Art – Page 21 – Feminism and Religion

Painting Our Own Realities in the New Year by Xochitl Alvizo

Incarnation, Goddess spirituality, Xochitl Alvizo, god became flesh A friend of mine once commented that my feminism is evident from the moment you step into my house. In reference to all the female images around my house, she noted that my space reflected a different way of being in the world. I had never thought of it actually, it was not a specifically conscious choice I made to be woman-centered in the books and artwork I displayed, I simply put up what I loved. But once she pointed that out to me, I appreciated the point it raised about what we surround ourselves with and what it reflects about the world we want to live in and help create. What do our spaces evoke for us? for others? Do they help spark the imagination, and if so, what toward?

While I have always been very conscious about how I create my home space, it has not been in the way my friend noted. I am hyper-organized at home. I am one of those people who love the expression “a place for everything and everything in its place.” It can be a difficult characteristic to live with let me tell you, as I tend not to be able to feel at home until things are all “in their place,” which I admit has made for a hard transition in these last few months! I always thought that organization was the most important part of what made a ‘home’ for me – that and having a guest room ready for welcoming visitors. But this last week, as I got a little time to organize my house a bit more, the importance of my artwork came front and center in a new way. Continue reading “Painting Our Own Realities in the New Year by Xochitl Alvizo”

Mor, Celtic Goddess of Sun and Sea by Judith Shaw

judith Shaw photo Mor is an ancient Celtic Goddess of the Sea and the Sun, bringing to mind the shining days of summer and the abundance of the harvest. Yet in a typical Celtic paradox in which opposites exist as one whole she is also a Dark Goddess of Death and Rebirth.

She is depicted sitting on a throne, revealing her association as a sovereignty goddess. But no ancient stories of courtship and marriage are associated with Mor, no making of a king through marriage to Her. So She must have been a sovereignty goddess in the most ancient sense – as a protector and guardian of the land, as the spirit of Earth itself. Continue reading “Mor, Celtic Goddess of Sun and Sea by Judith Shaw”

Painting Marys, Welcoming Refugees by Angela Yarber

angela This holiday season, in the midst of our ever-repeating mass shootings and debates about the welcoming of Syrian refugees, I have seen a meme, a pithy quote, a bumper sticker time and time again amidst my fellow liberals:

“If only we had a seasonally appropriate story about Middle Eastern people seeking refuge being turned away by the heartless.”

Similarly, many have posted pictures of nativity scenes with a tongue-in-cheek quip, “I’m so glad people are placing these lawn ornaments in their yards to indicate that they welcome refugees into their homes.”

Myriad articles have been published encouraging Christians to remember our calling to welcome the refugee, and as an ordained clergywoman, I affirm these thoughts. I believe it is our responsibility, as Christians and particularly as feminist Christians, to welcome the marginalized, the oppressed, the refugee. I am also a strong believer in the separation of church and state, a distinctive imperative both to my Baptist tradition and to my home country of the United States. So, in many ways, it doesn’t really matter politically that my faith tradition teaches me to welcome the refugee because my country is not a Christian nation, but it does matter that the primary symbol of my country—the Statue of Liberty—proclaims boldly and without apology: “Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!” Continue reading “Painting Marys, Welcoming Refugees by Angela Yarber”

Dahut, the Once and Future Goddess by Judith Shaw

judith Shaw photo Dahut Ahes, Breton goddess of Love and Sensuality is a Celtic Goddess whose origins are obscured by patriarchal tales which cast Her as wanton and depraved. By weaving together the tales as they are today with an understanding of the life-affirming nature of the old pagan ways Dahut emerges as more than a glittering goddess of beauty; She is revealed as an ancient goddess in a long line of goddesses who holds the rebirth of the old ways in Her loving arms.

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Microaggressions and the Grimké Sisters: Between Painting and Writing by Angela Yarber

angela As an artist and author, my time is often divided between painting and writing, with my interests in religion, gender/sexuality, and justice being the connection between the two. Painting teaches me something unique about writing, at the same time that writing brings clarity to my painting. For me, the two go hand-in-hand. Such is most certainly the case with my painting of the revolutionary Grimké sisters and in the writing of my most recent book, Microaggressions in Ministry: Confronting the Violence of Everyday Church, co-authored with Cody Sanders. Now that the painting, one of my newest Holy Women Icons with a folk feminist twist, has toured parts the East Coast and Microaggressions in Ministry is officially available for purchase, I’ve had an opportunity to reflect on these seemingly disparate projects and mediums, only to realize how mutually informing they truly are.

The Grimké Sisters: Sarah (1792-1873) and Angelina (1805-1879)

Though these revolutionary sisters have always been famous in feminist-preaching-justice-antiracism-vegetarian circles, their name recognition bolstered with the stirring novel by Sue Monk Kidd, The Invention of Wings. The Grimké sisters were Southern American Quakers, writers, public speakers, and the first American women advocates for both abolition and women’s rights. Born to a wealthy plantation owner with hundreds of slaves, who held that women were strictly subordinate to men, these daring daughters experienced the evils of slavery first-hand. In fact, at age five, Sarah witnessed a slave being whipped and tried to escape South Carolina on a steam ship to a “place where there was no slavery.” In violation of the law, she taught several slaves to read during her adolescence.

Thirteen years her junior, Angelina was more of a daughter than sister to Sarah, as Sarah begged her parents to make her Angelina’s godmother. Together, the sisters left the South, became Quakers, committed themselves to pacifism and vegetarianism, and dedicated their lives to abolitionism. They gave countless public lectures—at first in “parlor meetings” for only women, but expanding to include men—decrying the evils of slavery. Not only did they preach abolition based on their interpretations of scripture, but they also held that black and white people are equal and should be treated as such. This latter belief was considered completely radical, even in abolitionist circles. In giving public lectures, they were attacked for their anti-slavery stance. In fact, they were forced to leave the Quaker church because of their views. But their radical abolitionism was not the only reason for critique; they were also condemned for stepping into the male sphere of public speaking. In the midst of such critique, the sisters were forced to grapple with their views of gender, inadvertently becoming feminists and women’s rights activists, as well. After much thought, prayer, and study, Sarah and Angelina also determined that women’s equality was rooted in scripture.

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Lighting Our Candles, We Dance into the Dark by Laura Shannon

Laura Shannon Here in the northern hemisphere, these weeks between Samhain and the winter solstice bring us into the darkest time of the year. In my dance circles, this is my favourite time for candle dances, whose gentle light guides us when we cannot clearly see, while the support of the circle gives us courage to step into the unknown.

Dancing with candles is like travelling through time. For thousands of years, dancing in the dark – at night, or deep in caves – took place by the light of the moon or the flame. The beauty of candle dancing is that the darkness is still present; we do not need to disparage it, dispel it, flee it or fight it. This marriage of light and dark comes across in this lovely photo from a recent candle dance at Findhorn. Continue reading “Lighting Our Candles, We Dance into the Dark by Laura Shannon”

‘Imagine’ by Jassy Watson

At my first international retreat on Lesvos, Greece, women gathered with me from around the globe in the village of Molyvos to connect with their authentic creative spirit and bring their Mediterranean Muse to life on canvas. With permission from our wonderful Greek hosts, we built a Cretan style labyrinth in their olive grove, which we walked and danced daily as a metaphor for our journey within accessing our authentic creative voice. We painted, laughed, danced, swam, feasted, cooked, explored, sang, and dreamed. It was such a truly wonderful time.

I wanted to bring this program to Greece in part because of Carol Christ, who has called Lesvos home for over twenty years. In 2012, I participated in her ‘Goddess Pilgrimage to Crete’. To date, it’s one of the most transformational, life-affirming experiences of my life. I harvested so much creative inspiration and motivation from Greek village life, connecting to Goddess in this ancient landscape. I knew it was the perfect setting to gather women for an inspired creative retreat of my own. Carol took the time to come speak with our group, telling us about how she came to call Lesvos home. She spoke beautifully on Sappho, reading us some of her poetry. It was an honour to have her join us.

The simple, resourceful, sustainable way of traditional Greek village life and the generous nature of the Greek people is a humbling experience. On Lesvos, many people in the villages grow much of their own food, eating seasonally. In fact, food grows wild everywhere; wild thyme, oregano, dill, fennel, walnuts, figs, greens and much more. There are few large chain supermarkets. Trucks laden with fresh produce and fish make their way around the villages announcing their wares through a loudspeaker and the crowd gathers to shop.

There are over eleven million olive trees on Lesvos. Even the smallest plots of land often have them. Some villages own their own olive oil co-op. Cheese is usually homemade. Many people keep sheep and goats and the process has remained virtually unchanged since ancient times. Beehives are commonplace for honey and pollination, as too are grapes. Homemade wine is routine in many a household. Usually more than one job is held to make ends meet, many often supplementing their income through small-scale agriculture. One might be a café owner, a sheep farmer, olive grower and a fisherperson. Many traditional trades such as stone masonry and shoemaking are also still well and truly alive.

Life is not necessarily easy, but it is so much more sustainable, resourceful, and rich in tradition; offering a deeper connection to the land, food sources, community and family than we have in the modern Western world. We live in a disposable society based on convenience. It never ceases to amaze me to think that only a few decades ago, most households in Australia had a veggie plot, chickens, a rainwater tank and access to small family-owned corner shops for other necessities. Now that’s a rarity. It’s imperative for the sustainability of the planet to return to a grass-roots, village-based way of life. Greek village life inspires me and reminds me to hold tightly to these values.

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Holy Women Icons: Arts and Spirituality on Retreat by Angela Yarber

angela I’ve noticed some growing trends in feminist spirituality. Recently, I’ve encountered several feminists who have attended “virtual retreats” from the comfort of their homes. I’ve also been overwhelmed by the number of clergy, scholars, and feminists who have begun coloring. Psychologists claim that coloring can soften stress, relieve anxiety, and be source of playful meditation for adults in an otherwise chaotic world. Similarly, doctors have long pointed to the emotional and physical importance of meditation, spirituality, or prayer in remaining balanced, relieving stress and anxiety. As feminists dwelling in a cisheteropatriarchal world, the need for such balance is even more important. It is these noticings that have led me to write this post.

A fabulous church that cares deeply about inclusion, social justice, and the arts is hosting an exhibition of my Holy Women Icons with a folk feminist twist for the month of October and throughout the month, I’m leading several retreats. While planning these retreats, I couldn’t help but think of the Feminism and Religion community. We are spread throughout the world, offering encouragement and challenge online every day. We have different struggles, spiritual paths, and backgrounds, but we gather on this blog to reconcile two seemingly paradoxical parts of our beings: feminism and religion. I have yet to develop these thoughts fully and I’d like to rely on you to share your input and ideas in the comments section about how we can “retreat” together virtually. With this in mind, I’d like share a bit about the Holy Women Icons Arts and Spirituality retreat I’m leading and invite you to participate at home. The entire retreat takes about 3 hours, or you can break it into 4 sections for shorter periods of time. So, if you’d like, play some music to set the mood, light a candle, and get out some paper, scissors, writing utensils, and crayons/markers, and let’s “retreat” together…

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Christa Interview with Edwina Sandys by Nettie Reynolds

Nettie During the summer I had the opportunity to interview Edwina Sandys, the creator of the sculpture, Christa. Initially, I was drawn to this sculpture during a seminary class with Whitney Bodman – “Jesus and His Interpreters.”

I came to seminary in 2013, a 47 year old single mom with two teenage kids in tow having left a very difficult sixteen year marriage. Seeing the picture of Christa during our class was a sacred moment for me. It echoed my journey and pain and yet also uplifted the beauty inherent in human suffering and our daily gift of grace and promise of resurrection. The debate over the cross itself and its center in Christianity, its usage to elevate patriarchal power, is ongoing, but for me, in that moment, seeing Christ as female was deeply spiritual. Continue reading “Christa Interview with Edwina Sandys by Nettie Reynolds”

Sita Sings the Blues. Literally. by Vibha Shetiya

Viba One of the most exciting times of the semester occurs when we watch “Sita Sings the Blues” in class. This film by Nina Paley – one she has made available to the public by withholding copyright – is a wonderful addition to what has come to be known as the Ramayana tradition. Unlike a few decades ago when scholarship focused on only pan-Indian literary Ramayanas, scholars today are beginning to acknowledge that most people get to know of Rama and Sita through folk and oral tales, women’s songs and local and regional tellings.

But the thing about “Sita Sings the Blues” that struck me most was how, in 81 short minutes Paley masterfully reflects the complexity of the tradition; the Ramayana in its various forms has been questioned, adapted, revered and challenged by commentators and devotees alike in the two millennia it has traveled across space and time, from north India to Bali to New York. But what scholarship has elaborated over three decades and endless research, Paley has managed to show in less than two hours.

The Ramayana as my last post explained acts as a blue print for daily living for millions of Hindus worldwide. There are various problematic episodes in the epic, one of the most controversial being Rama’s unceremonious treatment of his own wife, the ever loyal and faithful Sita. Paley like so many others who have joined the debate over Sita’s treatment – one that began in antiquity – gives Sita a voice of her own when she ingeniously has the tragic heroine of the Ramayana singing to Annette Hanshaw’s songs; Hanshaw was an American jazz singer whose success soared in the 1920s and 30s. Throughout the film, her melancholic voice reminds us of the universality of the story, one of a woman scorned by the man she loved. Paley herself could feel Sita’s pain, for amid the various layers of the film, is woven her own experience of love and betrayal. But Paley is present throughout the story in another way – the animation, design and editing is entirely hers. Continue reading “Sita Sings the Blues. Literally. by Vibha Shetiya”