GODDESS TOURS GREECE-SACRED SITES TOUR: GODDESS PILGRIMAGE TO CRETE WITH CAROL CHRIST
Carol discusses "Imagining God as Feminine" on CBC, "Marija Gimbutas Vindicated," and "Gratitude & Sharing"--listen online
Why Women Need the Goddess
Carol P. Christ
"Why Women Need the Goddess" was presented as the keynote address to an audience of over 500 at the "Great Goddess Re-emerging" conference at the University of Santa Cruz in the spring of 1978. It was first published in Heresies: The Great Goddess Issue (1978), 8-13, and reprinted in Carol P. Christ and Judith Plaskow, eds., Womanspirit Rising: A Feminist Reader on Religion (San Francisco: Harper & Row, 1979), 273-287, as well as in Carol P. Christ, Laughter of Aphrodite: Reflections on a Journey to the Goddess (San Francisco: Harper & Row, 1987) 117-132. It has been reprinted scores of times and has introduced tens of thousands of women to the Goddess. ©Carol P. Christ, not to be reprinted without written permission of the author.
At the close of Ntosake Shange's stupendously successful Broadway play for colored girls who have considered suicide when the rainbow is enuf, a tall beautiful black woman rises from despair to cry out, "I found God in myself and I loved her fiercely." 1 Her discovery is echoed by women around the country who meet spontaneously in small groups on full moons, solstices, and equinoxes to celebrate the Goddess as symbol of life and death powers and waxing and waning energies in the universe and in themselves.2
It is the night of the full moon. Nine women stand in a circle, on a rocky hill about the city. The western sky is rosy with the setting sun; in the east the moon's face begins to peer above the horizon. . . The woman pours out a cup of wine onto the earth, refills it and raises it high. "Hail, Tana, Mother of mothers!" she cries. "Awaken from your long sleep, and return to your children again!"3
What are the political and psychological effects of this fierce new love of the divine in themselves for women whose spiritual experience has been focused by the male God of Judaism and Christianity? Is the spiritual dimension of feminism a passing diversion, an escape from difficult but necessary political work? Or does the emergence of the symbol of Goddess among women have significant political and psychological ramifications for the feminist movement?
To answer this question, we must first understand the importance of religious symbols and rituals in human life and consider the effect of male symbolism of God on women. According to anthropologist Clifford Geertz, religious symbols shape a cultural ethos, defining the deepest values of a society and the persons in it. "Religion," Geertz writes, " is a system of symbols which act to produce powerful, pervasive, and long-lasting moods and motivations"4 in the people of a given culture. A "mood" for Geertz is a psychological attitude such as awe, trust, and respect, while a "motivation" is the social and political trajectory created by a mood that transforms mythos into ethos, symbol system into social and political reality. Symbols have both psychological and political effects, because they create their inner conditions (deep-seated attitudes and feelings) that lead people to feel comfortable with or to accept social and political arrangements that correspond to the symbol system.
Because religion has such a compelling hold on the deep psyches of so many people, feminists cannot afford to leave it in the hands of the fathers. Even people who no longer "believe in God" or participate in the institutional structure of patriarchal religion still may not be free of the power of the symbolism of God the Father. A symbol's effect does not depend on rational assent, for a symbol also functions on levels of the psyche other than the rational. Religion fulfills deep psychic needs by providing symbols and rituals that enable people to cope with crisis situations5 in human life (death, evil, suffering) and to pass through life's important transitions (birth, sexuality, death). Even people who consider themselves completely secularized will often find themselves sitting in a church or synagogue when a friend or relative gets married or when a parent or friend has died. The symbols associated with these important rituals cannot fail to affect the deep or unconscious structures of the mind of even a person who has rejected these symbolisms on a conscious level especially if a person is under stress. The reason for the continuing effects of religious symbols is that the mind abhors a vacuum. Symbol systems cannot simply be rejected; they must be replaced. Where there is no replacement, the mind will revert to familiar structures at times of crisis, bafflement, or defeat.
Religions centered on the worship of a male God create "moods" and "motivations" that keep women in a state of psychological dependence on men and male authority, while at the same legitimating the political and social authority of fathers and sons in the institutions of society. Religious symbol systems focused around exclusively male images of divinity create the impression that female power can never be fully legitimate or wholly beneficent. This message need never be explicitly stated (as, for example, it is in the story of Eve) for its effect to be felt. A woman completely ignorant of the myths of female evil in biblical religion nonetheless acknowledges the anomaly of female power when she prays exclusively to a male God. She may see herself as like God (created in the image of God) only by denying her own sexual identity and affirming God's transcendence of sexual identity. But she can never have the experience that is freely available to every man and boy in her culture, of having her full sexual identity affirmed as being in the image and likeness of God. In Geertz's terms, her "mood" is one of trust in male power as salvific and distrust of female power in herself and other women as inferior or dangerous. Such a powerful, pervasive, and long-lasting "mood" cannot fail to become a "motivation" that translates into social and political reality.
In Beyond God the Father, feminist theologian Mary Daly detailed the psychological and political ramifications of father religion for women.
If God in "his" heaven is a father ruling his people, then it is the "nature" of things and according to divine plan and the order of the universe that society be male dominated. Within this context, a mystification of roles takes place: The husband dominating his wife represents God "himself." The images and values of a given society have been projected into the realm of dogmas and "Articles of Faith," and these in turn justify the social structures which have given rise to them and which sustain their plausibility.6
Philosopher Simone de Beauvoir was well aware of the function of patriarchal religion as legitimizer of male power. As she wrote:
Man enjoys the great advantage of having a god endorse the code he writes; and since man exercises a sovereign authority over women it is especially fortunate that this authority has been vested in him by the Supreme Being. For the Jew, Mohammedans, and Christians, among others, man is Master by divine right; the fear of God will therefore repress any impulse to revolt in the downtrodden female.7
This brief discussion of the psychological and political effects of God religion puts us in an excellent position to begin to understand the significance of the symbol of Goddess for women. In discussing the meaning of the Goddess, my method will first be phenomenological. I will isolate a meaning of the symbol of the Goddess as it has emerged in the lives of contemporary women. I will then discuss its psychological and political significance by contrasting the "moods" and "motivations" engendered by Goddess symbols with those engendered by Christian symbolism. I will also correlate Goddess symbolism with themes that have emerged in the women's movement in order to show how Goddess symbolism undergirds and legitimates the concerns of the women's movement, much as God symbolism in Christianity undergirded the interests of men in patriarchy. I will discuss four aspects of Goddess symbolism here: the Goddess as affirmation of female power, the female body, the female will, and women's bonds and heritage. There are, of course, many other meanings of the Goddess that I will not discuss here.
The sources for the symbol of the Goddess in contemporary spirituality are traditions of Goddess worship and modern women's experience. The ancient Mediterranean, pre-Christian European, Native American, Meso-American, Hindu, African, and other traditions are rich sources for Goddess symbolism. But these traditions are filtered through modern women's experiences. Traditions of Goddesses' subordination to Gods, for example, are ignored. Ancient traditions are tapped selectively and eclectically, but they are not considered authoritative for modern consciousness. The Goddess symbol has emerged spontaneously in the dreams, fantasies, and thoughts of many women in the past several years. Kirsten Grimatad and Susan Rennie reported that they were surprised to discover widespread interest in spirituality, including the Goddess, among feminists around the country in the summer of 1974.8 WomanSpirit magazine, which published its first issue in 1974 and had contributors from across the United States, expressed the grass-roots nature of the women's spirituality movement. In 1976, a journal devoted to the Goddess emerged, titled Lady Unique. In 1975, the first women's spirituality conference was held in Boston and attended by 1,800 women. In 1978, a University of Santa Cruz conference on the Goddess drew over 500 people. Sources for this essay are these manifestations of the Goddess in modern women's experiences as reported in WomanSpirit, Lady Unique, and elsewhere, and as expressed in conversations I have had with women who have been thinking about the Goddess and women's spirituality.
The simplest and most basic meaning of the symbol of Goddess is the acknowledgment of the legitimacy of female power as a beneficient and independent power. A woman who echoes Ntosake Shange's dramatic statement, "I found God in myself and I loved her fiercely," is saying,"Female power is strong and creative." She is saying that the divine principle, the saving and sustaining power, is in herself, that she will no longer look to men or male figures as saviors. The strength and independence of female power can be intuited by contemplating ancient and modern images of the Goddess. This meaning of the symbol of Goddess is simple and obvious, and yet it is difficult for many to comprehend. It stands in sharp contrast to the paradigms of female dependence on males that have been predominant in Western religion and culture. The internationally acclaimed novelist Monique Wittig captured the novelty and flavor of the affirmation of female power when she wrote in her mythic work Les Guerilleres:
There was a time when you were not a slave, remember that. You walked alone, full of laughter, you bathed bare-bellied. You say you have lost all recollection of it, remember... You say there are not words to describe it, you say it does not exist. But remember. Make an effort to remember. Or, failing that, invent.9
While Wittig does not speak directly of the Goddess here, she captures the "mood" of joyous celebration of female freedom and independence that is created in women who define their identities through the symbol of Goddess. Artist Mary Beth Edelson expressed the political "motivations" inspired by the Goddess when she wrote:
The ascending archetypal symbols of the feminine unfold today in the psyche of modern Everywoman. They encompass the multiple forms of the Great Goddess. Reaching across the centuries we take the hands of our Ancient Sisters. The Great Goddess alive and well is rising to announce to the patriarchs that their 5,000 years are up Hallelujah! Here we come.10
The affirmation of female power contained in the Goddess symbol has both psychological and political consequences. Psychologically, it means the defeat of the view engendered by patriarchy that women's power is inferior and dangerous. This new "mood" of affirmation of female power also leads to new "motivations" it supports and undergirds women's trust in their own power and the power of other women in family and society.
If the simplest meaning of the Goddess symbol is an affirmation of the legitimacy and beneficence of female power, then a question immediately arises, "Is the Goddess simply female power writ large, and if so, why bother with the symbol of Goddess at all? Or does the symbol refer to a Goddess 'out there' who is not reducible to a human potential?" The many women who have rediscovered the power of Goddess would give three answers to this question: (1) The Goddess is divine female, a personification who can be invoked in prayer and ritual; (2) the Goddess is symbol of the life, death, and rebirth energy in nature and culture, in personal and communal life, and (3) the Goddess is symbol of the affirmation of the legitimacy and beauty of female power (made possible by the new becoming of women in the women's liberation movement). If one were to ask these women which answer is the "correct" one, different responses would be given. Some would assert that the Goddess definitely is not "out there," that the symbol of a divinity "out there" is part of the legacy of patriarchal oppression, which brings with it the authoritarianism, hierarchicalism, and dogmatic rigidity associated with biblical monotheistic religions. They might assert that the Goddess symbol reflects the sacred power within women and nature, suggesting the connectedness between women's cycles of menstruation, birth, and menopause, and the life and death cycles of the universe. Others seem quite comfortable with the notion of Goddess as a divine female protector and creator and would find their experience of Goddess limited by the assertion that she is not also out there as well as within themselves and in all natural processes. When asked what the symbol of Goddess means, feminist priestess Starhawk replied: “It all depends on how I feel. When I feel weak, she is someone who can help and protect me. When I feel strong, she is the symbol of my own power. At other times I feel her as the natural energy in my body and the world."11 How are we to evaluate such a statement? Theologians might call these the words of a sloppy thinker. But my deepest intuition tells me they contain a wisdom that Western theological thought has lost.
To theologians, these differing views of the "meaning" of the symbol of Goddess might seem to threaten a replay of the trinitarian controversies. Is there, perhaps, a way of doing theology that would not lead immediately into dogmatic controversy, would not require theologians to say definitively that one understanding is true and the others are false? Could people's relation to a common symbol be made primary and varying interpretations be acknowledged? The diversity of explications of the meaning of the Goddess symbol suggests that symbols have a richer significance than any explications of their meaning can express, a point literary critics have long insisted on.
This phenomenological fact suggests that theologians may need to give more than lip service to a theory of symbol in which the symbol is viewed as the primary fact and the meanings are viewed as secondary. It also suggests that a thealogy of the Goddess would be very different from the theology we have known in the west. But to spell out this notion of the primacy of symbol in thealogy in contrast to the primacy of the explanation in theology would be the topic of another paper. Let me simply state that women, who have been deprived of a female religious symbol system for centuries, recognize the power and primacy of symbols. I believe women must develop a theory of symbol and thealogy congruent with their experience at the same time as they "remember and invent" new symbol systems.
A second important implication of the Goddess symbol for women is the affirmation of the female body and the life cycle expressed in it. Because of women's unique position as menstruants, birthgivers, and those who have traditionally cared for the young and the dying, women's connection to the body, nature, and this world has been obvious. Women were denigrated because they seemed more carnal, fleshy, and earthy than the culture-creating males.12 The misogynist antibody tradition in Western thought is symbolized in the myth of Eve who is traditionally viewed as a sexual temptress, the eptiome of women's carnal nature. This tradition reaches its nadir in the Malleus Maleficarum (The Hammer of Evil-Doing Women), which states "All witchcraft stems from carnal lust, which in women is insatiable."13 The Virgin Mary, the positive female image in Christianity, does not contradict Christian denigration of the female body and its powers. The Virgin Mary is revered because she, in her perpetual virginity, transcends the carnal sexuality attributed to most women.
The denigration of the female body is expressed in cultural and religious taboos surrounding menstruation, childbirth, and menopause in women. While menstruation taboos may have originated in a perception of the awesome powers of the female body,14 they degenerated into a simple perception that there is something "wrong" with female bodily functions. Menstruating women were forbidden to enter the sanctuary in ancient Hebrew and premodern Christian communities. Although only Orthodox Jews still enforce religious taboos against menstruant women, few women in our culture grow up affirming their menstruation as a connection to sacred power. Most women learn that menstruation is a curse and grow up believing that the bloody facts of menstruation are best hidden away. Feminists challenge this attitude to the female body. Judy Chicago's art piece "Menstruation Bathroom" broke these menstrual taboos. In a sterile white bathroom, she exhibited boxes of Tampax and Kotex on an open shelf, and the wastepaper basket was overflowing with bloody tampons and sanitary napkins.15 Many women who viewed the piece felt relieved to have their "dirty secret" out in the open.
The denigration of the female body and its powers is further expressed in Western culture's attitudes toward childbirth.16 Religious iconography does not celebrate the birthgiver, and there is no theology or ritual that enables a woman to celebrate the process of birth as a spiritual experience. Indeed, Jewish and Christian traditions also had blood taboos concerning the woman who had recently given birth. While these religious taboos are rarely enforced today (again, only by Orthodox Jews), they have secular equivalents. Giving birth is treated as a disease requiring hospitalization, and the woman is viewed as a passive object, anesthetized to ensure her acquiescence to the will of the doctor. The women's liberation movement has challenged these cultural attitudes, and many feminists have joined with advocates of natural childbirth and home birth in emphasizing the need for women to control and take pride in their bodies, including the birth process.
Western culture also gives little dignity to the postmenopausal or aging woman. It is no secret that our culture is based on a denial of aging and death, and that women suffer more severely from this denial than men. Women are placed on a pedestal and considered powerful when they are young and beautiful, but they are to lose this power as they age. As feminists have pointed out, "power" of the young woman is illusory, since beauty stands are defined by men, and since few women are considered consider themselves) beautiful for more than a few years of it lives. Some men are viewed as wise and authoritative in age, old women are pitied and shunned. Religious iconography supports this cultural attitude towards aging women. The purity virginity of Mary and the female saints is often expressed in iconographic convention of perpetual youth. Moreover, religious mythology associates aging women with evil in the symbol the wicked old witch. Feminists have challenged cultural myths aging women and have urged women to reject patriarchal beauty standards and to celebrate the distinctive beauty of women of all ages.