Search Results (31)

“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

Gerty MacDowell’s initial, albeit brief, appearance in James Joyce’s Ulysses has sparked debates regarding her identity and agency. In the critical literature, there are interpretations that characterize Gerty as a woman and disabled person whose actions conform to patriarchal beauty standards that objectify her. This paper argues for revising such readings by applying an intersectional feminist disability perspective attuned to the interconnections between her womanhood and disability. Rather than positing Gerty’s identities as inherently conflicting, I illustrate how her disability and feminine social position co-constitute and transform one another. Her self-care practices aimed at securing a husband, though partly conforming to norms, also foster confidence and counter pervasive cultural assumptions of disabled women as ugly, useless, and asexual. Gerty’s exhibition of sexual desire and pursuit of pleasure likewise contest views of disabled women as unsuitable for romance or unable to be agentic sexual subjects. Furthermore, conceptualizing agency beyond neoliberal notions of rational autonomy acting against all constraints upholds Gerty’s agentic power. She makes strategic use of available discourses and resources to expand her precarious options given material and ideological limitations. Overall, analyzing Gerty’s intersectional experience denaturalizes the reductive models of identity and agency that have dominated Ulysses criticism. Applying fresh perspectives opens new symbolic interpretations of embodied identity and sexuality. Full article

This research examines the portrayal of (non)motherhood in television series from 2016 to 2022. The title, “(Un)being a Mother”, was deliberately chosen for its polysemic nature, facilitating an exploration of the complexities of motherhood, its absence, and the implications for womanhood. The study thematically analyzes 15 television series from Hispanic, Italian, and Anglo-American cultures to reveal the diverse perspectives on motherhood. Utilizing the frameworks of Intensive Mothering, Good Mothering, Good Enough Mothering, and Non-Mothering (including both childless and childfree women), the research aims to illuminate representations of motherhood, variations in mothering paradigms, and the influence of cultural and geographical contexts. This study introduces an innovative methodological approach by investigating recurring themes of (non)motherhood across different cultural productions, incorporating insights from media sociology, gender media studies, anthropology, and ethnographic media research for a comprehensive understanding of the subject. Full article

This study examines the lives of marriage migrants, primarily coming from the Philippines to non-highly urbanised areas (i.e., “rural” areas) of South Korea. It looks at how these women negotiate gender norms and expectations in these multicultural families within the context of state-led multiculturalism. Semi-structured interviews with 20 Filipino marriage migrants were conducted from August to September 2023 in selected areas of Chungcheongnam-do (South Chungcheong Province) and Jeollabuk-do (North Jeolla Province). Based on the data gathered, it was found that these women have navigated gendered cultural expectations in the Korean household, thus reproducing gendered norms within the traditional Korean family and playing a significant role in keeping the family intact. However, there are also instances where these gendered expectations were subverted within these families. This study would like to interrogate whether these women are able to re-imagine a different kind of “womanhood” away from traditional family norms, thus challenging existing models of how marriage migrants are expected to perform in the context of what I call “performative multiculturalism” in ethnonationalist states such as South Korea and Japan. Full article

In this article, I analyze Gloria Naylor’s Mama Day and Erna Brodber’s Myal in order to demonstrate that African-derived spiritual systems are central in Black women’s fictional depictions and theorizing of healing and disability. I argue that the violence of what Moya Bailey terms misogynoir is writ on Black women’s body, mind, and spirit—the latter of which is absent in disability studies frameworks yet central to healing and liberation in this literature. These writings present a syncretized spirituality drawn from African Diasporic, African Indigenous, and Indigenous American religious beliefs that have a more capacious understanding of wholeness and wellness to reimagine healing in ways that make space for a diversity of bodymindspirits. Black spiritual practice enables self-love and acceptance of disabled Black womanhood, and the Word, Nommo, bestows spiritual healing power. Full article

The incidence of breast cancer in South Africa is increasing, with rural South African women presenting with advanced stages of the disease. A woman’s breasts are a symbol of her womanhood; they also constitute a social definition of her femininity. Women with breast cancer in rural South Africa are heavily stigmatized and suffer from various sociocultural interpretations of the disease. Breast cancer is frequently interpreted in rural South Africa as a symbol of witchcraft, sin, and punishment, and traditionally, it is treated by offering animal sacrifices, consumption of herbs, and prayer to ancestors. Using care-seeking behaviour theory as the theoretical framework, we intend to explore the sociocultural factors influencing breast cancer screening practices among rural South African women. A qualitative exploratory study was conducted using semi-structured interviews with 22 rural South African women selected by purposive sampling. Thematic analysis was used to analyse the data. The study identified four sociocultural factors influencing women’s practices of breast cancer screening in rural South Africa, including psychological factors, habits, beliefs, and perceptions of healthcare. Women in rural South African communities have deep-rooted traditional beliefs and practices regarding breast cancer. Consequently, this influences women’s preventative health behaviours regarding breast cancer screening. The development of culturally appropriate health education programs involving traditional healers and influential community leaders is essential to increasing the number of women being screened for breast cancer in rural South Africa. Full article

Given the emergence of the Ram Janmabhoomi Movement in the early 1990s, a group of female ascetics and sadhvis displayed tendencies of eschewing conventional gendered images and reinforcing the ideals of virtuous motherhood and female warriorhood in an effort to establish women’s alternative authority in the public and private domains. In order to galvanise women’s participation in the public sphere, these sadhvis allowed women to assume roles that would otherwise be reserved for men on the grounds that men are no longer living according to their dharma. In reality, the sadhvis were reorganising the feminine space within a predominately masculine Hindutva movement by recommending a level of politicisation of women’s private responsibilities in the public sphere with a distinctive articulation of particular gender stereotypes. Taking into account these factors, my aim in writing this essay is to examine the ramifications of the agency and authority that these sadhvis achieved while actively participating in the Hindutva movement. This paper also aims to find out which types of approaches they employed to address the conflicts between conventional womanhood, asceticism, and heroic femininity in the arena of public life. 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

Knickers, big, small, plain, sensual, provocative, or practical, can be an unremarkable part of everyday life or an object of feminist protest. Women’s clothing, like the experience of womanhood itself, can often have multiple contradictory narratives. In this essay, the author discusses the history of women’s underwear and its links with socio-political revolution and feminist art. Against this contextual background, she discusses the development of the body of sculptures entitled Let’s Hook Up, a series of life-size, paper-thin drawings of lingerie in pâte de verre glass. The author details the artistic processes involved in making the works as well as the conceptual development and exploration of material and meaning. She demonstrates how artwork can act as a gateway to begin conversations about challenging topics like sexual assault whilst also providing a platform for creative expression and connection. Full article

In 2010, Padma Anagol argued that the first modern feminists in India were Christian women, women such as Laxmibai Tilak and Pandita Ramabai. Using Anagol’s definition of feminism as “a theory and practice which presented a challenge to the subordination of women in society and attempted to redress the balance of power between the sexes,” this article shows how feminist consciousness was cultivated in Christian schools, churches, hospitals, and organizations in late-nineteenth-century China. Kwok Pui Lan pointed out in 1992 that Christians were the first women in China to band together to fight women’s oppression; however, like so many of the claims made about women in global Christianity, this one has not yet been fully appreciated by historians and missiologists. I show how mission schools gave girls access to new models of personhood and womanhood. Likewise, Christian scriptures, churches, and voluntary societies such as the WCTU and YWCA provided space to reflect on gender identity and activism. Through all these avenues, a modest version of Christian feminism was cultivated in China decades before the secular women’s movement began in 1900. Full article

Transgender people in India hold a dualistic perspective on their identity. In one way, they are considered a disgraceful entity in society and, at the same time, they resemble the “Ardhanareswar” version of the Hindu God Shiva (Ardhanareswar version of Shiva: among Shiv’s many avatars, Ardhanareswar is the only one in which the god embodied both genders in a single amalgamation. That represented both the male and female gender). Also, they have been referred to as derogatory names, which are often used as slang for men who are “not man enough” and more resemble femininity. In the case of the trans women community, they are caught up in the binary status of gender, which completely ignores the third gender, and hence suffer along with the secondary status of womanhood in Indian society. In this perspective, there was and is gradual exclusion and discrimination against the trans women community. Gender identity and available occupational choice influence their occupational decision making. In this regard, the present study tries to explore the identity formation and discrimination faced by the transgender community in Sambalpur, Western Odisha. Furthermore, it tries to understand the construction of their identity through the theory of Othering. It also strives to look at the impact of discrimination on their personal, social, and health prospects in the community and evaluate the impact of the schemes implemented for them. The study is conducted among 45 trans women in the Sambalpur city in Western Odisha. Based on its prejudices, Indian society continues to create transgender identity. To give them proper recognition, government scheme assistance is insufficient at times, and people’s mindsets must be changed. Full article

This article addresses a body of works by the video artist Ruth Patir, in which Israeli womanhood in the 2020s is interrogated through Iron Age female statuettes, known as Judean Pillar Figurines. By means of motion capture technology and 3D animation, Patir features contemporary Israeli women uncannily moving and speaking through the bodies of millennium-old female figurines, whose history and function are still under debate. In Petah Tikva (2020), Patir situates these hybrid figures in a modern IVF clinic, offering a biopolitical perspective on Israeli society’s compelling maternal impulse. Marry Fuck Kill (2019), in turn, ponders Israeli women’s legitimation of their femininity, across the generational gap between the artist and her mother, here cast in the role of an imposing Iron Age figurine. The paper addresses Patir’s work in both biopolitical and phenomenological terms, arguing that the sensual appeal of the archaeological objects often undermines the videos’ political critique. Full article

New Negro magazines such as The Messenger, Opportunity, and The Crisis regularly featured photographs and short descriptions of Black women designed to highlight their role as both moral centers and aspirational figures. These images tended to imply that the ideal New Negro woman would challenge racist stereotypes of Black women not only through her behavior but also through her looks. For instance, a feature in the January 1924 issue of The Messenger called “Exalting Negro Womanhood” seeks to counter the overrepresentation of “[t]he buffoon, the clown, the criminal Negro” in white media with portraits of Black “achievement, culture, refinement, beauty, genius, and talent”. But of the twenty women featured in the centerfold of photographs, all are light skinned. Importantly, however, Black women poets of the era, including Gwendolyn B. Bennett, Gladys May Casely-Hayford, Anita Scott Coleman, Jessie Fauset, Angelina Weld Grimké, Helene Johnson, Anne Spencer, and Octavia B. Wynbush, provide a counter to this coding of light skin as desirable through poems that emphasize the beauty of dark-skinned bodies. This essay places their poetry alongside the visuals of the New Negro movement and the larger white supremacist culture of the 1920s. In poems such as Bennett’s “To a Dark Girl”, Grimké’s “The Black Hand”, Johnson’s “Poem”, and Spencer’s “Lady, Lady”, an emphasis on beautiful and powerful Blackness provides a steady counterpoint to the prevailing color standards surrounding Black female beauty and respectability. Full article

Resonating with British and American audiences and inspiring many later pirate stories, Byron’s The Corsair (1814) participated in a transatlantic conversation about female responses to violent masculinity. In an 1869 Rhode Island newspaper article, a woman recalled reading The Corsair as a child and debating whether to name her favorite doll Medora, the wife of the pirate, or Gulnare, the woman who kills their captor to rescue the pirate. Within the poem, Gulnare becomes less desirable in the eyes of the pirate after her violent act, but S. H. W. decides on Gulnare and sews on a needle-like bodkin to represent her dagger, thereby providing her doll with the symbol of Gulnare’s violent agency. This particular reader response suggests that Gulnare’s violent and independent action, which gave her control over her situation, resonated with some female readers in America. Authors of early American pirate stories, such as James Fenimore Cooper, refused to endorse a model of womanhood that included violence. However, Ballou’s extremely popular FannyCampbell (1844) constructed a lady pirate who embodies a model of womanhood that incorporates some conventional feminine traits of virtue, moral influence, and redemptive womanhood, but also draws on the justified violence of the male adventure hero. As a female pirate captain, Fanny combines aspects of the honorable gentleman pirate from The Corsair with the active woman, not unlike Gulnare, who realizes that in certain situations redemption and rescue are not options, and she must use violence in defense of herself and others. Full article

Since her debut in Paris in 1925 and meteoric rise to stardom, views of Josephine Baker have been dominated by the white artists and audiences who constructed her as an exotic “Other”. This article revisits the phenomenon of “La Bakaire” from the perspective of a Black female artist who witnessed her performance first-hand and participated in the same Jazz Age projects of fashioning New Negro womanhood and formulating Black Deco aesthetics. When Gwendolyn Bennett saw Baker perform, she recognized her as a familiar model of selfhood, fellow artist, and member of a diasporic Black cultural community. In her article “Let’s Go: In Gay Paree”, July 1926 Opportunity cover, and “Ebony Flute” column, she utilizes call and response patterns to transform racialized sexual objectification into collective affirmation of Black female beauty and artistry. The picture that emerges from Bennett’s art and writing is one of communal practices and interartistic expression, in which Baker joins a host of now-forgotten chorus girls, vaudeville actors, jazz singers, musicians, visual artists, and writers participating in a modern renaissance of Black expressive culture. Full article