The Vatican’s Nativity scene featuring a wood-carved infant Jesus laying on a keffiyeh sparked both praise and outrage globally. The symbol of solidarity with Palestine, unveiled by Pope Francis and the Holy See on December 7, has since disappeared from the scene along with the entire manger and model of baby Jesus as of December 11.
Designed by Palestinian artists Johny Andonia and Faten Nastas Mitwasi and carved by Peter Khano from Bethlehem, the Nativity was a joint gift to the Vatican from Dar al-Kalima University, the Palestinian Embassy at the Holy See, and the Higher Presidential Committee of Churches Affairs in Palestine.
The keffiyeh controversy arose as pro-Israel entities criticized the inclusion of the Palestinian symbol in the Nativity scene. Accusations of blasphemy and misrepresentation of Jesus Christ’s identity as Palestinian instead of Jewish circulated online. Some viewed the use of the keffiyeh as promoting hate towards Jewish people, sparking intense backlash.
Pope Francis, known for advocating peace and acknowledging suffering in Gaza, faced outrage last month for calling for an investigation into Israel’s attacks to determine if they constitute genocide. His gestures of meeting with families of hostages abducted by Hamas and advocating for peace in the region have been both praised and criticized.
The keffiyeh, a cultural garment tied to Palestinian identity, has been at the center of controversy recently. Institutions like the Noguchi Museum in New York City and Christie’s auction house in London have faced backlash over their handling of the keffiyeh, sparking protests and debates about cultural identity and political symbolism.
The Vatican’s decision to remove the keffiyeh from the Nativity scene reflects the complex and sensitive nature of religious symbolism and cultural representation. The incident serves as a reminder of the power of symbols in shaping perceptions and sparking dialogue about identity, heritage, and peace.
