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My heart stopped when I first encountered Afro-Cuban artist Harmonia Rosales’ I Exist. By reinterpreting Michelangelo’s Crucifixion, Rosales gave voice to the often-silenced blackness and femaleness of Christ.
Even though I know in my head that Christ is not a white man, I still sometimes continue to experience that reality in my heart, body and nonconscious perceptions. And though James Cone and others have helpfully examined God’s blackness on the cross, I’ve been wanting to dive deeper into an intersectional exploration that examines both God’s blackness and femaleness on the cross, and the ways in which God explicitly relates to black women while on the cross.
Last fall, while I was on my Black Madonna pilgrimage in France examining cultural perceptions of race, gender and the Divine, I learned that Rosales collaborated with black designer Fe Noel to create an I Exist dress. And that’s when I knew that it was time to do this. Perceptions of God’s femaleness and blackness directly impact our interpretations of God, including our theology of the cross. This series shines a light on that impact.
Some of the most beautiful feminist interpretations of the cross see it as a birthing center rather cosmic punishment. As a woman, this resonates with me. Because Christ’s tomb is also a womb, I’m eager to go beyond theologies of suffering and survival to also examine the theologies of life, flourishing, strength, meaning-making, and #blackgirlmagic that stem from black women’s experiences and perspectives. What does the cross say about black women’s flourishing, life-making, and magic? And what does God’s blackness and femaleness on the cross reveal about who God is and what God is passionate about?
This is public theology. As precious Patrons, I’m inviting you in to my theological process. Beginning on Ash Wednesday (March 6) and concluding on Good Friday (April 19), each week I will publish a photo and brief reflection on each of Christ’s 7 Last Words on the Cross. All of the photos were taken at Stagville Plantation in Durham, NC, and I plan to write each weekly reflection at Stagville and/or other NC plantations. After doing a contemplative walk on the grounds, I will take no more than 90 minutes to reflect and write on that week’s Last Word. This is NOT systematic theology. In the weeks leading up to this project, I have intentionally refrained from writing outlines, reading tons of books, and reviewing feminist/critical race apologetics. Instead, I want to listen to my body, my heart, my experiences as a black woman, the Divine, and the ground, trees, and wind around me – and simply write what fills my theological imagination.
I am eager to receive your feedback each week, especially if you’re a black femme and/or person of color who does not identify as male. This series is especially for you.
Beloved Patrons: THANK YOU for your financial and emotional support. This project is exactly the kind of project that I want to do more of; truly, it is a dream come true. I would not have the freedom or time to devote to it without your support. Thank you thank you thank you! If this series resonates with you, please encourage your friends to become Patrons and join in! To make things easier for you, I’ve attached a flyer for you to share via e-mail, text, or social media.
WHY “CHRIST OUR MOTHER”?
WHY “CHRIST OUR BLACK MOTHER”?
WHY A PLANTATION?
WHY THE “7 LAST WORDS”?
WHO GETS ACCESS TO THIS SERIES?
While this introductory post is available to all, the remaining series content is supported by and accessible to Patrons. Become a Patron today!
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