Christianity – Page 29 – Feminism and Religion

THE DIVINE DRAMA AND THE UNIVERSALITY OF DEATH by Carol P. Christ

In Greece the liturgies of lent and especially of the week before Easter are known as the “divine drama,” in Greek theodrama. This may refer to the “drama” of the capture, crucifixion, and resurrection of Jesus and to the suffering of God the Father and Mary.

However, it is important to recall that the drama in ancient Greece referred to both the tragedies and comedies, most specifically, those that were performed in the theater of Dionysios in Athens. While we have been taught that the Greek tragedies celebrated “downfall of the hero” due to his “tragic flaw,” it is important to remember that Dionysios was the original protagonist of the Greek tragedy: it was his death and rebirth that was first celebrated.

Some have argued that the Greek tragedies should never be “read” alone, for they were always “performed” in tandem with the comedies, which were followed by the bawdy phallic humor of the satyr plays. The tragedies end in death and irreparable loss. But if the comedies and satyr plays are considered an integral part of the cycle, death is followed by the resurgence of life. Continue reading “THE DIVINE DRAMA AND THE UNIVERSALITY OF DEATH by Carol P. Christ”

Resurrection Garden, Resurrection Feast by Elizabeth Cunningham

In John’s account of the Resurrection, Mary Magdalen mistakes Jesus for the gardener. Or perhaps it is not a mistake or not just a mistake but also a poetic truth. In any event, John’s Gospel makes clear: the Resurrection takes place in a garden!

(For the feminist significance of horticulture, I refer you to Carol Christ’s recent post on this site: Women and Weeding, the first 10,000 years .)

Many prominent (male) theologians, historians, anthropologists, and psychoanalysts among them James Frazer, Jung, and C.S. Lewis made the case for and/or against (in Lewis’ case) Jesus being another dying rising god of vegetation with Christianity borrowing imagery and ritual from earlier or even contemporary cults. The argument against insists that Jesus’s life, death and resurrection is historical, redemptive, and unique. From a tour of Bloglandia, the debate pro and con appears to continue unabated. I say better to pull weeds (if you are lucky enough to have a garden) than pontificate. Continue reading “Resurrection Garden, Resurrection Feast by Elizabeth Cunningham”

What’s Good About Good Friday? by Barbara Ardinger

I grew up Calvinist and Republican in a suburb of St. Louis, Missouri. My parents belonged to—but rarely attended—Immanuel Evangelical & Reformed Church in Ferguson, Missouri. When children reached the age of twelve, they were “confirmed” in the church, which meant taking a Bible class taught by the minister, Rev. Press, and then going through a ceremony that made them eligible to take communion, which in that church was grape juice and tasteless crackers. Transubstantiation? I learned what the word meant, but I had (and still have) no idea if it really happens.

Ascension by John Singleton Copley (1775)

I’ve always been one to ask untidy questions, so of course I asked a lot of questions in confirmation class. God tells us half a dozen times in the Old Testament, for example, that he is a “jealous god.” How, I asked Rev. Press, can a jealous god be a loving god? What’s good about a jealous god? (A couple decades later, when I was studying the Aramaic Bible as translated by George M. Lamsa from the Pshitta manuscripts, I learned that the correct word is “zealous.” That was no help. I still don’t see much good in either jealousy or zealotry.) A week or two later, I asked Rev. Press, “What’s good about Good Friday?” Shortly thereafter, my mother advised me to stop asking questions in confirmation class. (Can we assume she’d received a pastoral phone call?) Continue reading “What’s Good About Good Friday? by Barbara Ardinger”

Crucifixion, Resurrection, and the Reversal of Power by Kelly Brown Douglas

Within the Christian tradition, this week – l known as Holy Week – is perhaps the most significant week on the Christian calendar. During this week Christians are called to contemplate and to remember the core events of Christian identity—the crucifixion and resurrection of Jesus. Given the focus of this week for many Christians I am sharing my theological reflections on the crucifixion-resurrection event.

As I begin this reflection, it is important to recall that which I and others have pointed out in other places. In Jesus’ first century Roman world crucifixion was reserved for slaves, enemy soldiers and those held in the highest contempt and with lowest regard in society. To be crucified was, for the most part, an indication of how worthless and devalued by established power an individual was. It also indicated how much of a threat that person was believed to be to the order of things. There was a decided crucified class of people. These were essentially the castigated and demonized as well as the ones who defied the status quo of power. It is in this respect that I believe Jesus’ crucifixion affirms his identification with the marginalized and outcasts. Indeed, on the cross Jesus fully divests himself of all pretensions to power and anything that would compromise his bond with those most othered in the world. The reality of the cross further affirms the profundity of god’s bond with put-upon bodies..

Continue reading “Crucifixion, Resurrection, and the Reversal of Power by Kelly Brown Douglas”

Gendered Imagery of God (Part 2) by Elise M. Edwards

In my previous post, I shared some of the ways in which I’ve been wrestling with gendered imagery for God, the first person of the Christian Trinity often referred to as God the Father. In this entry, I’d like to reflect on ways I am reconsidering the gender of the Christ.

It is only recently, after reading Melinda Bielas’ post “Waiting for Jesus… I mean, Superman” (December 17, 2013), that I began to question male language for the Christ. I got into an interesting conversation with Grace Kao in January about it. My thoughts on this topic are still unformed and more theologically “speculative” than I usually share on this site, but I’d love to hear what you think. I think it is important for Christian feminists to consider the doctrines of the faith and assess where they support the co-humanity of women and when they degrade it. Continue reading “Gendered Imagery of God (Part 2) by Elise M. Edwards”

Watching “Noah” Brought Me Closer to Humanity by Andreea Nica

As a child, I enjoyed the story of Noah’s Ark. I would often imagine pairs of animals running for safety in Noah’s architecturally majestic haven. Practical questions didn’t enter my mind during this blissful period of naivety. I ignored the part where God expressed regret in creating humanity, or when Noah gets drunk and lies bare naked for his children to cover his shame. My bible study teacher would explain to us that the point of the story was that Noah, a holy man, trusted God and carried out his will.

Disclaimer: I understand that the film is not meant to be an exact representation of the story in the bible, but loosely based around it. Also, if you plan on watching the film, read at your discretion.

In the film, Noah’s character is played by leading actor Russell Crowe, who appears strong, confident, and zealous in his trust in God – all necessary qualities to fulfill God’s demand of killing off the rest of humanity because of their wickedness. Later in the film, Noah realizes that he and his family are also wicked leading to his revelation, ahem, God’s revelation, that humanity must cease with Noah’s family. This doesn’t pan out too well with his children and wife. It was also bad news for Emma Watson, the orphan girl Noah’s family saves and raises as their own, who after accepting that she is barren is miraculously healed and gives birth to two girls. Noah decides that the female infants must die according to God’s will to end humanity. Continue reading “Watching “Noah” Brought Me Closer to Humanity by Andreea Nica”

Musings on Reification by Sara Frykenberg

The following is a bit of a messy and meandering blog: a kind of a ‘brain train,’ that starts with a question of reification and eating disorders, and moves into a sense of the literal ‘consuming’ nature of oppression. So I will start with a ‘thank you’ to readers who will meander with me and with gratitude to the teachers whose thoughts I am wandering with along the way.

Reification is the process by which those created ideas that we externalize into institutions, concrete objects, or social principles then become so real to us that we tend to think of them as a separate reality or a thing/ life in and of itself.[1] I teach this concept in my ethics classes when we discuss the way in which actions and choices are connected to what we often consider to be external forces like “the government,” or “the economy,” when in fact, we are in relationship to and often, actively play a role in maintaining these realities (even when only playing a small role). Reification can subversively undermine our understanding of response-ability because it is a way of making the structures that form our society “other” than ourselves.

My students definitely struggle with this concept and often express the fear that they are too small as individuals to see any real change happen. (I too, often struggle with this fear when thinking about the reified ‘monsters’ of oppression and hate.) Dealing with this discouragement in class, I (and we) switch gears by emphasizing praxis and recognizing its successes. I ask my students to consider what can be done and what choices/changes I, they, or we are capable of making while re-membering changes already being made. As Gustavo Guiterrez says: “Pessimism comes from reality because reality is tragic, while optimism comes from action because action can change reality.”[2] Continue reading “Musings on Reification by Sara Frykenberg”

Meditating on Oneness by Amy Wright Glenn

At the age of fourteen, I began to question the Mormon faith of my family. I embarked on a life long personal and scholarly quest for truth. While teaching comparative religion and philosophy, I was drawn to the work of supporting women through labor and holding compassionate space for the dying.

In my book, “Birth, Breath, and Death,” I share moving tales of birth and death while drawing on my work as a doula, hospital chaplain, and mother. I weave together these stories with philosophical reflections on truth, meaning, and Spirit.

This is an excerpt taken from the first chapter entitled “Search.”

I spent much of my early twenties traveling throughout The Middle East and India. I lost track of time gazing at an ancient copy of Homer’s Iliad at a museum in Cairo. I remember sleeping through a freezing cold night on Mt. Sinai and awakening to a brilliant sunrise over the Arabian Peninsula. I climbed the pyramids in Egypt and protested the Israeli occupation of the West Bank with Arab and Jewish women peace activists. For a year, I studied in Jerusalem. Later, I dedicated myself to the practice of meditation at an ashram in the Himalayas.

A lively mix of debate and discussion characterized my Hebrew University days. In the evenings, I worked illegally as a waitress in the Jewish Quarter of the Old City. Adorned in Roman attire, I served fantastic platters of Middle Eastern cuisine and performed folk songs and dance routines for photo-snapping tourists. I was nineteen and living in Jerusalem, a place saturated in religious symbolism. Known as Al-Quds in Arabic and Yerushalim in Hebrew, Jerusalem is a city renewed and ravaged due to contested paradigms of poetry and politics. Continue reading “Meditating on Oneness by Amy Wright Glenn”

The Soul is Symphonic: Reclaiming Sacred Music

Here is a hymn of praise, a beautiful and intimate piece meant to be sung.

Hail, O greenest branch,

sprung forth on the breeze of prayers.

. . . . a beautiful flower sprang from you

which gave all parched perfumes their aroma.

And they have flourished anew in full abundance.

The heavens bestowed dew upon the meadows,

and the entire earth rejoiced,

because her flesh brought forth grain,

and because the birds of heaven built their nests in her.

Behold, a rich harvest for the people

and great rejoicing at the banquet.

O sweet Maiden, no joy is lacking in you . . . .

Now again be praised in the highest.

When I posted this sacred text on my blog back in 2008, I asked my friends who come from a diverse range of spiritual backgrounds to guess the author and the divine figure to whom the text is addressed. Some thought it might be an ancient hymn to Persephone. In fact, it is one of Hildegard von Bingen’s ecstatic odes to the Virgin Mary. This song, O viridissima virga, can be found on a number of CDs of Hildegard’s music.

Born in the rich green hills of the German Rhineland, Hildegard von Bingen (1098-1179) entered the religious life at the age of eight. A Benedictine abbess, she composed an entire body of sacred music, including seventy-seven songs and a musical morality play which can be regarded as our first surviving opera. A polymath well versed in science and the healing arts, she developed her own form of natural medicine that is still practiced in Germany today. During her own lifetime, she was most famous for her prophecies which earned her the title Sybil of the Rhine.

Since earliest childhood, Hildegard experienced profound visions which directly influenced her music, theology, and healing practices. Her visions revealed the feminine face of the divine, which is mirrored in her music. Many of her songs are addressed to Mary or female saints, such as Ursula. Even the Godhead itself appeared to her in feminine form. In Scivias, her first book of visionary theology, she writes, “She is with everyone and in everyone, and so beautiful is her secret that no person can know the sweetness with which she sustains people, and spares them with inscrutable mercy.”

Hildegard’s sacred songs are filled with a deep sensuality and reverence for the natural world. In her hymn O viridissima virga, she transforms the Latin word virgo, or virgin, into virga, or branch, addressing Mary as the most verdant and lushly abundant branch on Jesse’s tree. Hildegard was Christian, yet her music and visions have profound resonance for people from all spiritual backgrounds. The more I study mystics and visionaries, the more I am convinced that they draw on the true heart of divinity. They tap into the ineffable.

Sacred music was the bedrock of Hildegard’s spirituality. For her, song was the highest form of prayer, sacred harmonies rising like incense in a perfect offering to heaven. Hildegard believed that the soul is symphonic. Such is the sweetness of music that it banishes human weakness and fear, and draws us back into our original state of grace, reuniting humans to their divine Source.

Benedictine monastic life was structured around the Divine Office: eight times a day, from the dawn office of Lauds to the night vigil of Matins, the choir nuns gathered to sing the Psalms of David and other sacred songs. Near the end of her long life, Hildegard and her nuns at Rupertsberg Abbey were subject to an interdict, or collective excommunication. A supposed apostate lay buried in their churchyard and they refused to allow the ecclesiastical authorities to exhume this man and desecrate his grave. As a result of the interdict, Hildegard and her nuns were denied the Mass and the sacraments—a very old woman, Hildegard herself might have died without the final sacraments or Christian burial. Yet what infuriated her most was that she and her sisters were forbidden to sing the Divine Office. Sacred song was absolutely central to her identity as a religious woman. The interdict was lifted only shortly before her death. I imagine her singing until her dying day.

What relevance does this have for us today? When I listen to recordings of Hildegard’s music, I am struck by its ethereal beauty. Nowadays, for people across the spiritual spectrum, there seems to be a dearth of good music. Much of what is sold as meditation music or inspirational music seems shallow and insipid to me. A regular church-going Catholic is more likely to experience the guitar mass than the mysterious beauty of Hildegard’s music.

As contemporary spiritual people, are we to live our lives severed from the kind of music that can truly feed our souls?

What can we do to reclaim the power of sacred song? Few of us are gifted composers. Many of us cringe to even hear ourselves sing. How do we integrate sacred music into our spiritual practice? Most of us lead busy lives and the stillness of a monastic lifestyle remains an impossible dream. Yet we might find sung devotions at morning and twilight to be deeply enriching. We might start by listening to recorded music that inspires us. From my own practice, I’ve discovered that Hildegard’s music definitely works as a backdrop to meditation and contemplation. It soothes the soul and draws the heart and mind to a higher place. Over time we might gain the courage and will to take the leap to sing for ourselves. It’s not necessary to play an instrument. The voice God gave us is enough. The next logical step is creating our own new music.

If we can’t find the music to nourish our soul, we must create it. Hildegard took the established tradition of plainchant and wedded it to her own vision to create hymns of incomparable beauty that still move us today. Most of us aren’t visionaries like Hildegard, but we can write our own heartfelt lyrics in praise of the Divine as we see Her. We can write songs to celebrate the sacred cycles of the year and the days we hold sacred. We can take ancient sacred texts and find a melody to carry the words. Medieval plainchant is beautiful in its simplicity. Or perhaps a haunting old folk air will inspire you.

When you offer your songs as prayers, sing like you mean it. It’s not a performance to impress other humans but a pure act of devotion. Meet together with friends in an informal devotional gathering. Share your songs. Inspire each other. Our modern sacred music will inevitably keep evolving as people compose new songs and add to the canon. We each have the opportunity to be part of this evolution.

Mary Sharratt is the author of Illuminations: A Novel of Hildegard von Bingen (Houghton Mifflin 2012, Mariner 2013), winner of the Nautilus Gold Award: Better Books for a Better World. Visit her website.

Sacred Music Discography:

Hildegard von Bingen:
11,000 Virgins: Chants for the Feast of St. Ursula, Anonymous Four, Harmonia Mundi, USA.
The Dendermonde Codex, Dous Mal/Katelijne Van Laethem, Etcetera.
A Feather on the Breath of God, Gothic Voices, Hyperion.
Canticles of Ecstasy, Sequentia, Deutsche Harmonia Mundi.
Voice of the Blood, Sequentia, Deutsche Harmonia Mundi.

A Tale of Two Conferences (Or Reflections of a Parent Who Occasionally Travels for Work) by Grace Yia-Hei Kao

In the space of twelve days I will have taken two inter-continental and two transcontinental flights to attend two conferences. I will have slept in my own bed in sunny Los Angeles for only four of those nights and been away from my family in either Bochum, Germany or Chicago for the remaining eight. Thank God this kind of travel is far from normal for me. Continue reading “A Tale of Two Conferences (Or Reflections of a Parent Who Occasionally Travels for Work) by Grace Yia-Hei Kao”