Art – Page 18 – Feminism and Religion

The Need for Intersectionality: Repainting Sojourner Truth by AngelaYarber

angela I’ve long held that feminism, in order to be true and engaged and practical, must be intersectional. Such is also the case, I believe, for LGBTQ rights. The work of justice for women and LGBTQs people must also include justice for other marginalized groups. Because many LGBTQ people are also women, people of color, people with disabilities, Muslims, immigrants, and others marginalized for identities other than their sexuality. Paying attention to these intersections—of sexuality, gender, race, class, ability, religion—and acknowledging that many people have multiple intersecting identities for which they are oppressed is vital to the work of justice.

These thoughts remained at the forefront of my mind as I recently marched in one of the sister marches of the Women’s March in my home of Hilo, Hawaii. I heard many straight, white, cisgender women claim that women are not oppressed while mocking the march as irrelevant. I heard some gay men purport that such a march was unnecessary. And I wondered. Are not women of color also women? Muslim women? Immigrant women? Women with disabilities? Queer women? Further, are not women also part of LGBTQs? Are not there LGBTQ people of color? LGBTQs who are Muslim? LGBTQs who are immigrants? LGBTQs with disabilities? Of course there are. And even if there are not, are not our quests for liberation and rights and legal validity interrelated, mutually dependent, might I even say intersectional? Continue reading “The Need for Intersectionality: Repainting Sojourner Truth by AngelaYarber”

Painting Lilith, Queering Lilith by Angela Yarber

angela Lilith has been a misunderstood, appropriated, and redeemed woman throughout the ages. Many feminists claim her as an empowering figure in Jewish mythology, her story reclaimed by contemporary artists such as Sarah McLachlan, who created the all-women music tour, “Lilith Fair.” Some queer scholars have surmised that Lilith had a romantic relationship with Eve. Others have claimed that Lilith was a demon who seduced men and strangled children in the night. Quite a disparity, isn’t it?

The first time I painted her, I wrote about my subsequent leaving of the church here on Feminism and Religion. Based almost entirely on Judith Plaskow’s beautiful midrash, “The Coming of Lilith,” I’ve painted a second Holy Woman Icon rendition of Lilith. In the Jewish tradition, midrash is akin to climbing inside the story—inside the Torah—and imagining what happened in the places where the text offers no description; it is the space between the letters, the creative imagination within the narrative that makes the story come alive.

According to Plaskow’s midrash, God created Adam and Lilith from the same earth. Tired of Adam demanding that she be subservient to him, Lilith left the Garden of Eden. She was later befriended by Eve and her legacy of empowering women continues today. Adding a queer twist to this feminist midrash, some claim that Lilith and Eve became lovers, as well. Continue reading “Painting Lilith, Queering Lilith by Angela Yarber”

“Tricolor Mary: Encountering Three Faces of the Divine Feminine” by Simone Grace Seol

simone-grace I always felt curiously distant from the figure of Mary. I always sensed that there is so much there and yet, I could never connect to it emotionally.

The foil to Eve, vessel of Love, suffering mother. I wanted to love her, I wanted to feel her, I wanted to feel drawn to the mystery of Marian devotion. But I felt alienated by the vision of the feminine that she seemed to project: the pure, immaculate, virginal, submissive, obedient, quietly suffering.

Most days, I feel like the opposite of every single one of those qualities.

It’s exactly the kind of feminine archetype I don’t really relate to — the kind of person about whom people say, “oh, she’s really nice” as if yielding compliance and non-offensiveness are her primary attributes. The kind of woman who fades into the background, whose worth lies only in her utility to the patriarchal narrative. Continue reading ““Tricolor Mary: Encountering Three Faces of the Divine Feminine” by Simone Grace Seol”

Painting Our Lady of Light: Winter Holidays 2016 by Angela Yarber

angela There’s nothing like the holiday season to bring out everyone’s least feminist self. In one of the courses that I teach—Gender, Food, and the Body in Popular Culture—students are assigned to examine gender roles throughout the holiday season through the lens intersectional ecofeminism. Inevitably, almost every student returns from holiday break with the same assessment: mom, grandma, and a kitchen full of women prepare, cook, and clean every family meal; women do the holiday shopping; men in the family watch sports.

Of course, this isn’t true of everyone. There are plenty of families which subvert and dismantle stereotypical gender roles, but the holidays seem to heighten these roles, undergirding them with some kind of nostalgic and theological weight that claims that if mama doesn’t arduously prepare her famed casserole, the season will be ruined. Otherwise committed feminists find themselves singing carols filled with sexist language and participating in holiday rituals that they would critique any other time of the year. Subversion be damned because we want our traditional family holiday! Continue reading “Painting Our Lady of Light: Winter Holidays 2016 by Angela Yarber”

Shared Leadership: The Hidden Treasure of Women’s Ritual Dance by Laura Shannon

Greek women dancing, attributed to a vase in the Museo Borbonico, Naples. From The dance: Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D. London, 1911 — Greek women dancing, attributed to a vase in the Museo Borbonico, Naples.
From The dance: Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D. London, 1911

Traditional women’s dances of Greece, the Balkans and the Near East come from cultures which have survived countless periods of upheaval, and teach skills which can help us through difficult times. I see their gifts as a precious inheritance from the ancestors, passed down through many generations. One particularly valuable skill which the dances emphasizes is that of mutual support and shared leadership among women.

Leadership in traditional dance is not limited to a few who have garnered social rank and power. Dance leadership is shared according to the occasion, and everyone must be prepared to lead dances at important events in their lifetime.

On Greek islands such as Lesvos, a small parea or group of women will typically dance the Syrtós together in a short line or open circle. The first dancer may express herself through turns and graceful flourishes of her free hand, varying her handhold and body position to dynamically interact with the other dancers. The women continually change places in the circle, encouraging one another to take the first position so that everyone eventually has a chance to lead. Continue reading “Shared Leadership: The Hidden Treasure of Women’s Ritual Dance by Laura Shannon”

Nominating Holy Women Icons by Angela Yarber

Who is your Holy Woman Icon?

When I began the academic study of religion in 1999, I was struck by the pantheon of male saints, venerated, honored, painted, adored, perhaps even worshipped. From virtually every tradition, men reigned supreme—in leadership, iconography, decision-making, worship—which is one of the myriad reasons groups like Feminism and Religion must exist. To combat this oppressive supremacy.

In 2010, I decided to put my wonder and this patriarchal dis-ease on canvas. I painted a triptych of Sophia, the feminine Greek word for wisdom often understood as the feminine face of Jesus, for a group triptych exhibition. Inspired stylistically by the art of Shiloh Sophia McCloud and He Qi, I endeavored to give traditional iconography a folk twist in an attempt to make it more accessible, perhaps a bit less brooding and intimidating. Emboldened by the works of womanist and feminist scholars in religion, my icons aim to subvert traditional—and often patriarchal—depictions of a virtually all-male sainthood. Though there are surely some women depicted Catholic and Orthodox iconography, and a robust number of women and goddesses in Hindu iconography, I found myself at a loss when it came to positive, affirming, and empowering icons of women across the vast spectrum of religious and spiritual traditions. Continue reading “Nominating Holy Women Icons by Angela Yarber”

Weaving and Spinning Women: Witches and Pagans by Max Dashu: Reviewed by Carol P. Christ

carol p. christ photo michael bakas Max Dashu’s Witches and Pagans: Women in European Folk Religion 700-1000 challenges the assumption that Europe was fully Christianized within a few short centuries as traditional historians tell us. Most of us were taught not only that Europe became Christian very rapidly, but also that Europeans were more than willing to adopt a new religion that was “superior” to “paganism” in every way. Careful readers of Dashu’s important new work will be challenged to revise their views. When the full 15 volumes of the projected series are in print, historians may be forced to hang their heads in shame. This of course assumes that scholars will read Dashu’s work. More likely they will ignore or dismiss it, but sooner or later–I dare to hope–the truth will out. Continue reading “Weaving and Spinning Women: Witches and Pagans by Max Dashu: Reviewed by Carol P. Christ”

Calling on the Muse: A Meditation for Creative Spirits by Mary Sharratt

mary sharratt The world at large might view artists and writers as free spirits rocking la vie bohème, but creative people know that it’s much more complicated than that, especially if we’re striving to earn even a modest living from our work. As a writer, I often fall into the trap of measuring my success or failure on factors completely beyond my control, such as the ups and downs of a fickle book buying market.

I know that I’ve often wrestled with the feeling that I’ll never be enough. Never be big enough, never be a bestseller. Sometimes it’s hard not to succumb to a flailing sense of helplessness—why are any of us doing all this? Worst of all is my fear of creative dryness—that my inspiration will turn to dust and I’ll never write—let alone publish—another book.

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Continue reading “Calling on the Muse: A Meditation for Creative Spirits by Mary Sharratt”

In Search of Ancestral Wisdom by Max Dashu

Max 2011

What is the preserving shrine? Níansa (not hard).
The preserving shrine is memory and what is preserved in it.
What is the preserving shrine? Níansa.
The preserving shrine is Nature and what is preserved in it.
—Senchas Mór, Ireland

In a world in extremity, we are searching for the wellspring, the inexhaustible Source known to all our ancient kindreds. Many of us have been cut off from our deep roots, and especially from the ancient wisdom of women, and female spiritual leadership.

My long quest has been to discover the lost strands of my own roots, the old ethnic cultures of Europe, and to reweave those ripped webs. I have spent decades searching for authentic cultural testimony about women’s spiritual ways before Christianity, before the Roman empire, before men commandeered all positions of religious leadership. My book, Witches and Pagans: Women in European Folk Religion, brings together these ripped strands of the cultural web. Continue reading “In Search of Ancestral Wisdom by Max Dashu”

Dandelion Warriors, Incest Survival and An Artist Statement on That Christmas Morning Feeling by Marie Cartier

I have blogged excerpts from my novel That Christmas Morning Feeling in progress previously—the first excerpt here and additional ones here and here. This blog serves as an “artist statement” regarding the novel in progress.

I want to discuss in this blog thoughts on my own creative process—how a project can percolate for years (this one for well over ten years) and be in pieces in several places (handwritten, hard drives, on a laptop, here in FAR) and then some magical “tipping point” comes that creates the necessary conditions to put other things aside and work on that project, birthing it forward.

Certainly the death of both my parents in one year, and the resulting fallout in the last two years, complicated relationship struggles both to be sure, prompted me to want to write this novel and put it out into the world in a finished form, which is what I’m trying to accomplish now.

This book is not an autobiography…it’s not “my story.” But, to be sure, I am a survivor of childhood sexual abuse and the feelings and experiences from that time have been published in autobiographical form in my poetry book, I Am Your Daughter, Not Your Lover, a play (of the same title, while much of this dramatic work is out of print, my work is catalogued at UCLA; here is the finding aid) based on the book produced in Los Angeles, and a one woman show I did entitled Blessed Virgin. I also created the activism project, Dandelion Warrior, which awarded medals to survivors who came to my numerous readings in the nineties who were willing to give up the option of suicide. To date I awarded well over a thousand buttons/medals to survivors in the States and internationally. When the buttons ran out I simply shook hands with the survivors who were willing to stand shoulder to shoulder with me and make the commitment to stay on the planet.

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I was the first artist the state of California awarded an Artist in Residence grant to, to work specifically with incest survivors, and I worked also with women from forced marriages, and also prostitutes, creating dialogues with them and with survivors of childhood sexual abuse and created projects that showcased their voices coming together in the struggle for survival. I performed slam poetry about incest survival when it was just called reading poetry in bars; I did one woman shows and got flack in my reviews, as well as praise. For instance, one reviewer simply said “Speak Repressed Memory,” as he went on to say he didn’t believe survivors’ stories coming forward and did not at all review my play or performance except to say I was an “accomplished actress.” The rest of his review was about how he hated incest survival stories, and therefore the reader was to assume also my play.

I continued with my work. Continue reading “Dandelion Warriors, Incest Survival and An Artist Statement on That Christmas Morning Feeling by Marie Cartier”