Goddess feminism – Page 2 – Feminism and Religion

Listening to Our Landscapes, by Molly Remer

Today the hawk is back, tail feathers lit gold and black by a bright and welcome sun. It stays only a moment before tilting out of the tree and continuing on its way, but this moment is enough to spark a sense of joy and wonder in my chest, the awake kind of glee that fuels and feeds me, that inspires and holds me. This feels like the Year of the Hawk to me, of clear focus and intentional commitment. I watch it glide away between the trees and take a deep breath of release and freedom. I re-center myself into my body and reconnect to the sacred What Is. I am open to clarity. I am open to trust. I am present with this day’s unfolding.

Snake Priestesses of Crete as Earthquake Oracles? by Laura Shannon

Knossos Throne Room showing edge of lustral basin at left. Photo: Laura Shannon

A few weeks ago I was on Crete, having coffee with an archaeologist friend. She happened to mention something strange. Crete has always been a seismic zone, with lots of earthquakes, yet remarkably, in Minoan times, no one was killed in collapsing buildings; they were never taken by surprise.

We pondered this – it seems astounding. They must have had some means of warning. Perhaps the serpents sacred to them could have given them some sign?

Initiation and Descent, part 2 by Terry Folks

Part 1 was posted yesterday, you can read it here.

Stage Nine – Reward (Seizing the Sword) – Healing the Mother/Daughter Split

Some contemporary versions of the Heroine’s Journey have the heroine or hero seizing the sword quite dramatically. She takes possession of the treasure ‘sword’ as knowledge, experience, or greater understanding. My reward was more subtle but deeply profound. It took Her awhile to help me understand but eventually I stopped fighting and leaned into Mother Mountain. When I was calmer, when I became still, stopped trying so hard … when I finally surrendered I was able to ask Her why.

Why Mother Mountain? Why COVID? Why now?

Her response was as clear as though She was speaking in my ear:

“It was the only way we could meet each other. Every step you have taken up to now has led you to this sacred moment.”

I wept.

My Pilgrimage to Crete – September 2023, Part 2 by Terry Folks

Part 1 was posted yesterday.

Stage Four – Mentor Appears

Joseph Campbell spoke of ‘mentors’ appearing to help the sojourner, and what Maureen Murdock called the gathering of allies. In my hybrid of these two archetypal journeys, there may be several mentors – human, power animals, divine guides or a combination. She could be a wise elder who helps the heroine prepare for the journey or gives her a gift for later use. In my case the wise elder was my 93 year old mom who became one of my mentors. When I expressed my excitement and fears, she said what she always says when I – one of her seven children – am facing a challenge: “Go get’em Tiger!” She also offered financial support so I could take time away from my psychotherapy practice.

Two other mentors showed up in what Carl Jung called my ‘active imagination’: Carol Christ and Marija Gimbutas. Both have transitioned so my active imagination conjured their support as divine intervention. I reread Carol’s reflections and teachings on the pilgrimage, and watched the videos she made as inspiration. I felt her invitation. I was ready to change.

My Pilgrimage to Crete – September 2023, Part 1 by Terry Folks

Carol Christ’s Legacy honored by Laura Shannon, and the Ariadne Institute

Adventure by Autumn Skye with permission of artist

When I teach the Heroine’s Journey in my Sophia Women’s Wisdom Group, I draw on Joseph Campbell’s idea of the mono-myth, an archetypal story that resonates with every human across time: The Hero’s Journey. I combine Campbell’s ideas with pieces of feminist Maureen Murdock’s heroine’s journey to recognize the unique pathway of the feminine. I call this my hybrid heroic journey. If you are not familiar with Maureen Murdock’s work, I invite you to see how she brought her feminist eye to Campbell’s iconic Hero’s Journey in her book The Heroine’s Journey: Woman’s Quest for Wholeness. After her conversation with Joseph Campbell six years prior to his transition, Murdock felt he missed “that the focus of female spiritual development was to heal the internal split between woman and her feminine nature” (p. 2). In my hybrid heroic journey, that split in the early stages is internalized negative masculinity. The rejection of our feminine nature may appear differently in each woman’s life but it is often characterized by treating ourselves how we imagine men perceive us.

My recent Pilgrimage to Crete was astonishing; my epiphany, gradual. As I share my adventure, imagine stages of your own heroine’s journey wherever you are in that cycle. I hope that by sharing this series, you will experience a real life example of Dion Fortune’s definition of magic: ‘The art of changing consciousness at will’. Starhawk, Truth or Dare, 1988.

My Goddess by Mary Gelfand

Birth of a Galaxy, by Willow Arlena, https://www.mysticlifedesign.com/

My Goddess is unconfined
–unbound
–unlimited
–unrestricted.

My Goddess exists beyond
–the images of Her created by men
–the words describing Her written by men
–the laws coercing Her, enacted by men.

Fear and Need in the Absence of Mother God, part 2 by Caryn MacGrandle

Yesterday’s part 1 post quoted from the book, The Malleus Maleficarum

Witches Well in Edinburgh, Scotland, …the Roman numerals for 1479 on one side and 1722 [years when witch persecution was most prominent]

The book wasn’t just a message for women but for all. The tenets that formed the backbone of colonial culture:

Paddle your own canoe.
Success comes with hard individual effort when you stay within the lines that we draw.
And if you fail? Well, that’s on you.
Maybe you will get another shot if you are lucky, work relentlessly and act as you should.
And never ever forget that your worth is defined by the number of 0’s in your bank account.

Why We Need to Bring Back God as a Woman, part 1 by Caryn MacGrandle

26,000 years ago, life was precarious and dangerous. And so the human race revered the Mother. Mother Earth, who provided food amidst scarcity, protection from the dangers of the wild and healthy babies who grew to adulthood.

The Goddess.

In her many forms.

Some of these Goddesses.

Venus of Willendorf. The artifact known as the Venus of Willendorf dates to between 24,000–22,000 B.C.E., making it one of the oldest and most famous surviving works of art.

Inanna’s Sisters, by Molly M. Remer

Sometimes I feel like my own Ninshubur.
I set up a lamentation in the street.
I call my own name,
beat the drum
to lead myself back home,
prepare the temple
for my own arrival.
I will not give up on myself,
will not abandon my own wholeness,
I refuse to sacrifice my Self.
I will not stay in the underworld forever.
We all need people in our lives who will say:
No, this will not do.
I’m coming after you.
I will help you to crawl back up,
back out, back through.
I will reach out to you.
I will boost you up.
I will rise with you into becoming.
You will not stay behind defeated
and alone so long as I,
your Ninshubur,
draw breath.
I will beat the drum for you.
I will call your name.
You are not alone.
Come back to me.
I see your power
and your strength.
I hear your longing.
Return,
return,
return.

I first met Inanna in the firelit darkness of a midwifery retreat in central Missouri. Toddler son at my breast, I watched, spellbound, as the charismatic, dark-haired midwife recounted the tale of Inanna’s descent into the underworld, through the seven gates we traveled, to the seat of our own wounding and our own medicine.

How Mary Magdalen Came into My Life: an excerpt, edited for brevity, from My Life as a Prayer: A Multifaith Memoir by Elizabeth Cunningham

(Author’s note: Mary Magdalen, or Magdalene, comes to people in many ways. To me, she came as an unconventional, fictional character. I worked hard to get the first century setting of her story as accurate as possible. Otherwise, I make no claim to historicity. I respect all the ways in which others know her.)

When I finished writing my novel Return of the Goddess in 1990, I thought I had nothing more to say. Yet, I sensed there was something—someone—missing.

An artist friend suggested I take up drawing or painting for a time—visual art being a form in which I had no experience, skill, and best of all, no ambition. I dabbled in paint and charcoal but soon reverted to magic markers, my childhood medium.

One day a line drawing in brown marker took shape. An ample woman sat naked at a kitchen table having a cup of coffee. The round clock on the wall read a little after three in the afternoon. (The same time of day I was born.) She told me her name was Madge.