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…
Continue reading “Holy Women Icons: Arts and Spirituality on Retreat by Angela Yarber”

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.”
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.
