Take God out to dance

Suddenly, some cultural celebrities have decided out of devotion or curiosity to take God out of the closet and put him in the middle of the central showcase, to the delight of a few and to the surprise of many others. Bloody pearls walking the tightrope of love. There are those who assure that this spiritual phenomenon not only has to do with culture but is a counter-revolutionary phenomenon that permeates the daily reality of thousands of young and not so young people.

There is such a hunger for happiness that staff who want to move their bones and reactivate their hearts are able to look for God under stones or even in churches. But what are these dowsers looking for in the divine and what do they hope to find in God? Perhaps a passing entertainment, a lightning rod for bitter moments, filling a void that neither sex nor alcohol satisfy? Maybe they trust in power find the loyalty and trust that this cruel and disposable world does not offer you today.

According to some sociologists, there is a reaction to this postmodernity that began in the 60s of the 20th century – May 68 was its zenith – and that has lasted until the beginning of this millennium, and that now finds that response in a certain boredom with the superficial and the unsound. That same postmodernity that the philosopher Bauman coined with the term “liquid society” and that describes the volatile and uncertain condition of modern society. The authentic and the true have disappeared from the mapare not listed as great human values, only nihilism reigns supreme.

Rosalía, in a fit of need, places God at the center of the conversation and her songs. Questioned by some “deniers” for placing religious elements in her video and showing a woman ironing clothes and scrubbing the floor, the Spanish singer with the most influence on the world scene continues undaunted, launching her most intimate phrases even in media as powerful as “The New York Times”: “I have spent my entire life with this feeling of emptiness, of feeling that this world will not be able to fill that void.”

Rosalía’s new album is called “Lux” and is inspired by a quote from the French thinker Simone Weil: “Love is not comfort, it is light.” And almost without intending it, the circle closes or opens, depending on how you look at it, with the most read philosopher and recent Princess of Asturias 2025 winner, Byung-Chul Han, who has just published a new essay about, according to him, “the most brilliant intellectual figure of the 20th century, Simone Weil.” Han’s book, in which he broadly analyzes the thoughts of this great progressive mystic who fought in the Spanish Civil War and belonged to the French Resistance, also has a forceful title very consistent with these spiritual times: “On God.”

However, the political and social panorama, I mean Trump; the corruption of Cerdán, Ábalos and company; the attorney general; abuses of power; Carlos Mazón playing the trombone; mistreatment; suicides; wars there or here… push us to survive above our state of mind since every day an unbearable and increasingly less attractive world falls on us, and one feels like climbing the ladder, taking the broad brush and repainting this same planet with a little more soul and enthusiasm, with a little more joy and hope.

Perhaps guided by that need, the generations of this new era are entrusting themselves to the divine in all its versions due to the multiple disappointments that carnal and worldly life offers them. When the human does not fill you too much, one looks to the sky and looks for new solutionswhich are almost always in the background, on the left hand, near that central organ called the heart. It will be there, I say, where the earthly paradise resides. I’ll put on Rosalía’s album to see if this way, dancing with God, inspiration comes in and I reach the longed-for nirvana.