The Arua Cathedral mural and the debate over sacred images

Arua, Uganda | URN | A striking new mural inside Ediofe Cathedral in Uganda’s Arua Diocese has sparked intense discussion among the faithful, raising broader questions about the role of contemporary art in Catholic worship spaces and how believers interpret sacred imagery. For several weeks, the colourful wall painting has triggered mixed reactions across the diocese and the wider West Nile region. Some worshippers have described the image as “scary” and said it causes “immense agony,” making it difficult for them to pray.

What began as quiet conversations inside the church has now spilled into wider community debates. The mural, painted on the front wall of the cathedral, features a large, stylized portrait of a Black female figure with a golden halo. The figure has deep brown skin, large expressive eyes streaming with white teardrops, full pink lips, and subtle facial markings. Her head is veiled in the colours of the Ugandan flag, and she wears a blue top with white patterns. At her neck are symbolic elements, including the Ugandan crested crane standing on one leg.

Surrounding the central figure are vibrant stars in red, blue, yellow, pink, and purple, along with bright blue clouds on one side. The bold, graphic, contemporary style, with strong flat colours and clean lines, blends traditional sacred iconography with strong African cultural identity. The contrast between the sorrowful, tearful “Black Madonna” and the joyful celestial elements creates a visually powerful and emotionally charged piece. “Some say it is hard to pray when faced with such an image. For the past weeks, it has been at the centre of debate in the diocese and across West Nile,” Steven Chandia, URN West Nile bureau chief, observed.

According to earlier reports, the diocesan vicar general, who also serves as the cathedral parish priest, Msgr. Casto Adeti stated that the mural was created by an Italian couple. He explained that the artwork is intended to depict the suffering of God’s children affected by hunger, war, and torture, drawing on the biblical theme of the Holy Innocents, the young children martyred by King Herod.

Historical Role of Art in the Church

Strong reactions to religious art are not new. Rev Fr. Dr. John Vianney Kitoolo, a church historian and curator at the Muteesa I Catholic Memorial Museum at Lubaga, described the current discussion as healthy, provided it is placed in the proper context.

He explained that Catholic art dates back to the early Church, especially during periods of persecution, when Christians used simple symbols such as the fish as secret signs of faith. Once the Church could build openly, artists began filling churches with paintings and sculptures of biblical scenes.

“Christians then used simple symbols, such as a fish, as secret signs of faith that only believers would recognise. Later, when the Church could build openly, artists filled walls and churches with paintings and sculptures of biblical scenes,” Fr. Kitoolo said. Borrowing from Pope St. Gregory the Great, he noted that paintings and other sacred art serve as “books for the illiterate,” helping the faithful visualise salvation history.

The Catholic Church has long regarded sacred images as a form of language and communication as a catechetical tool used for centuries to teach the faith, stir emotions, and lead the heart toward God. While some people worry that the Arua mural is too frightening. Rev Fr. Kitoolo points out that the Church has faced similar concerns before. He mentions Michelangelo’s famous “Last Judgment” in the Sistine Chapel, which many at the time found shocking and intense. Closer to Uganda, certain older Ugandan church paintings, including some at Our Lady of Fatima Church in Nakulabye, have also been described by some as scary or disturbing.

Rev Fr. Kitoolo pointed out that art depicting suffering or judgment has often played a role in evangelisation by making invisible realities tangible and inviting reflection on pain, mercy, and hope. “In the Arua case, the tears on the female figure may be calling attention to the innocent who suffer today in our region and across the world. Such images can move believers from discomfort to deeper prayer and compassion,” he added.

He also observed that if some people find the piece scary, “then it has served its purpose already. It has been communicated.”

Artistic Influences in Ugandan Churches

Fr. Dr. John Vianney Kitoolo also shed light on the different styles of religious art found across Ugandan Catholic churches. He explained that much of the art and church building designs were heavily influenced by the European missionary groups that first brought the faith to various regions of the country.

“In areas evangelized by the White Fathers (also known as the Missionaries of Africa, who were mainly French), the art and architectural styles often lean towards a French influence. These works tend to strike a good balance between beauty and clear religious messaging, elegant yet straightforward, using rich colours and forms that both attract the eye and teach the faith effectively,” he explained.

In contrast, he added that churches in regions served by the Mill Hill Missionaries (who were British) often reflect a more reserved and understated English style. “The art here is typically simpler, less dramatic, and focuses quietly on devotion without too much ornamentation,” he added. The priest further said that in northern Uganda, including areas like Arua Diocese, the influence comes from the Verona Fathers (an Italian missionary congregation, also known as the Comboni Missionaries).

“Their style carries a distinct Italian flavour often more expressive, dramatic, and emotionally engaging, with bold forms and a strong sense of movement and feeling.” Fr. Kitoolo pointed out that the current mural at Ediofe Cathedral in Arua fits within this Italian-influenced tradition, which explains its bold, graphic, and emotionally intense character. The tears, vibrant colours, and modern African elements represent a continuation and adaptation of that heritage, now expressed through contemporary eyes.

An Artist’s Perspective

Nuwa Wamala Nnyanzi, a renowned Ugandan visual artist, reacted with concern when our reporter shared a photo of the controversial mural in Arua. To him, the artwork fitted the description from the faithful of being “quite scary and intimidating” in its current form. Nnyanzi opined that such a piece should have been placed anywhere else but inside the church, as its intense gaze and overall presence seem out of place in a sacred space meant for worship and reflection.

“For public art, especially one displayed in a religious setting, the artist must be very sensitive about where the piece will be installed and the kind of perception it is likely to receive. The display and context of the art are critical,” Nnyanzi emphasized. However, he noted that if the intention was truly to feature this particular figure inside the church, the artist or the person who commissioned the mural could have toned it down significantly. For instance, the eyes could have been directed downward as a sign of humbleness and reverence, rather than staring out with such a powerful and unsettling intensity.

“Such a small but meaningful adjustment would have made the artwork feel more appropriate and spiritually fitting for the church environment.”

The Bishop’s Response

When our reporter asked the Bishop of Arua Diocese, Rt. Rev. Sabino Ocan Odoki, about the controversial mural and why it was painted inside the church, the bishop clarified that he did not personally commission the artwork. “The artists approached me with the idea of creating a piece, and I referred them to the parish for further handling,” the bishop said.

He added that “All answers regarding the art, including why it was painted where it is, should rather be directed to the parish priest,” he said. “They could have taken the art anywhere else.” In earlier reports, the parish priest, the same one referred to by the bishop, had stated that the mural was commissioned by the bishop himself. However, following the bishop’s interview, the parish has remained silent and offered no further comment on the matter.

Meanwhile, the controversial piece continues to stir heated debate across the Arua area. Information from the ground indicates that some faithful are plotting to forcefully paint over the mural with colour in an attempt to make it disappear. Bishop Odoki maintained that the meaning and concept of the mural, as explained to him, has solid theological grounding and carries a positive, meaningful message. He was quick to add, however, that any genuine concerns about the artwork or its placement should be channeled through the proper church structures, supported by clear and factual reasons.

“Decisions based on facts could then be used to determine whether to remove it, improve it, or correct it, or have it relocated to a different place,” Bishop Odoki added. Meanwhile, the Arua mural has opened a valuable conversation about the delicate balance between artistic expression, cultural relevance, emotional impact, and the sacred purpose of church spaces.

As the diocese continues to reflect on the piece, the ongoing debate highlights how art in faith settings can both challenge and deepen the spiritual life of believers.

The old idolatry debate

On the sidelines of the uproar in Arua, several non-Catholics have raised a different line of criticism online, reviving the old debate over the use of images in churches and accusing the Catholic Church of idolatry. One person posted on X (formerly Twitter), quoting a photo of the Arua mural: “Why do Catholics worship images?”

This is not a new controversy. The Catholic Church has addressed the issue repeatedly over the centuries, distinguishing clearly between the worship of God and the respectful use of sacred images. Rev Fr. Dr. John Vianney Kitoolo reiterated the Church’s official teaching on the subject. He explained that the honour paid to sacred images is a “respectful veneration,” not the adoration due to God alone.