Foremothers – Page 21 – Feminism and Religion

Birth Song, Life Song, Death Song by Molly

“A woman can spin a primal umbilical rope within her womb through which she passes life-energy to the future.” –Melissa Raphael

“In some indigenous cultures of the Americas there is the practice of finding one’s death song while alive. This song becomes the ally of the person throughout their lives, so that they become very acquainted with what the song means in their lifetime. Death then, is a companion of life, and is never forgotten. In the hour of death, these people would, if they were able to, sing their death song–exiting this world with song on their lips and no doubt feeling the power their ally-song had gathered by being with them in their life. I can see that a death song would provide a connection between the person and the cycles of life, guiding the dying person into the next world and helping to allay fear…” –Leslene della-Madre, Midwifing Death

I was introduced to blessingways, or mother blessing ceremonies, as a girl when my mother’s group of friends hosted them for each other during their pregnancies. I loved attending the ceremonies for my mom during her pregnancies with my younger brother and sister and witnessing the web of love, support, and commitment woven around her. They touched me deeply with their sacred, magical, and mysterious flavor. When I was twelve, the same group of friends had a coming of age blessingway ritual for the daughters of the group, ranging in age from 10-16. It was a mystical, beautiful experience. We wore wreaths of flowers in our hair and were blessed with wisdom and tokens from the wise women of our tribe. At 34 years old now, I still have my folder of prayers, quotes, and messages from that day. For years it smelled faintly of rose petals.

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Painting Guanyin by Angela Yarber

As hundreds of thousands of people are dying in Syria and myriad individuals suffer from political unrest in Egypt, as we continue to debate the sexuality of young women (yes, we’re still talking about Miley Cyrus) in the face of America’s rape culture and as countless nameless victims are ravaged by war, poverty, racism, and violence, I sometimes find myself overwhelmed, as though my two hands are never enough to reach out, help, rage, change. And I find myself—and our world—in need of mercy and compassion. Since I always focus on one of my Holy Woman Icons with a folk feminist twist, I am drawn this month to the Goddess of Mercy. So, Guanyin joins this great cloud of witnesses who inspire, embolden, and surround us: 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, Lilith, and Georgia O’Keeffe.

In English we know Guanyin as the Goddess of Mercy and Compassion. Generally regarded among East Asian devotees as originating from Avalokitesvara, her name is shortened from Guanshiyin, which means “One who hears the sounds/cries of the world.” In the Lotus Sutra, Avalokitesvara is a bodhisattva who is androgynous and can take on the form of any female, male, adult, child, human, or non-human sentient being in order to teach the Dharma. Typically she is depicted in female form and she is widely venerated by East Asian Buddhists. Though she is particularly poignant for Buddhists, Guanyin is present in almost every facet of Chinese religion, from Buddhism to Taoism to shrines for local fishermen. Continue reading “Painting Guanyin by Angela Yarber”

On Reading, Not Reading, and Disagreeing by Linn Marie Tonstad

The theology blogosphere in all its glory has been alive in recent days with furor sparked by a blog post from Janice Rees at Women In Theology, where she discusses not reading Karl Barth, the heavyweight German 20^th-century Protestant theologian, as an act of resistance against his dominance in the theological academy and his status as a litmus test for serious scholarship. Reminding myself repeatedly of the great xkcd comic, I’ve resisted my urge to comment on this and a number of other recent debates. (See here for a list of links if you wish to catch up on the discussion, however.) So this is not a post on whether to read Karl Barth.* Rather, the debate made me take a look at some of my own reading practices, and the visions of theological discussion that they encode. It also brought me back to the question of feminist disagreement, which continues to lurk in the back of my mind as I pursue disagreements with some prominent feminist theologians in my current book project.

I’ve written here before about reading authors that I disagree with, and indeed working on theologians I think are wrong about certain issues. On the simplest level, as a feminist and queer theologian, many of the theologians I work on would have questioned or outright resisted my participation in the discipline to begin with – although we cannot always know whether and how they would have done so today (since many of them are dead – yes, the dreaded dead white European males). But I often – not always – find projects that I sincerely disagree with utterly fascinating. From what perspective does the system being developed in such a project make sense? Where would one have to stand to see what that author sees? What do I come to understand about my current context, or the author’s context, from the perspective of the debates and decisions that the author finds pressing? One fairly trivial example: any interest I might once have had in historical Jesus debates was settled forever by reading Albert Schweitzer as an undergraduate. I simply do not find such debates compelling in themselves. (That does not mean I think they are valueless, of course!) But reading theologians who were engaged in such debates teaches me a great deal about how the commonsense assumptions many of us today operate with came to be. And seeing how such debates accompany disagreement over right social relations, over the nature of transmission of Christian traditions, and over what counts as scholarship in theology and religious studies is simply fascinating. Continue reading “On Reading, Not Reading, and Disagreeing by Linn Marie Tonstad”

The Philadelphia Ordinations and Pope Francis in Rio by Alla Renée Bozarth

On July 29, 2013, I read the feminist theologian Mary Hunt’s fine account of Pope Francis’ visit to Brazil, with commentary on his informal conversation with press people on the way back to Rome.

When asked for a statement about the role of women in the Roman Catholic Church, a question which indirectly refers to women in the priesthood and episcopacy, he reiterated the position that the door to the ordination of women is closed. In response, I was inspired to write in the way that most intensely felt responses come out~ as a poem.

As I wrote, I couldn’t help but hear an older poem, “Water Women,” in the background. Perhaps the fact that Pope Francis had been to Rio, the Spanish word translated into English as river, inspired this association. Perhaps it was reinforced because Mary Hunt, whose article had moved me, was the co-founder and co-director of the organization WATER (Women’s Alliance for Theology, Ethics and Ritual). I wrote the poem “Water Women” a few years after the historical Philadelphia Ordinations, in which eleven women put a significant crack in the stained glass ceiling barrier in the Episcopal Church by being ordained to the priesthood on July 29, 1974. That fait accompli event opened the doors to the ordination of women into all three Holy Orders. The Roman Catholic Women’s Ordination Conference began later that same summer. I wrote “Water Women” in response to a question asked of me and others in a small group of Roman Catholic and Episcopal feminists during a press conference, just as I wrote “Pope Francis in Rio” on the 39^th anniversary of the Philadelphia Ordinations because of a press conference, this time with Pope Francis during his flight back to Rome.

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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”

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”

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.

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Ancient Spirit Wisdom by Jassy Watson

On a recent journey within, guided by drumming and visualisation I encountered my Muse. Her Native American Indian appearance surprised, even bewildered me, as I know so little about North America’s indigenous cultures.

As I painted her into being I listened closely to what she told me, stating clearly “I am Ancient Spirit Wisdom,” the wisdom of our ancestors passed on through story, image, sculpture, word, song, dance, ritual, prayer and ceremony. The closer I listened, the more my Mysterious Muse reminded me that I had a story within, one of my very own, yet one shared by women everywhere. I too am a container of Ancient Spirit Wisdom, more precisely, Ancient Women’s Wisdom.

Ancient Women’s Wisdom, Jassy Watson, ‘Ancient Spirit Wisdom’ — Closeup, ‘Ancient Spirit Wisdom’ Jassy Watson 2013

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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”

It Was a Rainbow Graduation by Grace Yia-Hei Kao

I have the privilege of serving as Co-director of the Center for Sexuality, Gender, and Religion at Claremont School of Theology. I am ecstatic that we just hosted our version of a “rainbow graduation” at this year’s Commencement.