Language of the Goddess – Feminism and Religion

Legacy of Carol P. Christ: “The Language of the Goddess” In Minoan Crete

This post was originally published on Oct. 8, 2012

While the “war against Marija Gimbutas,” rooted in what my friend Mara Keller calls “theaphobia,” is being waged in the academy, her theories continue to unlock the meaning of hundreds of thousands of artifacts from the culture she named “Old Europe.”

According to Gimbutas, the Neolithic and Chalcolithic cultures of Old Europe c. 6500-3500 BCE were peaceful, sedentary, agricultural, matrifocal and probably matrilineal, egalitarian, and worshipped the Goddess as the power of birth, death, and regeneration in human and all forms of life. The cultures of the Old Europe contrasted with the Bronze Age cultures of the Indo-Europeans who brought the Indo-European languages and value systems to Europe and India and to all of the European colonies. The Indo-European cultures were patriarchal, patrilineal, nomadic, horse-riding, and warlike, and worshipped the shining Gods of the sky.

“The language of the Goddess” includes a series of signs and symbols that the people of Old Europe could “read” as surely as you and I know that a cross on top of a building marks it as Christian or that a woman wearing a star of David pendant is Jewish. Gimbutas identified the meaning of these symbols through a painstaking process that involved comparison of artifacts, attention to where they were found, and clues from the recurrence of similar symbols in later cultures. In twenty years of leading Goddess Pilgrimages to Crete, I have found Gimbutas’ theories an indispensible “hermeneutical principle” which unlocks the meanings of the artifacts we encounter.

Continue reading “Legacy of Carol P. Christ: “The Language of the Goddess” In Minoan Crete”

Legacy of Carol P. Christ: A CLASH OF CULTURES IN OUR GENES

This was originally posted on February 27, 2012

I carry the exact replica of MDNA handed down from mother to daughter since the depths of the last Ice Age 17,000 years ago. My father carries the YDNA of the Indo-Europeans handed down from father to son since the time when his male ancestors invaded Europe about 5000 years ago.

My female ancestors moved with the seasons as they gathered fruits and nuts, roots and greens to feed their families. Some of them may have blown red ochre around their hands to leave their marks in ritual cave-wombs.

Mitochondrial DNA is passed down exclusively from mothers to their children. My MDNA “T2b” was given the name “the clan of Tara” by Bryan Sykes in The Seven Daughters of Eve. According to Sykes the earliest female ancestor with this gene lived about 17,000 years ago, perhaps in Tuscany.

Most Europeans–male and female–are related to only eight or ten female ancestors. Going further back, all Europeans, Asians, and Aboriginal Australians are related to the women among the San “bushmen” who left Africa 100,000 years ago. The San are one of 13 lineages in Africa that can be traced back to a single African foremother. We really are one big family.

Legacy of Carol P. Christ: The Mountain Mother: Reading the Language of the Goddess in the Symbols of Ancient Crete

The blog was originally posted on May 22, 2017

Before he told the story of how his people received the sacred pipe, Black Elk said:

So I know that it is a good thing I am going to do; and because no good thing can be done by any man alone, I will first make an offering and send a voice to the Spirit of the World, that it may help me to be true. See, I fill this sacred pipe with the bark of the red willow; but before we smoke it, you must see how it is made and what it means. These four ribbons hanging here on the stem are the four quarters of the universe. The black one is for the west where the thunder beings live to send us rain; the white one for the north, whence comes the great white cleansing wind; the red one for the east, whence springs the light and where the morning star lives to give men wisdom; the yellow for the south, whence come the summer and the power to grow.

But these four spirits are only one Spirit after all, and this eagle feather here is for that One, which is like a father, and also it is for the thoughts of men that should rise high as eagles do. Is not the sky a father and the earth a mother, and are not all living things with feet or wings or roots their children? And this hide upon the mouthpiece here, which should be bison hide, is for the earth, from whence we came and at whose breast we suck as babies all our lives, along with all the animals and birds and trees and grasses. And because it means all this, and more than any man can understand, the pipe is holy. [italics added]

In this passage Black Elk illustrates the multivalency of symbols: the sacred pipe does not have a single meaning, but many meanings, in fact, more meanings than anyone can understand.

The Legacy of Carol P. Christ: Dance of the Bees: Reading the Language of the Goddess

This blog was originally posted on December 1, 2014

The image from an ancient Cretan bowl (c.1700 BCE) from the Sacred Center of Phaistos pictured here has often been interpreted as an early depiction of Persephone’s descent or rising. But are clues from later Greek mythology pointing in the right direction in this case?

Recently, my colleague Mika Scott posted the Phaistos bowl image on our Goddess Pilgrimage Facebook site in conjunction with the bee pendant from Mallia. This juxtaposition led me to think again about the importance of bees and pollination in agricultural societies and to offer an alternative reading of the symbolism on the bowl.

Carol P. Christ’s Legacy: Was There a “Golden Age” before Patriarchy and War? by Carol P. Christ

Marija Gimbutas coined the term “Old Europe” c.6500-3500 BCE to describe peaceful, sedentary, artistic, matrifocal, matrilineal and probably matrilocal agricultural societies that worshipped the Goddess as the power of birth, death, and regeneration in all of life. Gimbutas argued that Old Europe was overthrown by Indo-European speaking invaders who began to enter Europe from the steppes north of the Black Sea beginning about 4400 BCE. The Indo-Europeans were patrilineal and patriarchal, mobile and warlike, having domesticated the horse, were not highly artistic and worshiped the shining Gods of the sky reflected in their bronze weapons.

In the fields of classics and archaeology, Gimbutas’s work is often dismissed as nothing more than a fantasy of a “golden age.” In contrast, scholars of Indo-European languages, Gimbutas’s original specialty, are much more likely to accept the general outlines of her hypothesis. The German linguist and cultural scientist Harald Haarmann is one of them.

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.

Thank you Glenys for the fantastic editing job.

* * *

Carol’s new book written with Judith Plaskow, is Goddess and God in the World: Conversations in Embodied Theology.

FAR Press recently released A Serpentine Path: Mysteries of the Goddess.

Join Carol on the life-transforming and mind-blowing Goddess Pilgrimage to Crete. Sign up now for 2018! It could change your life!

Carol’s photo by Michael Honegger

The Mountain Mother: Reading the Language of the Goddess in the Symbols of Ancient Crete by Carol P. Christ

Before he told the story of how his people received the sacred pipe, Black Elk said:

So I know that it is a good thing I am going to do; and because no good thing can be done by any man alone, I will first make an offering and send a voice to the Spirit of the World, that it may help me to be true. See, I fill this sacred pipe with the bark of the red willow; but before we smoke it, you must see how it is made and what it means. These four ribbons hanging here on the stem are the four quarters of the universe. The black one is for the west where the thunder beings live to send us rain; the white one for the north, whence comes the great white cleansing wind; the red one for the east, whence springs the light and where the morning star lives to give men wisdom; the yellow for the south, whence come the summer and the power to grow.

But these four spirits are only one Spirit after all, and this eagle feather here is for that One, which is like a father, and also it is for the thoughts of men that should rise high as eagles do. Is not the sky a father and the earth a mother, and are not all living things with feet or wings or roots their children? And this hide upon the mouthpiece here, which should be bison hide, is for the earth, from whence we came and at whose breast we suck as babies all our lives, along with all the animals and birds and trees and grasses. And because it means all this, and more than any man can understand, the pipe is holy. [italics added]

In this passage Black Elk illustrates the multivalency of symbols: the sacred pipe does not have a single meaning, but many meanings, in fact, more meanings than anyone can understand. Continue reading “The Mountain Mother: Reading the Language of the Goddess in the Symbols of Ancient Crete by Carol P. Christ”