Feminism and Religion

Mother Hubbard Speaks Her Mind by Barbara Ardinger

Old Mother Hubbard
Went to the cupboard
To get her poor dog a bone;
But when she came there
The cupboard was bare,
And so the poor dog had none.

hubbard-01

From her lips to our ears.

Ya wanna know why my cupboard’s bare? It’s because we’re poor! Well, not all the time. Mr. Hubbard gets a good job from time to time, and then him ’n’ me an’ the kids an’ the animals have enough to eat. But those jobs never last long enough. And ya wanna know why? It ain’t just the economy (which is, yeah, pretty stupid). It’s on accounta we don’t quite look like everybody else ’round here. On accounta we don’t speak the “normal” language at home. We obviously came from someplace else. An’ the folks ’round here are so worried about themselves they don’t care about us. Some of ’em don’t like us at all. (And, I ask you, where’s the folks who look like me in the schools ’n’ the gov’mint an’ on the police force?)

Now we don’t live way out in the sticks like my friend Mrs. Shoe does with all her children. We live in the outskirts of this big city, and we can grow a lot of our own food. Lotsa times, though, we march into the big city and look around for more food. There’s lotsa food that got thrown away, perfectly good food goin’ to waste every day. That’s how I get bones for the old dog an’ good stuff for the cats, too. An’, of course, for the kids an’ the hubby ’n’ me. An’ for the homeless folks who show up from time to time. Share ’n’ share alike, that’s my motto. We do what we can for who we can.

And we don’t share the “normal” religion of the folks in the big city. Most of them never heard of the Mother Goddess. Or any goddess at all, for that matter. No, they’re all enthralled by that greedy Mammon or by those other old bearded guys who stand up on top o’ that metaphorical mountain and yell down at their favorite men about invadin’ some foreign land ’r other. An’ ya know what? When the folks in the city are havin’ their prayers and we happen to be there, we stand quiet-like and bow our heads (politeness counts, doncha know) and wait till they’re done before we walk away and go lookin’ for more good thrown-away food ’n’ other stuff to take home with us. But would they stand respectful-like if we started prayin’ in the city to our Mother Goddess? (That’s what they call a rhetorical question. Don’t need no answer.)

Continue reading “Mother Hubbard Speaks Her Mind by Barbara Ardinger”

The Goddess Mokosh by Laura Shannon

Candlemas / Imbolc, the midway point between the winter solstice and spring equinox brings with it (in the northern hemisphere) the first signs of awakening spring. Here in Canterbury, southeast England, where I am living this year, the birds are already starting to sing for mates and build their nests. In Celtic pre-Christian religion, Imbolc is associated with the Goddess Brigid / Bride (and the Christian Saint Brigid), but today I suggest we pay a visit to Brigid’s Slavic sister, the Goddess Mokosh / Mokoš, who is also powerfully associated with emerging fertility in the woman, the land and the year.

As well as fertility, Mokosh and Brigid bless and protect women’s crafts and women’s work, and share attributes of healing, motherhood and midwifery. They are both Goddesses of Fate and of destiny: spinning the thread of creation, giving life and cutting the thread, like the Three Fates of Greek tradition. Both have a special connection with sheep, wool, and weaving, and of course with textiles: Brighde is honoured through the tying of cloths or ‘clooties’ at sacred wells, while a favourite offering to Mokosh was a hank of spun wool dropped into a well. In the Slavic lands, Mokosh is a key figure on embroidered ritual cloths.

Mokosh, like Brigid, is associated with wells, springs and moisture; the name Mokosh comes from the root ‘mol’ meaning ‘moisture’, and is connected with the Slavic words mokry and moknut (‘wet’ and ‘to get wet’) . Mokosh brings the water of life and protects the life-giving waters on which human and animal existence depend. In this way Mokosh gives life to plants and animals, and is often portrayed with them. She is an important Slavic Mother Goddess, embodying fertility, femininity, prosperity, protection, health, good luck, abundance, and a successful future.

Mokosh is also a warrior goddess, in her fierce aspect as a goddess of protection. One of her epithets is ‘She who strikes with her wings’. The fact that she is a winged Goddess indicates her power and that which she grants to her priestesses and devotees, to travel between the worlds in trance, dream, and vision, for blessing and for healing on behalf of the community and all who are in need. Mokosh is also connected to butterflies, symbols of transformation, and bees, symbols of priestesses in antiquity. The beautiful Slavic embroideries shown here depict some of her typical manifestations as a tree/flower/goddess figure with branches/arms/wings/wheat ears, sometimes all at once.

Mokosh is a Slavic sister in the same lineage of water-loving fertility deities who were so important in ancient Greece, the Nymphs and Muses. Mokosh features centrally on women’s aprons, directly over the life-giving place of the womb, on sacred cloths for the icon corner in the home, or on cloth and clothing tied to birch or willow trees in Russia and the Ukraine. All over Europe, these elements of the Goddess and the divine fertile feminine can be found, disguised but discernible, in embroideries, dances, songs, fairy tales, ritual breads and other seasonal customs.

In the Christian era Mokosh continued to be worshipped in the form of the Virgin Mary, and more specifically was transformed into St. Petka / Paraskeva / Paraskevi, ‘Saint Friday’, which links her with the Norse Goddess Freya. Friday is the holy day of both Brigid and Mokosh.

Late winter/early spring, the time of Imbolc, is one of her sacred seasons. Whether you call her Brigid or Mokosh, or by another name or none, now is an opportune time to ask her help and invoke her presence. By lighting a sacred flame, tying a cloth to a tree in a fertile place, honouring the waters of Earth which give life to all, spinning and weaving threads of creation and creativity – literally or metaphorically – we too can connect once again with the source of all, and open ourselves to receiving Her blessings.

We may not be able to see what this year will bring, but we do know that the waters of the earth, the birds, bees and animals, the food sources which nourish all life, and the women of the human family, all need blessing and protection. Brigid and Mokosh can help with this. Reconnecting with these and other Goddesses also helps reawaken the Old European worldview as articulated by Marija Gimbutas, Carol P. Christ, and others: cooperation and community, respect for nature and shared resources, an understanding of our mutual interdependence, the value of craft and creative expression, and the need for social justice to protect what is precious.

As the spring returns, may we all both receive and give abundant blessings of new life and rebirth on every level.

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I will be teaching dances from Greece and Eastern Europe which honour Mokosh and the nymphs and muses at my workshops this year in Greece, Austria, Germany, Morocco and the UK. For details of these dance events, please visit www.laurashannon.net

I thank Sylwia Geelhaar, who researched Mokosh for us in my most recent 2-year training group in Women’s Ritual Dances in Lebensgarten, Germany, and gathered together many of the images shared here.

Also see: ‘The Dance of Memory: The Wishing Tree’; ‘Dancing Daughters of the Living Goddess; and Dancing in the Footsteps of the Muses: Traditional Ritual Dances of Mount Olympus

Further reading: Barber, Elizabeth Wayland (2013). The dancing goddesses. W. W. Norton & Co.

Gimbutas, Marija (1989). The language of the goddess. San Francisco: Harper & Row.

Kelly, Mary B. (1989). Goddess embroideries of Eastern Europe. McLean, New York: StudioBooks.

Rigoglioso, Marguerite (2010). Virgin mother goddesses of antiquity. New York: Palgrave Macmillan.

Shannon, Laura (2011). ‘Women’s Ritual Dances: an Ancient Source of Healing in Our Time.’ In: J. Leseho and S. McMaster, eds., Dancing on the Earth: Women’s Stories of Healing Through Dance. Forres: Findhorn Press.

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Laura Shannon has been researching and teaching traditional women’s ritual dances since 1987. She is considered one of the ‘grandmothers’ of the worldwide Sacred / Circle Dance movement and gives workshops regularly in over twenty countries worldwide. Laura holds an honours degree in Intercultural Studies (1986) and a diploma in Dance Movement Therapy (1990). She has also dedicated much time to primary research in Balkan and Greek villages, learning songs, dances, rituals and textile patterns which have been passed down for many generations, and which embody an age-old worldview of sustainability, community, and reverence for the earth. Laura’s essay ‘Women’s Ritual Dances: An Ancient Source of Healing in Our Times’, was published in Dancing on the Earth. Laura lives partly in Greece and partly in the Findhorn ecological community in Scotland.

More Than Just an Image by Jassy Watson

I spent 2015 teaching an Intentional Creativity program ‘Wisdom of the Goddess” to an intimate tribe of women creatives from our local community. In December we held an end of Year Art Gala displaying a portion of the work which saw over 100 paintings of Goddesses created over a 10-moon period.

The program was divided into the cycles of Creation, Transformation and Celebration, as inspired by Hallie Inglehard’s book “The Heart of the Goddess”. Each month, through ritual, visioning and painting, we explored a Goddess that represented these cycles; Eve, Anjea, Demeter, Cerridwen, Kali, Persephone, Aphrodite, Ochun and finally, our Inner Goddess.

It took great courage for the artists to display their paintings in public. It is often hard to explain this work because it requires such deep and thoughtful exploration of one’s inner world along with a commitment to a creative practice that favours personal growth and discovery over outcome. It can be difficult finding the language to elucidate on this process that is not just about the act of painting.

It is painting to grow and heal.

It is sacred.

It honours and empowers women.

It inspires authentic creative expression.

It unites one with self.

It connects one back to the earth.

It transforms.

It reveals.

The show was a great success. A gallery full of Goddesses was surely a sight to behold! It was a humbling experience to be out and proud about our creative work in our regional, agricultural, largely conservative community. I feel it is imperative for the restoration of female empowerment to be remembering and re-imagining the Goddess by way of image and it was through Her that these astounding women artists found the courage to put their heart and soul on the wall for all to see.

The influence that image has is far-reaching and cannot be under-estimated. Image is a universal language that evokes emotion and can go as far as mobilising the masses and even change the course of history. The famous photo of ‘Phan Thi Kim Phuc’ running naked down a road after a napalm attack during the Vietnam War is but one outstanding example.

As I reflected on the years work however, I was reminded that while these paintings carry with them incredible insights and powerful messages of change, growth, discovery and transformation, the Goddess is so much more than just an image; and certainly more than just an image to mass-produce and sell. While “the strength and independence of female power can be intuited by contemplating ancient and modern images of the Goddess” (Carol P. Christ in ‘Why Women Need the Goddess’), it cannot be forgotten that She is the sacred made immanent in the natural world, expressed in the diversity of all forms of life and death. We seek Her, sometimes even travelling to the ends of the earth to find Her, forgetting that She is everywhere. She is you and me and Her sacred sites are found in our own backyards.

With this in mind I recently returned to some creative investigations I had begun a few years ago exploring woman in nature and the Goddess as the body of the earth through paint. The earth speaks and I am listening to Her stories and bringing them to the canvas to re-affirm my sense of wonder and respect for nature. My aim is to awaken an ancient memory of the sacred relationship between human and nature, for now, more than ever, it is critical that this relationship be restored. In doing so, the earth may once again be seen and valued as a living, breathing body that sustains and nourishes all life rather than being merely a commodity to be devastated and destroyed in the name of capitalism and greed. Further, these images are reminders of the interconnectedness of all life; we are not separate from the earth, but part of its’ intricate web.

The following image was inspired in part by Terry Tempest Williams ‘When Women Were Birds’ but is also an image born from a revelation I had many, many years ago when I first starting seeing woman in nature, especially in the body of trees.

When women were birds FINAL

“We are the birds eggs. Birds eggs, flowers, butterflies, rabbits, cows, sheep; we are caterpillars; we are leaves of ivy and sprigs of wallflower. We are women. We rise from the wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we are flame, we are oyster and pearl, we are girls. We are woman and nature. And he says he cannot hear us speak.

But we hear.”

― Susan Griffin, Woman and Nature: The Roaring Inside Her

Jassy Watson, who lives on the sub-tropical coast of Queensland Australia, is a Mother of four, passionate organic gardener, Intuitive/Visionary Artist, Intentional Creativity Coach and a student of Ancient History and Religion at Macquarie University, Sydney. She is the Creatress of Goddesses Garden Studio & Gallery; a small school for the Sacred Creative Arts. Jassy teaches regular painting workshops in person, nationally, internationally, and online based around themes that explore myth, history, earth connection and the Goddess. Her latest SOULSCAPES (TM) exploring woman in nature will be on show at ‘Dreaming Into Being’, Percolator Gallery, Paddington, Brisbane April 5th-11th. You can see her work at http://www.goddessesgardenandstudio.co

La Virgen de Guadalupe: New Feminist Portrayals by Jose Duran

Jose Duran She appeared on a hill on December 9, 1531. She spoke to Juan Diego in his native tongue of Nahuatl; the language of the Aztecas. She asked for a church to be built at that very site in honor of her, the Virgin Mary. Juan Diego took the request to the local priest, but his story was not believed. On December 12, following further instructions from La Virgen, Juan Diego was able to find and pick roses not native to Mexico. He rolled them up in his tilma and returned to the priest. When he unrolled his tilma to present the roses, there on the tilma was the image of La Virgen de Guadalupe; she was as dark as the natives themselves.

Natives across Mexico and throughout the Americas endured the brutal realities of conquest, and experienced the relegation to second class citizens during the colonial period in Mexico. In particular, native women experienced oppression two-fold. This is evident in the fact that native men had privileges and opportunities within the public sphere of society which were denied to women, such as holding particular types of public service positions.

So how is it that millions of natives across the continent converted to Catholicism, the religion used by their oppressors to justify the horrors and atrocities inflicted upon them? The appearance of La Virgen to Juan Diego. She is seen as the blending of the Indigenous and European cultures. A Huffington Post article, Everything You Need to Know About La Virgen de Guadalupe, explains, “Her image has been used throughout Mexican history, not only as a religious icon but also as a sign of patriotism.” Indeed, she has appeared as a symbol even in the most pivotal of moments, such as the fight for Mexican independence and the Mexican Revolution. The authors of the study The Evolving Genre of ‘Our Lady of Guadalupe’: A Feminist Analysis, also note that she has become “. . .the ideal model for womanhood and motherhood.” Continue reading “La Virgen de Guadalupe: New Feminist Portrayals by Jose Duran”

Breastfeeding and the Abject? by Sara Frykenberg

The trappings of motherhood are all too powerful reminders that, as Catherine Keller reminds us in her book From a Broken Web, mother goddesses have to be continually slain for patriarchal heroes to be born. Indeed, she suggests that conceptions of Western selfhood are based upon this symbolic matricide—so it is no wonder that breast milk might be considered abject…

Once upon time formula companies and complicit medical experts launched a serious campaign to sell more formula, telling a generation of mothers that this product was both superior to breast milk and far better for baby and mother. Some were convinced, others found formula a good alternative to breast milk given their employment status, hormonal changes, their particular baby’s needs,personal choice, difficulty producing their own milk, or the like; and still others chose to breastfeed despite criticism, like my mother-in-law, who received scorn and derision from medical personnel as the only breastfeeding mother in the hospital in which she gave birth in 1970.

Despite this effort, science has finally “proven” that breast milk, when it is possible to give it, is better for your child than synthesized alternatives. Wow. Well, the politics of believability aside, women in the U.S. are now encouraged to trust their own bodies to feed their babies and give the breast a try. In fact, every new book, article, website and internet forum, birthing class teacher and hospital nurse will tell you that “breast is best,” repeatedly, for months, asking you about your breastfeeding plan, and urging you to keep trying until you and baby get it right. A counter-campaign, this vigorous encouragement is working to undo the attitudinal changes within popular culture that placed a stigma on the breastfeeding woman. Continue reading “Breastfeeding and the Abject? by Sara Frykenberg”

“God is Not a Man, God Is Not a White Man” by Carol P. Christ

“The pictures that line the halls speak volumes about the history of racism and sexism and they shape the future in powerful ways.”–Simon Timm

The author of these words recently posted a short video on Youtube entitled “Mirror Mirror on the Wall: The Legacies of Sexism and White Supremacy at Yale Divinity School.”* The video begins with a catchy little ditty with the words, “God is not a man, God is not a white man.” It tracks paintings and photographs of professors and other luminaries in the field of theology on the walls of the Yale Divinity School. By Timm’s count: 99 white males, 6 women, and 3 blacks. The single black woman is counted in both categories.

Continue reading ““God is Not a Man, God Is Not a White Man” by Carol P. Christ”

Inspiration From a Sea Goddess in the Desert by Kayla Bonnin

KaylaBonnin Standing as a stark and graceful contrast to the corruptions of freedom of religion, expression, and human rights we hear about every day, there was a grand display of feminine empowerment and beauty at the most recent Burning Man festival, an event in Black Rock City, Nevada. It was a magnificent temple created for Mazu—the Chinese Goddess of the Sea. Her temple and its towering lotus flower were built, and soon thereafter ritualistically burnt, in the simplistic beauty of the desert.

An aesthetically calming temple honoring her came about by the collaboration of Project Manager Nathan Parker and Taiwanese arts foundation, the Dream Community. When I arrived at Burning Man and first saw the temple, I was in awe. The open, octagonal building created from bamboo was rustically elegant. It was designed to be indicative of a structure floating in water. Two piers stretched outwards on either side, while an eye-catching arbor framed the path to the entrance. Blue LED lights flickered on the ground in wave patterns around the temple to create the essence of water encircling the goddess’s temple. A towering 40-foot pink lotus flower sat atop the structure, while fire breathing dragon statues flanked the four corners. Once inside, a center pillar held burning incense, notebooks and pens for reflections, and small strips of papers inscribed with prayers for people to take.

Mazu

Continue reading “Inspiration From a Sea Goddess in the Desert by Kayla Bonnin”

The German Diotima by Stuart Dean

The title of the essay Über die Diotima (hereafter, the ‘Essay’ (translation here (pp400-419))) by Friedrich Schlegel (hereafter, ‘Friedrich’) suggests it is focused on Plato’s portrayal of Diotima in the Symposium. That portrayal, though, is but a starting point for Friedrich, who attempts to demonstrate that Diotima was a particular type of woman he associates with other ancient Greek women, including Sappho. The Essay is ostensibly of little relevance today, largely because knowledge of ancient Greece has evolved substantially since Friedrich’s time. In particular, a compelling case has been made that far from being related to ancient Greek women, Diotima is a fictional figure used by Plato “to vanquish Sappho” (Jantzen, Foundations of Violence, p193).

Yet, the Diotima Friedrich principally had in mind was not the one in Plato’s Symposium, but rather Caroline Schelling (hereafter ‘Caroline’), who was–for a time–his sister in law. On the third anniversary of his meeting Caroline he wrote a letter to her, reminding her of that anniversary and thanking her “for everything you have done for me and my development” (Caroline was almost a decade older than Friedrich, who was then in his early 20s, and yet to establish a name for himself as a scholar). Towards the end of his letter he asks her to read the Essay “once more and mark in pencil those passages in which you believe a small change might be necessary.” While his ‘once more’ suggests Caroline had previously given him input, the fact that in a letter to her from almost a year earlier Frederick refers to her, somewhat flirtatiously, as the “independent Diotima” relative to her ‘god’ (Frederick’s brother, August) confirms his identification of her with the subject of the Essay. Continue reading “The German Diotima by Stuart Dean”

Blindness, Lethargy, and White Supremacy by Marcia Mount Shoop

With Black History Month fast approaching, it is fitting to investigate the latest call to get rid of it.

This investigation may seem futile to some feminists/womanists since we know denials of racism are part of life in white supremacy patriarchy. As a feminist theologian, however, I’ve got nothing in my tool kit if I lose my hope for redemption and transformation. The following is my attempt to not give up on the possibility that white supremacy culture can be dismantled.

White patriarchy has all kinds of messengers of its narrative—not just white men of privilege, but anyone who has internalized the muscle twitches of white supremacy. This time, the messenger is Stacey Dash, an African-American actress and contributor to Fox. Ms. Dash chastised Spike Lee and Jada Pinkett Smith for saying they will boycott the Oscar awards because of the all-white list of nominees. She called their protest “ludicrous.” She added that if we want to end segregation, we need to “get rid of BET and Black History Month.” oscars image

Having a person of color deny the existence of systemic racism is a big win for white supremacy patriarchy. A person of color as the carrier of white supremacy culture is a Trojan Horse full of social capital for those in power—enough to fool scores of people into thinking they are justified in their misconceptions about race. Dash’s protest of the protest comforts everyone who is tired of all the “whining” and “anti-white” rhetoric they hear in the #blacklivesmatter movement.

A brief scroll down through #OscarsStillSoWhite encapsulates white supremacy apologetics rhetoric. Actress Charlotte Rampling suggests that Black actors just weren’t good enough to make it. Actor Michael Caine asks Black actors to “be patient.” Others say that since Denzel Washington won two Academy Awards the Oscars can’t be racist. And there are several using the tired old accusation of “reverse racism.”

All the bases of white defensiveness are covered: asserting the inferiority of people of color, the benevolent call to be patient, the case in point of the person of color who “made it,” and the accusation of Black on white “racism.” The tenacity of this defensiveness is remarkable. And it is time for its demise.

Why can’t the race discussion in the United States break through this moral inertia? I believe it is because of the two archenemies of healing and justice: moral lethargy and willful blindness.

No matter how many times white patriarchy’s apologists want to accuse people of color of “reverse racism,” they cannot alter the very nature of racism itself. Racism is only racism when it comes with the power of systems, institutions, cultures, and a societal pay off. Racism is a system of privilege based on race in which there is power to create disadvantage with things like access to power, social capital, and accumulation of resources.

If people of color think too many white people and not enough Black people have access to the social capital of the Academy Awards, that is not racism. That is an observation. There is no payoff to this observation. There is no power imbalance solidified. There is no oppression created. If people of color even just don’t like white people, that is not racism. That may be a racialized bias, but it is not racism.

All biases based on race do not equal racism. Some of those biases are a result of racism. But not all of them are expressions of racism. Racism is, at its core, about power: the power to create and entrench advantage and disadvantage. And many of the subtleties of systemic racism and racialized biases carry with them the power to entrench disadvantage for people of color and advantage for people who are identified as white.

It is moral lethargy and willful blindness that keep so much of American culture from seeing the contours of racism and its resulting racialized disadvantage.

Moral lethargy is failing to listen to the cues of our conscience when racism is pointed out. Defensiveness is the way moral lethargy gets its way. If you push back against the narrative you don’t want to hear with enough denial, then you don’t have to change. Moral inertia is like eating too much sugar—at first, you are hyped up on indignation, and then you slump back into a poorly nourished fog of familiar ethical fatigue.

Willfull blindness takes more effort to maintain itself. It requires a counter narrative to the one we choose not to see. And so, it gets filled up with rights and wrongs, shaming and blaming, and all sorts of other value judgments and norms that are seen as “right,” “good,” and “common sense.” This willful blindness then can actively NOT see racism, because it sees all the ways people of color are, themselves, the problem. And every day, this willful blindness is infused with more reasons not to see what we need to see because of what we think we see all around us.

If it sounds circular, it is because it is.

Willful blindness is a tightly wound system of millions of tiny little choices not to see what is right in front of our eyes because of what we’ve trained our eyes to see.

Racism depends on moral lethargy and willful blindness from all kinds of well-meaning people. These habits are racism’s lifeblood. Overt racism is just the gravy. The everydayness of moral lethargy and willful blindness do the heavy lifting to keep the systems of racism working smoothly.

These should be two maladies that the academy and the church could cure. Both of these institutions claim to be all about giving sight and light and cultivating moral courage and fortitude in human beings. But unfortunately these institutions embody the same habits we so desperately need them to disrupt.

Would that 2016 be a year for consciences to be elevated and eyes to be opened. And maybe it could be the year of white defensiveness’s demise.

Black History Month can’t get here soon enough.

Marcia Mount Shoop is an author, theologian, and minister. Her newest book, released from Cascade Books in October 2015, is A Body Broken, A Body Betrayed: Race, Memory, and Eucharist in White-Dominant Churches, co-authored with Mary McClintock Fulkerson. Marcia is also the author of Let the Bones Dance: Embodiment and the Body of Christ (WJKP, 2010) and Touchdowns for Jesus and Other Signs of Apocalypse: Lifting the Veil on Big-Time Sports (Cascade, 2014). Find out more at www.marciamountshoop.com

The Great Mother Calls Us to Action by Carolyn Lee Boyd

carolynlboyd When Flint, Michigan’s water supply was poisoned by lead through a policy decision— as has been widely reported, especially by Rachel Maddow — LeeAnne Walters and Melissa Mays started an organization called Water You Fighting For in protest, emphasizing their roles as mothers of children suffering from lead poisoning. Despite continual ridicule from state and local officials, Walters, Mays and others, including Flint’s new mayor, a woman, refused to give up until their voices were heard.

According to Ms. Magazine, it is largely due to Walters and Mays’s efforts that the source of the water, which had been changed to save money from fresh lake water to river water that corroded the city’s pipes, was switched back. Unfortunately, it is too late for the 100,000 residents of Flint, including babies and small children, who have already been exposed to the lead that can cause permanent and irreversible brain damage and other health problems. Lead poisoning is continuing because the pipes have suffered irreparable damage.

“Mother’s movements” have proven to be extremely powerful agents of change for decades. Mothers Against Drunk Drivers and Moms Demand Action for Gun Sense in America in the US and Mothers of the Plaza de Mayo in Argentina are just some of the many movements organized by women who relate their activism to being mothers. While the instinct to protect children is deeply ingrained in the human soul, could it be that another important reason that these mother’s movements are so powerful is because they tap into a sense of the sacredness of the Great Mother, the Creatrix of the universe who has been envisioned as a mother since the beginning of human history? Continue reading “The Great Mother Calls Us to Action by Carolyn Lee Boyd”