Faith

On the second floor of a cultural center at Christ Cathedral in Orange County, an AI-rendered depiction of Jesus, calm and smiling, fills one side of the room. Breaking a piece of flatbread in two, he passes it to the 12 similarly enlarged men projected on all four walls around him. On the ground are images of heaping plates of food — roast lamb, vegetables, olives and dips.

“Take and eat,” the AI Jesus says. “This is my body.”

In the center of the room, real-life visitors arrayed on 26 swivel chairs turn their heads back and forth to take in the supersized Last Supper occurring all around them. Already, they have been plunged into the sea of Galilee watching as Jesus walked on water and witnessed his transfiguration on a mountain top. It was all part of what’s being touted as “a museum unlike any other, where faith and forensics meet.”

Visitors watch a 360-degree, AI-rendered video depicting the life of Jesus as told in the Gospels at the opening of the Shroud of Turin Experience at Christ Cathedral.

(Allen J. Schaben / Los Angeles Times)

Located five miles from Disneyland on the campus that once housed televangelist Robert Schuller’s Crystal Cathedral Ministries, the Shroud of Turin Experience is Orange County’s newest tourist attraction with a Christian twist. The 10,000-square-foot exhibit, which opened to the public last week, uses digital projection, artificial intelligence and special effects to introduce visitors to the life of Jesus as depicted in the Gospels with a focus on the mysterious linen burial cloth that believers say wrapped his body after the crucifixion.

“It’s a little Disney-esque, but we really want you to feel like you are in these scenes,” said Pat Powers, a financial adviser who helped raise money for the exhibit. “We want the whole experience to be visually overwhelming.”

Powered by technological advances and a consumer desire for in-person connection, immersive experiences are reinvigorating the way businesses and organizations connect with new audiences and the Catholic Church has taken note. From the viral success of Van Gogh: The Immersive Experience which arrived in L.A. in 2021 to the 360-degree entertainment at the Sphere in Las Vegas, young people in particular are seeking new and dynamic ways of interacting with their entertainment. Now, as the Catholic Church seeks to connect with a new generation of Christians who may be unfamiliar with the Biblical Jesus and the mystery of the shroud, religious and lay leaders are exploring digitally enhanced ways of bringing people to faith.

An interactive screen at the Shroud of Turin Experience allows guests to zoom in on details of the shroud of Turin, a mysterious linen cloth which some believe covered Jesus after his death.

(Allen J. Schaben / Los Angeles Times)

“We want to speak to people the way they are used to being spoken to today and in a way they can absorb,” Powers said.

Organizers said the desire to outfit the exhibit with digital bells and whistles came directly from the top. The Diocese of Orange only agreed to sign off on the privately funded project after organizers promised it would offer interactive elements beyond text and images.

“I said no static pictures, too boring,” said Bishop Timothy Freyer, auxiliary bishop of the diocese. “Posters on the walls wasn’t going to do it.”

Now, signs around the 34-acre Christ Cathedral campus where the Diocese of Orange is located advertise “The Shroud of Turin Experience” as if it were a summer blockbuster: “Discover the blood. Uncover the mystery. Encounter the light.”

Roughly 14 feet long and three feet wide, the shroud of Turin is one of the most scientifically studied and contested religious objects in the world — a holy relic to some and a medieval forgery to others. Scarred by burn marks and water stains, the narrow sheet of linen features hundreds of blood stains consistent with the wounds Jesus suffered at the time of his death. Even more mysteriously, it bares the faint image of a bearded man that some Christians believe provides physical evidence of Jesus’ resurrection. The Catholic Church has not taken an official position on the shroud’s veracity, but the exhibit’s organizers find the evidence for its divine provenance convincing and hope others will too.

A bronze statue of Jesus lies in front of an enlarged photo negative image of the face detail on the shroud of Turin.

(Allen J. Schaben / Los Angeles Times)

“Our position is that the shroud offers evidence of the resurrection, but not proof,” said Nora Creech, a shroud scholar who helped organize the exhibit. “The goal is to lead people in and let them go on their own journey.”

Visitors will not be able to see the actual shroud of Turin. It hasn’t left its long time home of St. John the Baptist Cathedral in Turin, Italy, for centuries. However, with the bishop of Turin’s blessing, organizers were able to procure a high-resolution, full-sized replica. Docents at the exhibit will show visitors how to change their iPhone camera settings to create what looks like a photo negative, making it easier to see the shadowy figure on the cloth.

“Kids always think that’s cool,” said Creech.

The exhibit costs $20 for adults, and organizers say visitors should budget at least 90 minutes to make their way through it. In the first of three immersive rooms, a dizzying 360-degree video introduces guests to the story of Jesus’ life from his baptism to the crucifixion — including that jumbo last supper. At the end of the 20-minute film, a projected rock rolls away from a door leading into a second room designed to look like Jesus’ tomb, complete with a prone figure lying on a stone altar, draped in a white cloth. There guests watch an 18-minute documentary detailing the scientific research on the shroud before moving on to a third “chapel” room where a video animated by AI shares stories from the Bible of sightings of Jesus after his death.

Patrons view a supersized image of Christ on the cross.

(Allen J. Schaben / Los Angeles Times)

The second half of the exhibit is more traditional. Guests can examine several instruments of torture that were reportedly used to inflict pain on Jesus, including replicas of the nails used for crucifixion, the crown of thorns that adorned his head, and the double-edged blade of a Roman lance that pierced his side. Interactive features include a kiosk that digitally separates each level of the shroud so visitors can examine just the blood stains, just the burn marks or just the shadowy image. Those who want a really deep dive on the shroud can interact with a virtual Father Spitzer, president of the Magis Center on Reason and Faith and a local expert on the shroud, to hear pre-recorded answers to questions like “What evidence suggests a supernatural cause was necessary for the image formulation on the shroud” and “How do neutrons explain the shroud’s exceptional resistance to aging and solvents?”

The final room of the exhibit is designed for reflection and includes a life-sized bronze statue of Jesus created by Italian artist Luigi Enzo Matte, according to the dimensions of the image on the shroud.

Although there is a clear religious bent to the entire experience, Creech said the exhibit, expected to remain at Christ Cathedral through at least 2030, is designed to share information on the life of Jesus and the shroud, but not necessarily to convert anyone.

“I think we can convince people that the shroud is the shroud that wrapped the physical body of Jesus,” she said. “But Jesus stresses the importance of belief. To proclaim that Jesus is our lord and savior is an act of faith that everyone has to take on their own.”

Tunis, Tunisia – Night had just about fallen in Halq al-Wadi, also known as La Goulette, a balmy coastal suburb of Tunis, when the Virgin Mary emerged from the local church, Saint-Augustin and Saint Fidele, into a packed square.

Carried on the shoulders of a dozen churchgoers, the statue of the Virgin was greeted with cheers, ululations and a passionately waved Tunisian flag.

Hundreds of people – Tunisians, Europeans, and sub-Saharan Africans – had gathered for the annual procession of Our Lady of Trapani.

Many of those participating in the procession, and the Catholic Mass that came beforehand, were from sub-Saharan Africa.

“It’s the Holy Virgin who has brought us all here today,” Isaac Lusafu, originally from the Democratic Republic of the Congo, told Al Jazeera. “Today the Virgin Mary has united us all”.

In a large, packed square just beyond the church gates, the statue moved in a circle as people prayed and sang hymns. It was all under the watchful eye of a mural of Claudia Cardinale, the renowned Italian actress born in La Goulette, a reminder of the distant past when the district was home to thousands of Europeans.

A melting pot

The Catholic feast of Our Lady of Trapani was brought to La Goulette in the late 1800s by Sicilian immigrants, in the days when the port town was a hub for poor southern European fishermen in search of a better life.

Immigration to Tunisia from Sicily peaked in the early 20th century. Nearly all of the fishermen, along with their families and descendants, have now returned to European shores, but the statue of the Virgin remained – and, every year on August 15, it is carried in procession out of the church.

“It’s a unique event,” Hatem Bourial, a Tunisian journalist and radio presenter, told Al Jazeera.

He went on to describe how, in the procession’s heyday in the early 20th century, native Tunisians, Muslims and Jews alike, would join Tunisian-Sicilian Catholics in carrying the statue of the Virgin Mary from the church down to the sea.

There, participants would ask Mary to bless the fishermen’s boats. Many residents would shout “Long live the Virgin of Trapani!”, Bourial said, while others threw their chechia, a traditional red cap worn in the Maghreb, in the air.

As well as its religious significance – for Catholics, August 15 marks the day that Mary was taken up into heaven – the feast also coincides with the Italian mid-August holiday of Ferragosto, which traditionally signals the high point of the summer.

Silvia Finzi, born in Tunis in the 1950s to Italian parents, described how, after the statue had been brought down to the sea, many of La Goulette’s residents would declare that the worst of the punishingly hot Tunisian summer was over.

“Once the Virgin had been taken down to the water, it was as if the sea had changed”, Finzi, a professor of Italian at the University of Tunis, told Al Jazeera.

“People would say ‘the sea has changed, the summer’s over’, and you wouldn’t need to go swimming to cool down any more”.

European exodus

The first European immigrants began to arrive in La Goulette in the early 19th century. Their numbers rapidly increased after 1881, when Tunisia became a French protectorate. At its height in the early 1900s, the number of Italian immigrants – who were largely Sicilians – across the whole of Tunisia is estimated to have been more than 100,000.

In the decade after 1956, when Tunisia gained its independence from France, the vast majority of its European residents left the country, as the new government pivoted towards nationalism.

In 1964, the Vatican signed an agreement with Tunisia, transferring control of the majority of the country’s churches – now largely empty – to the government for use as public buildings. The agreement also put an end to all public Christian celebrations, including the procession in La Goulette.

For more than half a century, August 15 was marked only with a Mass inside the church building, and the statue of Our Lady of Trapani remained immobile in its niche. The date remained important for La Goulette’s much-reduced Catholic population, but it largely ceased to be an important event for the wider community.

Nostalgia

In 2017, the Catholic Church received permission to restart the procession, initially just inside the church compound. This year, when Al Jazeera visited, the procession left the church property but only travelled as far as the square outside.

Many attendees were young Tunisian Muslims, with little connection to La Goulette’s historic Sicilian population.

A major reason for this is undoubtedly the high status accorded to the Virgin Mary in Islam – an entire chapter of the Quran is dedicated to her.

Other participants seemed to be drawn by a feeling of nostalgia for La Goulette’s multiethnic, multireligious past.

“I love the procession”, Rania, 26, told Al Jazeera. “Lots of people have forgotten about it now, but European immigration is such an important part of Tunisia’s history”.

Rania, a student, told Al Jazeera of her love for the 1996 film, Un ete a La Goulette (A Summer in La Goulette).

Featuring dialogue in three languages, and evocative shots of sunlit courtyards and shimmering beaches, the film is an ode to La Goulette’s past.

Directed by the renowned Tunisian filmmaker Ferid Boughedir, it follows the lives of three teenage girls – Gigi, a Sicilian, Meriem, a Muslim, and Tina, a Jew – over the course of a summer in the 1960s.

The film ends, however, on a bleak note, with the outbreak of the 1967 War between Israel and several Arab states, and the subsequent departure of almost all of Tunisia’s remaining Jewish and European residents.

New migrations

As Tunisia’s European population declined, the country has seen an influx of new migrant communities from sub-Saharan Africa.

The majority of these new migrants, who number in the tens of thousands, hail from Francophone West Africa. Many come to Tunisia in search of work; others hope to find passage across the Mediterranean to Europe.

Many of the sub-Saharan migrants – who face widespread discrimination in Tunisia – are Christian, and as a result, they now make up the vast majority of Tunisia’s churchgoing population.

This fact is reflected in a mural in the church in La Goulette, inspired by the feast of Our Lady of Trapani. Painted in 2017, it depicts the Virgin Mary sheltering a group of people – Tunisians, Sicilians and sub-Saharan Africans – under her mantle.

The air around the Virgin in the mural is full of passports. The church’s priest, Father Narcisse, who hails from Chad, told Al Jazeera that these represent the documents that immigrants throw into the sea while making the journey from North Africa to Europe in the hope of evading deportation.

The mural highlights the fact that the Madonna of Trapani, once considered the protector of Sicilian fishermen, is today called upon by immigrants of far more varied backgrounds.

“This celebration, in its original form, marked the deep bonds between the two shores of the Mediterranean,” Archbishop of Tunis Nicolas Lhernould told Al Jazeera. “Today, it brings together a more diverse group – Tunisians, Africans, Europeans; locals, migrants, and tourists.”

“Mary herself was a migrant,” Archbishop Lhernould said, referring to the New Testament story which narrates Mary’s flight, together with the child Jesus and her husband Joseph, from Palestine to Egypt.

From a Christian perspective, he suggested, “we are all migrants, just passing through, citizens of a kingdom which is not of this world”.

The spirit of La Goulette

La Goulette was once home to ‘Little Sicily’, an area characterised by its clusters of Italian-style apartment buildings. The vast majority of these structures – modest buildings built by the newly-arrived fishermen – have been torn down and replaced, and little more than the church remains to testify to the area’s once significant Sicilian presence.

As of 2019, there were only 800 Italians descended from the original immigrant community left in the whole of Tunisia.

“There are so few of us left”, said Rita Strazzera, who was born in Tunis to Sicilian parents. The Tunisian-Sicilian community meets very rarely, she explained, with some members coming together for the celebration on the 15th August, and holding occasional meetings in a small bookshop opposite the church.

Still, the spirit of Little Sicily has not entirely vanished. Traces of the old La Goulette linger – in memory, in film, and, Strazzera told Al Jazeera, in other, more surprising ways as well.

“Every year, on All Saints’ Day, I go to the graveyard”, said Strazzera, referring to the annual celebration when Catholics remember their deceased loved ones.

“And there are Tunisians there, Muslims, people who maybe had a Sicilian parent, or a Sicilian grandparent, and have come to visit their graves, because they know it’s what Catholics do.”

“There have been lots of mixed marriages”, Strazzera added, “and so, every year, there are more of them visiting the graves. When I see them, it’s like a reminder that Little Sicily is still with us.”