nothing about the text’s racialized context (or content). None have an index entry on “race,” “whiteness,” or “white supremacy”—let alone a sustained discussion about the anti-Black translation of Song of Solomon 1:5. Though from different parts of the globe—Canada, Ireland, and England, respectively—none of these racialized white authors ensured their books addressed the KJV’s racial dimensions. What Gafney noticed as a youth, they overlook in their mature academic writing.

Given these ecclesiastical and scholarly omissions, a word about the KJV’s racial context is in order. Let us consider two aspects of this context: international anti-Blackness and anti-Blackness in contemporary English literature and theatre.

Starting in the fifteenth century, a racial scale that prioritized “whiteness” informed European imperialism. The first recorded slave auction makes this clear. Reflecting on the year 1444, Portugal’s royal chronicler Gomes Eanes de Azurara writes:

[On] the next day, which was the 8th of the month of August, very early in the morning, by reason of the heat, the seamen began to make ready their boats, and to take out those captives, and carry them on shore, as they were commanded. And these, placed all together in that field, were a marvelous sight; for amongst them were some white enough, fair to look upon, and well proportioned; others were less white like mulattoes; others again were as black as Ethiops [Ethiopians], and so ugly, both in features and in body, as almost to appear (to those who saw them) the images of a lower hemisphere.

All depicted are slaves; not all are equal. Some are “white,” and therefore “fair to look upon, and well proportioned.” Others are “less white like mulattoes,” and, apparently, deserve little discussion. Others still are “black,” and hence “ugly”—as if they had come from Hell itself. Here is a scale that advances white supremacy and anti-Blackness.

European colonizers repackaged and disseminated Azurara’s scale as they constructed pigmentocracies—governments for and by those deemed “white.” Historian C.R. Boxer notes that, although Portugal and Spain respectively granted mesticos and mestizos a positive colonial status, “both Iberian empires remained essentially a ‘pigmentocracy’ . . . based on the conviction of white racial, moral, and intellectual superiority—just as did their Dutch, English, and French successors.” Race scholar and sociologist Howard Winant similarly observes that these European colonial powers believed they were “the whites, the masters, the true Christians.” And historian Winthrop Jordan succinctly captures this trend among the British, highlighting that, during the seventeenth century, English colonists treated “Christian, free, English, and white” as metonyms. For them, each word was equivalent.

The racialized language Jordan details has antecedents in English literature that’s contemporary with the KJV, which was published in 1611. In 1578, the widely read English travel writer George Best offered a damning account of “the Ethiopians blacknesse.” While discussing his Artic voyage, Best argued that, because Ham had sex on the Ark, God cursed Ham and his descendants to be “so blacke and loathsome that it might remain a spectacle of disobedience to all the worlde.” Thus, Best championed a racialized curse theory which linked Blackness to ugliness and hypersexuality. Similar anti-Black ideas populate William Shakespeare’s plays.

The first Black character in Shakespeare’s plays is Aaron, the evil, deceptive, hypersexual, murderous Moor in Titus Andronicus (1594). The most famous Black character in Shakespeare’s plays is also a Moor: Othello (1604). Iago, Othello’s ensign, despises the Black Othello for marrying the White Desdemona. “For that I do suspect the lusty Moor/Hath leaped into my seat,” Iago claims. And while talking to Desdemona’s father, Iago says Othello is “an old black ram/…tupping your white ewe.” Iago later tricks Othello into believing that Desdemona has betrayed him. Before Othello kills Desdemona, he cries, “Her name that was fresh/as Dian’s visage, is now begrim’d and black/As mine own face.” After Othello learns that he unjustly killed his wife, Emilia, Desdemona’s maidservant, declares: “O! the more angel she. And you the blacker devil.” The Tempest’s (1611) Caliban also recapitulates the conceptual linking of Blackness and Satan that filled European theatre. Caliban is the bastard child of an African witch from a “vile race” and a demon. Caliban is also hypersexual.

Other English playwriters also employed anti-Black ideas and images. Ben Jonson’s The Masque of Blackness (1605) is especially important for our discussion. Commissioned by King James I, Jonson’s play was the most expensive production made in London. Premiering in the luxurious Whitehall Palace, the play is the story of twelve ugly African princesses of the river god Niger. The princesses learn that they can be “made beautiful” if they go to “Britannia,” for there the sun “beams shine day and night, and are of force/ To blanch [make white] an Æthiop, and revive a corpse.” White women, including Queen Anne, played the Black princesses. How? They used blackface.

White supremacy and anti-Blackness occupied a privileged place in European imperialism and English literature and theatre. Shakespeare and Jonson composed and presented plays that drew upon, shaped, and perpetuated anti-Black and pro-White English sentiments. These international and cultural realities were pillars of the KJV’s racial context. 

Returning to the Song of Solomon

The KJV’s anti-Black translation of Song of Solomon 1:5 reflected its cultural context. It also shaped other cultures around the globe and across the centuries. The U.S. is a case in point. As historian Mark Noll argues, the KJV was the U.S.’s national book in the nineteenth century. Biblical language and allusions filled U.S. public discourse, and “the vast majority of public Bible references came from a single translation”—the KJV. It was this translation that filled debates about the U.S.’s slavocracy and global racialized chattel slavery. Moreover, it was this translation that became a staple in African American congregations and homes. Recall that Wilda Gafney grew up on the KJV. So did Esau McCaulley.

I grew up in a [B]lack Baptist church that revered the King James Version (KJV). Whenever it was read aloud, the congregation rose to its feet. But the KJV was more than a book read on Sunday. It shaped the culture of Southern black Christianity. Its thees and thous permeated our parents’ extemporaneous prayers. It marked the rhetoric of our most powerful preachers.

McCaulley argues that his experiences are common for Black Christians in the North or South. “If Flannery O’Connor can say that the South is Christ-haunted, then we can say that [B]lack Christianity is haunted by King James.” We hear this haunting hum in James Baldwin’s and Toni Morrison’s books and essays.

The KJV may also haunt modern English Bible translations of Song of Solomon 1:5. Consider these twenty-six translations (emphasis added):

Like the KJV, fourteen of the twenty-six versions offer a grammatically impossible translation with “but.” Four others offer a similarly impossible translation of “yet.” Only eight versions correctly translate the text’s “and.” Consequently, eighteen of these modern English translations—an arresting sixty-nine percent—give readers a wrong translation that perpetuates an anti-Black idea about beauty that the original Hebrew rejects. Thus sayeth the Lord, indeed.

Black is Beautiful

Biblical translations matter. They help or hinder our ability to encounter God and creation. They rebuff or retrench idolatry. They foster or fizzle love of self and neighbor. Song of Solomon teaches that black is beautiful. The Song’s primary female figure is beautiful and black. There is no contrasting conjunction here. Rightly encountering God and creation require seeing and feeling this truth. So does rebuffing the historic idolatry of whiteness. So does Black self-love and love of our Black neighbors. A diverse translation team populated by members with the lived experiences, communal ties, and interpretive skill of a Wilda Gafney would empower English Bible readers to experience and celebrate these God-breathed truths.


About Dr. Nathan Luis Cartagena

A son of the US South (Mom) and Puerto Rico (Dad), Dr. Cartagena is an Assistant Professor of Philosophy at Wheaton College (IL), where he teaches courses on race, justice, and political philosophy, and is a fellow in The Wheaton Center for Early Christian Studies. He serves as the faculty advisor for Unidad Cristiana, a student group working to enhance Christian unity and celebrate Latina/o cultures, a scholar-in-residence for World Outspoken, and a co-host for the forthcoming podcast From the Underside. He’s also writing a book on Critical Race Theory with IVP Academic.


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Pressure Cooker

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This month we are featuring two pieces by student writers who are engaging theologically with their cultural identity. We are thrilled to give platform to these up and coming voices who will surely shape the trajectory of the mestizo church. -The Editors

When I was a little girl

I would get up in the morning to get ready for school

Amma was already up, 

showered and dressed before the sun 

She had prepared breakfast, lunch and dinner 

before the day had begun

The monotonous routine of the Indian woman

Was the pillar of our household

When everything else was falling apart

The rich spices were strong and bold 

like coffee, the daily aroma functioning as an alarm

Flavors that burnt my nose 

but comforted my heart


The clunky metal pressure cooker was on the stove,

Yet again

Just like me, it was imported all the way from India

And just like me, it existed as a daily functioning member of this household

And just like me, it cooked consumed rice everyday

Not a day went by in my first 11 years of existence

that white basmati rice did not enter my system

The clunky metal pressure cooker became my nemesis

As it’s whistle blew it reminded me of a train

That had the capacity to steal me and take me faraway

Reminding me of how nothing ever felt safe

Amma.

Why do you let the pressure cooker get so hot that it screams?

Surely the rice is cooked now and we can eat.

Day after day, the pressure builds up and the whistle screeches

Make it stop.

And just like the white rice it cooked

The whiteness boiled inside of me

Pressurizing into a pristine product for others pleasure

I bathed in the waters of the pressure cooker thinking it would cleanse me

But now I feel dirtier than ever

pain was the corpse that i buried thinking it was dead

but pain isn’t a corpse it’s a seed

once it's in the ground and nourished

it sprouts up into nasty weeds and surprises you

There is value in my culture and I don’t want to throw it away

Throw it into the melting pot to let it boil and disintegrate 

A one way ticket to a faraway place

The train is waiting. 

The whistle is screeching. 

Next stop--your life long American dream.

Amma, I never was strong enough to open the lid and escape

Why couldn’t I have been strong enough?

Why couldn’t you have been strong enough for me?

Amma. 

Why do you let the pressure cooker get so hot that it screams?

Surely the rice is cooked now and we can eat.

Day after day, the pressure builds up and the whistle screeches

Make it stop.

White rice is not enough flavor for some

But paired with too much and suddenly 

you are overwhelming

A dangerous game people play

When they control their intake

Thinking they can tolerate more spice than they can handle

The aftertaste

Leaves an unpleasant mark on their face

Eyebrows furrowed

Lips puckered

Confusion is uncomfortably sour 

Regret floods in 

as they reach for a glass of water

Foreign flavors to them

But savory memories to me

That train will take them to a museum

Where they can gawk and gaze in amazement

But walk out the minute their eyes get tired of looking

Like a field trip where the kids have to go for school credit

But the minute they get off the bus

They are no longer at school

And therefore, 

done learning

Foreign concepts to them

But second nature to me

But if only that train were taking me to my utopia

Where nothing has to be sacrificed

And I wave goodbye to all my fears as they fade off in the distance

Fear of man

Fear of exclusion

Fear of abandonment

In this faraway land, 

chickappa and chickamma will send me Indian care packages

And I open them up with excitement instead of remorse 

In this faraway land,

I never get tired of eating Indian food

And I never complain

Because this time I won’t have to learn the hard way

What I had when I had it

In this faraway land,

The nuances of my culture are known and understood by all those around me

Like we were watching an old movie we had seen a hundred times

Nobody is even wondering what will happen next

But from memory, they annoyingly recite the next character’s lines 

In this faraway land,

My heritage is defended by my loved ones 

like one would argue their favorite superhero or sports team

And instead of our culture being like a set of clothes we could donate once it didn’t fit anymore

it would be our precious keepsake we tucked away to pass down to future generations

It would be intrinsically woven inside of us

Amma. 

Why do you let the pressure cooker get so hot that it screams?

Surely the rice is cooked now and we can eat.

Day after day, the pressure builds up and the whistle screeches

Make it stop.

You see, the white rice is boiling to be plain and simple

Affordable and safe

I am made into something digestible

Spicy flavors are dangerous and to be placed on the side

Eaten in the tiniest increments only if one so chooses

We put Jesus into the pressure cooker

And cook him into a white, fluffed up rice

steamed of any unnecessary and extra components

Now He is digestible

Culturally gnosticizing the gospel 

Extracting Him of his ethnicity 

A palatable Jesus, 

we take Him in aculturally

Generational sin has the nastiest fruit

Because the apple doesn’t fall far from the tree

the tree that was planted must uproot itself and leave

far away from getting entangled in the same old roots

of the same old trees

and if all i am to you is red on the outside and white on the inside

than you just picked the wrong apple

and there begins your sin cycle

And we produce safety

Because once the rice is cooled down it's safe to eat, right?

Because they are safe,

I have to be pressurized

Day after day

Laughing and playing the same game

To protect myself in this melting pot we call tasty

Give up the charade

It's not a melting pot where every flavor stays the same

But a pressure cooker where whatever was left disintegrates

Washed away

Washed white

White washed

The American pressure cooker

Has lost its taste

And now I am the whistle screaming


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About Shreya Ramachandran

Shreya Ramachandran is a sophomore at Moody Bible Institute, studying Teaching English to Speakers of Other Languages (TESOL). She was born in India and moved to the United States when she was two years old. After many life transitions, Shreya is beginning to embrace her identity in Christ as an Indian-American woman. Being mestizo resonates with Shreya, as she has always lived on the borderlands of culture. Shreya shares: “I am blessed by the ministry at WOS, one that deals delicately with the nuances of culture in order to equip the Church and be the Church.”