By Davis Carlton

The modern world is absolutely obsessed with “diversity.” In our Orwellian anti-white world the word diversity doesn’t mean acknowledging the unique characteristics of the various racial and ethnic groups throughout the world. Diversity invariably means non-white immigration to white countries, white families adopting non-white children, and interracially marrying, while at the same time praising non-white communities for their solidarity and resistance to ubiquitous white privilege, racism, and oppression. It’s been well-established that diversity is a euphemism for white genocide. Modern Christians are no less obsessed with this kind of diversity than their secular Western counterparts.

Most Christians who rhapsodize about diversity aren’t respecting and giving thanks for the ethnic and racial diversity that God has created by supporting traditional national identity. This would mean that modern Christians would have to acknowledge the legitimacy of white nations as well as the white race as a whole. This is obviously unacceptable. And obviously hypocritical. What is being valued isn’t diversity in any reasonable sense, but the destruction of “whiteness” and, consequently, actual white communities, culture, and nations. The quixotic quest for utopian diversity is manifested in the social justice agenda which campaigns for open borders, diversity quotas for non-whites to integrate white institutions, and reparations for slavery. Another way in which the diversity agenda attacks whites is to attack white art and white Christian art in particular. A common complaint by those promoting this kind of pseudo-diversity is that traditional Christian artwork is too monolithic in its portrayal of Biblical characters as exclusively white.

There are two common objections to portraying Biblical characters as white. The first is that portraying Biblical characters as uniformly white seemingly excludes non-whites from seeing themselves in the narrative. An example of the first objection is the quest for diversity in children’s Bibles in which the characters are intentionally depicted to reflect all the races of the world. The American Bible Society endorses this kind of diversity by presenting resources on How to Help Kids See Themselves and Others in the Bible. There is an increasing reaction against traditional Bible illustrations like those of Eloise Wilkin that depict Biblical characters as white. Those promoting this kind of diversity for the sake of diversity interpret traditional European Christian artwork as a hindrance to evangelism of non-whites.

The second objection is that portraying the Biblical characters as white is historically inaccurate because the people of Israel were in actuality brown-skinned Middle Easterners rather than white Europeans. This objection is commonly directed at the European features portrayed on statues and paintings of Christ and his disciples in classical European Christian artwork. A striking example of this objection and how it is manifests underlying hatred for whites is Matt Chandler’s diatribe against Megyn Kelly after she stated in passing that Jesus was a white man. Several years ago around Christmas Kelly mentioned in passing that those demanding “inclusive” depictions of Santa Claus and Jesus need to move on because Santa was a European folk figure and Jesus was also white.

Chandler responded in a sermon that he was “horrified” by Kelly’s comment and was “stupefied that someone could say that.” After all Jesus wasn’t just Jewish but “super Jewish” Chandler then offers more of his expertise in human anthropology when he states that “finding a white dude in Galilee in the first century would be like finding Bigfoot riding a unicorn across a rainbow. There’s not gonna be one there, alright, it’s not going to happen. Alright so we know that Jesus is not a white guy…not blonde, he doesn’t have his fair hair feather…that’s not who he is. He is distinctively Jewish and what we do know from the Bible is that he’s not all that good to look at. I mean even the prophet Isaiah said that there is nothing about his physical form that made us think that he might be God in the flesh.”¹

Chandler concludes in a somewhat rambling manner, “Someone has a show” would say that “Jesus was white” as a “historic fact.” “Like what book?…Whitey Whiterton by the White Guys…that’s the only book that that could ever be said in. Alright so Jesus is not a white guy because he’s from Galilee, his parents are from Galilee and they’re of the line of David.”

These two objections are only consistently applied against whites. White Christian art is typically considered to be both insufficiently diverse as well as historically inaccurate. Naturally these two objections are in tension. Supposing that it is historically inaccurate to portray the ancient Israelites, it is certainly not more accurate to portray the ancient Israelites as diverse as a modern cosmopolitan city in the West or the Starship Enterprise from Star Trek. Complaints about lack of diversity or historical inaccuracy are almost never raised against an explicitly Afrocentric Bible like this one. Is it possible that calls for greater diversity in Bible illustrations or for historical accuracy are motivated by anti-white animus even if only on a subconscious level?

I find it humorous that folks like Matt Chandler often pontificate about ancient anthropology when they have absolutely no idea what they are talking about. There were no “white dudes” in first century Galilee? Even if Chandler supposes that the natives of Galilee were not white; surely he knows that Galilee was under Roman occupation during the ministry of Christ. Jesus even heals a centurion’s servant when he is in Capernaum (Matt. 8:5-13). Chandler might retort that these were not the natives of Galilee from whom Christ would have descended which is true enough, but this also undermines his bombastic hyperbole about Bigfoot, unicorns, and rainbows. The appearance of the Israelites has already been addressed by Ehud, but suffice it to say that Chandler is simply repeating slogans and mantras that he’s heard about the Middle East.

Even if someone doesn’t believe that the occupants of ancient Israel were white it should be easy to see how Matt Chandler’s response is motivated more by vitriol and ethno-masochism than a genuine concern for historical accuracy. Likewise calls for diversity in Bible illustrations are always presented as against white homogeneity. Diversity has come to mean diluting and erasing white communities. The onslaught against traditional Bible illustrations and Western artwork in general is used to undermine the Christian identity of whites. The message of diversity is that racially-blended societies are normal, healthy, historical, and archetypally Christian.

The solution is for Christian parents to recognize this agenda and actively fight against it. Avoid the anti-white and anti-Christian propaganda of the secular public school system. Immerse your children and loved ones in traditional Western culture, and teach them to appreciate the genuine diversity of how the nations are different. Make sure that your children are wise to agenda to undermine their identity. Most of all never accept anything said by half-educated clergy as truth. The greatest tool of our enemies is ignorance, and the solution is knowledge.