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Jesus Appears to His Friends (Gay Passion of Christ series)

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21. Jesus Appears to His Friends (from The Passion of Christ: A Gay Vision) by Douglas Blanchard (Collection of Bill Carpenter)

“See my hands and my feet, that it is I myself; handle me, and see.” -- Luke 24:39 (RSV)

Friends react with joy -- and some doubt -- to the return of the risen Christ in “Jesus Appears to His Friends” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. Jesus allows himself to be embraced and examined by his diverse friendship group. He gets hugs from his Beloved Disciple and an elderly woman with a cane. Smiling beside them is a young black woman, apparently Mary Magdalene. Meanwhile a bald skeptic in a suit inspects his wounded wrist. Other disciples watch from behind. The red gash in Jesus’ side stands out against his manly physique.

Jesus has been to hell and back. He’s managed to return to the land of the living. The same room and some of the same people are pictured in Blanchard’s Last Supper, but here the mood is transformed from a dark-toned goodbye to a happy hello, lit up with lavender and with warm flesh tones. Misty moonlight pours in from the back window in the shape of an ascending dove, hinting at the presence of the Holy Spirit.

Everyone else in Blanchard’s painting is delighted to see Jesus, while the bald Doubting Thomas figure in the tie and glasses is busy fact-checking. Jesus affirms the believers, but doesn’t push away the pragmatist. He is welcome to check the wounds scientifically. Thomas provides a positive role model as someone who tries to engage religion without falling for any mystical trickery. Many people, queer or otherwise, share the skeptic’s desire to develop a belief system based on direct experience and not get caught up in all the hoopla about Jesus.

The Bibles offers differing accounts of Jesus’ post-resurrection appearances to his friends. Taken as a whole, the gospels describe how the disciples were hiding from authorities behind closed doors when Jesus “came and stood among them.” He calmed their fears and breathed the Holy Spirit upon them. One disciple, Thomas, had rejected earlier reports that Jesus was still alive. “Unless I see in his hands the print of the nails, and place my finger in the mark of the nails, and place my hand in his side, I will not believe,” [John 20:25 RSV] he insisted. His doubt turned to faith when Jesus invited him to do just that.

As usual in the gay Passion series, Jesus attracts a surprisingly varied group. The imagery and title emphasize that the people around Jesus were not just his followers. They were his friends. As he told them at the Last Supper, “I have called you friends, for all that I have heard from God I have made known to you.” (John 15:15 Inc Lang Lect) It was the focus on friendship that led Bill Carpenter to acquire this particular painting when Blanchard’s gay Passion series was displayed at the 2007 National Festival of Progressive Spiritual Art in Taos, New Mexico.

Carpenter is one of the leaders of Soulforce, a civil-rights group that works to free LGBT people from religious and political oppression. He went to Taos to teach nonviolent resistance in preparation for anti-LGBT attacks, which fortunately did not materialize. “I chose ‘Jesus Appears To His Friends’ because, through it, I connected with the humanity of Jesus…He had friends! And, because Doug showed Jesus’ friends as a beautifully diverse collection of humanity…just like our world…and I felt that Jesus truly welcomed each and every soul into his world…with no qualification or judgment and I wanted to be reminded of that potential within me,” Carpenter said.

The painting fits into the long artistic tradition of Doubting Thomas, a common subject at least since the sixth century. Perhaps the most famous version was painted in 1602 by Italian artist Caravaggio with unflinching realism and street people as models. Artists mostly stopped portraying the Doubting Thomas scene after the Baroque period ended in the 18th century, even though his skepticism sums up the spirit of the modern era. Blanchard contributes to the standard repertoire of Doubting Thomas iconography by putting him in a larger vision of equality where same-sex love has an honored place. Another contemporary gay version was done by Spanish photographer Fernando Bayona Gonzalez. He accentuates the homoeroticism of Thomas touching the wound in Jesus’ side in his 2009 “Circus Christi” series.

“Jesus Appears of His Friends” affirms themes of vital importance to the LGBT community: Friendship, because many have been cut of from their biological families. Touch, because touching someone of the same gender has been taboo. And doubt, because religion has been used to justify violence against LGBT people. Crossing the boundary from death to life, Jesus touches those who live in the borderlands between male and female, between doubt and faith.


“The doors were shut, but Jesus came and stood among them, and said, ‘Peace be with you.’” -- John 20:26 (RSV)

Jesus’ friends were hiding together, afraid of the authorities who killed their beloved teacher. The doors were shut, but somehow Jesus got inside and stood among them. They couldn’t believe it! He urged them to touch him, and even invited them to inspect the wounds from his crucifixion. As they felt his warm skin, their doubts and fears turned into joy. Jesus liked touch. He often touched people in order to heal them, and he let people touch him. He defied taboos and allowed himself to be touched by women and people with diseases. He understood human sexuality, befriending prostitutes and other sexual outcasts. LGBT sometimes hide themselves in closets of shame, but Jesus wasn’t like that. He was pleased with own human body, even after it was wounded.

Jesus, can I really touch you?


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This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry. For the whole series, click here.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Christina Rossetti: Queer writer of Christmas carols and lesbian poetry

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Cover illustration for Christina Rossetti’s “Goblin Market and Other Poems” (1862) by Dante Gabriel Rossetti)

Portrait of Christina Rossetti
by Dante Gabriel Rossetti

Christina Georgina Rossetti was a 19th-century English poet whose work ranged from Christmas carols to sensuous lesbian love poetry. A devout Christian who never married, she has been called a “queer virgin” and “gay mystic.” Her feast day is today (April 27) on the Episcopal and Church of England calendars.

Many consider her to be one of Britain’s greatest Victorian poets. Rossetti’s best-known works are the Christmas carol “In the Bleak Midwinter” and “Goblin Market,” a surprisingly erotic poem about the redemptive love between two sisters who overcome temptation by goblins. The imagery is unmistakable in verses such as these:

She cried, “...Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeez’d from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me…”

She clung about her sister,
Kiss’d and kiss’d and kiss’d her…
She kiss’d and kiss’d her with a hungry mouth.

There is no direct evidence that Rossetti was sexually involved with another woman, but the imagery in her writing is unmistakable. Historian Rictor Norton reports that her brother destroyed her love poems addressed to women when he edited her poetry for publication. Rossetti is included in “Essential Gay Mystics” by Andrew Harvey.  A comprehensive chapter titled “Christina Rossetti: The Female Queer Virgin” appears in “Same Sex Desire in Victorian Religious Culture” by Frederick S. Roden. Rossetti is also important to feminist scholars who reclaimed her in the 1980s and 1990s as they sought women’s voices hidden in the church’s patriarchal past.

Rossetti (Dec. 5, 1830 - Dec. 29, 1894) was born in London as the youngest child in an artistic family. Her brother Dante Gabriel Rossetti became a famous Pre-Raphaelite poet and artist. Encouraged by her family, she began writing and dating her poems starting at age 12.

When Rossetti was 14 she started experiencing bouts of illness and depression and became deeply involved in the Anglo-Catholic Movement of the Church of England. The rest of her life would be shaped by prolonged illness and passionate religious devotion. She broke off marriage engagements with two different men on religious grounds. She stayed single, living with her mother and aunt for most of her life.

Christina posed
for this Annunciation
by Dante Gabriel Rossetti
During this period she served as the model for the Virgin Mary in a couple of her brother’s most famous paintings, including his 1850 vision of the Annunciation, “Ecce Ancilla Domini” (“Behold the Handmaid of God”)

Starting in 1859, Rossetti worked for 10 years as a volunteer at the St. Mary Magdalene “house of charity” in Highgate, a shelter for unwed mothers and former prostitutes run by Anglican nuns. Some suggest that “Goblin Market” was inspired by and/or written for the “fallen women” she met there.

Goblin Market” was published in 1862, when Rossetti was 31. The poem is about Laura and Lizzie, two sisters who live alone together and share one bed. They sleep as a couple, in Rossetti’s vivid words:

Cheek to cheek and breast to breast
Lock’d together in one nest.

But “goblin men” tempt them with luscious forbidden fruit and Laura succumbs. After one night of indulgence she can no longer find the goblins and begins wasting away. Desperate to help here sister, Lizzie tries to buy fruit from the goblins, but they refuse and try to make her eat the fruit. She resists even when they attack and try to force the fruit into her mouth. Lizzie, drenched in fruit juice and pulp, returns home and invites Laura to lick the juices from her in the verses quoted earlier. The juicy kisses revive Laura and the two sisters go on to lead long lives as wives and mothers.

“Goblin Market” can be read as an innocent childhood nursery rhyme, a warning about the dangers of sexuality, a feminist critique of marriage or a Christian allegory. Lizzie becomes a Christ figure who sacrifices to save her sister from sin and gives life with her Eucharistic invitation to “Eat me, drink me, love me…” The two sisters of “Goblin Market” are often interpreted as lesbian lovers, which means that Lizzie can justifiably be interpreted as a lesbian Christ.

In 1872 Rossetti was diagnosed with Graves Disease, an auto-immune thyroid disorder, which caused her to spend her last 15 years as a recluse in her home. She died of cancer on Dec. 29, 1894 at age 64.

She wrote the words to “In the Bleak Midwinter” in 1872 in response to a request from Scribner’s Magazine for a Christmas poem. It was published posthumously in 1904 and became a popular carol after composer Gustav Holst set it to music in 1906. Her poem “Love Came Down at Christmas” (1885) is also a well known carol, but “In the Bleak Midwinter” continues to be sung in churches, by choirs, and on recordings by artists such as Julie Andrews (video below), Sarah McLaughlin, Loreena McKennitt and James Taylor. The haunting song includes these verses:


In the bleak mid-winter
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone;
Snow had fallen, snow on snow,
Snow on snow,
In the bleak mid-winter
Long ago.

Our God, Heaven cannot hold Him
Nor earth sustain;
Heaven and earth shall flee away
When He comes to reign:
In the bleak mid-winter
A stable-place sufficed
The Lord God Almighty,
Jesus Christ....

What can I give Him,
Poor as I am?
If I were a shepherd
I would bring a lamb,
If I were a wise man
I would do my part,
Yet what I can I give Him,
Give my heart.


The Episcopal Church devotes a feast day to Christina Rossetti on April 27 with this official prayer:

O God, whom heaven cannot hold, you inspired Christina Rossetti to express the mystery of the Incarnation through her poems: Help us to follow her example in giving our hearts to Christ, who is love; and who is alive and reigns with you and the Holy Spirit, one God, in glory everlasting. Amen.

Rossetti herself may well have felt ambivalent about being honored by the church and outed as a queer. She shared her own thoughts for posterity in her poem “When I am dead, my dearest” (1862):


When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.

I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain:
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.


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Related links:

Goblin Market (complete text)

In the Bleak Midwinter lyrics

Love Came Down at Christmas lyrics

Christina Rossetti profile (glbtq.com)

Christina Rossetti's Amazon.com page



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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, prophets, witnesses, heroes, holy people, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.



LGBT rights versus Christian faith: International Day Against Homophobia calls for prayers

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Cartoon by Carlos Latuff

Christian and LGBT values clash in a new cartoon for the International Day Against Homophobia by Brazilian artist Carlos Latuff.

The International Day Against Homophobia (IDAHO) on May 17 raises awareness of LGBT rights violations around the world and supports a progressive vision of sexual and gender diversity. It includes a “multi-faith global prayer initiative.”

Freedom of religion and LGBT rights are often seen as opposites, as in Latuff’s illustration. LGBT Christians get caught in the middle, embodying both viewpoints.

In Latuff’s image, the lesbian in a rainbow shirt brandishes a transgender symbol while shielding herself with the Constitution (Constituição in Portuguese). The Christian uses the Bible as a shield while he waves a cross. I imagine that the lesbian is in touch with her spiritual power, the power of Christ who broke rules and crossed boundaries: touching lepers, reaching out to women, eating with prostitutes, talking to foreigners, being accused of blasphemy.

For more info about Latuff, see my previous post, Gay Christ wears rainbow flag in art by Latuff.

Latuff created this image specifically to promote Brazil’s National March Against Homophobia (Marcha Nacional Contra Homofobia), which will be held May 15 in Brasília. The twin towers in his cartoon are the government buildings in the Brazilian capital of Brasilia designed by architect Oscar Niemeyer.

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Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Reclaiming sainthood: Gay artist Tony O’Connell finds holiness in LGBT people and places

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“Saint Ryan, Patron of Learning the Arts” by Tony O’Connell

British artist Tony O’Connell documents the sacred side of queer people and places. He takes photos of saintly moments among ordinary LGBT people and records his own pilgrimages to LGBT historical sites.

“My initial idea was an attempt to reclaim the idea of holiness as a gay artist,” O’Connell says. Based in Liverpool, he was raised in the Roman Catholic tradition, but has been a practicing Buddhist since 1995.

“The intention was to democratize the notion of sacredness and the process of canonization. We do not need the permission of anyone else to see perfection in each other,” he explains.

Since 1998 he has been photographing people with haloes formed by round objects from daily life: light fixtures, mirrors, windows, baskets, the sun -- and even life ring buoys. “The act of noticing the moment where a physical circle as a symbol of a halo was present is an artistic parallel to noticing those qualities in the real people themselves,” O’Connell says.

He started with portraits of himself with haloes, and then expanded to his partner and LGBT friends. Eventually he included straight allies and strangers as he took the halo concept to its logical conclusion. “The images are just examples of something that is present in them, in you, in me and in all,” he explains.

Religions traditionally use the halo to denote people of exceptional saintliness or perfection, implying that others are less worthy. “It strikes me as truer and more logical to recognize that every consciousness has the potential for some growth toward light, be that internal or external,” O’Connell says. “If only one could glimpse or even capture the fleeting instance of perfection, compassion and wisdom in ordinary experience which are easy to overlook. If such moments could be recorded on the snap-shot camera or the phone in the pocket, would anyone believe them?”

None of the saints in his photos have been recognized by the church yet. But O’Connell did convince famous LGBT activist Peter Tatchell to pose for a quick halo portrait after a lecture on the plight of LGBT people in Iraq.

LGBT rights activisit Peter Tatchell appears in “Saint Peter the Protector” by Tony O’Connell

In 2008 O’Connell began displaying the saint photos in churches and other small venues at exhibitions named “Perfectly Ordinary” and “Be in that Number.” Some churches complemented the images with Gregorian chants playing in the background and frankincense fragrance in the air.

O’Connell’s saint photos will be shown in America at the “Sacred Voices” exhibit at the Canton Museum of Art in Canton, Ohio from Dec. 5, 2013 to March 2, 2014. It features contemporary Christian, Jewish, and Muslim artists who are seeking to express their faith through their art.

“Prostrations at the Holy Places and Veneration to Our Martyrs (Stonewall Pilgrimage)” by Tony O’Connell shows the artist praying at the bar where the LGBT rights movement began.

Recently O’Connell began a new series on LGBT pilgrimages, which he does as performances recorded in photos. He travels to places of importance in LGBT history, treating the trip as a pilgrimage to the shrine of a saint. His first pilgrimage led to the San Francisco Metro station named after slain gay rights leader Harvey Milk. “The traditional Buddhist offerings for saints and Bodhisattvas are water, food, perfume, incense and flowers so I took them to his shrine and made prostrations,” O’Connell said.

Earlier this year he made a pilgrimage to New York City's Stonewall Inn, where rebellion against police harassment in 1969 launched the modern LGBT liberation movement. His next destination is Manchester, England. He plans to leave offerings on a memorial bench there dedicated Alan Turing, a gay computer scientist driven to suicide by attempts to “cure” his homosexuality.

In the future O’Connell plans to do icons as tributes to well known LGBT figures such as Milk, Turing and AIDS activist Larry Kramer.

The following images are selected from more than 200 saint photos taken by O’Connell. All of the saints in these pictures are openly lesbian, gay, bisexual or transgender. While the artist’s ultimate purpose is to show that sainthood is non-exclusive, the Jesus in Love Blog is highlighting only LGBT saints here in order to balance centuries of religious oppression against queer people.

“Saint Antoinette Who Comforts the Sorrowful and Gives Courage” by Tony O’Connell honors a caring friend. Saint Antoinette and her partner Saint Lindsay helped the artist through the grief of losing his mother.

“Liberated Being (Saint Tony Travels to the Land of the Free)” by Tony O’Connell is a self-portrait of the artist on the way to Ellis Island. He stands back-to-back with another liberated being in the distance: The Statue of Liberty.

“Saint Lindsay Filled with Joy by a Vision of the Rainbow Covenant with Heaven” by Tony O’Connell shows a friend who chose her own halo for this portrait on the waterfront in Liverpool.

“Saint Kevin and Saint Tony on the Feast of Sergius and Bacchus” by Tony O’Connell shows the artist on the right with his partner Kevin. It is one of his rare diptych images of paired saints. The double-halo composition echoes a 7th-century icon of Saints Sergius and Bacchus.

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This post is part of the Artists series by Kittredge Cherry at the Jesus in Love Blog. The series profiles artists who use lesbian, gay, bisexual, transgender (LGBT) and queer spiritual and religious imagery.

Traditional and alternative saints, martyrs, mystics, prophets, witnesses, heroes, holy people, humanitarians, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered in the GLBT Saints series by Kittredge Cherry.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Julian of Norwich: Celebrating Mother Jesus

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“Julian of Norwich” by Brother Robert Lentz, OFM, TrinityStores.com

Julian of Norwich is a medieval English mystic who celebrated “Mother Jesus.” It’s not known if Julian herself was queer, but her ideas were. Julian is often listed with LGBT saints because of her genderbending visions of Jesus and God. Her feast day (May 8) always falls near Mother’s Day (May 12, 2013).

Her discussions of Jesus as a mother sound radical even now, more than 600 years later. In today’s understanding, Julian’s Jesus seems to be transgender! Her omnigendered vision of the Trinity fits with contemporary feminist and queer theology.

Mother’s Day is also a great time to honor mothers whose love for their gay children helped launch LGBT organizations, including: Jeanne Manford and Adele Starr, founders of Parents, Families, and Friends of Lesbians and Gays (PFLAG); and Edith “Mom” Perry of Metropolitan Community Churches (MCC).

Julian of Norwich (c.1342-1416) is the first woman to write a book in English. The book, “Revelations of Divine Love,” recounts a series of 16 visions that she experienced from May 8-13, 1373 during a severe illness when she was 30 years old. The book includes Julian’s most famous saying, “All shall be well and all shall be well and all manner of things shall be well” -- words spoken to her by God in one of Julian’s visions.

Julian of Norwich
from Wikimedia Commons

Later Julian went on to become an anchoress, a type of recluse who lives in a cell attached to a church and does contemplative prayer. Her hermit’s cell was at the Church of St. Julian in Norwich. The cell had two windows, one opening to the church and the other opening to the street. She became known throughout England for the spiritual counseling that she gave there.

Julian is considered the first Catholic to write at length about God as mother. Her profound ideas speak powerfully today to women and queer people of faith. “As truly as God is our Father, so truly is God our Mother,” Julian wrote.

Here are a few short quotes from Julian’s extensive writings about “Mother Jesus”:


“So Jesus Christ who sets good against evil is our real Mother. We owe our being to him--and this is the essence of motherhood! --and all the delightful, loving protection which ever follows. God is as really our Mother as he is our Father.“ (Chapter 59)

“So Jesus is our true Mother by nature at our first creation, and he is our true Mother in grace by taking on our created nature.” (Chapter 59)

“A mother can give her child milk to suck, but our dear mother Jesus can feed us with himself, and he does so most courteously and most tenderly with the holy sacrament, which is the precious food of life itself… The mother can lay the child tenderly to her breast, but our tender mother Jesus, he can familiarly lead us to his blessed breast through his sweet open side….” (Chapter 60)


These quotes come from modern English translations of “Revelations of Divine Love” by Elizabeth Spearing and Clifton Wolters. For longer quotations Click here.

The sacred feminine is just one of the many revelations that have endeared Julian to the public. She also uses objects from ordinary life to illustrate God’s loving, forgiving nature. For example, in one vision God shows Julian a small object like a hazel-nut in the palm of her hand. Julian writes:


“I looked at it and thought, 'What can this be?' And the answer came to me, 'It is all that is made.' I wondered how it could last, for it was so small I thought it might suddenly disappear. And the answer in my mind was, 'It lasts and will last forever because God loves it; and in the same way everything exists through the love of God'.” (Chapter 5)


In the icon at the top of this post, Julian looks out the window of her cell with her beloved cat. As an anchoress, she probably lived alone. It is said that the only other being to share her room was a cat -- for the practical purpose of keeping it free from rats and mice. A longstanding legend tells of Julian’s friendship with her cat companion. The icon was painted by Robert Lentz, a Franciscan friar based in New York. Known for his innovative icons, he was rebuked by the church for painting LGBT saints and God as female.

Julian lived a long life. The date of her death is unknown, but records show that she was still alive at age 73 to receive an inheritance. She was never formally canonized, but Julian is considered a saint by popular devotion. The Episcopal and Lutheran Churches keep her feast day on May 8.

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Related links for Mother's Day:
Jeanne Manford: PFLAG founder loved her gay son

Adele Starr and others: Patron saints for straight allies of LGBT people

Edith “Mom” Perry, mother of Troy Perry and first heterosexual member of the Metropolitan Community Churches
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This post is part of the LGBT Saints series at the Jesus in Love Blog. Saints, martyrs, heroes and holy people of special interest to gay, lesbian, bisexual and transgender (GLBT) people and our allies are covered on appropriate dates throughout the year.
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Icons of Julian of Norwich and many others are available on cards, plaques, T-shirts, mugs, candles, mugs, and more at TrinityStores.com





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Ascension Day: Jesus Returns to God (Gay Passion of Christ series)

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22. Jesus Returns to God (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“As they were looking on, he was lifted up, and a cloud took him out of their sight.” -- Acts 1:9 (RSV)

A male couple seems to dance skyward in a vision of the Ascension from “The Passion of Christ: A Gay Vision” by Doug Blanchard, a series of 24 paintings by Douglas Blanchard. Churches celebrate the Feast of the Ascension today (May 9).

The loving couple seems to dance in a mystical homoerotic union. Jesus, shirtless and wearing blue jeans, swoons in the arms of a dance partner who appears to be a hunky angel. But they both have crucifixion wounds on their wrists. Jesus is embraced directly by God! The position of their arms suggests a ballroom dance, perhaps a waltz, with God’s hand planted firmly on Jesus’ buttocks.

Detail from "Jesus Returns to God"
Beams of white light stream from God’s head in a bright sunburst, almost obliterating the blue sky. His wings look muscular, as if God must work hard to lift the dead weight of Jesus up from the earth. The wounds in Jesus’ wrists and feet were dark before, but now they glow like hot-pink jewels. Dissolving into white at the top, this is the lightest painting in Blanchard’s Passion series, contrasting with the pitch-black panel of “Jesus Among the Dead.” Now the misty clouds even spill over the frame on the lower left. The Bible and creeds make it clear where the dancing couple is headed. Soon Jesus will sit at the right hand of God.

“Jesus Returns to God” provides a gay vision of the Ascension, the transitional moment when the resurrected Christ left earth. Details vary, but all Biblical accounts agree that Jesus was with his followers when he was lifted up to heaven. Churches commemorate the event with the Feast of the Ascension forty days after Easter. Christian tradition emphasizes that the resurrected Jesus ascended bodily up into the clouds of heaven. Mortal human flesh was made radiant by becoming part of God. Therefore it is appropriate for this image to have a physical, erotic component, even though many viewers find it disturbing.

People tend to react strongly to this image. Some find it too sexual and recoil at the thought of “God’s hand on my butt.” (At least God has no body below the waist here!) Others welcome the painting because it removes the shame of sexuality, presenting queer love as holy. Sacred same-sex kisses are rarer in art than gay bashings, so the most daring part of Blanchard’s Passion series occurs here after Jesus dies. Holy gay kisses also upset people more than gay bashings. With this image Blanchard’s series truly becomes a “gay vision” as the title proclaims. There is no longer any doubt about whether Jesus was simply an ally of queer people. The full revelation of his gay sexual orientation does not happen in his lifetime, but is disclosed in the afterlife by Blanchard. Some people wish the series stopped right before this image. Others would prefer it started here.

Blanchard breaks new ground by combining the Ascension with the Christian concept of “mystical marriage” from a gay viewpoint, making this one of the most original paintings in the series. In Christian theology the Ascension serves to emphasize the reality of Jesus as both human and divine. It is seen as the consummation of God’s union with humanity. “Mystical marriage” is a separate Christian concept in which the love between God and people is compared to a human marriage, including the sexual ecstasy between bride and groom. Erotic union becomes a metaphor for union with God.

God appears here for the first time in Blanchard’s Passion series. The artist paints God with some extraordinary attributes: He has wings, wounds, and the same face as Jesus. It is unusual to see a painting of God with wings, even though there are several Biblical references to humanity being protected by or carried by God’s wings. Perhaps the wings here symbolize the presence of the Holy Spirit. Standard images show God and Jesus as father and son, but Blanchard makes them look like gay lovers or the same person in two places, further emphasizing his theme of God in solidarity with humanity. Usually only Jesus has crucifixion wounds, but here the all-powerful creator is also a wounded deity, injured by choosing mortality in order to show people the way to life.

The mystical marriage and “Christ the Bridegroom” are uncommon subjects in art history, but the Ascension has been painted many times over the centuries. Ascension images generally have two zones: a crowd of apostles watching from earth below and Christ rising up toward heaven above. Jesus is frequently shown with his right hand raised in a gesture of blessing. Sometimes just his feet are visible as he disappears into the clouds. Artists seldom depict only Jesus and God without the people below, as Blanchard does. A notable exception is the famed “Ascension” by 20th-century surrealist Salvador Dali, which is dominated by the soles of Jesus’ feet as he flies upward.

While it fits neatly into the Passion series, “Jesus Returns to God” can also stand alone as a gay-affirming vision of ecstatic union with God. The mixed response to the painting raises questions about how artists can visually code Jesus as queer without being too literal. Conservative Christians have made many LGBT people think of Jesus as their enemy. How far should an artist go to counteract that? For some viewers, anything more than a subtle hint is too sexually explicit or reduces the mystery of Christ to a billboard. Others need a boldly out-and-proud Jesus to prove that God loves LGBT folk. Blanchard strikes a balance by showing Jesus as an ordinary man swept up in a homoerotic dance with God.


“As the bridegroom rejoices over the bride, so shall your God rejoice over you.” -- Isaiah 62:5 (RSV)

Words and pictures cannot express all the bliss that Jesus felt when he returned to God. Some compare the joy of a soul’s union with the divine to sexual ecstasy in marriage. Perhaps for Jesus, it was a same-sex marriage. Jesus drank in the nectar of God’s breath and surrendered to the divine embrace. They mixed male and female in ineffable ways. Jesus became both Lover and Beloved as everything in him found in God its complement, its reflection, its twin. When they kissed, Jesus let holy love flow through him to bless all beings throughout timeless time. Love and faith touched; justice and peace kissed. The boundaries between Jesus and God disappeared and they became whole: one Heart, one Breath, One. We are all part of Christ’s body in a wedding that welcomes everyone.

Jesus, congratulations on your wedding day! Thank you for inviting me!

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Bible background
Song of Songs: “O that you would kiss me with the kisses of your mouth!”

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This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry. For the whole series, click here.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Adam and Steve welcome marriage equality

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“Adam and Steve in 14 Countries” by Tony De Carlo

Congratulations to Minnesota for becoming the 12th state to approve marriage equality today! And a belated congrats to New Zealand for legalizing marriage equality last month!

In honor of these events, here is “Adam and Steve in 14 Countries” by Tony De Carlo -- the newest in his ever-expanding Adam and Steve series. He began the series in response to people who oppose LGBT rights with the foolish argument that “God made Adam and Eve, not Adam and Steve.”

In this painting Adam and Steve, the original same-sex couple, stand together on an island made of flags. “I cut this out with my scroll saw from a piece of plywood, used the obvious biblical references and then added the flags of the 14 countries that now recognize marriage equality for all of its citizens,” De Carlo said. Those countries are: Argentina, Canada, Uruguay, Belgium, The Netherlands, France, South Africa, New Zealand, Spain, Portugal, Sweden, Norway, Denmark and Iceland.

Soon he will probably have to paint a new version as more states and countries legalize marriage for lesbian and gay couples. How can we keep up with all this equality?!

De Carlo is a native of Los Angeles, now living in Savannah, Georgia. His work is exhibited regularly in museums and galleries throughout the United States.

For more on Tony De Carlo and his art, see my previous post:
Gay saints, Adam & Steve, and marriage equality art affirms LGBT love: Tony De Carlo Interview (Jesus in Love)

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Related links:
TonyDeCarlo.com

Tony De Carlo on Facebook

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Pentecost: The Holy Spirit Arrives (Gay Passion of Christ series)

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23. The Holy Spirit Arrives (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“There appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit.” -- Acts 2:3-4 (RSV)

A winged woman literally lights up a crowd in “The Holy Spirit Arrives” from “The Passion of Christ: A Gay Vision,” a series of 24 paintings by Douglas Blanchard. This is a modern version of Pentecost, when the Holy Spirit came like tongues of fire to the disciples of Jesus and inspired them to speak in other languages. Pentecost is a major church holiday celebrated today (May 19, 2013) this year. It is also known as Whitsunday.

In Blanchard’s painting the Holy Spirit floats like an angel above the people at an intersection where darkened city streets meet at odd angles. Carrying flares in both hands, she looks like a flame in her golden gown. The dusky sky and unlit buildings strike a mysterious mood, making miracles possible. Tongues of fire literally flame up from the heads of the people on the streets. Many are arm in arm, forming a circle. Filled with the spirit, they make strange alliances. A soldier, a gangbanger, and a businessman wrap their arms around each other. An older woman and a younger woman embrace. The person in the wheelchair appears to be the same hothead who demanded the death of Christ in 10. Jesus Before the People. Looming behind them is a large building under construction.

The painting gives visual form to a moment of spiritual transcendence. “The Holy Spirit Arrives” is the only painting in Blanchard’s Passion series that does not show Jesus. And yet Jesus IS present within the people. They have been transformed by the Holy Spirit into the body of Christ. Everyone is enflamed -- not just the twelve apostles. Christ has multiple manifestations both inside and outside the church in today’s pluralistic society. The painting also hints that Jesus is present in the form of the Holy Spirit. They both have the same face. This, Blanchard says, is deliberate. By making Jesus and the Holy Spirit look alike, he emphasizes that they are one being. Christ, who is both male and female, can easily change genders.

The story of Pentecost is told in Acts 2 of the Bible. The apostles were sitting together indoors early one morning when they heard wind rushing. Tongues of fire landed on each of them. Inspired by the Spirit, they spoke in other tongues and a crowd gathered. Devout people from all over the world were amazed to hear the mighty works of God in their own languages. But some scoffed, so Peter explained by quoting a prophecy from the Book of Joel: “I will pour out my Spirit upon all flesh, and your sons and your daughters shall prophesy, and the young shall see visions, and the old shall dream dreams.” -- Acts 2:17 (Inclusive Language Lectionary) Jesus himself predicted that the Holy Spirit would come after him to empower his disciples to do “even greater things” than he did. He referred to the Holy Spirit with the Greek term paraclete, which means advocate, comforter, or teacher. The word rendered as “Spirit” also denotes wind or breath. The early church taught that the arrival of the Holy Spirit reopened paradise, which had been closed by human sin. Christians believe that the Holy Spirit continues to inspire believers in the present, especially in times of trouble or celebration.

Blanchard takes Pentecost out into the streets and humanizes it by presenting the Holy Spirit as a woman. In church texts the Holy Spirit is sometimes described as the female person of the Trinity. She is known as Sophia, the embodiment of Wisdom. But at other times She is referred to as “He,” a rather queer blurring of gender duality. Blanchard’s bold female Holy Spirit is one of the most unusual features of this painting from an art historical perspective. Artists generally depict the Holy Spirit at Pentecost as a descending dove, not as a woman. Blanchard gives her the wings of a dove. The shape of the building behind the Holy Spirit also looks like a dove, mirroring the shape in the background of “21. Jesus Appears to His Friends.” Paintings of Pentecost are often called “The Descent of the Holy Spirit,” but Blanchard removes the top-down implications by titling it “The Holy Spirit Arrives.”

Earlier in the Passion series the crowd strained to touch Christ or follow his lead, but now they have absorbed his teachings and indeed his spirit. The transformation of the crowd on Pentecost becomes more visible when contrasted with the masses who marched with Jesus on Palm Sunday. Blanchard’s second painting and the second-to-last paintings are paired, just like the first and last. In the past the crowd marched into the city carrying signs, but they didn’t look at each other. Now they have no need for placards or slogans. Turning to each other, they find among themselves the freedom and justice that they had sought to gain. They have been tested in ways that were unimaginable on Palm Sunday and forged into true community. They experience God effortlessly, involuntarily. Despite their otherworldly flames, they are more present in the world than they were before. The Palm Sunday setting was sterile and empty except for the triumphal arch, but this crowd gathers on a realistic city street where people actually live.

The Biblical idea of a fire burning on one’s head is scary as well as implausible, but the flames brought by Blanchard’s Holy Spirit look friendly and tame, like birthday candles. Sometimes Pentecost is called the birthday of the church. Like the burning bush of Moses, the holy fire doesn’t consume. The building under construction in the background can be interpreted as the foundation of the Christian church. The artist himself offered an alternative view: “I prefer to think of it as a reference to the story of the Tower of Babel.” The Holy Spirit turns her back on the half-built structure that symbolizes ungodly human arrogance, destined to be toppled by God.

Many of the previous paintings have a tight, sometimes claustrophobic focus. Blanchard’s Pentecost comes like a breath of fresh air that shows the big picture at last. The past comes into perspective and the viewer can see the neighborhood where Jesus lived and died. Blanchard says that he did not intend any particular location. Intersections like this are common in New York City. One of the many places it resembles is the site of the 1911 Triangle Shirtwaist Factory fire where 146 garment workers died, the deadliest industrial disaster in New York history. That destructive fire contrasts with the transformative flames of the Spirit.

Viewers may be surprised to find Pentecost in a series on the Passion of Christ. Artists do not always conclude the Passion narrative with Jesus’ death, resurrection, or even his ascension. Blanchard acknowledges that one of the inspirations for this series is Albrecht Durer’s Albrecht Durer’s Small Passion. He follows the Durer’s example by continuing the Passion for two more panels after the Ascension. Both artists portray Pentecost as the next-to-last image. In Blanchard’s gay Passion, Pentecost is a stopping point near the end of the road from prison to paradise

Progressive Christians recognize the work of the Spirit when churches begin to embrace LGBT members, bless same-sex marriages, ordain openly LGBT clergy, and teach queer theology. In light of Pentecost, it may be significant that the most outrageously effeminate gay men have been disparaged as “flaming.” The bundles of sticks used to burn heretics were called “faggots,” now an insult for gay men.

The Pentecost story is good news for LGBT people because the Holy Spirit comes to ALL people, regardless of sexual orientation or gender identity. The Spirit ignites the desire to be true to oneself, even when that means being fully, flagrantly queer. LGBT people can identify with the Holy Spirit’s combustible mix of male and female. The Holy Spirit, whose own gender is ambiguous, welcomes those who are called bulldykes or fairies, amazons or eunuchs, transfolk or genderqueer, two-spirit or third-gender. Every language has words for queer people, and the story of Jesus has been translated into many languages. Thanks to the multi-lingual marvels of Pentecost, the gospel is now available with a gay accent.


“I will pour out my Spirit upon all flesh, and your sons and your daughters shall prophesy, and the young shall see visions, and the old shall dream dreams.” -- Acts 2:17  (Inclusive Language Lectionary)

Jesus promised his friends that the Holy Spirit would come to empower them. They were together in the city on Pentecost when suddenly they heard a strong windstorm blowing in the sky. Tongues of fire appeared and separated to land on each one of them. Jesus’ friends were flaming, on fire with the Holy Spirit! Soon the Spirit led them to speak in other languages. All the excitement drew a big crowd. Good people from every race and nation came from all over the city. They brought their beautiful selves like the colors of the rainbow. Each one was able to hear about God in his or her own language. Inspired by the Holy Spirit, we too can hear and speak God’s story. We are the flaming friends of Christ!

Come, Holy Spirit, and kindle a flame of love in my heart.


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Related link:
The Pentecost Celebration of Diversity, and the Holy Spirit (Queering the Church)
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This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry. For the whole series, click here.

Scripture quotations are from Revised Standard Version of the Bible, copyright © 1946, 1952, and 1971 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Scripture quotations are from the Inclusive Language Lectionary, copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

Rosa Bonheur: Cross-dressing painter honored “androgyne Christ”

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“Rosa Bonheur” by Ria Brodell

Rosa Bonheur, the most famous female painter of the 19th century, was a queer cross-dresser who honored what she called the “androgyne Christ.” She had two consecutive long-term relationships with women. She died on this date (May 25) in 1899.

Born in France in 1822, Bonheur received much acclaim in her lifetime for her paintings of animals. In recent years she has been celebrated as a queer pioneer, feminist icon, and role model for the LGBT community. Her achievements grew out of an unusual religious upbringing in the proto-feminist Saint-Simonian sect, and the queer Christian ideals that she expressed in adulthood. Bonheur’s gender-bending lifestyle has been covered extensively by scholars, but her spirituality has received much less attention.

Her parents raised her in Saint-Simonianism, a French utopian Christian-socialist movement that advocated equality for women and prophesied the coming of a female messiah. Her father was an artist and an ardent apostle for the Saint-Simonian religion. Bonheur writes a whole chapter about growing up as a Saint-Simonian in the book “Rosa Bonheur: The Artist's (Auto)biography,” which she wrote with her companion Anna Klumpke.

The Saint-Simonian concept of gender equality paved the way for Bonheur’s father to train her as a painter… and for her own defiance of gender norms. As she put it, “To his doctrines I owe my great and glorious ambition for the sex to which I proudly belong and whose independence I shall defend until my dying day.”

Rosa Bonheur's
Permission to cross-dress
(Wikimedia Commons)
She got permission from the police to wear men’s trousers so she could sketch at such male-dominated places as horse fairs and slaughterhouses. She broke rules of feminine behavior by smoking cigars and wearing her hair short. She was never arrested for wearing men’s clothes, but she was arrested once in female attire when a policeman thought she was a man pretending to be a woman!

Bonheur had two female companions in her lifetime. She spent 50 years living with her childhood sweetheart Nathalie Micas, who died in 1889. Bonheur grieved deeply and then shared the last years of her life with a new companion, American artist Anna Klumpke.

One of their joint projects was writing Bonheur’s autobiography. In it she discusses her religious beliefs, stating, “I get blamed for not going to church! I may have more religion than the folks who, instead of doing their best to lead a blameless life, go mutter prayers there every day in a language they don’t understand…. I’ve written my own versions of the most important Catholic prayers.”

Here are some excerpts from prayers written by Bonheur and published in her autobiography:

Bonheur’s version of the Hail Mary prayer:

Hail, O earth full of grace, the living God is with you. Blessed are you among all the planets, the fruit of your womb is our salvation. Holy earth, mother of love, pour out your grace on those who suffer, now and in our divine transformation.

From Bonheur’s Creed:

I believe in God the all-powerful, everlasting Father, creator of all things eternal. I believe in his beloved Son, the saving Two, androgyne Christ, the highest point of human transformation, the sublime manifestation of the living God who is in everything that is.

Bonheur died at age 77, and Klumpke went on to champion Bonheur’s work until she died in 1942. They are buried together in a grave in Paris. Bonheur’s most famous paintings are “The Horse Fair” and “Plowing in the Nivernais,” but she leaves a large legacy of art depicting horses, cattle, sheep, lions, dogs, and many other creatures. A selection of her work is posted below.

The portrait at the top of this post is part of the “Butch Heroes” series by Ria Brodell, a culturally Catholic gender-queer artist in the Boston area. For more about Brodell, see my previous post “Artist paints history’s butch heroes: Ria Brodell interview.”


"Royalty at Home" by Rosa Bonheur (Wikimedia Commons)


"The Horse Fair" by Rosa Bonheur (Wikimedia Commons)


"Relay Hunting" by Rosa Bonheur (Wikimedia Commons)


“Plowing in the Nivernais” by Rosa Bonheur (Wikimedia Commons)


"Sultan and Rosette" by Rosa Bonheur (Wikimedia Commons)
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Related links:

Rosa Bonheur (glbtq.com)

Rosa Bonheur (Art History Archive)

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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, prophets, witnesses, heroes, holy people, humanitarians, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year. She will be included in a new series on great queer painters from history.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts



Trinity Sunday: Holy Spirit blesses same-sex couple as Gay Passion of Christ series ends

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24. The Trinity (from The Passion of Christ: A Gay Vision) by Douglas Blanchard

“Truly, I say to you, today you will be with me in Paradise.”-- Luke 23:43 (RSV)

An angelic figure blesses a gay couple in “The Trinity,” the final, climactic image in Blanchard’s Passion of Christ. The painting can stand alone to affirm the holiness of gay couples, but it also serves as a meditation on the Christian Trinity: one God in three persons. Churches celebrate the concept on Trinity Sunday, which is today (May 26) this year.

The couple holds hands before a table set with milk, honey, and fruit -- references to the Promised Land. The man draped in red reaches toward out, coaxing the viewer to join them in the sunny garden. The winged woman in the golden robe is the same Holy Spirit who arrived in the previous painting. An arch in the background hints at the gate of heaven. Indeed viewers are welcome to imagine themselves seated in paradise with Christ as their bridegroom.

“The Trinity” shows how Jesus has been transformed by his experience of the Passion. He moved from the dark prison of the first painting to a bright land of promise, out of the closet, into the streets, and on to holy bliss. He completed the mythic hero’s journey: martyred and reborn with power to redeem the world. The painting can stand alone to affirm the goodness of same-sex couples, but it also serves as a foretaste of paradise and a meditation on the Christian Trinity: one God in three persons. The artist has said that he intended this image to be “a little glimpse of salvation, of the reward of the faithful.”

The Bible often says that Jesus will ascend to heaven and sit at the right hand of God. By that reckoning, the man in blue must be God, but he is not the usual Father figure of traditional Trinitarian imagery. He doesn’t look like “the Lord” and certainly not old enough to be Jesus’ father. In Blanchard’s universe, God’s identification with humanity is so complete that God and Jesus are identical young lovers in a mystic same-sex marriage, both sharing the same crucifixion wounds. Mission accomplished, they sit together side by side in radical equality. As the historical Christian creeds say, they are “of one substance” and “coeternal, and coequal.”

The Trinity concept is reinforced by the colors of their clothing. The red, blue, and yellow robes are the three primary colors that, when mixed, create the full spectrum of white light. Red, yellow, and blue flowers blossom around them. These are common, garden-variety plants: irises, geraniums -- and dandelions! Even weeds are welcome at the feet of Christ. Blanchard’s heaven is just not a faraway, immaterial afterlife, but an earthly garden in this present paradise. The natural setting and robes give it a timeless quality, but there are hints of contemporary life in the glass pitcher and honey jar. The man on the right wears a modern t-shirt under his blue robe.

The term “Trinity” is never used in the Bible, although it is implied in references to Jesus, God, and the Holy Spirit, who is often represented as female. Viewers will be forgiven for wondering which man is Jesus. Blanchard, who is so adept at painting individual faces, gives the same face to all three, even the female Holy Spirit. The artist does this on purpose to emphasize the three-in-one nature of God. BOTH men have haloes and marks of crucifixion on their wrists.

One clue to their identities comes from the way the figures direct their attention. The Holy Spirit and the man in blue focus on the man in red. Their body language suggests that he is Jesus, the center of this series, the one who just completed his heroic Passion journey. Like Christ in Blanchard’s first painting, the man in red gazes straight ahead, meeting the eyes of the viewer. His upper torso is naked, revealing the wound in his side and a radiant, muscular body. Surely this man is Jesus.

The holy gay wedding imagery is especially revolutionary because of its placement in Blanchard’s Passion sequence. After the Ascension and Pentecost, the final position in a Passion cycle normally goes to the Last Judgment. Traditional images show Jesus condemning sinners to hell and sending the righteous to heaven. Conservative Christians like to imagine homosexuals among the damned. But Blanchard rejects the crime-based model. Jesus and God are not on thrones nor do they judge anybody. Indeed Blanchard reverses the whole Christian view of history as presented by countless artists, including his acknowledged inspiration, Albrecht Durer. In his 16th-century Small Passion, Durer began with Adam and Eve eating forbidden fruit and being expelled from Eden as punishment. He ended with the Last Judgment. By contrast Blanchard starts with punishment in prison, and then finds a way to paradise. He chose a prototype for this painting in a separate branch of art history: Andrei Rublev’s great Byzantine icon “Trinity,” which shows the three angels at Abraham’s table. Blanchard’s Passion concludes not with judgment, but with love as its crowning glory.

The symbolism of this image can be better understood in comparison with the first painting, “Son of Man with Job and Isaiah.” The opening picture also forms a kind of Trinity. The two paintings that start and end the series have a lot in common. Unlike the rest of the series, their titles are theological concepts. Both have interrupted the flow of time, mixing modern and ancient dress. Both show Jesus gazing directly into the eyes of the viewer. The first and last images are like brackets that enclose and uphold the events in Christ’s life.

A lot of LGBT people (and others) just plain like “The Trinity,” without seeing it as Christian at all. It was chosen to illustrate the concept of gay friendship on the cover of “White Crane Journal: Gay Wisdom and Culture” in summer 2007. Blanchard’s Trinity is queer in other ways. The whole concept of a three-in-one God with male and female aspects means that that God does not fit the standard “male” and “female” binary, but may be transgender, omnigender, or genderqueer. Most artists throughout history have not used couples to symbolize the joys of heaven, but some contemporary LGBT artists do. Both Blanchard and Swedish photographer Elisabeth Ohlson Wallin envision same-sex pairs in the afterlife. Ohlson Wallin closes her “Ecce Homo” series with a vision of heaven in which Jesus and his boyfriend are surrounded by a crowd of loving lesbian and gay couples, all clad in white.

After progressing through the whole Passion series, viewers have witnessed God’s solidarity with humankind and seen the power of love to transcend personal suffering, human history, and even death itself. Preconceptions have been shaken by the encounter with Jesus, the wounded healer, the hated lover, the crucified creator, the liberator in chains, the all-too-human child of God. From this post-resurrection space, Christ has regained his complexity. The gay vision of Christ’s Passion leaves viewers with an invitation to rise to a new life where everyone can reach out to others with love as Jesus does. The painting ends the series as a visual benediction, encouraging viewers to carry the vision onward and live with passion in every sense of the word.


“Blessed are those who are persecuted for righteousness’ sake, for theirs is the realm of heaven.” -- -- Matthew 5:10 (Inclusive Language Lectionary)

What is the gay vision of heaven? The Holy Spirit inspires each person to see visions of God in his or her own way. Look, the Holy Spirit celebrates two men who love each other! She looks like an angel as She protects the male couple. Are the men Jesus and God? No names can fully express the omnigendered Trinity of Love, Lover, and Beloved… or Mind, Body, and Spirit. God is madly in love with everybody. God promises to lead people out of injustice and into a good land flowing with milk and honey. We can travel in the same paths where Jesus journeyed. Opening to the joy and pain of the world, we can experience all of creation as our body -- the body of Christ. As queer as it sounds, we can create our own land of milk and honey. As Jesus often said, heaven is among us and within us. Now that we have seen a gay vision of Christ’s Passion, we are free to move forward with passion.

Jesus, thank you for giving me a new vision!


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Related links:

Celebrate the Feast of the (Queer) Holy Trinity (Queering the Church)

The Genderqueer Trinity (Queering the Church)

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This is part of a series based on “The Passion of Christ: A Gay Vision,” a set of 24 paintings by Douglas Blanchard, with text by Kittredge Cherry. For the whole series, click here.

Scripture quotations are from the Inclusive Language Lectionary, copyright © 1985-88 National Council of the Churches of Christ in the United States of America.

Hidden Perspectives interviews Kittredge Cherry on LGBT religious themes

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Hidden Perspectives, a project for “bringing the Bible out of the closet,” posted a new interview with author Kittredge Cherry on interactions between LGBT people and religion.

“My Christian faith gave me the strength to come out as a lesbian almost 30 years ago,” Cherry says in the wide-ranging interview. “Later I learned that my journey was unusual. Many LGBT people start out feeling condemned as sinners by the church, and find liberation by rejecting religion. But I felt condemned by society and found liberation through the church. I could never imagine a God that didn’t totally love LGBT people.”

Artists, singers, poets, academics and storytellers will challenge homophobic assumptions about what the Bible says at the day-long Hidden Perspective Festival on Sat., June 1 at the University of Sheffield in England. Cherry wrote text for a booklet to accompany an exhibit of the LGBT Stations of the Cross paintings by Mary Button.

Hidden Perspectives is a large-scale pioneering public engagement project that aims to open up Bible interpretation to under-represented groups. The project is jointly organized by Katie Edwards, who teaches Bible studies at the University of Sheffield, and LaDIYfest Sheffield, a grassroots feminist collective.

Kittredge Cherry is a lesbian Christian author and art historian who writes about LGBT spirituality and the arts at the Jesus In Love Blog. She was ordained by Metropolitan Community Churches and served as its National Ecumenical Officer. Her books include “Art That Dares: Gay Jesus: Woman Christ, and More.”

Click here for Cherry’s full interview at HiddenPerspectives.org. Here is an excerpt:

Hidden Perspectives: Do you have a personal story about LGBT and Religion/The Bible?


Kittredge Cherry: My Christian faith gave me the strength to come out as a lesbian almost 30 years ago. I grew up mostly secular and did not believe in God. I hid my sexual orientation in the closet and lived a lie because I was afraid of the stigma and discrimination against homosexuality. My father’s death in 1983 led me to go an interdenominational church, where I experienced the reality of God reaching out personally to me with love. I got baptized and Christianity gave me a whole new way of looking at the world: I knew God loved me and created me as I am, so I could stop worrying about other people’s disapproval. Later I learned that my journey was unusual. Many LGBT people start out feeling condemned as sinners by the church, and find liberation by rejecting religion. But I felt condemned by society and found liberation through the church. I could never imagine a God that didn’t totally love LGBT people.

Hidden Perspectives: What do you wish to communicate through your blog?

Kittredge Cherry: I want the Jesus in Love Blog to communicate that God is madly in love with everyone -- including LGBT people and people who don’t believe in God. I am committed to presenting ideas in an impartial way that appeals to non-believers as well as people of faith. Because I grew up secular, I feel an affinity for atheists and for people who are alienated from the church. My blog speaks in a special way to people who are outside the official church, but still have spiritual needs. I also seek to nurture artists who are creating queer Christian images. These images are badly needed, but they face a lot of opposition from conservatives and almost no institutional support. Like me, they’re too queer for the church and too Christian for most LGBT people and allies. I thank God for places like Hidden Perspectives where LGBT interpretations of the Bible are welcome.

Click here for Cherry’s full interview at HiddenPerspectives.org.


Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

Joan of Arc: Cross-dressing warrior-saint

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Saint Joan of Arc by Brother Robert Lentz, OFM trinitystores.com

Joan of Arc was a tough cross-dressing teenage warrior who led the medieval French army to victory when she was 17. She is a queer icon, girl-power hero and patron saint of France. Her feast day is today (May 30).

Smart and courageous, Joan of Arc (c. 1412-1431) had visions of saints and angels who told her to cut her hair, put on men’s clothes and go to war. At age 18 she helped crown a king and at 19 she was killed by the church that later made her a saint. She died for her God-given right to wear men’s clothing, the crime for which she was executed 581 years ago today.

Joan of Arc portrait, c. 1485
Wikimedia Commons
Contemporary LGBT people recognize a kindred spirit in her stubborn defiance of gender rules. Queer writers tend to downplay Joan’s Christian faith, while the church covers up the importance of her cross-dressing. In truth, Joan believed strongly in God AND in cross-dressing. She insisted that God wanted her to wear men’s clothes, making her what today is called “queer” or “transgender.” Cross-dressing was illegal, but what really upset the church authorities, then as now, was the audacity of someone being both proudly queer AND devoutly Christian. Her belief that God was the source of her gender-bending queerness makes her an especially inspiring role model for LGBT Christians and our allies.

Joan’s extraordinary life continues to fascinate all kinds of people. Many are eager to claim her as a symbol, from LGBT people and feminists to the Catholic Church and French nationalists. Joan is the subject of more than 10,000 books, plays, paintings and films, including recent works by transgender author Leslie Feinberg and lesbian playwright Carolyn Gage.

Gage’s one-woman show “The Second Coming of Joan of Arc” is an underground classic with Joan as “a cross-dressing, teenaged, runaway lesbian” confronting male-dominated institutions. Feinberg has a chapter on Joan as “a brilliant transgender peasant teenager leading an army of laborers into battle” in her history book “Transgender Warriors: Making History from Joan of Arc to Dennis Rodman.”

The extensive records of her trials by the Inquisition make Joan of Arc the best-documented person of 15th century. There are only hints that she may have been a lesbian, but the evidence is absolutely clear about her transgender expression as a cross-dresser.

Joan of Arc, also known as Jeanne d’Arc, was born to peasants in an obscure village in eastern France around 1412, toward the end of the Hundred Years War. Much of France was occupied by England, so that Charles, the heir to the French throne, did not dare to be crowned. When Joan was 13, she began hearing voices that told her to help France drive out the English.

The visions continued for years, becoming more detailed and frequent. Once or twice a week she had visions of Saint Michael the Archangel, Saint Catherine, and Saint Margaret. They told her that God wanted her to meet Charles and lead an army to Reims for his coronation.

Joan’s family tried to convince her that her visions weren’t real, and her first attempt to visit the royal court was rejected. When she was 17 she put on male clothing and succeeded in meeting Charles. He agreed to outfit her as a knight and allowed her to lead a 5,000-man army against the English.

On Charles’ order, a full suit of armor was created to fit Joan. He had a banner made for her and assigned an entourage to help her: a squire, a page, two heralds, a chaplain and other servants.

Joan of Arc on Horseback, 1505
Wikimedia Commons
Joan’s appearance awed the soldiers and peasants when she traveled with the army. Mounted on a fine warhorse, she rode past cheering crowds in a suit of armor. Her hair was “cropped short and round in the fashion of young men.” She carried an ancient sword in one hand and her banner in the other. Her sword was found, as Joan predicted, buried at the church of St. Catherine at Fierbois. The banner showed Christ sitting on a rainbow against a background of white with gold lilies and the motto “Jhesus-Maria.” Legend says that white butterflies followed Joan wherever she rode with her banner unfurled.

With Joan leading the way, the army won the battle at Orleans and continued to defeat English and pro-English troops until they reached Reims. She proudly stood beside Charles VII at his coronation there on July 17, 1429.

Joan soon resumed leading military campaigns. Even during her lifetime the peasants adored her as a saint, flocking around her to touch her body or clothing. Her cross-dressing didn’t disturb them. In fact, they seemed to honor her for her transgender expression. Perhaps, as some scholars say, the peasants saw Joan as part of a tradition that linked transvestites and priests in pre-modern Europe.

One of the first modern writers to raise the possibility of Joan’s lesbianism was English author Vita Sackville-West. She implied that Joan was a lesbian in her 1936 biography “Saint Joan of Arc.” The primary source for this idea was the fact, documented in her trials, that Joan shared her bed with other girls and young women. She followed the medieval custom of lodging each night in a local home. Joan always slept with the hostess or the girls of the household instead of with the men.

Nobody knows for sure whether Joan of Arc was sexually attracted to women or had lesbian encounters, but her abstinence from sex with men is well documented. Her physical virginity was confirmed by official examinations at least twice during her lifetime. Joan herself liked to be called La Pucelle, French for “the Maid,” a nickname that emphasized her virginity. Witnesses at her trial testified that Joan was chaste rather than sexually active.

Joan’s illustrious military career ended in May 1430. She was captured in battle by the Burgundians, the French allies of the English. During her captivity they called her “hommase,” a slur meaning “man-woman” or “masculine woman.”

In a stunning betrayal, Charles VII did nothing to rescue the warrior who helped win him the crown. It was normal to pay ransom for the release of knights and nobles caught in battle, but he abandoned Joan to her fate. Historians speculate that French aristocrats felt threatened by the peasant girl with such uncanny power to move the masses.

The Burgundians transferred Joan to the English, who then gave her to the Inquisition. She spent four torturous months in prison before her church trial began on Jan. 9, 1431 in Rouen, the seat of the English occupation government. She was charged with witchcraft and heresy.

The politically motivated church trial was rigged against her, and yet Joan was able to display her full intelligence as she answered the Inquisitors’ questions. Her subtle, witty answers and detailed memory even forced them to stop holding the trial in public.

Witchcraft was hard to prove, so the church dropped the charge. (Many of today’s Wiccans and pagans still honor Joan as one of their own.) The Inquisitors began to focus exclusively on the “heresy” of Joan’s claim that she was following God’s will when she dressed as a man. The judges told her that cross-dressing was “an abomination before God” according to church law and the Bible. (See Deuteronomy 22:5.)

They accused Joan of “leaving off the dress and clothing of the feminine sex, a thing contrary to divine law and abominable before God, and forbidden by all laws” and instead dressing in “clothing and armor such as is worn by man.”

Joan swore that God wanted her to wear men’s clothing. “For nothing in the world will I swear not to arm myself and put on a man’s dress; I must obey the orders of Our Lord,” she testified. She outraged the judges by continuing to appear in court wearing what they called “difformitate habitus” (“monstrous dress” or “degenerate apparel.”)

Today Joan’s conservative admirers claim that she wore men’s clothes only as way to avoid rape, but she said that it meant much more to her. Joan of Arc saw cross-dressing as a sacred duty.

The judges summarized Joan’s testimony by saying, “You have said that, by God’s command, you have continually worn man’s dress, wearing the short robe, doublet, and hose attached by points; that you have also worn your hair short, cut ‘en rond’ above your ears with nothing left that could show you to be a woman; and that on many occasions you received the Body of our Lord dressed in this fashion, although you have been frequently admonished to leave it off, which you have refused to do, saying that you would rather die than leave it off, save by God’s command.”

Joan refused to back down on the visions she received from God, and she was sentenced to death. She was burned at the stake on May 30, 1431 in Rouen. Twenty five years later she was retried and her conviction was overturned. Joan was declared innocent.

Her armor, that “monstrous dress,” became an object of veneration, sought after like the Holy Grail with various churches claiming to possess her true armor. Joan of Arc was canonized as a saint in 1920. Famous writers and composers who have done works about her include Shakespeare, Voltaire, Verdi, Tchaikovsky, Mark Twain, Bertolt Brecht and George Bernard Shaw. A stunning portrait of Joan kissing her sword (below) was painted by Pre-Raphaelite artist Dante Gabriel Rossetti, whose sister Christina Rossetti is also part of the LGBT Saints series here.

“Joan of Arc Kisses the Sword of Liberation” by Dante Gabriel Rossetti, 1863 (WikiPaintings)

A widely used prayer to Saint Joan of Arc makes a powerful statement that can inspire those who believe in equality for LGBT people, despite rejection by religion and society:


“In the face of your enemies, in the face of harassment, ridicule, and doubt, you held firm in your faith. Even in your abandonment, alone and without friends, you held firm in your faith. Even as you faced your own mortality, you held firm in your faith. I pray that I may be as bold in my beliefs as you, St. Joan. I ask that you ride alongside me in my own battles. Help me be mindful that what is worthwhile can be won when I persist. Help me hold firm in my faith. Help me believe in my ability to act well and wisely. Amen.”

Don’t miss the video where Judy Collins sings “Joan of Arc.” Joan has a dialogue with the fire that is about to consume her in a haunting song written by award-winning Canandian songwriter and poet Leonard Cohen.



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Click for more info:
Wikipedia article on Cross-dressing, sexuality, and gender identity of Joan of Arc

Joan of Arc trial transcript online

Joan of Arc: Cross-dressing martyr at Queering the Church Blog

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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, heroes and holy people of special interest to gay, lesbian, bisexual and transgender (GLBT) people and our allies are covered on appropriate dates throughout the year.

Icons of Joan of Arc and many others are available on cards, plaques, T-shirts, mugs, candles, mugs, and more at Trinity Stores








Author discusses “Jesus and the Shamanic Tradition of Same-Sex Love”: Will Roscoe interview

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Gay anthropologist Will Roscoe gives new insights into the connections between Jesus and same-sex love in an interview today at the Jesus in Love Blog.

He discusses recent archeological discoveries related to the queer Christ and his own beliefs about Jesus. His groundbreaking book “Jesus and the Shamanic Tradition of Same-Sex Love” is back in print with a new edition from Lethe Press.

Drawing on recently discovered ancient sources, the book makes a persuasive argument that gay love and mysticism form a hidden tradition in Christianity. It won a Lambda Literary Award in 2005 and the new edition includes updated material.

In the following interview with lesbian Christian author Kittredge Cherry, Roscoe offers his detailed response to the latest controversies over the Secret Gospel of Mark and his analysis of newly discovered archeological evidence related to the queer Christ, such as the Gospel of Judas and a bowl with an inscription about “Christ the magician.”

The interview below also includes his thoughts on the role of Jesus in his own life. He tells how he identifies with “the love of equals and sames that Jesus refers to again and again.” He even reveals a recent spiritual experience that he had while viewing the Infant Jesus of Prague statue on a trip to the Czech Republic.

Will Roscoe 2012
(photo by Cass Brayton)
Roscoe is one of the most important scholars in the areas of queer history, anthropology and spirituality, especially Native American two-spirit traditions. Based in California, he has been active in the gay movement since 1975, working with such pioneering leaders as Harvey Milk and Harry Hay.

Roscoe’s first book, “The Zuni Man-Woman,” received the Margaret Mead Award from the American Anthropological Association and the Society for Applied Anthropology. His other books include “Islamic Homosexualities: Culture, History, and Literature” and “Boy-Wives and Female Husbands: Studies of African Homosexualities.” Roscoe holds a Ph.D. in history of consciousness from the University of California in Santa Cruz and has taught anthropology and American Studies at various colleges and universities.

Lethe Press is an independent publisher specializing in titles of gay and lesbian interest, literary fiction, poetry, speculative fiction and science fiction.

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Kittredge Cherry: Based on all your research, what do you believe about the sexual orientation of Jesus? What role did same-sex love play in the Jesus movement during his lifetime?

Will Roscoe: I don’t think I believe anything about the sexual orientation of Jesus. There just isn’t evidence. We have no idea what a gay Jewish peasant man of that era would even look like. Anyway, I don’t think it’s worth the effort trying to argue that Jesus was gay—or had a sexual orientation all. The resistance to that will always be enormous.

But everywhere in the gospels Jesus extols a special, new idea about “love,” using an uncommon term for love in a new and special way—“agape.” This is the love that occurs between individuals who are equal, who are not sharply differentiated by social status or age or gender. It is God’s gift of loving and being loved unconditionally. And it is the love of equals and sames that Jesus refers to again and again when he seeks to explain agape, which he sharply counters to the prevailing social relationships of his time: the highly stratified Greco-Roman world and the patriarchal relationships between men, women, and children in Jewish tradition.

My sexual orientation is that of a gay man. Pursuing my desire for bonding sexually and emotionally with a man who is my equal has led to me to provide experiences of love, and made me witness to what Jesus holds up as the most important teaching he has given his disciples when he says, “No one has greater love than this, than to lay down one’s life for one’s friends.”

Had he said “one’s family,” “one’s kin,” “one’s priest,” or “one’s king,” I wouldn’t have known what he was talking about. But this I understand. My life—my gay life—attests the truth of it.

Kittredge Cherry: Important new scholarship on the Secret Gospel of Mark has been published since your book “Jesus and the Shamanic Tradition of Same-Sex Love” was first published almost 10 years ago. How has this changed your understanding of Jesus and the shamanic same-sex tradition?

Will Roscoe: In my book, I described the storm of controversy that greeted publication of Morton Smith’s study of the letter he discovered at a desert monastery in Palestine in the late 1950s. But once the controversy subsided, I noted that a “strange silence” followed. At that time, in the early 2000s, there was still a dearth of research concerning this revolutionary text, even as a growing consensus among mainstream scholars had accepted its authenticity. Indeed, many scholars now go further than Smith did in Clement of Alexandria and a Secret Gospel of Mark: not only is the letter genuinely Clement’s, the passage from an unknown Gospel of Mark that Clement quotes is likely written by the same author who wrote the canonical gospel as we know it.

It’s taken a generation, but now the silence is ending. A growing number of books and articles are undertaking the task of assessing the implications of this remarkable discovery—a fragment of gospel text older than, but missing from, the canonical version. The value of this simply can’t be overstated. It is a loose thread in the tightly woven narrative by which the churches cloak themselves in authority. If we tug on it hard enough, the emperor will soon be revealed to have no clothes. Here is definitive evidence that the gospels are the product of human handiwork and human agendas. Our sacred texts have been edited.

Growing numbers of New Testament scholars now challenge the distinction between canonical and noncanonical early Christian writings as arbitrary and ideologically motivated. I think the Secret Gospel tips the scales. And as this distinction crumbles, the body of evidence available for our inquiries into the history of early Christianity expands exponentially.

This is just the tip of the iceberg. Because what is the picture of early Christianity that the Secret Gospel gives us a glimpse of? In fact, all of its elements and characters and imagery and story lines are familiar to us. It’s a version of the Lazarus story; it hints at esoteric teachings—and similar hints are peppered throughout the gospels, especially in Mark. But here all these tropes are brought together in a single short passage. And now what the hints are hinting at is undeniable—Jesus taught secretly things he only alluded to in public.

The Secret Gospel answers a longstanding, although seemingly minor mystery—the reference to the naked youth fleeing from Gethsemane. Now we know who he is (a youthful follower of Jesus) and what is going on (a nocturnal session in which Jesus taught “the mystery of the kingdom of heaven.”)

But the Secret Gospel also solves a larger mystery. How and when did the Christian rite of baptism originate? The gospels don’t provide an origin story for this distinctive practice of emergent Christianity. John even seems to deny that Jesus practiced baptism at all. Yet, it is a well-established practice, the source of important theological speculations and vivid allusions, in the writings of Paul. Where did it come from?

To me, the Secret Gospel is immediately relevant to this inquiry about the origins of baptism. But this remains controversial, and few have seriously pursued it. The most important new work on Smith’s discovery is substantially devoted to arguing against seeing anything in the Secret Gospel of Mark or Clement’s letter having to do with ritual, whether baptism or other.

I’m referring to Scott Brown’s Mark’s Other Gospel, published the same year as Jesus and the Shamanic Tradition of Same-Sex Love (2005). Brown starts with an impressive argument for the authenticity of the Clement’s letter and the Markan authorship of the Secret Gospel. (“Secret Gospel” is Smith’s translation of Clement’s term mustikou euaggeliou, which Brown better translates as “mystical Gospel.” Brown, however, for reasons devolving from his agenda, prefers to call the text the “Longer Gospel of Mark.”) Brown thoroughly debunks two recent books which claimed that Smith forged these texts—and that the motivation for doing so was tied to the fact that he was homosexual. (Speculations that Smith was gay remain unconfirmed, but have been the subtext of thinly veiled homophobic criticisms of Smith throughout his career.)

Having laid these controversies to rest, Brown goes on to develop new evidence that the Secret Gospel was written by Mark, based on recent insights into Mark’s literary techniques. However, Brown devotes the bulk of his effort to debunking Smith’s interpretation of the “Longer Mark”: namely, that it provides evidence of a baptismal practice by Jesus. Brown is at great pains to deny that any such ritual interpretation of the text can be made. To do so, he must argue that Clement’s description of the origin, purpose, and meaning of the Secret Gospel, while seemingly permeated with allusions to mystical experience and esoteric beliefs, is purely metaphorical. He sums up his position this way: “This figurative use of mystery-religion language was standard in the writings of Alexandrian Jewish and Christian authors of this period and should not be taken to imply a cultic setting for readings of the longer text.”

I am not convinced. Of course, I was trained in graduate school in postmodern discourse theory, and one doesn’t need to make a special argument that any given text refers, not to a putative reality, but to…other texts. From the point of view of discourse theory all language is always metaphorical and figurative.

But I am also a student of anthropology and religious studies. I know that in all traditions myth and ritual are intimately connected, that rituals are enacted myths, and myths are instruction manuals—liturgies—for ritual. It would be an exception to these patterns to find myths, such as those told by Clement, Origen, and the Secret Gospel, employing ritual structures and weighted with symbols of ritual, to not to have had, at some point in their history, a relationship to ceremony—that is, to the performance and enactment, using gestures and symbols, of what myths tell. It seems to me that Clement and Origen are saying just this: these words ARE metaphoric and allegorical, allusive language for representing something that ultimately cannot be represented: experience. But these words are true and you should believe them because what they describe is something that can be and has been experienced.

So when I read the Secret Gospel, I see the undeniable outlines of a ritual structure: the rite of passage. It follows precisely the stages Arnold van Gennep identified in his famous work, The Rites of Passage. And we see this kind of structure and language in references to baptism throughout the early Christian period, in canonical and non-canonical texts. For me, there’s just too much evidence to ignore the conclusion that actual ritual practices and religious writings had a long and symbiotic relationship with each other: rituals enacting, preserving and transmitting myth; myth providing narratives that give ritual deeper meaning and resonance for those who undergo them.

And…in any case…even without evidence of a “cultic setting,” I’m mindful of a comment by Claude Levi-Strauss—where did I read it?—that myths are “thought rituals.” That is, the mental “performance” of a myth by reading it—that is, “thinking” it—or as Jung put it, “dreaming the myth onwards”—produces the psychological effects of performed ritual—which, as in all rites of passage, is nothing less than an experience of death, rebirth, and return, a passage from an old self to a new, higher state of being.

Aside from this recent scholarship, two new findings of primary evidence have occurred in the years since Jesus was first published. The painstakingly restored Gospel of Judas, released with much fanfare in 2006, provides a unique glimpse into the worldview of a marginal Christian community in the mid-second century C.E. The text mounts a withering critique of what is presumably the orthodox branch of the Christian movement at the time. And in the eyes of the Gospel of Judas, these Christians look remarkably like Paul’s opponents as I described in my book. They engage in mystical practices involving interactions with angels and stars, they are interested in astrology—and they are arsenokoitēs; queer if you will, using Paul’s idiosyncratic word which seems to refer to male prostitution or, perhaps, homosexuals generally. In fact, the Gospel of Judas is a distinctly Pauline text in its themes and language. All this is fully consistent with my argument in Jesus.

Paul’s opponents, it should be remembered, represented the church in Jerusalem and knew Jesus personally—claims Paul could not make.

A second fascinating discovery comes from the waters off Alexandria in Egypt. It is a bowl, roughly dated to the era during and after Jesus’ lifetime, inscribed with the phrase “by Christ the magician.” It appears to be an example of precisely the sort of bowl used in the magical procedures that Smith argues many early Christians engaged in—procedures which produced, among other things, an hallucinatory experience of ascending through the heavens.

I have articles on both these discoveries posted on my website at www.willsworld.org.

Kittredge Cherry: Are you Christian, Will?

Will Roscoe: Funny you should ask that. Officially, of course, no—as in HELL no. I am a feminist gay man who rejects patriarchal religions of the book, and I practice an alternative spirituality that derives its values from nature and from the life-creating and sustaining powers that women, especially embody. I am one of those fanatical ex-Catholics who can’t say enough bad things about the Church. You know, “whore of Babylon,” “legions of Pharisees,” and such.

I initially approached my work on Jesus as a student of religion, interested in diverse religious beliefs and practices, respectful of all heart-felt spiritual experience but viewing none as especially better than any other. But the more I engaged with the New Testament texts the more I thought, “This isn’t what they told me Jesus was about at all.” I kept having this uncanny sensation that I get this, I get this guy, I get what he’s saying about love. Not only does it resonate with my experience as a gay man; he tells me that my experiences are central to what this mission of love is about.

Infant Jesus of Prague
(Wikimedia Commons)
In April of this year I was in Prague. I visited the Church of Our Lady Victorious where the Infant Jesus of Prague “doll” is installed. Maybe I was tired after a long day of sightseeing. Maybe it was jet lag. I knelt and I prayed. The kneeling only lasted about a minute before the pain was too much. But I prayed for longer, and I asked for help for myself and friends I’m concerned about. I haven’t done that since I was a child. For years, I’ve practice a form of meditation, and I always assumed that if there was anything to praying, it was because it involved similar techniques to meditation. But I found that the experience involved something different than meditation, something I needed to do. That is, to invoke in my mind deity as I envision it, and then to talk to it like it was a friend who loved me unconditionally. Mind you, I was praying to a wax doll wearing a dress—the Infant Jesus, protector of women and children—not Jehovah. But it was a powerful experience.

So, no. I’m not Christian. But I guess I’m still a Catholic!

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This post is part of the Queer Christ series by Kittredge Cherry at the Jesus in Love Blog. The series gathers together visions of the queer Christ as presented by artists, writers, theologians and others.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts



Saints of Stonewall inspire LGBT justice -- and artists

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Queer people fought back against police harassment at New York City’s Stonewall Inn in June 1969, launching the modern LGBT liberation movement.

Their bold rebellion against government persecution of homosexuality is commemorated around the world during June as LGBT Pride Month. The Stonewall Uprising continues to inspire a variety of art that is featured here today.

The LGBT people who resisted police at the Stonewall Rebellion (also known as the Stonewall Riots) are not saints in the traditional sense. But they are honored here as “saints of Stonewall” because they dared to battle an unjust system. They do not represent religious faith -- they stand for faith in ourselves as LGBT people. They performed the miracle of transforming self-hatred into pride. These “saints” began a process in which self-hating individuals were galvanized into a cohesive community. Their saintly courage inspired a justice movement that is still growing stronger after four decades.

Before Stonewall, police regularly raided gay bars, where customers submitted willingly to arrest. A few acts of resistance pre-dated and paved the way for Stonewall, such as the 1967 demonstration at the Black Cat Tavern in Los Angeles.

The Stonewall Inn catered to the poorest and most marginalized queer people: drag queens, transgenders, hustlers and homeless youth. Witnesses disagree about who was the first to defy the police raid in the early morning hours of June 28, 1969. It was either a drag queen or a butch lesbian. Soon the crowd was pelting the officers with coins, bottles, bricks and the like. The police, caught by surprise, used nightsticks to beat some people before taking refuge in the bar itself. News of the uprising spread quickly. Hundreds gathered on the street and a riot-control police unit arrived. Violence continued as some chanted, “Gay power!”

“It was Beautiful” by Douglas Blanchard shows the Stonewall Rebellion
Oil on canvas, 24" x 36," 1999.

Drag queens started spontaneous kick lines facing the police with clubs and helmets. That dramatic moment is captured in the painting “It was Beautiful” by Douglas Blanchard. The drag queens met violence with defiant humor by singing,

We are the Stonewall girls
We wear our hair in curls
We wear no underwear
We show our pubic hair
We wear our dungarees
Above our nelly knees!

That night 13 people were arrested and some hospitalized. The streets were mostly cleared by 4 a.m., but a major confrontation with police happened again the next night, and protests continued on a smaller scale for a week.

A month later the Gay Liberation Front was formed, one of many LGBT rights organizations sparked by the saints of Stonewall. LGBT religious groups are indebted to the saints of Stonewall for our very existence.

Artists usually choose between two approaches when addressing the Stonewall Uprising. Some focus on the action in the past while others highlight the present-day Stonewall Inn, which is still in operation as a bar for the LGBT community.

Artists who recreate the past include Doug Blanchard, a gay New York artist who teaches art at City University of New York and is active in the Episcopal Church. “It was Beautiful” (pictured above) and other Stonewall paintings by Blanchard were shown at the Lesbian and Gay Community Services Center of New York in 1999. His series “The Passion of Christ: A Gay Vision” has been featured here at the Jesus in Love Blog.

“The Battle of Stonewall - 1969” by Sandow Birk

California artist Sandow Birk put Stonewall history into heroic context in a big way. The oil paintings in his Stonewall series measure up to 10 feet wide. The crown jewel of the series is “The Battle of Stonewall - 1969.” It updates the classic painting “The Battle of Mons-en-Pévèle - 1304” by 19th-century French artist Charles Philippe Lariviere. In both cases, the physically superior side attacked those who were considered weaker, but the underdogs won and gained their freedom. Birk replaces swords with police batons and turns national flags into “Gay Power” banners. The knight in shining armor is replaced by a drag queen in mascara and high heels. For more about Birk’s Stonewall series, see my previous post: Sandow Birk: Stonewall's LGBT history painted.

The location where history happened is emphasized in the colorful painting of the Stonewall Inn by Trudie Barreras at the top of this post. Barreras is a member of First Metropolitan Community Church of Atlanta. Her art and writing on queer religious themes have appeared frequently here at the Jesus in Love Blog. She also does personalized pet portraits as “donation incentives” for Jesus in Love.

“Prostrations at the Holy Places and Veneration to Our Martyrs (Stonewall Pilgrimage)” by Tony O’Connell

British artist Tony O’Connell paid homage to the power of Stonewall by photographing his own personal pilgrimage to the historic site in New York City. He prayed with incense at the Stonewall Inn earlier this year as part of his a new series on LGBT pilgrimages, which he does as performances recorded in photos. He travels to places of importance in LGBT history, treating the trip as a pilgrimage to the shrine of a saint. For more about O’Connell’s pilgrimages and other art, see my previous post Tony O’Connell reclaims sainthood: Gay artist finds holiness in LGBT people and places.

Jesus meets the women of Jerusalem and the Stonewall Riots happen in Station 8 from “Stations of the Cross: The Struggle For LGBT Equality” by Mary Button

Tennessee artist Mary Button weaves together the LGBT uprising at Stonewall with Christ’s journey to Calvary in Station 8 of her LGBT Stations of the Cross. She shows that a chain of oppression that stretches from the crucifixion of Christ to police harassment of LGBT people today, offering hope for resurrection. For more about Button’s Stations, see my previous post LGBT Stations of the Cross shows struggle for equality.

May the saints of Stonewall continue to inspire all who seek justice and equality!
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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, heroes and holy people of special interest to gay, lesbian, bisexual and transgender (GLBT) people and our allies are covered on appropriate dates throughout the year.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts

UpStairs Lounge fire remembered 40 years later: 32 died in deadliest attack on LGBT people

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“See You at the UpStairs Lounge” by Skylar Fein (Used with permission)

The deadliest attack on LGBT people in U.S. history is being remembered in powerful new ways on its 40th anniversary, including “Upstairs,” a dramatic musical that premieres tomorrow (June 20) in New Orleans. An arson fire killed 32 people at the UpStairs Lounge, a gay bar in New Orleans, on June 24, 1973.

Few people cared about the UpStairs Lounge fire at the time. The crime was never solved, churches refused to do funerals for the dead, and four bodies went unclaimed. Now on the 40th anniversary there is a resurgence of interest.

The musical drama “Upstairs” by Louisiana playwright Wayne Self runs June 20-24 in New Orleans and June 29 in Los Angeles. Earlier this year the New Orleans Museum of Art acquired Louisiana artist Skylar Fein’s major installation “Remembering the UpStairs Lounge.” The tragedy is also recounted in a new documentary by award-winning film maker Royd Anderson released on June 24, 2013, and in the 2011 book “Let the Faggots Burn: The UpStairs Lounge Fire” by Johnny Townsend.

For queer people, the UpStairs Lounge served as a sanctuary in every sense of the world. It was a seemingly safe place where LGBT people met behind boarded-up windows that hid them from a hostile world. Worship services were held there by the LGBT-affirming Metropolitan Community Church of New Orleans. The pastor, Rev. William R. Larson, died along with a third of congregation. Half the victims were MCC members. Those who died included people from all walks of life: preachers, hustlers, soldiers, musicians, parents, professionals and a mother with her two sons.

The horror of the fire was compounded by the homophobic reactions. Churches refused to hold funerals for the victims. Finally MCC founder Rev. Troy Perry flew to New Orleans to conduct a group memorial service. Families of four victims were apparently so ashamed of their gay relatives that they would not identify or claim their remains. The City refused to release their bodies to MCC for burial, and instead laid them to rest in a mass grave at a potter’s field.

The crime received little attention from police, elected officials and news media.  The only national TV news coverage at the time was these video clips from CBS and NBC:



Louisiana playwright and composer Wayne Self spent five years weaving together the stories of the UpStairs Lounge fire victims and survivors. The result is a dramatic musical that opens tomorrow (June 20) in New Orleans. He says his work takes the form “of tribute, of memorial, even of hagiography.”

The musical "Upstairs" brings back to life people such as MCC assistant pastor George “Mitch” Mitchell, who managed to escape the fire, but ran back into the burning building to save his boyfriend, Louis Broussard. Both men died in the fire. Their bodies were found clinging to one another in the ashes. In the musical, Mitchell sings a song called “I’ll Always Return”:
…Modern age,
Life to wage.
To get ahead, must turn the page.
I can't promise I'll never leave,
But I'll always,
I'll always return….

“I’ll Always Return” is one of five songs from the musical that are available online as workshop selection at http://upstairsmusical.bandcamp.com/.

Self is raising funds so that Mitchell’s son and the son’s wife and can travel from Alabama to attend the play. Many victims of the UpStairs Lounge fire were survived by children who are still alive today.

The musical also explores the unsettled and unsettling question of who set the fire. Rodger Dale Nunez, a hustler and UpStairs Lounge customer, was arrested for the crime, but escaped and was never sentenced. He was thrown out of the UpStairs Lounge shortly before the fire for starting a fight with a fellow hustler. He committed suicide a year later. Self says that other theories arose to blame the KKK and the police, but he implicates Nunez -- with room for doubt -- in the musical.

A gay man may have lit the fire, but the real culprit is still society’s homophobia that set the fuse inside him. Homophobia was also responsible for the high death toll in another way. The fire was especially deadly because the windows were covered with iron bars and boards so nobody could see who was inside. But they also prevented many people from getting outside in an emergency.

The UpStairs Lounge is recreated with haunting detail in Skylar Fein’s 90-piece art installation. He builds an environment with artifacts, photos, video, and a reproduction of the bar’s swinging-door entrance, evoking memories of how the place looked before and after the fire. “Remembering the UpStairs Lounge” debuted in New Orleans in 2008 and was shown in New York in 2010. In January 2013 the New Orleans Museum of Art announced that it had acquired the installation. Fein donated it to the museum, saying that he did not want to dismantle the work or profit from its sale. He discusses the fire and shows objects from his installation in this video.

The victims of the UpStairs Lounge fire are part of LGBT history now, along with the queer martyrs who were burned at the stake for sodomy in medieval times. Their history is told in my previous post Ash Wednesday: Queer martyrs rise from the ashes.

The UpStairs Lounge fire gives new meaning to the Upper Room where Jesus and his disciples shared a Last Supper. It was also the place where they hid after his crucifixion, but the locked doors did not prevent the risen Christ from joining them and empowering them with the Holy Spirit.

The shared journey of LGBT people includes much loss -- from hate crimes, suicide, AIDS, and government persecution. But the LGBT community has also found ways to keep going. Reginald, one of the survivors of the UpStairs Lounge fire, expresses this strength in the song "Carry On" from the "Upstairs" musical:
I can speak.
I can teach.
I can give of the compassion I've received.
I can build.
I can sing!
I can honor all the loves,
That have passed away from me,
By sharing all the good that they have ever shown to me.
I can live my life.
I can carry on.
Carry on.
Carry on!


New Orleans film maker Royd Anderson's “The UpStairs Lounge Fire” documentary last 27 minutes (longer than the fire itself) and includes interviews with an eyewitness, a son who lost his father, a rookie firefighter called to the scene, author Johnny Townsend, and artist Skylar Fein, whose art exhibit about the tragedy gained national prominence. Here is a video trailer for the documentary.


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Related links:

The Horror Upstairs (Time.com - NEW on June 21, 2013)

UpStairs Lounge arson attack (Wikipedia)

The Tragedy of the UpStairs Lounge (Jimani.com - website of the bar now at the same location)

Remembering the UpStairs Lounge Fire (glbtq.com)

32 Died, and I Wrote a Musical About It: Why I Did It and Would Do It Again by Wayne Self (HuffingtonPost)

Upstairs musical website

Upstairs musical on Facebook

Upstairs Lounge Fire documentary on Facebook
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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, prophets, witnesses, heroes, holy people, humanitarians, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts


Marriage equality wins at Supreme Court: Religious reactions

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Today the U.S. Supreme Court ruled in favor of marriage equality.

Let the weddings begin!

DOMA is done!

Praise to all-loving God!

Thanks to everyone who worked and prayed to make this happen!

My email in-box is overflowing of statements from various LGBT religious groups:

“Freedom and equality won today as the Supreme Court ruled in favor of the US Constitution and every family.” -- Rev. Dr. Nancy Wilson, moderator of Metropolitan Community Churches

“As members of the Catholic Church and citizens of the United States, we are elated that the U. S. Supreme Court has both struck down the Defense of Marriage Act and cleared the way for marriage equality in the state of California. We are especially pleased to see that Justice Anthony Kennedy, a Catholic, wrote the opinion striking down DOMA, and that Justice Sonia Sotomayor, who is also a Catholic, concurred in this historic decision.” -- Equally Blessed, a coalition of four Catholic organizations

“Today, the U.S. Supreme Court has struck down DOMA’s Section 3 and dismissed California’s Proposition 8 case on lack of standing. These historic rulings affirm that all families deserve equal respect and treatment under the law.” -- Joseph Ward, director of Believe Out Loud, an online network empowering Christians to work for LGBT equality

“June 26, 2013 will be remembered as the day this nation took two giant steps forward toward making liberty and justice for all not just a pledge but a reality for LGBT Americans. By affirming the federal district court ruling that found California's Prop 8 unconstitutional, and by striking down Section 3 of the federal Defense of Marriage Act (DOMA), the Supreme Court made history with rulings that told all loving and committed couples who marry that they deserve equal legal respect and treatment.” -- Rev. Susan Russell, Episcopal priest and past president of Integrity, in Huffington Post

“I welcome today’s decision of the United States Supreme Court that strikes down the 17-year-old law prohibiting federal recognition of same-sex civil marriages granted by the states. …
I am deeply aware that faithful Americans find themselves on all sides of these issues, including those who have not yet clearly discerned an effective or appropriate response. It is possible to disagree AND work together for the good of the larger community. That is the bedrock of our democratic political system. It is also the foundation of life in the Body of Christ. “
--- The Most Rev. Katharine Jefferts Schori, presiding bishop of the Episcopal Church in an official statement

Last but not least:
“I applaud the Supreme Court’s decision to strike down the Defense of Marriage Act. This was discrimination enshrined in law.” -- President Barack Obama

Thanks to the Ms. Foundation for Women for permission to share the image “Marriage for all is a Constitutional right! June 26, 2013.”

Pauli Murray: Queer saint who stood for racial and gender equality

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Pauli Murray by Laurel Green (used with permission)

Human rights champion and queer saint Pauli Murray is a renowned civil rights pioneer, feminist, author, lawyer and the first black woman ordained as an Episcopal priest. Her feast day is today (July 1).

She was approved in a 2012 vote for inclusion in the Episcopal Church’s book of saints, “Holy Women, Holy Men.” Usually the Episcopalians wait until 50 years after a person has died before making granting sainthood, but for Murray the church set aside the rule and approved “trial use” of materials commemorating her now.

Murray was attracted to women and her longest relationships were with women, so she is justifiably considered a lesbian. But she also described herself as a man trapped in a woman’s body and took hormone treatments in her 20s and 30s, so she might even be called a transgender today.

Others have written extensively about her many accomplishments, but material on Murray’s sexuality is hard to find. She did not speak publicly about her sexual orientation or gender identity issues, but she left ample evidence of these struggles in her letters and personal writings.

Pauli Murray (Wikipedia)

Anna Pauline (Pauli) Murray (November 20, 1910 – July 1, 1985) was born in Baltimore, Maryland and raised in Durham, North Carolina. She became aware of her queer sexuality early in life. In Pauli Murray and Caroline Ware: Forty Years of Letters in Black and White, historian Anne Firor Scott explains:

“In adolescence Murray began to worry about her sexual nature. She later said that she was probably meant to be a man, but had by accident turned up in a woman’s body. She began to keep clippings about various experiments with hormones as a way of changing sexual identity…. In 1937, at the initiative of a friend, she had been admitted to Bellevue Hospital in New York, and during her stay there she examined her worries about her sexual nature in writing, and said that she hoped to move toward her masculine side... . She continued for years to discuss the developing medical literature about hormones, thinking they might help her. She discussed the possibility of homosexuality with doctors; she knew that she was attracted to very feminine, often white, women, and she knew as well that… she was not physically attracted to men. This conflict would continue for the rest of her life.”

Murray’s queer side is discussed in many books, including American Eugenics: Race, Queer Anatomy, and the Science of Nationalism by Nancy Ordover and To Believe in Women: What Lesbians Have Done For America by Lillian Faderman, and in the play “To Buy the Sun: The Challenge of Pauli Murray” by Lynden Harris.

A graduate of New York’s Hunter College, Murray was rejected from the University of North Carolina UNC Chapel Hill’s graduate school in 1938 because of her race. She became a civil rights activist. Murray was arrested and jailed for refusing to sit in the back of a segregated bus in Virginia in 1938 -- 15 years before Rosa Parks became a national symbol for resisting bus segregation. In the late 1930s Murray was also seeking psychological help and testosterone implants from doctors in an effort to “treat” her homosexuality by becoming more male.

Eager to become a civil rights lawyer, Murray was the only woman in her law school class at Howard University in Washington, DC. In 1941 she organized restaurant sit-downs in the nation’s capital -- 20 years before the famous Greensboro sit-ins.

She graduated first in her class in 1944, but was rejected by Harvard because of her gender -- even though President Franklin Roosevelt wrote a letter of support for her after Murray contacted First Lady Eleanor Roosevelt. Instead Murray studied law at the University of California in Berkeley. She wrote numerous influential publications, and NAACP used her arguments in the landmark 1954 Brown v. Board of Education case that ended racial segregation in U.S. public schools.

In the early 1960s President John Kennedy appointed Murray to the Commission on the Status of Women Committee. She worked with Martin Luther King Jr. and Bayard Rustin on civil rights -- and criticized the 1963 March on Washington at the time for excluding women from leadership. In 1965 she became the first African American to receive a law doctorate from Yale. A year later she co-founded the National Organization for Women.

Instead of retiring, Murray launched a new career at age 62. She entered New York’s General Theological Seminary in 1973, before the Episcopal Church allowed women priests. She was ordained in 1977. She celebrated her first Holy Eucharist at the Chapel of the Cross in Chapel Hill, NC -- the same church where her grandmother, a slave, was baptized.

After a lifetime as a human rights activist, she drew on her own experience to preach a powerful vision of God’s justice. In a 1977 sermon recorded in Pauli Murray: Selected Sermons and Writings, she said:

It was my destiny to be the descendant of slave owners as well as slaves, to be of mixed ancestry, to be biologically and psychologically integrated in a world where the separation of the races was upheld by the Supreme Court of the United States as the fundamental law of our Southland. My entire life’s quest has been for spiritual integration, and this quest has led me ultimately to Christ, in whom there is no East or West, no North or South, no Black or White, no Red or Yellow, no Jew or Gentile, no Islam or Buddhist, no Baptist, Methodist, Episcopalian, or Roman Catholic, no Male or Female. There is no Black Christ, no White Christ, no Red Christ – although these images may have transitory cultural value. There is only Christ, the Spirit of Love.

Murray died of cancer on July 1, 1985 at age 74. Her best known book is Proud Shoes: The Story of an American Family (1956), her memoir of growing up as a mixed-race person in the segregated South.

The trial use commemorations of the Episcopal Church include this new prayer:

Liberating God, we thank you most heartily for the steadfast courage of your servant Pauli Murray, who fought long and well: Unshackle us from bonds of prejudice and fear so that we show forth your reconciling love and true freedom, which you revealed through your Son and Our Savior Jesus Christ.

Pauli Murray image from Holy Women, Holy Men on Facebook celebrating saints in the Episcopal Church, produced by the Paradoxy Center at St. Nicholas Church. Used with permission.

The image of Pauli Murray at the top of this post is part of the “In the Spirit of Those Who Led the Way” series by North Carolina artist Laurel Green. She creates digital artworks in conversation with more traditional media.

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Related links:

Pauli Murray profile at LGBTHistoryMonth.com

www.paulimurrayproject.org

Pauli Murray Named to Episcopal Sainthood (duke.edu)

Paul Murray bio (Episcopal Diocese of North Carolina)
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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, prophets, witnesses, heroes, holy people, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.



Jemima Wilkinson: Queer preacher reborn in 1776 as “Publick Universal Friend”

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Jemima Wilkinson / Publick Universal Friend (Wikimedia Commons)

Jemima Wilkinson (1752-1819) was a queer American preacher who woke from a near-death experience in 1776 believing she was neither male nor female. She changed her name to “the Publick Universal Friend,” fought for gender equality and founded an important religious community. This fascinating person died almost 200 years ago today on July 1, 1819.

It’s appropriate to consider the Publick Universal Friend on July 4 for Independence Day. In 1776, the same year that America issued the Declaration of Independence, Wilkinson declared her own independence from gender.

Wilkinson is recognized as the first American-born woman to found a religious group, but is also called a “transgender evangelist.” The breakaway Quaker preacher spoke against slavery and gave medical care to both sides in the Revolutionary War.

Wilkinson was 24 when she had a severe fever leading to a near-death experience. Upon waking she confidently announced to her surprised family that Jemima Wilkinson had died and her body was now inhabited by a genderless “Spirit of Life from God” sent to preach to the world. She insisted on being called the Publick Universal Friend or simply “the Friend.” From then on, the Friend refused to respond to her birth name or use gendered pronouns.

Seal of the Universal Friend
(Wikimedia Commons)
The preacher and prophet known as “the Friend” defies categorization. The Friend has been labeled a “spiritual transvestite” and is on lists of “famous asexuals” and “a gender variance Who’s Who.” As a gender nonconformist whose life was devoted to God, the Friend fits the definition of a queer saint. The androgynous Friend was many things to many people.

Jemima Wilkinson was born to a Quaker family in Rhode Island on Nov. 29, 1752. She showed a strong interest in religion while growing up. On Oct. 13, 1776, the Sunday after her rebirth, the Friend gave a public sermon for the first time. Quaker officials rejected the Friend as a heretic, but s/he went on to preach throughout Rhode Island, Massachusetts, Connecticut, and Pennsylvania.

The Friend blended traditional Christian warnings about sin and redemption with Quaker pacifism, abolitionism, plain dress and peaceful relations with Native American Indians. Women had no legal rights in the United States, but the Friend advocated equality of the sexes. The Friend was a firm believer in sexual abstinence.

People were drawn not only to this progressive message, but also to the Friend’s forceful personality and genderbending appearance. S/he rejected standard women’s attire and hairdos for a unique blend of male and female. The Friend commonly wore a flowing black male clergy gown with female petticoats peeking out at the hem. The Friend’s long hair hung loose to the shoulder. The rest of the Friend’s outfit often included a man’s broad-brimmed hat and women’s colorful scarves.

The first recruits were family members, but the Friend soon attracted a diverse group of followers, including intellectual and economic elites as well as the poor and oppressed. Known as the Universal Friends, they upset some people by proclaiming that the Friend was “the Messiah Returned” or “Christ in Female Form.” The Friend did not make such claims directly.

The Friend founded the Society of Universal Friends in 1783. Members pooled their money and started a utopian communal settlement in the wilderness near Seneca Lake in upstate New York in 1788. As the first settlers in the region, they cleared the land and became the first white people to meet and trade with the Native Americans there. By 1790 the community had grown to a population of 260.

Hostile observers put the Friend on trial for blasphemy in 1800, but the court ruled that American courts could not try blasphemy cases due to the separation of church and state in the U.S. constitution. Thus the Friend was a pioneer in establishing freedom of speech and freedom of religion in American law.

Like other isolated utopian communities based on celibacy, the Society of Universal Friends dwindled. The Friend “left time,” as the Universal Friends put it, on July 1, 1819 at age 61. The organization disintegrated within a few years of the founder’s death.

The Publick Universal Friend continues to fascinate people today. One of the most authoritative biographies of this mysterious person is Pioneer Prophetess: Jemima Wilkinson, the Publick Universal Friend by Herbert A. Wisbey Jr. In recent years the life and work of the Friend has been examined by feminists and LGBTQ scholars, including gay historian Michael Bronski in his new Lambda Literary Award-winning book, A Queer History of the United States.
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Related links:
Chapter on Jemima Wilkinson from “Saints, Sinners and Reformers” by John H. Martin(Crooked Lake Review)

The Assumption of Jemima Wilkinson by Sharon V. Betcher (Journal of Millennial Studies)
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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, prophets, witnesses, heroes, holy people, deities and religious figures of special interest to lesbian, gay, bisexual and transgender (LGBT) and queer people and our allies are covered on appropriate dates throughout the year.

Queer religious art resource list: Buddhism, Hinduism, Islam, Judaism, Paganism

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A rainbow of religious symbols: Latin Cross, Star of David, Omkar (Aum), Star and Crescent, Cross Pattée, Yin/Yang, Khanda (Sikh), Ayyavazhi, Triple Goddess (Diane de Poitiers). Artist Andrew Craig Williams worked his queer rainbow magic on an image from Wikimedia Commons.

Queer religious art resources from Buddhism, Hinduism, Islam, Judaism, and Paganism are listed today on the Jesus in Love Blog.

The list provides dozens of links to art created throughout human history, from ancient cave paintings to the most contemporary images of today. It includes Asian, African / African-American, Australian, Celtic, Latina/o, Native American and more.

Usually LGBT Christian art is focus here, but today the attention shifts to other religions and spiritual traditions. The Jesus in Love Blog affirms the value of all faiths. The list is just an introduction to an enormous subject, so please leave comments with more suggestions.

This list took on a life of its own while I was researching it. One artist led to another and another. The lines between religions began to blur and overlap because cross-fertilization occurs between different traditions. Therefore some Christian art is included if it is expressed in a queer interfaith context.

Special thanks to Hugo Cordova Quero, adjunct faculty at Starr King School for the Ministry at the Graduate Theological Union in Berkeley, CA. This list was sparked by his request for help finding queer religious art to use when he teaches an online course on Queer Studies from a Multireligious Perspective in fall 2013.

Christian scriptures on interfaith religious tolerance are relatively rare, but many Bible verses do command people to love and care for strangers. In Acts 10:34-35 Peter said, “Truly I perceive that God shows no partiality, but in every nation anyone who fears God and does what is right is acceptable to God.”

Overview
LGBT themes in mythology and religion (Wikipedia)

LGBTQ Spirituality at Qualia Encyclopedia of Gay Folklife

LGBTQ Religion at Qualia Encyclopedia of Gay Folklife

Queer Spirituality Around the World (compiled by Marilyn Roxie)


Queer Buddhism
Kuan Yin: A queer Buddhist Christ figure (Jesus in Love)

Gay spirituality author Toby Johnson discusses Kuan Yin (or Avalokiteshvara in Sanskrit) as an androgynous figure who embodies compassion in his articles “Bodhisattva Avalokiteshvara” and “Avalokiteshvara at the Baths.”

Vietnamese-born lesbian artist Hanh Thi Pham refashions Buddhist imagery and precepts in her installation “Lesbian Precepts.”  More info and images:
http://cepagallery.org/exhibitions/relocatingasia/AS03.site/AS03.06.pham.1.html

Kukai (774–835), also known as Kōbō-Daishi, is a monk who founded Shingon Buddhism in Japan. He is one of Japan’s most beloved Buddhist figures, credited with everything from inventing the kana alphabet to introducing homosexuality to Japan. Kukai is shown with his male lover among the falling cherry blossoms in “Kukai” by Ryan Grant Long. It appears near the bottom of this article:
Artist paints history’s gay couples: Interview with Ryan Grant Long (Jesus in Love)


Queer Judaism
Elisabeth Ohlson Wallin’s “Jerusalem” photos draw attention to the Christian, Jewish and Muslim scriptures that threaten queer people. See:
http://jesusinlove.blogspot.com/2010/11/religious-threats-to-lgbt-people.html

Photos of LGBT seders and/or pride minion such as this one:
http://jesusinlove.blogspot.com/2011/12/happy-hanukkah-from-jesus-in-love-blog.html


Queer Islam
Rumi is a 13th-century Persian poet and Muslim mystic whose love for another man inspired some of the world’s best poems and led to the creation of a new religious order, the whirling dervishes. See:
Rumi: Poet and Sufi mystic inspired by same-sex love (Jesus in Love)

Sultan Malek al-Kamil captured St. Francis of Assisi on a trip to Egypt. At first they tried to convert each other, but each man soon recognized that the other already knew and loved God. Francis stayed for almost three weeks discussing spirituality with the sultan and his Sufi teacher Fakhr ad-din al-Farisi. Artist Robert Lentz celebrates the meeting of Islamic and Christian leaders as a model of interfaith dialogue in the icon “St. Francis and the Sultan” at these links:
St. Francis: Loving across boundaries (Jesus in Love)

“St. Francis and the Sultan” with narrative by Robert Lentz (Trinity Stores)

Gay Mohammad images were censored in 2008 from a Dutch art exhibit. Iranian-born artist Sooreh Hera was forced into hiding by death threats from Muslim extremists. She says that her images are an artistic expose of Islamic hypocrisy on homosexuality. More info:
Gay Mohammad art censored (Jesus in Love)

Elisabeth Ohlson Wallin’s “Jerusalem” photos draw attention to the Christian, Jewish and Muslim scriptures that threaten queer people. See:
http://jesusinlove.blogspot.com/2010/11/religious-threats-to-lgbt-people.html


Queer Hinduism
Many Hindu saints and deities transcend sexual and gender norms. Perhaps the most popular is Ardhanarishvara, who appears literally split down the middle as half male and half female. Get info and see images at these links:
Ardhanari at Qualia Encyclopedia of Gay Folklife:
http://www.qualiafolk.com/2011/12/08/ardhanari/

Ardhanarisvara at Wikipedia:
http://en.wikipedia.org/wiki/Ardhanarisvara

“Hindu Deities and the Third Sex” by Amara Das Wilhelm provides lots of info and images of Hindu deities, demi-gods and saints who embody the full spectrum of gender and sexual diversity, including but not limited to LGBT, queer and “third sex.” See it at the Gay and Lesbian Vaishnava Association website:
http://www.galva108.org/deities.html

The GALVA web article comes from the book “Tritiya-Prakriti: People of the Third Sex: Understanding Homosexuality, Transgender Identity, And Intersex Conditions Through Hinduism” by Amara Das Wilhelm.

Images of same-sex affection between Hindu deities and Christ (including “Jesus and Lord Rama” by Alex Donis) appear in:
What if Christ and Krishna made love? (Jesus in Love)


Queer Paganism and other spiritualities
(including Native American, Indigenous, African / African-American, Latina/o, Asian and other spiritualities)

We'wha of Zuni: Two-spirit Native American bridged genders (Jesus in Love)

Queer Lady of Guadalupe: Artists reimagine an icon (Jesus in Love)
Art by Alma Lopez links Guadalupe to the Aztec mother goddess Tonantzin. Lopez has also done a painting of the Virgin of Guadalupe as Coyolxauhqui, the Aztec moon goddess who has been interpreted as a lesbian deity.

Aztec god Xochipilli is the patron of gay men:
http://en.wikipedia.org/wiki/Xochipilli

Haitian Vodou has many spirits that can be considered LGBT, queer, androgynous, dual-gendered, gender-fluid or otherwise queer. For example, Erzulie Dantor is the patron spirit for lesbians and is associated with the Black Madonna. Her more feminine sister Erzulie Freda protects and inspires gay men.
http://commons.wikimedia.org/wiki/File:DANTOR.jpg
(Note: I am working on an in-depth article about Erzulie Dantor and the Black Madonna. Suggestions welcome!)

Brigid and Darlughdach: Celtic saint loved her female soulmate (Jesus in Love)
Raised by Druids, Saint Brigid seems to have made a smooth transition from being a pagan priestess to a Christian abbess who loved another woman.

Welsh mythology includes a gender-bending queer shamanic story of incest, rape and shape-shifting with brothers Gwydion and Gilfaethwy. Their queer adventures are included in the Mabinogion, a collection of ancient Welsh myths and legends. Artist Andrew Craig Williams has illustrated, adapted, and reclaimed their story from a contemporary queer perspective:
http://www.behance.net/gallery/Blodeuben/292695
(The image of Gwydion and Gilfaethwy near the bottom was created this week specifically for inclusion on this links list.  Thanks, Andy!)

The Rabbit God from Chinese folk spirituality is considered the patron deity of the LGBT community. Info and images at Qualia Encyclopedia of Gay Folklife:
http://www.qualiafolk.com/2011/12/08/rabbit-god-temple/

Mary, Diana and Artemis: Feast of Assumption has lesbian goddess roots (Jesus in Love)
A mid-August holiday was once the festival of the Greek/Roman lesbian goddess Diana (Artemis), but it has been adapted into a feast day for the Virgin Mary.

Greek mythology has a wide variety of same-sex lovers, including Zeus and Ganymede,
Apollo and Hyacinth, and Dionysus and Ampelus. Get info and see images at:
LGBT themes in classical mythology (Wikipedia)
http://en.wikipedia.org/wiki/LGBT_themes_in_classical_mythology

http://www.gay-art-history.org/gay-history/gay-literature/gay-mythology-folktales/homosexual-greek-mythology/homosexual-greek-mythology.html

Antinous, the young male lover of the Roman emperor Hadrian (AD 76-138), was deified after drowning in the Nile and honored with many statues, which are displayed online at:
http://www.antinoos.info

Lesbian Neopagan / Wiccan spirituality is often expressed in reverence for nature and the Divine Feminine, which is embodied in goddesses. Lesbians often connect with art that has a strong female, feminist or goddess emphasis rather than specifically lesbian content. For example, multicultural goddesses and imagined saints are illustrated by Sudie Rakusin, who has created art for various lesbian projects.  See her art at: http://sudierakusin.com/

Guide to women’s Tarot cards and decks:
http://www.aeclectic.net/tarot/cards/women.shtml

Pagan artist Paul B. Rucker discusses his painting “Androgyne” in his essay “People of the Rainbow: Transgender in Magick and Ritual”:
http://paulruckerart.wordpress.com/essaysarticleshybrids/people-of-the-rainbow/

Stevee Postman mixes images from nature, mythology, Neopagan and Radical Faerie culture to create images with mystical homoerotic energy:
http://stevee.com/

Guide to Tarot cards and decks that accommodate or celebrate LGBT or alternative sexual orientations:
http://www.aeclectic.net/tarot/cards/gay-lesbian.shtml

French artists and lovers Pierre et Gilles (Pierre and Gilles) create hand-painted photos of deities and saints from various religions as well as pop icons and figures from gay culture:
http://www.denoirmont.com/artist-pierre-et-gilles-galerie-jerome-de-noirmont.html

Australian Aboriginal spiritualities include an androgynous creator god known as the Rainbow Serpent, one of the oldest continuing religious beliefs in the world. Rock drawings of the Rainbow Serpent date back 6,000 years. The Rainbow Serpent connects with the symbolism of the LGBT rainbow flag. Image and info at:
http://en.wikipedia.org/wiki/Rainbow_serpent

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Special thanks to Yvonne Aburrow and P. Sufenas Virius Lupus for pagan art recommendations.

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This post is part of the Artists series by Kittredge Cherry at the Jesus in Love Blog. The series profiles artists who use lesbian, gay, bisexual, transgender (LGBT) and queer spiritual and religious imagery.

Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts


Artemisia Gentileschi paints strong Biblical women

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“Judith and Her Maidservant” by Artemisia Gentileschi

Baroque artist Artemisia Gentileschi inspires many with her paintings of strong Biblical women -- created despite the discrimination and sexual violence that she faced as a woman in 17th-century Italy. She was born more than 400 years ago today (July 8, 1593).

Gentileschi was apparently heterosexual, but lesbians have drawn energy from her life and art. Many queer people can relate to her battles against prejudice and sexual violence, documented in her rape trial in 1612. She can be considered the patron saint of lesbian artists, women artists, and everyone who breaks gender rules.

Gentileschi (1593–1652) was successful in her own day, but was mostly written out of art history until the 1970s, when feminist scholars rediscovered her work. Now she is celebrated in many books, films and plays, and her work is widely reproduced. Her greatest paintings include “Judith Beheading Holofernes” and “Susanna and the Elders.”

Lesbians who have created tributes to Gentileschi include painter Becki Jayne Harrelson and playwright Carolyn Gage. In the play “Artemisia and Hildegard,” Gage has two of history’s great women artists debate their contrasting survival strategies: Gentileschi battled to achieve in the male-dominated art world while Hildegard of Bingen found support for her art in the women-only community of a medieval German nunnery.

The daughter of a painter, Gentileschi was born in Rome and trained as a painter in her father’s workshop there. She was refused admission to the art academy because she was a woman, so her father arranged for her to have a private painting teacher -- who raped her when she was about 19. Gentileschi herself was tortured by thumbscrews during the seven-month rape trial, but she stuck to her testimony. The teacher was convicted, but received a suspended sentence.

“Judith Beheading Holofernes”
by Artemisia Gentileschi
Gentileschi used art to express her outrage. During the trial Artemisia began painting the Biblical scene of “Judith Beheading Holofernes” (left). Judith, a daring and beautiful Hebrew widow, saves Israel by cutting off the head of the invading general Holofernes. Judith and Holofernes became one of Gentileschi’s favorite subjects, and she painted several variations during her lifetime.

Her realistic style, influenced by the artist Caravaggio, shows dramatic contrasts between light and dark. But Gentileschi usually created her own unique interpretation expressing a strong female viewpoint. The violence of Judith beheading the male general Holofernes speaks for itself. Another example is her painting (below left) of the Biblical story of the Hebrew wife Susanna and the lustful elders who spied on her while she was bathing. While her male contemporaries painted the scene as a voyeuristic fantasy, Gentileschi presents it as a violation of the vulnerable Susanna by the predatory elders.

“Susanna and the Elders”
by Artemisia Gentileschi
Soon after the rape trial Gentileschi married and moved to Florence, where she became the first woman accepted into the Accademia delle Arti del Disegno (Academy of the Arts of Drawing). She had a full career, producing many paintings of powerful women from Christianity, history and mythology. She worked in various Italian cities and even spent a few years painting in London, England. It is believed that she died when she was about 60 years old in a plague that swept Naples in 1656.

Today Gentileschi’s life and work are admired by many, including artist Becki Jayne Harrelson. She is best known for her LGBT-affirming version of “The Crucifixion of the Christ” with the word “faggot” above Jesus on the cross, but Harrelson has also honored Gentileschi in her art and blog.

Harrelson offers this tribute in celebration of Gentileschi’s birthday: “Artemisia Gentileschi’s talent and mastery was equal to her male counterparts, yet because of sexism and misogyny, she was denied the recognition she deserved as a master painter until many centuries later. She also suffered sexual violence and was treated unjustly for standing up against it. Her art and life inspires me to persevere despite adversity and prejudice.”

“Tribute to Artemisia’s Judith” by Becki Jayne Harrelson, www.beckijayne.com
Oil on canvas | 36”w X 48”h

Artemisia Gentileschi is included in the GLBT saints series at the Jesus in Love Blog because she has inspired so many lesbians with her paintings of women and her success despite gender barriers and sexual violence.
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This post is part of the GLBT Saints series by Kittredge Cherry at the Jesus in Love Blog. Saints, martyrs, mystics, heroes and holy people of special interest to gay, lesbian, bisexual and transgender (GLBT) and queer people and our allies are covered on appropriate dates throughout the year.



Copyright © Kittredge Cherry. All rights reserved.
http://www.jesusinlove.blogspot.com/
Jesus in Love Blog on LGBT spirituality and the arts
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