music – Page 2 – Feminism and Religion

If Holly Near’s Simply Love Album Were a Musical by Elisabeth Schilling

For many of us, listening to women-loving-women songs is a spiritual experience. That is because somehow it makes us feel seen, puts a sense of hope into our world as well as daydreams of romance. We can understand the challenges and the regret or guilt that comes with disappointing others and ourselves, them for not being who they wanted us to be and for us, not being who we are for far too long. Holly Near’s Simply Love album narrates a story that I might envision as a musical theatre production, and I really wish someone would ask me to write it and then hold the casting call (yeah, I’d want to be in it too, so save me a part). I offer some of my thoughts on two central songs in the would-be musical in hopes of sacred liturgy on a potential stage.

Simply Love has 28 songs and was released (according to Spotify) in 2000. I think the synopsis would be surrounding Cassandra, in a loving relationship with her partner, reflecting on her journey to this place of authenticity. I can imagine how it might be living one’s live in an exploratory way and coming to new revelations later in life.

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Missing from History: Women Composers by Mary Sharratt

Clara Schumann

To a large extent, women have been written out of history. Any surviving record of female accomplishment is often trivialized or dismissed. This seems especially true in the male-dominated world of classical music. When asked to name a single female composer, many people draw a blank. This isn’t because they’re ignorant, but because women’s music has been buried and neglected for far too long. Even pioneering women composers themselves lived and worked in ignorance of their foremothers.

Clara Wieck Schumann, wife of Robert Schumann, composed her first piano concerto at the age of fourteen and wrote a significant body of work in her early life. Mother of eight children and family breadwinner, she became the foremost concert pianist of 19th century Europe. In her sixty-one-year performance career, she interpreted the work of contemporary composers such as Robert Schumann and Johannes Brahms. Yet when it came to establishing herself as a composer in her own right, she was crippled with self-doubt. “I once believed that I had creative talent, but I have given up this idea,” she wrote in her diary in 1839. “A woman must not wish to compose—there never was one able to do it.” She was only twenty when she wrote these words that condemned her music to obscurity. Continue reading “Missing from History: Women Composers by Mary Sharratt”

My Heroine’s Journey: Writing Women Back in History by Mary Sharratt

We have been lost to each other for so long. My name means nothing to you. My memory is dust.

This is not your fault or mine. The chain connecting mother to daughter was broken and the word passed into the keeping of men, who had no way of knowing. That is why I became a footnote, my story a brief detour between the well-known history of my father and the celebrated chronicle of my brother.

Anita Diamant, The Red Tent

I am an expat author. My home is everywhere and nowhere. A wanderer, I have lived in many different places, from Minnesota, my birthplace, with its rustling marshes haunted by the cries of redwing blackbirds, to Bavaria with its dark forests and dazzling meadows and pure streams where otter still live, to my present home in the haunted moorlands of Pendle Witch country in Lancashire, England. My entire adult life has been a literal journey of finding myself in the great world.

For as long as I remember, I longed to be a writer. As a novelist I am on a mission to write women back into history. To tell the neglected, unwritten stories of women like my pioneering foremothers who emigrated from Bohemia (now the Czech Republic) in the 1860s to break the prairie soil of southern Minnesota.

To a large extent, women have been written out of history. Their lives and deeds have become lost to us. To uncover their buried truths, we must act as detectives, studying the sparse clues that have been handed down to us. We must learn to read between the lines and fill in the blanks. My heroine’s journey, in other words, is about reclaiming the lost heroines of history. My quest is to give voice to ancestral memory of that lost motherline.

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Why Isn’t Easter Marketable? By Anjeanette LeBoeuf

Anjeanette A few months ago, a friend and I were having one of our many hundreds of random conversations when we started to talk about the differences in the commercialization of the two major Christian holidays: Christmas and Easter. We started really getting invested it this question and what factors lead to Christmas become the juggernaut that it currently is.

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We Are Music by Natalie Weaver

Natalie Weaver edited When I was about eight years old, I dreamed one night that I stood inside the workings of an immense instrument, so big it filled the sky. It was crafted of wood and gold, and although there was no obvious source of light, it was brightly illuminated. I could have confused it for the inner workings of a clock except that I could hear the sweet music it produced resonating throughout its cavernous hollows. It was curious to me that there seemed to be no atmosphere there either to breathe or to carry sound. Within it, I did not perceive any movement. And, there was no actual melody that it produced, which could be sung or repeated. There was only an enveloping harmonic thrumming. The sound was multiplicative and voluminous although not piercing. I understood it in the dream to be cosmic, structural, primordial, and generative. When I awoke, I had the feeling that I had seen something divine. It was not heaven. It was not God. It was more like the instrument of the universe, or the universal instrument, created as a first work among creation

It was puzzling to me that I had such a dream because I was not then a musician. I felt that I understood its meaning, but I was surprised by its discontinuity with things in my normal frame of reference. My mother played piano, but she had no music theory in her background. She surely did not have any training in musical cosmologies, such as those produced in antiquity by the philosophers and theologians. I occasionally mentioned the dream over the years when context seemed to warrant it, but, more or less, I filed it away. Continue reading “We Are Music by Natalie Weaver”