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The city of Detroit was in shambles following six days of violence, rioting, burning and looting during the summer of 1967. The vision of an integrated brotherhood amongst all races had turned into a nightmare and Saint Cecilia’s church had become an oasis of relative peace for members of the community while chaos ensued around them.
The following year, a 33 year old parishioner and noted artist, DeVon Cunningham, asked Father Raymond Ellis if he could hold an art exhibit on the parish grounds with proceeds going to the school. Father Ellis, a white man who had been installed as pastor in 1965, offered a counterproposal. He asked Cunningham if he would instead paint a large mural with a black Christ on the dome of the church apse. Cunningham agreed on the spot.
The completion of the mural took approximately two months, with Cunningham, who tied himself to the scaffold due to a fear of heights, holding onto the rail with one hand and painting with the other. On November 22, 1968, the mural was unveiled on Saint Cecilia‘s Day– the patron saint of musicians and church music – to throngs of people that filled the church.
The historic event was eloquently described by Alex Poinsett in the March 1969 issue of Ebony magazine, which had the face of the black Christ on its cover.
"Black, White, Indian and Chinese angels hover in the massive mural 75 feet overhead. Swirling about them are storm clouds from which peak the greats; Mahatma, Gandhi and Malcolm X, Martin Luther King, the two Kennedy Brothers and Pope, John Paul, XXIII.
English and Swahili declarations of 'Freedom!' and 'We shall overcome!' neon-light the heavens.
Towering over all the symbolism is a purple robed, 24 foot portrayal of Christ, not as a white man, but as the black ruler of the universe
In addition to the black Christ, Cunningham was also commissioned by Father Ellis to create the statue of the Black Madonna for the altar of the north transcript, where she still stands to this day.
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