Angela Yarber – Page 7 – Feminism and Religion

Who Is Jephthah’s Daughter? The Cost of War by Carol P. Christ

In a provocative essay and heart-breaking painting, Angela Yarber asked us to consider who Jephthah’s daughter is in our time. Angela reminded us that Jephthah was a heroic warrior in the Hebrew Bible who swore in the heat of battle that if his people won, he would sacrifice the first person he would see on returning home. That person turned out to be his unnamed daughter.

Reading Angela’s post and looking at her holy woman icon of Jephthah’s daughter, my mind turned to the story of Agamemnon’s daughter. In this case, the daughter is named: Iphigenia. Agamemnon had gathered his troops to sail to Troy, but lack of wind prevented them from setting off. According to the myth, Agamemnon was told by the Goddess Artemis that he must sacrifice his daughter if the ships were to sail. He did.

In his powerful rewriting of the myth of the sacrifice of Iphigenia, Daniel Cohen questions whether the Goddess requires human sacrifice Continue reading “Who Is Jephthah’s Daughter? The Cost of War by Carol P. Christ”

Painting Jephthah’s Daughter by Angela Yarber

And Jephthah made a vow to the Lord, and said, “If you will give the Ammonites into my hand, then whoever comes out of the doors of my house to meet me, when I return victorious, shall be the Lord’s, to be offered up by me as a burnt offering…Then Jephthah came to his home at Mizpah; and there was his daughter coming out to meet him with hand drums and with dancing…he did to her according to the vow he had made…” (Judges 11:30, 34, 39)

When I was a little girl I used to make up routines to perform for my family. From Tina Turner’s “What’s Love Got to Do With It” to Michael Jackson’s “Beat It” I can remember making up creative choreography and performing in front of the affirming audience that was my family. Often times, my routines were accompanied by props, such as a hula hoop, roller skates, or an unwilling younger brother. Whether I had props or not, there was always a big smile on my face as I twirled and leapt to the tunes on my family’s 8-track, record, or cassette player. Half the fun was making up the routine and practicing until it was performance perfect. The other half of the fun was the response on my family’s faces as I forced them to “watch me, watch me!” once again. Despite the cheesiness of my routines and my silly props, they watched with delight, clapped, and encouraged me to dance all the more. Such is the experience for many fortunate children: choreographing routines, drawing pictures, making up skits and plays, and practicing to make their parents proud. Continue reading “Painting Jephthah’s Daughter by Angela Yarber”

Painting Sappho by Angela Yarber

“Someone, I say, will remember us in the future,” she once wrote. To my knowledge, she was never dubbed a prophet. A muse, yes. A romantic, perhaps. But never a prophet, rarely holy, and nary an icon. Until now. Hailed as one of the best Greek lyric poets, many have tried to forget her, or at least the more provocative elements of her life. The passionate poet Sappho was born on the island of Lesbos around 620 BCE (sometime between 630-612 BCE). The word lesbian stems from the place of her birth and her name is the origin of the word sapphic, though most scholars assert that little is known of her actual life and that the majority of her poetry is not autobiographical. Yet her lyric poetry speaks of love for both sexes and myriad people.

What is more, the idea of homo and heterosexuality are not transhistorical essences, but instead are relatively recent socio-historical constructs. To say that there were strict sexual binaries in the ancient world in which Sappho lived would be an anachronism. Sexuality was much more fluid. Not surprisingly, many scholars have tried to name and claim male lovers for Sappho, a heteronormative attempt to erase her fluid sexuality, her hope to be remembered in the future dashed, demeaned, forgotten. In fact, during the Victorian Era, many asserted that Sappho was the headmistress of a girls’ school, another attempt to straighten out her memory, her poetry, her love. Continue reading “Painting Sappho by Angela Yarber”

Painting Dorothy Day by Angela Yarber

Radical Revolutionary. One with the workers. Daily works of mercy. One who challenged the status quo. She never wanted to be called a saint, though the Claretian Missionaries proposed that she be canonized in 1983. The Catholic Church calls her a “Servant of God.” I call her a Holy Woman Icon. She joins the myriad other Holy Woman Icons with a folk feminist twist that I feature each month: 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, Georgia O’Keeffe, Guanyin.

Born on November 8, 1897 Dorothy Day’s radical spirit, her development of the Catholic Worker Movement, and her solidarity with the poor have taught countless women what it means to be a revolutionary. This American anarchist and activist converted to Catholicism as an adult after living what many describe as a bohemian lifestyle. She advocated the Catholic economic theory of distributism, daily works of mercy, pacifism, and solidarity with the poor. Continue reading “Painting Dorothy Day by Angela Yarber”

Painting Holy Women By Angela Yarber

Each month, I focus on one of my Holy Woman Icons with a folk feminist twist, highlighting the often unsung stories of feminism’s heroines: 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, Georgia O’Keeffe, Guanyin, and many others who will be featured in the months to come. While some of these holy women may not be incredibly famous to the wider public, most of their names and stories are familiar to the readers of Feminism and Religion. They are goddesses, saints, artists, dancers, scholars, clergy, and pillars of the faith. We tell their stories in our classrooms. Their stories embolden us to stand tall, stay strong, and continue working for justice and equality. But what of the women whose songs really are unsung, whose stories never grace the pages of our textbooks? What about the women who have, indeed, emboldened us, paved the way for us to be who we are, but who our readers have never heard of? This month I would like to focus on one of these women. You’ve probably never heard her name, but I know her very well. It is her courage that has given me strength, her compassion that has taught me to love. Her name is Mary Harrell and she is my mother.

In her seminal work that highlights the importance of telling women’s stories, FAR’s own Carol Christ begins by saying:

Women’s stories have not been told. And without stories there is no articulation of experience. Without stories a woman is lost when she comes to make the important decisions of her life. She does not learn to value her struggles, to celebrate her strengths, to comprehend her pain. Without stories she cannot understand herself. Without stories she is alienated from those experiences of self and world that have been called spiritual or religious. She is closed in silence. The expression of women’s spiritual quest is integrally related to the telling of women’s stories. If women’s stories are not told, the depth of women’s souls will not be known. (Carol Christ, Diving Deep and Surfacing: Women Writers on Spiritual Quest. Boston: Beacon Press, 1980) Continue reading “Painting Holy Women By Angela Yarber”

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”

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”

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”

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”

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”