Feminist Theology – Page 23 – Feminism and Religion

Rescuing Martha from the Dishes: A Challenge of Retrieval and Proclamation by Mary Grey – Part I

Introduction and Martha – Patron Saint of Housewives

Here I explore a troubling issue for feminist biblical interpretation, namely the interpretations of Luke 10, 38-42, with specific reference to the figure of Martha, and the questions that arise when we compare John’s story, the Raising of Lazarus (John 11.1-44). At first sight Luke seems clear: Martha is troubled with the domestic task of preparing food, while Mary has gone to the heart of the matter, listening to the word of God at the feet of the Lord. Mary is always depicted at the feet of the Christ, while Martha is the active one and this is often interpreted negatively. (One interesting exception is Giotto’s fresco of the raising of Lazarus, where both sisters are prostrate at Jesus’ feet). A clear message seems given for Christian discipleship and this text has had an evocative power through history. But on reading John’s story, are the roles reversed? Martha runs to greet Jesus, Mary remains at home. From Martha comes the confession of faith in Jesus:

Yes, Lord; I believe that you are the Christ, the Son of God, he who is coming into the world. (John 11.27)

What we are given is a full confession of faith on Jesus as Son of God, the confession which is on the lips of Peter in the 3 Synoptic Gospels, (Luke 9.20, Mark 8.29, Matthew 16.15-17).

Why is it, then, that Christian Tradition has largely ignored the Johannine text and followed Luke, even a negative interpretation of Luke? Continue reading “Rescuing Martha from the Dishes: A Challenge of Retrieval and Proclamation by Mary Grey – Part I”

Painting Georgia O’Keeffe by Angela Yarber

Hailed as the Mother of American Modernism, her seemingly vaginal flowers lauded by feminists and artists alike, Georgia O’Keeffe stands as a sentinel for strong, creative women who balk at tradition and embrace a faraway freedom. Though she adamantly denied any association with female genitalia embedded in her sensuously up-close-and-personal flowers—even from feminist artists as famed as Judy Chicago—she remained a female force unbound, painting, living, loving, and creating on her own terms. So, it’s no wonder that she joins my Holy Woman 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, Jarena Lee, Isadora Duncan, Miriam, and Lilith.

Born in November 1887, O’Keeffe knew she would be an artist from the young age of seven. Whether you’re familiar with her intricate flowers, soaring skyscrapers, or desert skulls depends largely on the period of her life that interests you. Whether it was the rural Wisconsin farm of her childhood, the bustling city of New York where she began her relationship with famed photographer Alfred Stieglitz, the peaceful lake in the Adirondack Mountains where they summered, or the harsh desert landscapes of New Mexico where she devoted her later years, she found inspiration and captured beauty wherever she lived, camped, traveled, hiked, or drove in her Ford Model A. Continue reading “Painting Georgia O’Keeffe by Angela Yarber”

Who is the Church? by Linn Marie Tonstad

The headlines blared, “Who am I to judge?” News outlet after news outlet led with the pope’s conciliatory stance toward gays, expressed during an interview aboard the pope-plane as he returned from Brazil. Among the several headers from Fox News (I encourage not clicking!), we find discussions of the pope’s “reaching out” to gays and even one that combines this development with his “urging” of a “greater role” for women. The New York Times story introduced the pope’s comments as follows: “For generations, homosexuality has largely been a taboo topic for the Vatican, ignored altogether or treated as ‘an intrinsic moral evil,’ in the words of the previous pope.” Ignoring the astonishing comment that this has been the case “for generations,” as though homosexuality has historically been the kind of issue for the church it has become in the wake of radical queer movements – see Mark Jordan’s several books on this for the most helpful treatments – the story went on to say that the pope’s comments “resonated throughout the church.” Although the NYT article did a better job than some contextualizing and nuancing the pope’s comments, they were still termed “revolutionary” in an assessment better suited to an opinion page than to a news report. Better-informed commentators, such as James Martin, offered a measured response. Martin said that although the pope’s remarks didn’t really signal a significant change in policy, “in the church, style often proves substantial,” implying that the “pastoral” tone might have effects in the implementation of policy. More significantly, Martin praised the pope’s adherence to Jesus’ injunction not to judge as an instance, first and foremost, of the pope’s commitment to mercy as the hallmark of his pontificate.

My Facebook feed, predictably, lit up with links to and discussions of these comments. While most were thrilled, a few posts noted that, even if Pope Francis is in fact (which is not proven) walking back Benedict XVI’s language of “intrinsically disordered,” the church’s policy has not and will not change in any significant way. What was missing in all but a few instances was attention to the pope’s comments in the same interview on women, and the deep theological problems with the assumptions contained in those comments. And while I, as a queer theologian, would never wish to downplay the struggles of LGBTQI people in the Roman Catholic church, there are rather more women than queers in that church (as elsewhere!). What’s more, it is arguable that it is the sexism and heterosexism of what Marcella Althaus-Reid memorably termed “T-Theology” that underlies condemnation of homosexuality in Roman Catholic theology. Continue reading “Who is the Church? by Linn Marie Tonstad”

Women’s Christian Heritage by Elise M. Edwards

It is difficult to carve out time in a course that covers Christianity from the past 2000 years to address material beyond the standard textbooks. But yet, I must because the visual and material culture, the worship practices, and the daily activities of women and men who have called themselves Christians or followers of Christ throughout history also comprise the story of the Christian heritage.

Over the past several weeks, I have been developing material for a historical and theological survey course called “The Christian Heritage.” In the multiple sections of this course taught at my university, and I imagine similarly at schools across the country, students are assigned a course reader. The reader we use is a collection of texts that have shaped the Christian faith from the first century to the 21st. It is a good collection, and I have no objection to using it. However, for the way I would like to teach the course, I will need to supplement the reader with other material. I have two interrelated concerns: the reliance on texts as a way of determining theological history and the absence of women in that history before the medieval period (and even then the number of women included is small). Continue reading “Women’s Christian Heritage by Elise M. Edwards”

Two Ultimates: The Ground of Being and Goddess by Carol P. Christ

The concept of two ultimates, the ground of being and Goddess, can be helpful in understanding differences of emphasis within and among religions. Some religions or strands within religions focus on relationship with or worship of a personal God, while other religions or strands within religions focus on identifying with or merging with the impersonal ground of being or the whole of which we are part. These two ultimates are found in feminist spiritualities and theologies.

In “Being Itself and the Existence of God”* process theologian John Cobb identifies two ultimates. The ground of being as the metaphysical principles that structure all of life is unchanging; as the whole of which individuals are part, the ground of being is impersonal. God, on the other hand, is an active presence in the world, is personal, and cares about individuals in the world. If God is understood to be in some sense an individual in relation to other individuals, then God cannot be identified with the whole, because the whole is made up of God and other individuals. Yet God is not simply one individual among other individuals. Only God has perfect knowledge of the world and every individual within it and only God cares for the world in light of perfect knowledge of it.

I find Cobb’s notion of two ultimates helpful in understanding some of the differences in feminist views of Goddess and God. Some spiritual feminists, especially Goddess feminists, view the sacred as the whole of which we are a part, structured by the seasons and cycles of birth, death, and regeneration. Starhawk’s tree of life meditation in which the individual identifying with the tree draws energy from its ground imagines Goddess as the ground of being and life. Z Budapest’s song “We all come from the Goddess, and to Her we shall return” connects us to the cycles of birth and death.

The view of Goddess as a personal presence who loves, understands, and inspires us to love is based on the notion of God as a person with whom individuals are in relation. Jennifer Berizan invokes a Goddess who cares in her song “She Who Hears the Cries of the World,” addressed to the Goddess in the form of Chinese Goddess Kwan Yin. Prayer to Goddess and a sense that She is always with us are based on the idea of a relational, personal God. According to Cobb religions do not have to choose between the two ultimates. If both are real, then religions can and should recognize both. Continue reading “Two Ultimates: The Ground of Being and Goddess by Carol P. Christ”

Painting Lilith, Leaving Church by Angela Yarber

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.” Others have claimed that Lilith was a demon who seduced men and strangled children in the night.

Based almost entirely on Judith Plaskow’s beautiful Midrash, “The Coming of Lilith,” this new Holy Woman Icon with a folk feminist twist has empowered me to reject the sexism and heterosexism that was rendering me broken. So, she joins Virginia Woolf , the Shulamite, Mary Daly, Baby Suggs, Pachamama and Gaia, Frida Kahlo, Salome, Guadalupe and Mary, Fatima, Sojourner Truth, Saraswati, Jarena Lee, Isadora Duncan, and Miriam as powerful women who have done holy and remarkable things. First, her story. Then—if I may—my own.

Continue reading “Painting Lilith, Leaving Church by Angela Yarber”

Feminism and My Existentialist Leanings by Xochitl Alvizo

In light of so much destruction in our world – from the violence inside individual homes to beyond and between national borders – how is it still possible to hope for and to live toward a vision of beauty and peace for the world?

It was at a community college in LA in my Psychology 4 class that I first formally encountered existentialism. When it came to the time of the semester to teach on that topic, our professor, Eric Fiazi, came alive in a new way, energetically teaching us about existentialism and Jean-Paul Sartre. Professor Fiazi dramatically gestured and sketched on the board as he explained the concept of ‘nothingness’ and Sartre’s well-known proposition that “existence precedes essence.” Teaching psychology was for him a means of teaching what he truly loved, art and existentialism. He believed these subjects helped expand students’ horizons and helped make them happy and productive members of society. And so these class sessions were his favorite to teach – and mine to experience. Immediately, I was hooked.

I remember the moment he hit the chalk to the board – leaving a speck of a mark – telling us that the tiny little mark left on the great wide chalkboard was like our galaxy, tiny against the great vastness of the universe; the earth, a particle of chalk-dust in comparison, and our individual lives, imperceptible in its midst (it now reminds me of Carl Sagan’s pale blue dot monologue). Engaging the students, he countered each one of their assertions that humans indeed have an essence, a meaning. “Humans are good by nature” – “Humans are inherently selfish beings” – “Humans are created in the image of god” – “We are each created for a purpose”; for each of these he gave a clear and logical retort. I was fascinated! What would it mean to live a life with no inherent meaning – with no essence to determine or guide our existence? How might it be different to live my life stripped of any assumed or inherited sense of meaning or purpose – to instead give these up and start from a presupposition of nothingness? Continue reading “Feminism and My Existentialist Leanings by Xochitl Alvizo”

Painting Miriam by Angela Yarber

We are your subtlest instruments:
no music branches to your breast
that does not sound in us,
no music dies away from you,
that in us lives not,
and even in your absence
your cadence journeys…

Allen Mandelbaum, Chelmaxioms

The path to freedom is often muddy. Water sloshes through your sandals and the soles of your shoes stick, clinging to the past, weighing down the future. No one said dancing in wet sand was easy. But it is very holy. Just ask the brave prophetess who celebrated liberation by dancing on the shores of a reedy sea.

Often relegated to the submissive role of sister, the character of Miriam is typically overshadowed by the triumphs of her younger brother. Like many of her canonical contemporaries, Miriam receives little attention in scripture. Her name is only mentioned twice and the story of her song is left unsung by the writers of Exodus. Yet she is there, her song hidden in the crevices of the canon, her dance demanding that we notice the ritual event of liberation, her courageous voice prophesying, leaving a legacy for all the dancing women who will follow in her intrepid food steps. Continue reading “Painting Miriam by Angela Yarber”

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”