Search Results (21)

In the interface of Christian ethics, autoethnography and Indigenous knowledge, I propose a Christian moral imagination of cohabitation based on interdependence and enablement. I use non-archival community knowledge and oral memory to excavate moral wisdom from my grandmother’s garden. I argue that to be interdependent is to be human, and the creation of a “social condition of livable lives” is a necessary requirement of cohabitation. Methodologically, this paper builds on liberative ethics and its emphasis on moral oughts as “derivatives of survivals”. I conclude that the deep-seated intentionality to live well and be fully human is the soul of Christian ethics. Though the story centers on my grandmother and her kitchen garden, the paper is transnational and contributes to the global discussion on what it means to live well. It adds moral knowledge centered on Indigenous people’s world-making paradigm. This paper is not an Indigenous perspective of Christian ethics. Rather, it is a paradigmatic paper built on the way that Indigenous people engage with the world (relationality) and with each other. Full article

This paper argues that Black women are represented in online political advertisements during South African election campaigns. Through the qualitative online research approach, this paper deploys a purposive sample of 30 online political advertisements of the African National Congress (ANC), Democratic Alliance (DA), and Economic Freedom Fighters (EFF) from the national, provincial, and local government 2009 and 2024 elections cycles. This paper deploys an Africana Womanist Approach as both a theoretical and analytical framework to interrogate underlying visual rhetoric concerning how Black women are depicted in the sampled online political advertisements, particularly in the framework of post-apartheid South Africa. Findings revealed that Black women are consistently portrayed in the ANC, DA, and EFF advertisements as maternal figures, labourers, marginalised individuals, and iconic of anti-apartheid activists’ inequality since the 1994 transition. Nevertheless, it was also found that Black women continue to be seen as emblems of poverty and underdevelopment, despite the political promises of change. This paper advances understanding as to how perspectives on Africana women shape the visual framing of political messages in the South Africa online campaign environment, demonstrating how these representations can be aligned to produce cultural and political communication strategies. Full article

“If it wasn’t for the women” is a common refrain in Black Church culture, made most popular by Cheryl Townsend Gilkes’ sociology of religion work in the 1990s. As conversations grow around a perceived disconnection from the church—particularly among younger generations—many Black congregations and denominations are asking the following question: Where do we go from here? One possible response is to ask the women. Black women have long been central to the sustenance and theological framing of the Black Church. However, many contemporary Black women theologians and church-adjacent writers are reshaping religious discourse in ways that move beyond traditional ecclesial boundaries and into the interiority of Black womanhood. This turn should be considered essential in any reimagining of the Black Church. This paper employs content analysis to examine five contemporary works by Black women thinkers—Candice Benbow, Lyvonne Briggs, Tricia Hersey, EbonyJanice Moore, and Cole Arthur Riley—whose writings reflect Black women’s embodied spirituality, theological imagination, cultural meaning-making, and institutional critique within Black religious life. Rather than signaling a decline in moral or spiritual life, their work points to the search for sacred spaces that are more liberative, inclusive, and attuned to lived experience. Through a thematic analysis of Power, Authority, and Institutional Critique; Afrofuturistic Visioning of Faith; Sacred Embodiment and Spiritual Praxis; Language and Rhetorical Strategies; Gender, Sexuality, and Sacred Autonomy; and Liberation, Justice, and Social Transformation, this study contributes to the evolving conversation on Black women’s spirituality, leadership in religious spaces, and a possible iteration of the Black Church. Full article

Ain’t I a Woman? This question was raised by activist and self-emancipated former slavewoman Sojourner Truth, who validly questioned the body politic of identity when contextualized to perceptions of female personhood. Essentially, what Truth challenged were presumptions about the standards set to revere female bodies through markers of genteel Whiteness, while the worth of embodied Blackness, precisely the beauty of Black women, is reviled. In this article, I seek to raise awareness about factors of patriarchy and societal ramifications. Patriarchy is a systematized phenomenology of norms privileging the male gaze. The White male gaze, particularly in strongholds of power, influences the body politic of communal identity. Black women tend to lean on their faith to embody strength, yet patriarchy also encumbers the gendered body politic in religious spheres. As a womanist scholar, my analysis considers the intricate roles that patriarchy holds in the cultural production of a genteel, pretty woman image, wherein the aura of Whiteness grounds a body politic that deems Blackness as other. Despite the influences of prevailing macrosystems, I propose a theoethic of self-love to push against negatively biased identity boundaries by affirming ways to embrace Black beauty with a subversive imperative to love oneself regardless. Full article

In this essay, I discuss the art of Missionary Mary Proctor, a contemporary folk artist from Tallahassee, Florida, in the context of the literary aesthetics of the renowned twentieth-century anthropologist and writer Zora Neale Hurston. In comparing these Southern-born African American women artists, I argue that both are rooted in an aesthetic praxis deriving from their shared womanist ethics. My goal in this inquiry is to highlight the faith-based aesthetic traditions of African American women and reveal the manner in which discourses of freedom intertwine with literary and visual aesthetics and faith-based practices in African American folk art and literature. To that end, I analyze the prevalence of themes of liberation within the spiritual discourses of Southern African American women artists such as Missionary Mary Proctor and theorize the manner in which a landscape of Black female liberation is envisioned within their works. Full article

“Who can find a virtuous woman?” (Prov. 31:10 KJV). My entire life, I have heard and read messages about the “virtuous” woman, as depicted in Proverbs 31:10–31. Though many herald this character as the standard for godly women, I find her portrayal problematic. She is depicted as a one-dimensional worker bee, never engaged in rest, recreation, or relationship building. Further, her spiritual location and formation go unmentioned. How did such a limited illustration become the religious paradigm by which women and girls are measured? At its root is white supremacist, patriarchal, capitalistic misogyny (WSPCM), employed in churches to consign women to “safe”, secondary status while still using them as workhorses and sources of income to keep institutions viable. Once internalized, women and girls bear the crushing weight of an unhealthy, unattainable achievement, struggling to become a fictitious, unrealistic figure. In this article, I refute the WSPCM interpretation of the Proverbs 31 woman as the standard for faithful, Spirit-filled women, offering instead a liberative paradigm grounded in womanist hermeneutics, ethics, and spirituality. This approach provides a critique of and corrective for the oppressive, erroneous, and dangerous interpretations of “virtue” and “womanhood” that do violence to female personhood, especially in the name of religion. Full article

For the last thirty years, white evangelical Christians have been one of the most prominent groups in the anti-trafficking movement in North America. Whether advocating for policy changes on behalf of survivors, interacting with populations vulnerable to sexual exploitation, or staging rescues, these moral actors use Christian religious practices and values to respond to trafficking and commercial sex work. Anti-trafficking work is coated with and coded by evangelical whiteness, which uses the norms of sexual, social, and racial purity in their interactions with and recovery of trafficking victims and survivors. In response to the white evangelical stronghold on anti-trafficking interventions, the womanist ethic of encounter utilizes womanist frameworks to center the historical realities lived experience of Black women and talk back to the history of evangelical whiteness in anti-trafficking work. Secondly, it focuses on how to interact with the holistic body of Black women in the urban mission field of anti-trafficking. Finally, the womanist ethic of encounter seeks to bridge the gap between the Protestant moralistic centering of the word of the Gospel that coats rescue and recovery efforts and asserts a Catholic centering of the Eucharist to clarify the power of sacrificing and breaking the body of whiteness in anti-trafficking work. Full article

This article explores feminist art criticism from the point of view of aesthetics/politics in global contemporary art. It is based on the author’s experience as an art critic and founding editor of n.paradoxa: international feminist art journal (1998–2017). Reading articles published in the previous two decades both for the journal and outside it, it became possible to identify how subjects produce specific objects in art criticism that demonstrate different locations and standpoints in thought and how these align with criticism from broader feminist political theories. This is an exploration of the aesthetics/politics both in, about and beyond feminist art criticism. The methodology presented analyses feminist art criticism using a model of clusters of concepts that draws on Anne Ring Petersen’s examination of identity politics, race and multiculturalism from 2012. Feminist analyses in which this approach has been attempted are discussed: Sue Rosser’s 2005 analysis of cyberfeminism and Tuzyline Jita Allan’s 1995 discussion of black/womanist/African feminisms. The article identifies four types of feminist art criticism: liberal feminism, materialist feminism, feminist cosmopolitan multi-culturalism, and queer post-colonial feminism. The aims, methods and approaches of these tendencies are outlined to demonstrate the differences between them. The article concludes with a discussion about the futures of feminist art criticism. Full article

This article challenges the dominant Christian-centered approach to Black religious life by exploring contemporary Womanist Buddhist and Black Buddhist practice, writing, and thought alongside writings of early East Asian Buddhist nuns, noting similarities, differences, and the intersections among and between these written accounts. “Reading Between the Times” signals the ongoing nature of this project, and this particular paper draws heavily upon Kathryn Ann Tsai’s 1994 translation Lives of the Nuns: Biographies of Chinese Buddhist Nuns from the Fourth to Sixth Centuries along with several Womanist and/or Black Buddhist voices, such as Faith Adiele, Melanie Harris, bell hooks, Layli Maparyan, Carolyn Jones Medine, Alice Walker, reverend angel Kyodo williams, Jan Willis, and Pamela Ayo Yetunde. Rather than make definitive claims, this paper becomes curious with initial observations surrounding authorial voice, intersections of race/gender/class within a particular temporal space, “legitimacy” questions, and others—and, of course, invites more work in the future. Deploying an engaged Buddhist pedagogy to inform mindful scholarship, this paper reminds us that we have more commonalities than oppressive systems often admit or acknowledge, and it concludes with a call to action. Full article

The theme of suffering is intimately tied to the possibilities of the blood as redemptive in theology. Potentially considered a universal pathway to salvation and racial transcendence for people of African descent, “Da Blood of Shesus” asks: Is there redeeming power in the blood for people of African descent? Turning to Womanist and lyrical theologians to postulate an African theological framework which explores redemptive suffering not glorified as inevitable and intricate to the historical Black experience and the church. Lyrical theologians affirm Jesus’ redemptive power of the blood in Hip Hop portraying the ways in which the cross reveals the attributes of God. Womanist theologians challenge the “classical” interpretation of redemptive suffering, illuminating the ways it contributes to Black oppression and wretchedness. Arguably, Womanist and lyrical theologians conjointly point towards liberatory and alternatives to examine redemptive suffering for people of African descent by offering sites to scrutinize and nuance the blood as an indispensable pathway to redemption. An African theological perspective decenters the logics of anti-Blackness proposing suffering is inevitable to Black life and the historical Black experience. Full article

Tonglen is a Tibetan Buddhist practice that aims at developing the practitioner’s bodhicitta. In this article, I argue that it not only finds expression in Alice Walker’s The Color Purple through the protagonist Celie, but adds more complexity to the womanist philosophy for which Walker has been ensconced in positions of influence. More specifically, Celie follows an implied Buddhist practice of tonglen; in the process of “taking in and sending out”, her bodhicitta has been generated and cultivated. Underlying her tonglen practice is Buddhist womanism demonstrating how African American women can survive the social oppression and injustice by way of acknowledging their own terrible afflictions, empathizing with those enduring intense suffering, male and female, extending their loving kindness, comprehending the absence of intrinsic entity and the principle of dependent origination, etc. In addition, the article suggests that the fight for the survival of the oppressed is a type of Buddhist practice in Walker’s Buddhist womanism. Full article

Hannah’s story in the Old Testament has been written about considerably by Jewish feminists, womanist theologians, and other biblical scholars. This paper strives to build upon these works in asking the reader to consider Hannah’s story from a liberatory theological theory of suffering by Sölle, as well as a postmodern and non-religious lens as discussed by Sandoval’s Theory of Oppositional Consciousness in Methodology of the Oppressed and Lorde’s “Transformation of Silence into Language and Action”. This paper asks if this narrative can serve as an example of taking back one’s power by confronting a complex system of power and oppression for Black women. Intercessory prayer aptly defines the personal as political, especially with the multiple minoritized identities of Hannah. I argue that Hannah’s story can serve as a complex narrative of differential consciousness and the reclamation of one’s own power, by using her voice. Her audacity to correct a prophet, fight for her valid desire of motherhood, and determine her own happiness is evidence of an empowerment ethic that is necessary for minoritized women in a post-modern era and political climate where the erasure of all forms of difference and consciousness is the priority. Full article

Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture. Full article

Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens? Full article

Prior to the 2014 republication of Toni Morrison’s, Paradise, the novelist had not published any commentary about the role of literary influence John Milton might have had on her fictional writings. In a foreword to the republication of her 1997 novel, Morrison offers her first published acknowledgement of Milton’s influence on any work in her canon. My essay contends this Miltonic revelation constitutes a groundbreaking event in literary criticism. I explore the critical significance of this revelation by explicating the foreword, Milton’s significance within it, and its implications for reading the 17th-century epic writer’s (in)visible influential presence throughout Paradise. Placing particular emphasis on the interpretive significance of Morrison’s womanist critique of Milton’s portrayal of Eve, my essay turns to a focus on the Convent women as interrogated replicas of the first mother presented in Paradise Lost. This analysis of the novel enlarges the grounds of contention in Milton and African American studies, providing a richer interpretive reading experience that has never been cited or examined in existing literary criticism prior to now. Full article