Angela Yarber – Page 8 – Feminism and Religion

Painting Jarena Lee By Angela Yarber

When we gender the pulpit in the direction of justice, we ordain her spirit with gratitude for the many miles she walked and the countless sermons she preached.

This month I celebrate the release of my second book, The Gendered Pulpit: Sex, Body, and Desire in Preaching and Worship. As I celebrate the privilege I have as queer feminist to stand behind the pulpit each Sunday—to gender the space in the direction of justice—I must also recall the myriad holy women who have gone before me. I think of many of my Holy Women 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, and so many others. And this month I think specifically of my sister preachers, those who raised their voices in bold proclamations when the road was long and unimaginably difficult. I think of preachers like Jarena Lee.

Lee spent thirty years as an itinerant preacher and was the first black woman to be licensed to preach through the African Methodist Episcopal (AME) church. Despite the fact that the AME issued a definitive ruling that women were not permitted to preach in 1852, Lee spent the bulk of her adult life preaching. Jarena Lee’s struggle to preach is a familiar story in nineteenth-century American Protestantism, even though the Second Awakening ushered in a period of intense religious revival; with camp meetings around every corner, there was an unprecedented opportunity for women to preach. Like Jarena Lee, though, they weren’t paid, ordained, or protected. Continue reading “Painting Jarena Lee By Angela Yarber”

Painting Saraswati By Angela Yarber

Saraswati reminds me that the divisions between fields are our construction; that academics can be creative, art can be holy, and preaching can engage the mind.

I was precariously perched atop a file cabinet tacking a giant cloth to the wall when another staff member entered my office. “What’s that?” she asked, puzzled, and pointing to the massive cloth now covering my wall. “Saraswati,” I responded, hopping off the file cabinet, “the Hindu goddess of arts, creativity, and learning.” She raised her eyebrows. “Our previous Baptist preacher didn’t have any Hindu goddesses hanging on the wall,” she said with a wry smile. “I guess I’m not your average Baptist preacher,” I chuckled.

For years I have been searching for Saraswati, claiming her as my patron saint, the one who guides my path as I navigate three seemingly disparate callings: artist, scholar, and preacher. In Saraswati, these three callings merge. Naturally, I hang a giant image of her on my office wall and wear a pendant bearing her likeness around my neck. She reminds me that the divisions between fields are our construction; that academics can be creative, art can be holy, and preaching can engage the mind. These three seemingly disparate callings do not have to be mutually exclusive. Saraswati certainly wouldn’t see them this way. Continue reading “Painting Saraswati By Angela Yarber”

Painting Sojourner Truth By Angela Yarber

This month, I am reminded of the importance of Jacquelyn Grant’s work on womanist Christology. In White Women’s Christ and Black Women’s Jesus, Grant reviews the white feminist discussion of the so-called problem of Jesus’ maleness, while beginning to construct a womanist response to this incarnational conundrum. She states, “It is my claim that there is a direct relationship between our perception of Jesus and our perception of ourselves.”[1]

Beginning with Mary Daly, feminists have responded to Jesus’ maleness in a variety of ways. Daly argues that because the person of Jesus is male, the male is recognized and celebrated as the superior being. Because of this, the male Jesus is to be rejected or exorcised because Jesus’ gender identity contributes to patriarchy and does not hold salvific power for women. Rather than rejecting Jesus altogether, Rosemary Radford Ruether asks the seminal question, “Can a male Jesus save woman?” Continue reading “Painting Sojourner Truth By Angela Yarber”

Painting Fatima by Angela Yarber

She performs ablutions, prays, and mends shoes for years, only to don her death shroud upon her back and place a symbolic tombstone upon her head. With death cloaking her compassionate body, she begins to twirl, invoking the name of the Beloved within her heart. She is a whirling dervish and her name is Fatima. The daughter-in-law of the esteemed Sufi poet, Rumi, joins with the myriad other Holy Women Icons with a folk feminist twist that I write about each month: Virginia Woolf , the Shulamite, Mary Daly, Baby Suggs, Pachamama and Gaia, Frida Kahlo, Salome, Guadalupe and Mary.

Fatima is best understood when placed in an historical context. So, I begin with a very brief history of the whirling dervishes, while also offering glimpses into women’s roles in the Mevlevi Order. The primary Islamic sect that proclaims that dancing is a way of connecting with the divine—for both men and women—is the Sufi Order. Over eight hundred years ago, Mevlâna Jalâluddîn Rumi inspired faithful Muslims to whirl in harmony with all things in nature. The whirling dervishes of Turkey unite the mind, heart, and body, and help to usher peace into the world through their dance by dedicating their lives to service and compassion. After Rumi’s death on December 17, 1273, his followers responded by whirling. These followers of Rumi are known as the Mevlevi Order, or more popularly, the whirling dervishes. Until around the fourteenth century women were included in the practice and leadership of turning. As Muslims in Turkey became more and more conservative, however, women were forced to the sidelines and not allowed to whirl. And even with the secularization of the country with the reign of Mustafa Kemal Ataturk, women were still denied access to the turning path because Ataturk essentially made whirling illegal in an attempt to take away as much religion from Turkish life as possible. Ataturk banned tekkes, or dervish homes, in 1925 as he secularized the state. By the 1970s the Turkish government allowed turning once again, but only if it was a performance and not a prayer. There were even reports of an old dervish being arrested because they saw his lips mouthing “Allah” as he turned in a theatre performance for tourists. Continue reading “Painting Fatima by Angela Yarber”

Painting Guadalupe and Mary by Angela Yarber

As we feminists struggle to elevate Mary and Guadalupe, we sometimes forget that speaking of birth and gestation is not always empowering or even essential to womanhood.

It is early morning on the Hill of Tepeyak on December 9, 1531 when a wondering peasant named Juan Diego first caught a glimpse of her presence. Diego sees a vision of a teenage girl surrounded by light; the young girl asks that a church be built on the hill in her honor. After hearing her speak and seeing the light emanating from her presence, Diego recognizes her as the Virgin Mary. He rushes to the Spanish archbishop who insists on a sign as proof of Diego’s vision. The young girl instructs Diego to gather flowers from the top of the hill, even though it is past their growing season. Upon climbing to the top of the Hill of Tepeyak, Diego discovers Castilian roses—a beautiful flower otherwise unheard of in Mexico—which the glowing young woman arranges in his cloak. When Diego returns to the archbishop, he opens his cloak to reveal the miraculous flowers and they fall to floor; in their place was an image imprinted on the fabric of his cloak. It was the image of Our Lady of Guadalupe.

Guadalupe is one of Mexico’s most popular religious and cultural images and her icon, now on display at the Basilica of Our Lady of Guadalupe, is one of the most visited Marian shrines in the entire world. On December 12, countless Christians—particularly Catholics—celebrate her feast day. Her feast day occurs within the four week celebration of Advent, which is the period of waiting, expectancy, and gestation before the birth of Jesus at Christmas. Continue reading “Painting Guadalupe and Mary by Angela Yarber”

Painting Salome By Angela Yarber

Each month I focus my article on one of my Holy Women Icons with a folk feminist twist. Virginia Woolf , the Shulamite, Mary Daly, Baby Suggs, Pachamama and Gaia, and Frida Kahlo have reputations that match their lived realities relatively closely, so my paintings have attempted to reflect these realities. The subject of this month’s article, however, has been misrepresented and misunderstood throughout the ages. Her “name” is Salome and we read of her dancing story in the Gospels of Matthew and Mark.

If you carefully read Mark 6:17-29 or Matthew 14:3-11, you’re probably wondering why this article features an icon of someone named Salome. There was no mention of anyone named Salome in the text. Rather, in the Markan text both the dancing daughter and her mother are named Herodias. In Matthew’s text, the daughter is nameless. It wasn’t until later when Josephus, a Jewish historian, named her Salome and stated that she was responsible for the beheading of the John the Baptist.
Continue reading “Painting Salome By Angela Yarber”

Painting Frida Kahlo By Angela Yarber

As we begin the month of October and ghosts and skulls fill our homes, I am reminded of the holy days that await us. Poignant to my own background, Dia de los Muertos beckons us to remember who has gone before us. Dia de los Muertos is a Mexican holiday that is officially celebrated on October 31 and November 1 in a manner similar to the pagan Samhain holiday and the Catholic holidays of All Saints Day and All Souls Day. It is a time for Mexican families to remember their lost loved ones, to celebrate their lives, and to pray on their behalf.

It is fitting that we remember the many Holy Women Icons with a folk feminist twist that have gone before us: Virginia Woolf , the Shulamite, , Mary Daly, Baby Suggs, Pachamama and Gaia. These icons join with many others on display as my solo show at Woven Soul Gallery in Winston-Salem, NC. As we prepare for Dia de los Muertos, the holy woman icon dearest to my heart is none other than the Mexican feminist and revolutionary artist, Frida Kahlo. Continue reading “Painting Frida Kahlo By Angela Yarber”

Painting Virginia Woolf by Angela Yarber

As I painted her icon, I knew that “the room of one’s own” must engulf more space on the canvas than she did, her heart beating in the room and outside of it, and her arms outstretched as though she is inviting other women into the room.

I first encountered her in the lyrics of a song. The Indigo Girls shaped my adolescence, molding me into a young feminist as I sang in harmony with other teenage girls:

They published your diary

And that’s how I got to know you

The key to the room of your own

And a mind without end
And here’s a young girl

On a kind of a telephone line through time

And the voice at the other end

Comes like a long lost friend
So I know I’m alright

Life will come and life will go

Still I feel it’s alright

‘Cause I just got a letter to my soul

Emily Saliers and Amy Ray (the Indigo Girls) were singing about Virginia Woolf, naming the song after her. As I belted out the lyrics with my soon-to-become-feminist friends, I had yet to learn who Virginia Woolf was and how her life and work had shaped my own. All I knew as I harmonized those many years ago was that this woman must be special if the Indigo Girls dedicated a song to her. I felt a longing to know her, to learn more about her, for her to call me on that telephone line through time and tell me I’m alright. Accordingly, Virginia Woolf is our Holy Woman Icon for September. Continue reading “Painting Virginia Woolf by Angela Yarber”

Painting Pachamama and Gaia by Angela Yarber

Pachamama prevails. Her body is one with the Andes and she births the caverns, canyons, and rivers that sustain the earth.

This month, the indigenous people of the Andes celebrate a high holy season in Incan mythology, honoring their beloved Pachamama. Pachamama is venerated as the earth goddess and during August, her followers give her payment (pago) with their central ritual of Challa. So, I’d like for my monthly article about Holy Women Icons to celebrate this earthy goddess of Peru, along with a similar manifestation of mother earth, Gaia. Thus far, the biblical dancer, the Shulamite, feminist scholar, Mary Daly, and literary figure, Baby Suggs, have been the icons with a folk feminist twist that I have discussed on Feminism and Religion. Now, I’d like us to join with our Andean sisters in toasting the holy women icons of mythology: Pachamama and Gaia. Continue reading “Painting Pachamama and Gaia by Angela Yarber”

Painting Baby Suggs by Angela Yarber

Each month I am writing an article that discusses one of my Holy Women Icons, which are an array of icons painted with a folk feminist twist. These Holy Women Icons are comprised of biblical women, such as the Shulamite, feminist scholars, such as Mary Daly, artists, dancers, and women from mythology and literature. This month, I’d like to focus on a holy woman whose preaching embodied eschatological imagination and whose dance liberated broken bodies. This holy woman cannot be found within the confines of scripture or met in the flesh. Rather, her preaching and dancing are found within the pages of Toni Morrison’s novel, Beloved. If ever there was a holy woman who preached on behalf of all those broken and bound it was Morrison’s stunning character, Baby Suggs, holy.

Eschatological imagination is a communal foretaste of resurrection that does not suppress the social conflicts and injustices of racism, poverty, slavery, and privilege. Through the preaching and dancing of Baby Suggs, enslaved bodies are redeemed and transformed into resurrected bodies. A slave herself, Baby Suggs leads all the black men, women, and children to a clearing each week for worship. After inviting men to dance, children to laugh, and women to cry, she offers up one of the most beautiful sermons on behalf of her enslaved community. Morrison describes the efficacy of Baby Suggs’ message, saying:

She did not tell them to clean up their lives or to go and sin no more. She did not tell them they were blessed of the earth, its inheriting meek or its glory-bound pure. She told them the only grace they could have was the grace they could imagine. That if they could not see it, they would not have it. Continue reading “Painting Baby Suggs by Angela Yarber”