Feminist Theology – Page 23 – Feminism and Religion

The Cooptation of Relational Theology: Another Example of the Erasure of Women’s Contributions to Theology by Dirk von der Horst

The meaning of relational theology has changed, and not for the better.

Over the last couple of years, I started to notice “relational theology” crop up in what I considered unlikely contexts. I had previously associated the term primarily with the feminist and womanist work of Carter Heyward, Catherine Keller, Rita Nakashima Brock, Katie Geneva Canon, Karen Baker-Fletcher, Kelly Brown Douglas, and Sharon Welch, as well as the gay/feminist work of Gary David Comstock. In each of these thinkers, the pursuit of relationality as divinity was always linked to a profound wrestling with suffering and oppression. Furthermore, a clear diagnosis of individualism, transcendence, and other forms of disconnection as manifestations of patriarchal/hierarchal forms of subjectivity was central to the rationale for doing relational theology. As I experienced it in the 1990s, relational theology was simply a dimension of feminist theology. Forging through the searing pain of oppression to the roots of problems in order to propose radical solutions to real social evil, not general ruminations on divine being, was the first step. Continue reading “The Cooptation of Relational Theology: Another Example of the Erasure of Women’s Contributions to Theology by Dirk von der Horst”

Painting Isadora Duncan By Angela Yarber

A dancing woman stands center stage, her arms outstretched in natural, free, and unbound movement, as her heart cries out to us…

In May of 1877 a dancing, feminist, revolutionary was born. She was not constrained by the corsets, morals, or traditions of her time. Barefoot, clad in flowing garments, with a diaphanous scarf in hand, she stepped onto the stage and rocked the world: the world of dance, the world of women, and the world of religion.

Born in San Francisco as Dora Angela Duncan and known to us as Isadora Duncan, or Holy Isadora. This wild woman rejected the rigidity of ballet, conventional roles for women, and traditional religion. After feeling constrained by the pointe shoes, corsets, and unyielding technique of American ballet, Duncan left for Europe, intent on revolutionizing the world through dance. She claimed, “I have come to bring about a great renaissance of religion through the dance, to bring the knowledge of the beauty and holiness of the human body … (Duncan quoted by Terry Walter in Isadora Duncan).” Continue reading “Painting Isadora Duncan By Angela Yarber”

Why are We Troubled by a Homeless Jesus? by Michele Stopera Freyhauf

There are standard depictions of Jesus that show a Caucasian male with blue eyes (some pictures have the occasional brown eyes), shoulder length brown hair, and usually wearing a tunic with sandals. Jesus’ demeanor is usually victorious, prayerful, inviting, and even reflects humility. Our culture creates an unrealistic depiction of Jesus so that in the United States (at least), we see a savior as a white male representative of the power structures that permeate every facet of life.

There are some variations of this image. The most common is this same image with dark skin. A depiction that makes Jesus more tangible to people of color. If we can accept this variation of Jesus, then why would we be upset when images become more culturally tangible, send a message that encapsulates Jesus’ ministry, or make us stop and think – challenging us to take our rose colored glasses off. When an artist creates an image of Jesus that is different than the standard described above, controversy occurs at varying levels. The artwork is removed or de-commissioned, protests occur, and in extreme cases, the artist will even receive death threats. Here is a small sampling of images:

Jesus in Jeans (Peter Royle) picture courtesy of Wikipedia http://en.wikipedia.org/wiki/File:Jesus-in-Jeans-by-Peter-Royle.

chocolatejesus — Sweet Jesus (Cosimo Cavallar) picture from Cavallaro’s website (http://www.cosimocavallaro.com/html/chocolate_page.html

T Edwina Sandys: http://www.naplesnews.com/news/2008/mar/06/my-life-so-far-edwina-sandys-69-artist/

Continue reading “Why are We Troubled by a Homeless Jesus? by Michele Stopera Freyhauf”

Painting Jarena Lee By Angela Yarber

When we gender the pulpit in the direction of justice, we ordain her spirit with gratitude for the many miles she walked and the countless sermons she preached.

This month I celebrate the release of my second book, The Gendered Pulpit: Sex, Body, and Desire in Preaching and Worship. As I celebrate the privilege I have as queer feminist to stand behind the pulpit each Sunday—to gender the space in the direction of justice—I must also recall the myriad holy women who have gone before me. I think of many of my Holy Women Icons with a folk feminist twist: Virginia Woolf , the Shulamite, Mary Daly, Baby Suggs, Pachamama and Gaia, Frida Kahlo, Salome, Guadalupe and Mary, Fatima, Sojourner Truth, Saraswati, and so many others. And this month I think specifically of my sister preachers, those who raised their voices in bold proclamations when the road was long and unimaginably difficult. I think of preachers like Jarena Lee.

Lee spent thirty years as an itinerant preacher and was the first black woman to be licensed to preach through the African Methodist Episcopal (AME) church. Despite the fact that the AME issued a definitive ruling that women were not permitted to preach in 1852, Lee spent the bulk of her adult life preaching. Jarena Lee’s struggle to preach is a familiar story in nineteenth-century American Protestantism, even though the Second Awakening ushered in a period of intense religious revival; with camp meetings around every corner, there was an unprecedented opportunity for women to preach. Like Jarena Lee, though, they weren’t paid, ordained, or protected. Continue reading “Painting Jarena Lee By Angela Yarber”

Orientations: Body, Space, Authority by Linn Marie Tonstad

In her book Queer Phenomenology, Sara Ahmed investigates how we orient ourselves in space with respect to tables – the tables around which we sit, at which we eat with friends and families of choice and birth, and at which we write. She describes moving into a new place and arranging the furniture. “After the kitchen, the room I hope to inhabit is always the study. Or the place that I have decided is the place where I will write. There, that will be my desk. Or it could just be the writing table. It is here that I will gather my thoughts. It is here that I will write, and even write about writing. … Making a place feel like home, or becoming at home in a space, is for me about being at my table. I think fondly of Virginia Woolf’s A Room of One’s Own. How important it is, especially for women, to claim that space, to take up that space through what one does with one’s body. And so when I am at my table, I am also claiming that space, I am becoming a writer by taking up that space.” (11) Ahmed goes on to discuss how certain possibilities are opened up, and others foreclosed, by the way we orient ourselves (or find ourselves oriented) to others and to objects. She describes the bodily postures that result from orienting oneself to the writing table – the way one might hunch over one’s computer, or find oneself with ink-stained fingers.

In a very different context, the queer theologian Marcella Althaus-Reid describes a scene from her childhood in Argentina. She kneels in front of a priest for confession. But instead of kneeling to the side, aslant, as she ‘ought’ to have done, being a girl, she kneels directly in front of the priest, as if she were a boy. Kneeling here too is a form of orientation, a form of direction, a bodily habit of becoming. “Kneeling is troublesome and it has a theological referent in the church’s also troubled waters of sexuality and power. A whole symbolic sexual order is obviously manifested in kneelings as positions of subordination and sites of possible homo- and hetero- seductions, because these are theologically distributed around the axis of the priesthood’s male genitalia. The priest’s penis carries the sacred connotations of the phallus as a transcendental signifier of the theological discourses to everyday Christianity, and kneeling is a liturgical positing designed to centralise and highlight this.” (The Queer God, 11) To kneel in the right (gendered) position in relation to the priest is also to kneel in the right relation to God. Continue reading “Orientations: Body, Space, Authority by Linn Marie Tonstad”

Gender in Kabbalah by Judith Laura

I first started delving into both Jewish Kabbalah and Hermetic Qabalah in the 1990s, after friends told me these forms of mysticism included both female and male representations of divinity and therefore were gender equitable. They were right about the first part: Kabbalah/Qabalah contain both divine masculine and feminine imaging and male and female images. But as far as gender equity goes, to use today’s slang, not so much!

tree of life kabbalah

Though they are both transliterations of the same Hebrew word, as is common I use “Kabbalah” for the Jewish versions, and “Qabalah” for the Hermetic version, best known through its association with the British Hermetic Order of the Golden Dawn, which began in the 19^th Century. The word means “that which is received,” with the understanding that it was “received” from ancient times. Though there is one tradition that says Adam was given Kabbalah in the Garden of Eden, the first written material for Kabbalah, Sefir Yetsirah (Book of Creation), is dated to between 200 and 500 C.E. Kabbalistic concepts changed over the centuries, with writings becoming more significant in the 13^th century and even more popular in the 16^th and 17^th centuries.

Beginning with the Sefir Bahir (Bright Book) in late 12^th century France, Kabbalah is represented by the Tree of Life, which has round areas transliterated sefirot (Heb. pl.; sing. sefirah) that I think of as fruit and others call “spheres,” but which in the Bahir, are more accurately translated “sapphires.”* These “divine emanations,” as they are often called in English, are gendered. How equal is the gender representation? Continue reading “Gender in Kabbalah by Judith Laura”

Reflections on Good Friday by Kathryn House

Tomorrow is Good Friday on the western Christian calendar, the day when western Christians remember Jesus’ death on the cross. The day is often memorialized in ways that recall Jesus’ last moments, from his final steps to his final words, with great specificity. For as many traditions to observe the day, there are theologies to interpret just what, if anything, the cross “means.” In the past few years, I have found myself moving further and further away from identifying this day as one that saves. If I am honest, it has been, and continues to be, an exercise and practice in theological freedom. For me it started with the moment in my first year of theology class when my professor spoke about Anselm and Abelard, of transactions, of debt satisfaction. Something about seeing this formula within its feudal context – of seeing it for the first time as a deeply contextual rather than eternal or primordial or absolute theology – struck a chord and disrupted some sediments I considered unshakeable.

This fissure and subsequent reimagining has continued as over the years I’ve engaged the work of womanist and feminist theologians. There was sister FAR contributor Xochitl Alvizo’s post last year disrupting the spectacle of Good Friday, of re-imaging new rituals that do not dwell on death. There is the work of JoAnne Terrell, the books Proverbs of Ashes and Saving Paradise by feminists Rebecca Parker and Rita Nakashima Brock, and my professor Shelly Rambo’s work on spirit and trauma. I suppose if I am anywhere on the topic, I am just no longer sure that Jesus paid a debt he did not owe because I owe a debt I cannot pay. I am unconvinced that suffering redeems, that blood atones, that the death of a son – of anyone’s daughter or son – brings satisfaction. Certainly feminists and womanists hold diverse beliefs, but here is where I can stand, for now.

Continue reading “Reflections on Good Friday by Kathryn House”

Painting Saraswati By Angela Yarber

Saraswati reminds me that the divisions between fields are our construction; that academics can be creative, art can be holy, and preaching can engage the mind.

I was precariously perched atop a file cabinet tacking a giant cloth to the wall when another staff member entered my office. “What’s that?” she asked, puzzled, and pointing to the massive cloth now covering my wall. “Saraswati,” I responded, hopping off the file cabinet, “the Hindu goddess of arts, creativity, and learning.” She raised her eyebrows. “Our previous Baptist preacher didn’t have any Hindu goddesses hanging on the wall,” she said with a wry smile. “I guess I’m not your average Baptist preacher,” I chuckled.

For years I have been searching for Saraswati, claiming her as my patron saint, the one who guides my path as I navigate three seemingly disparate callings: artist, scholar, and preacher. In Saraswati, these three callings merge. Naturally, I hang a giant image of her on my office wall and wear a pendant bearing her likeness around my neck. She reminds me that the divisions between fields are our construction; that academics can be creative, art can be holy, and preaching can engage the mind. These three seemingly disparate callings do not have to be mutually exclusive. Saraswati certainly wouldn’t see them this way. Continue reading “Painting Saraswati By Angela Yarber”

When Feminists Disagree by Linn Marie Tonstad

A while back I gave a talk on feminist trinitarian theology to an audience of mostly progressive academics, including feminist and womanist scholars of religion. In the course of analyzing what I called the ‘trinitarian imaginary’ in Christianity and its often-patriarchal and masculinist forms, I suggested that transforming that imaginary might require recognizing the hypothetical character of theological statements until the eschaton, a theme that has been developed in depth by a German theologian named Wolfhart Pannenberg. Now, Pannenberg is decidedly neither a feminist nor a progressive theologian. To name just one example: in his three-volume Systematic Theology, his few explicit references to feminist or female theologians include a brief mention of Mary Daly (volume 1, p. 262) in connection with a critique of feminist theologians for projecting (!) masculinity into God in their readings of divine fatherhood, and a critique of Valerie Saiving and Susan Nelson Dunfee’s positions on the traditional Christian doctrine of sin as pride (volume 2, p. 243). So when I mentioned Pannenberg as a resource in my talk, one of the feminist scholars in the audience audibly gasped and flinched – it became clear in the Q&A that she had significant concerns about whether I could count as a feminist at all. After all, to mine someone like Pannenberg for constructive feminist theological work might imply an endorsement of his other positions, or might entail taking over aspects of his system that would taint my own project in anti-feminist directions – all legitimate concerns. Continue reading “When Feminists Disagree by Linn Marie Tonstad”

Painting Sojourner Truth By Angela Yarber

This month, I am reminded of the importance of Jacquelyn Grant’s work on womanist Christology. In White Women’s Christ and Black Women’s Jesus, Grant reviews the white feminist discussion of the so-called problem of Jesus’ maleness, while beginning to construct a womanist response to this incarnational conundrum. She states, “It is my claim that there is a direct relationship between our perception of Jesus and our perception of ourselves.”[1]

Beginning with Mary Daly, feminists have responded to Jesus’ maleness in a variety of ways. Daly argues that because the person of Jesus is male, the male is recognized and celebrated as the superior being. Because of this, the male Jesus is to be rejected or exorcised because Jesus’ gender identity contributes to patriarchy and does not hold salvific power for women. Rather than rejecting Jesus altogether, Rosemary Radford Ruether asks the seminal question, “Can a male Jesus save woman?” Continue reading “Painting Sojourner Truth By Angela Yarber”