What did Prusikin do?
A new controversy sparked after Ilya Prusikin, the frontman of the St. Petersburg group Little Big, released an Instagram post. The post features him dressed as a priest and riding a skateboard themed with a Catholic cross. The visual cues include the distinctive white stripe on a black clerical collar, commonly known as a Roman collar.
The video and a separate image posted on January 7 appear to preview Little Big’s upcoming music video. The footage clearly seems to have been shot in the United States, where Prusikin now operates along with vocalist Sofia Tayurskaya and several members of her team after the start of the Russian military operation in Ukraine.
As of this writing, the two Instagram posts had gathered roughly 42 thousand likes and about 4.3 thousand comments. The level of engagement was notably higher than usual for the musician, with comments far exceeding typical counts.
How did they react on the Internet?
Responses from fans were mixed. Some criticized what they saw as an act of blasphemy, while others argued it did not cross religious lines. A number of subscribers questioned the timing, noting that the content would carry different implications if released on a different date or in a different country. One commenter wondered why the stunt did not align with a December 25 Orthodox or Catholic celebration, hinting at sensitivities around religious holidays in various regions.
Other voices expressed confusion. A user named Svetlana called the act provocative, noting that both Orthodox and Catholic Christians constitute a broad audience. The post led some to admit their curiosity about the musician’s intentions, even if they did not share the point of view being presented.
Several comments framed the move as potentially alienating. One commenter warned that the stunt might impact opportunities for creativity if it alienated audiences who could otherwise be receptive. Another suggested the action could backfire and affect future reception of the artist’s work.
Some followers speculated that part of the negative feedback could be driven by automated accounts. Others suggested that the critique reflected a clash between personal belief and artistic expression.
There were questions about whether the posts targeted Orthodox Christmas, Muslim holidays, or another calendar moment, with some suggesting the timing seemed incongruent with certain religious observances. A few readers implied that the comments might not entirely reflect genuine sentiment, pointing to the possibility of bot activity.
What did they say offline
The debate about Prusikin with the cross moved beyond social media and drew the attention of religious and political figures. Journalists reached out to church representatives for comment. A senior Orthodox cleric suggested that if Prusikin is baptized as Orthodox, repentance should be considered; if not, he argued that repentance would not apply. The cleric also warned that desecrating Christian symbols can carry legal penalties in Russia.
A State Duma deputy offered a critical view, alleging that the skateboarding clip was orchestrated by Western interests. The deputy described Prusikin as an opportunist who understood how to appeal to certain audiences while disregarding traditional holiday symbolism. The remark implied a belief that Western patrons influence his artistic choices, and suggested that the timing sought to capitalize on contemporary political events. The deputy stopped short of denying Prusikin’s talent but claimed pride and a need for broader restraint affected his judgment.
Despite the strong reactions, not all artists joined in the criticism. High-profile supporters within the entertainment world, including a granddaughter of a famed performer and several actors and musicians, expressed approval by liking the posts. This contrast highlighted how public figures can polarize opinion on provocative art and personal branding in the digital era.
Overall, the episode showcases how a single visual gesture can ignite a broad conversation about faith, national identity, and the responsibilities of public figures when their art intersects with sensitive religious and political landscapes. The situation continues to unfold as audiences in North America and beyond interpret the implications for cultural exchange and artistic experimentation. [Citation: Contemporary pop culture coverage and public discourse pieces]