Feminism and Religion

At the Altar of the Muses by Natalie Weaver

I was asked by my sculpture teacher to make a monument. “A monument to what,” I asked? “Anything,” he answered. The only parameter seemed to be that the work was produced in wood. Having seen some interesting stone and marbleizing paints, I had the immediate idea to transform the wood into a marble-like appearance. Marble, for some reason, probably because it is the cemetery standard, seemed like the right medium for a monument to me.

All the students in the class intuitively thought of death-related concepts. A monument to death itself was suggested. A monument to failed works of art, another student offered. A monument to broken tools. Several students suggested something like coffins, since, well, they are made of wood. I thought of death too at first. I asked myself whom was I wanting to pedestalize, monumentalize, and memorialize.

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Why Not Me? by Marcia Mount Shoop

My “me too” went out for all to see way before Facebook existed, way before there were hash tags and internet pages for unveiling our secrets to the world. In all the years that have passed since I first spoke publicly and published about my experiences with sexual violence, there has been a steady stream of people (mostly, but not all, women) who have come to me with their #metoo.

Survivors tend to hold lots of secrets—they become heavier with time and the more the secrets stay secret, the more power they have to distort and rupture and isolate. I held mine for many years and I planned on never telling anyone. But, those memories began to disrupt my life more and more—and finally they had to come out. That was the only way I could ever be free, that is the only way I could truly be alive.

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“There She Goes Again”: Speaking about Art and Sexual Violence by Carol P. Christ

I was at a dinner party for twelve lovingly prepared by two ex-pat friends, when the subject of Woody Allen’s most recent film came up. I don’t remember which one of them it was, because, as I said at the time, “I vowed never to see a Woody Allen film again as my response to the way he treats women in his films and in his personal life.” I was immediately challenged by–it seemed to me at the time–everyone else at the table.

“But this is not just about keeping an artist’s personal life separate from his work,” I responded, “Don’t you remember the film where Woody Allen was over 40 and having an affair with Mariel Hemingway when she was a teenager? Or the one about the doctor who had his wife murdered got away with it?” At this point a white male academic film critic interrupted to point out that I (who by the way also had a Ph.D.) simply did not understand what makes a film or a filmmaker great. And that was the end of the conversation. Continue reading ““There She Goes Again”: Speaking about Art and Sexual Violence by Carol P. Christ”

Sheep, Goats, and a Donkey Named Balthazar by Joyce Zonana

JZ HEADSHOT A few days ago, at the New York State Sheep and Wool Festival in Rhinebeck, NY, I purchased a six-ounce skein of fine, reddish-pink mohair bouclé, directly from the woman who’d dyed it using the natural pigments cochineal and logwood. My plan is to make a soft, long winter scarf with it.

I recently started knitting again, lured by some thick, heathered purple wool yarn I’d glimpsed in a farm store in upstate New York. “Is this wool from your sheep?” I asked the farmer. “No, but it’s from a farm down the road,” she assured me. “Her sheep and mine are related, and I know those sheep well.”

I was delighted to be knitting an afghan with wool carded and spun from the fleece of Continue reading “Sheep, Goats, and a Donkey Named Balthazar by Joyce Zonana”

The Brazilian Great Mother by Mirella Faur (Part 2)

This article was originally published by The Beltane Papers issue #30 February 1998. FAR is republishing it with permission from the author in order to digitally archive this important work. Part 1 is available here.

The indigenous Brazilian tribes worshiped all Mothers and believed they created life without the male presence. All Goddesses were virgins, but their virginity was only a symbol of independence and self-sufficiency, without any physical meaning. In some myths, the virgins are impregnated by numinous energies, manifested as animals (snake, birds, porpoise), forces of Nature (rain, thunderbolts, rays of light), ancestors or Deities. As other native people, they weren’t aware of the male participation in the conception and respected and revered the menstrual blood as something sacred, filled with magical powers, because after the “supernatural” ceasing of the monthly flow, life was created. Only after the interference of the white settlers and the massive Catholic indoctrination that the native cosmology was distorted, the Father assumed the main place, the Son became the second one in the divine hierarchy and the Mother was transformed in a suffering and silent virgin. Even so, many native traditions survived in the legends, folk beliefs, shamanic healing and magical practices as the Pajelança and Encantaria.

Besides the “Good Mother”, some of the native legends also mention the “Terrible Mother”, Boiuna, the Giant Snake of the Amazon River. The bottom of the river was her habitat and she appeared only at night, destroying boats and devouring people. Her terrifying aspect and her connection with the darkness, death and night are, as a matter of fact, features of the Dark Goddess, the Reaper, who controls the eternal cycle of birth, life, death and transformation.

Another manifestation of the Dark mother is Caamanha, “Mother of the Woods”, protector of the wild life who punished all intruders and violators of her domain. In other myths, she was transformed either in the Curupira or the Caapora, strange male beings, with twisted feet, who walked backwards, thus acting as guardians by misleading hunters or even attacking them.

In some Guarani myths we find mentions to the “Mother of Gold”, described as a beautiful woman or a brilliant globe, which seduced the gold prospectors and took them deep in the mountains, far away from the gold mines. Considered a Guardian of Mother Earth’s treasures, she sometimes manifested herself as Boitatá, who could appear as a phantasmagorical snake, with a luminous body and huge eyes, or only as a giant head, floating over hidden treasures, frightening or punishing those who destroyed Nature in search of fortune. Continue reading “The Brazilian Great Mother by Mirella Faur (Part 2)”

#MeToo or Why I Didn’t Make a Film in Film School by Marie Cartier

I needed to check out a camera for an assignment. I was in the small equipment room looking at equipment I clearly did not know how to use yet. But, I was required to check out a camera and start. I was excited to begin.

I turned around to ask a question of the guy who helped us check out equipment. I was surprised, and then stunned to see him close the door behind him. I don’t know if he locked it, but he stood in front of it, blocking my exit, and asked me, “How bad do you want that camera?”

I was a radical lesbian separatist who wore “ACT-UP FIGHT AIDS” T-shirts regularly to school. I stared at him and said the first thing that came to my mind, “I am not the person you want to do this to. Trust me.” We stared at each other. He laughed and slowly moved away from the door. I left, with the camera (I think), I finished that assignment and somehow passed the camera class. What I do know for sure is that I never checked out a camera again, and somehow convinced myself that the “equipment” part of film making was somehow too technical for me.

I had come out to LA from Colorado and was extremely proud to get into one of the best theater and film schools in the US. However, I was completely not “used to” the level of casual and cruel sexism women in the industry were subjected to. There was an unwritten code that if you wanted to make it as a woman—well, you better toughen up and get used to what the industry looked like for women. Continue reading “#MeToo or Why I Didn’t Make a Film in Film School by Marie Cartier”

Rape Culture and Muslims by Vanessa Rivera de la Fuente

rape culture

There is no doubt that Rape Culture is installed within religions and Islam is not an exception. Lately, “honorable Islamic scholar,” Nouman Ali Khan (NAK) was exposed as sexual predator, causing a battle in social media. NAK is only one more in the list of sexual offenders operating in religious spaces, on many occasions with the support of opinions leaders, or the silence and blind eye of the community of believers.

During my months in Cape Town, as you know, I engaged in critical education in Gender and Islam through workshops with Muslim women from the Cape Flats, where the rigid dynamics of researcher-object of study, gave way to an equal interaction of “people talking.” A recurrent theme, as I said in a previous article, was sexual violence and the discursive tenets that facilitate it.

In the light of the controversy aforementioned, I want to share excerpts that I recorded during our sessions of the sincere statements of Muslim women between 25 and 60 years old from different suburbs of Cape Town on Rape Culture and religion as they live it. Continue reading “Rape Culture and Muslims by Vanessa Rivera de la Fuente”

Season of Change – Transformation by Judith Shaw

Fall is here, the leaves are changing color, the days are shortening and our ongoing natural cycle of change and transformation now moves toward the dark, quiet days of winter. Both the idea and the process of transformation have fascinated me my whole life. Blame it on my Scorpio rising. Scorpio is ruled by Pluto, the planet of transformation and regeneration. Diving deep and surfacing has always been my mode.

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The Brazilian Great Mother by Mirella Faur (Part 1)

This article was originally published by The Beltane Papers issue #30 February 1998. FAR is republishing it with permission from the author in order to digitally archive this important work.

Brazil is traditionally known as a Roman Catholic country, with a great influence of African cults and a growing number of various Protestant sects and different spiritualist, new age and esoteric groups. One of these, Wicca, has been catching up the public attention, appearing lately on the media and making us ask ourselves many questions such as – with so many myths and legends in our origins, why do we have to import from abroad, through books and especially virtual information, other cultures’ traditions and practices?

There are not, yet, reliable written records or academic research, except a few private studies, proving the existence of an ancient cult of a Brazilian Great Mother. On taking possession of Brazil’s primitive land, European conquerors discarded and destroyed the ancient universe of the native people. Modern archaeological discoveries prove that the rock art, anthropomorphic and zoomorphic figurines and the ceramic objects left by the people that inhabited Brazil 15.000 years ago, have magical and religious attributes, similar to those found in Europe. There are also plenty of native myths and legends left, some of them disguised in folklore or children’s stories, that can be, in the future, used to translate the country’s pre-history, shedding more light on the lost past and recovering the vestiges of an Ancestral Mother. For the time being, we must count upon the Afro-Brazilian cults and the hidden meaning of legends to discover images of a Mother Goddess, as the ones below.

Despite of its fundamentalist official religion and patriarchal society, Brazil concentrates, with the exception of India, the greatest amount of worshipers of one of the manifestations of the Divine Mother, which is Yemayá, the ancestral Goddess of Water, and Lady of the Ocean.

Every year, on New Year’s Eve and on February second, millions of Brazilians, dressed in white, take their offerings and prayers to the sea shore or sail in boat processions. These processions, similar to the Egyptian and Roman ceremonies called Navigium Isidi, dedicated to Isis, the protectress of the seafarers, who, like Yemayá, is also called “The Lady of the Navigators”. Although this huge Brazilian devotion to Yemayá, her cult is not an indigenous one, being brought to Brazil by the Yoruba slaves, in the XVIII century. Continue reading “The Brazilian Great Mother by Mirella Faur (Part 1)”

The Impact of Marija Gimbutas on My Life and Work by Carol P. Christ

Last winter FAR contributor Glenys Livingstone lovingly and professionally edited all of the interviews for the film on Marija Gimbutas’ life and work, Signs Out of Time, by Donna Read and Starhawk, and posted them on youtube. Though I received a link to my interview from Glenys, I was too busy (or too depressed?) to watch it at the time.

As I watched and listened to my twenty years younger self yesterday, chills went up and down my spine. How, I wondered, did she know so much way back then? Maybe (I thought) she really was drawing on the underground spring described by Marija Gimbutas as bursting forth from time to timε to bring us wisdom from the ancestors of Old Europe.