Two years after George Floyd, the frescoes have disappeared, the illusions too

“This May 25 marks two years since the sinister murder of George Floyd,” this 46-year-old African-American whose agony, under the knee of white policeman Derek Chauvin, filmed and widely broadcast, had caused a real shock wave in a jaded American society “by the incessant and redundant litany of murders of black citizens”, notes the columnist Charles Blow in the columns of the New York Times.

This death, that of George Floyd, in Minneapolis, “had thrown tens of thousands of people onto the streets, and some already saw it as the seed of a potential revolution, an inflection point, an awareness of systemic racism, a new beginning for America in the long run. road to the absolution of his original sin”, emphasizes the columnist.

A bitter record

Two years later, the results are bitter. Certainly, “good things have come out of these protests, recognizes the New York Times. Some states and municipalities have reformed their police, money has flowed into the coffers of many organizations fighting for racial justice and in particular those of the organization Black Lives Matter [“Les vies des Noirs comptent”].” Individual Americans have begun a necessary change “to become actively anti-racist and artists of all stripes covered the streets and walls of the country with frescoes and works of street art which transformed, for a time, the landscape”.

But for Charles Blow, the hope of a change on the national level was only an illusion: “Support for the Black Lives Matter movement has dwindled, police reform plans at the federal level […] failed in the Senate and the founders of the Black Lives Matter organization are mired in a controversy over how they used the funds raised.

the “great erasure has begun”, he notes, and nothing expresses this reality better than “the disappearance is progressing

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