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CASI QUE NO LA ENCUENTRO, JUEPUTA

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https://filmow.com/faeriefilm-t202574/ Documentário animado sobre o movimento Radical Faeries com depoimentos de sete integrantes de NYC. FaerieFilm FaerieFilm

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The world is in harmony and the stars shine bright.
Praise the Lord! All are connected and the winds of blessing breathe across the lands!

O, Mother of myriad households, kingdoms, and realms!
Your mighty arm dissolves enmity, guiding the lost towards penitence's path.
Into your realm, the virtuous find solace, peace bestowed, sorrows and strife released.

We serve the Harmonic Strings due to the blessings of the god, and the Harmonic Strings play music to honor the Great One.
In Harmony's embrace, all plagues disperse, eternal praises resound across the earth!
Your myriad forms grant salvation, grace descending with each dawn!

Heaven and earth rejoice as one. The universe gleams in your radiant presence. Your pristine blessings fill the universe!
All beings entwined in blissful Harmony, sharing that happiness and joy, basked in the sweet rain of your divine love!

O, Lord of myriad hearts, minds, and souls! Your sacred decree resonates, discord banished, the affluent urged towards generosity.
Barren lands transformed into boundless havens, the houses swell in wealthy, an endless expanse of your grace.

We serve the Harmonic Strings due to the blessings of the god, and the Harmonic Strings play music to honor the Great One.
Harmony's grace, hearts and minds entwine, all voices sing as one!
Amidst endless darkness you radiate. outshines all the stars in the heavens!

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Dios te ama, pero no lo suficiente para salvarte (Ethel Cain)

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Dios te ama, pero no lo suficiente para salvarte (Ethel Cain)

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"Es que es la música que habla, que dice la verdad de la vida. Porque quién más y quién menos siempre ha tenido algún amor o algún desengaño"

Entre tinieblas, Pedro Almodóvar

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¿Qué es ser auténtica? Almodóvar lo menciona dos veces en dos películas diferentes. Primero, en "todo sobre mi madre" dice a través de la Agrado: "Una es más auténtica cuánto más se parece a la versión que uno ha soñado de sí misma". Por otra parte, en "Kika", Juana le responde a la protagonista cuando le dice lo heavy que es al mencionar cómo quiere estar rodeada de mujeres todo el día "Soy auténtica, señora"

Cuando Agrado dice su monólogo deja saber que ella se ha transformado físicamente a sí misma no porque sea esencialmente falsa, sino porque lo que está dentro de ella anhelaba encontrar forma y expresión.

A través de la visión «auténtica» de Agrado presentada en su discurso, ella redefine no solo a su visión de sí misma, sino a la tradicional visión negativa de las mujeres trans, la sexualidad y la feminidad. Esto es sumamente significativo ya que, gracias a Almodóvar, se nos presenta el género femenino como algo inestable, variable y subjetivo que rompe con todos los estereotipos planteados por la sociedad y en donde la autenticidad se basa en la diversidad de las personas. Tal y como dijo Almodóvar, ser sincero con uno mismo y tener integridad personal es la clave para la verdadera autenticidad.

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"Me llaman la Agrado porque toda mi vida sólo he pretendido hacerle la vida agradable a los demás. Aparte de agradable soy muy auténtica, ¡mire que cuerpo! [...] Cuesta mucho ser auténtica, señora. Y en estas cosas no hay que ser rácana, porque una es más auténtica cuánto más se parece a lo que ha soñado de sí misma."

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Todo sobre mi madre - El monólogo de La Agrado

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In English, fairy is a slang both used by the straight and the queer comunity to talk about an effeminate or gay man. From the heterosexual perspective, fairy is an insult. From the homosexual perspective, is a reclamation of the feminity

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En español, las hadas son criaturas pequeñas que viven en los bosques y que son exclusivamente femeninas. No hay un hombre que se identifique con las hadas.

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¿Qué es un hada?

¿Por qué yo hablo de hadas?

♪ Experiencia vital como origen del proyecto

¿Por qué hablamos de hada como marica?

♪ El uso histórico de la palabra hada y su asociación con lo femenino, la relación del concepto con elementos que van en contra del orden de lo masculino como las flores.

♪ Aparición de grupos como las hadas radicales y la apropiación que se ha hecho del concepto de hada como una forma de identidad

¿Por qué hada es a lo que quiero llegar?

Hablar de lo queer

¿Qué es lo queer?

♪ Lo queer como forma de enunciación

♪ Lo queer como una forma de cientifización de la identidad y como una palabra problemática para la comunidad

La marica

♪ ¿Qué es la marica y cómo va en contra de lo queer?

♪ ¿Cómo es la construcción de identidad de la marica?

♪ Elementos artísticos para la construcción de identidad

¿Cómo es la maricada un medio para convertirse en hada?

La obra; la poética de la marica

¿Qué es la poética?

♪ ¿Cómo vemos la poética desde la marica? ¿En qué influencia?

♪ Hablar del alter ego y del yo performativo

♪ Narrar las experiencias vitales

¿Cómo se muestra la maricada como una poética para convertirse en hada?

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A mermaid is a woman who is half human and half fish. She is the embodiment of transformation and alchemy. Half human and half Atlantian, she can reach into the ether of magic to manifest magic in reality. She is the go-between the two worlds. Her song is immortal. Girls on the verge of growing up are in a transformation stage, where the fantasy of becoming a mermaid is especially strong: the mermaid has all the alluring charms of a woman but is still free from the bonds of society.
(Dame Darcy)

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So I am a big big fan of Dame Darcy, who is one of those glorious artist types who can do anything and everything and makes everything - everything! - more astonishing and beautiful. She writes and draws and paints and sings and plays instruments and makes films and probably does many, many magical secret things besides and right now as we speak she's probably doing something spectacular like changing a pumpkin to a carriage and heading off to a ball. She is also a huge lover of mermaids, and possibly a mermaid herself.

A mermaid is a woman who is half human and half fish. She is the embodiment of transformation and alchemy. Half human and half Atlantian, she can reach into the ether of magic to manifest magic in reality. She is the go-between the two worlds. Her song is immortal. Girls on the verge of growing up are in a transformation stage, where the fantasy of becoming a mermaid is especially strong: the mermaid has all the alluring charms of a woman but is still free from the bonds of society.

The oldest image in mermaid mythology is the goddess Atargatis from Syria, where she is seen in the form of a statue a woman from the waist up and a fish from there down. All sea goddesses reflect the sea's qualities. The sea can be gentle and nurturing or violent and deadly. The sea is alternately, beautiful, cruel, tender, loving, calm, or destroying, and so too can be mermaids. On a broader scale, this is man's view of nature. The mermaid, a fantastic creature, is nature herself. Mami Wata is another timeless mermaid from Africa known for excesses. She has an inhuman beauty, unnaturally long hair, and a pale, unearthly complexion. She represents all races and her hair is combed straight back from her forehead and described as straight, curly or kinky and either black or blonde. Her illustrious, enticing gaze only enhances her ethereal beauty. In many parts of West and Central Africa, when a lady is called "Mami Wata" it's a slang term for a gorgeous woman. She's basically being called a mermaid, what a great compliment!

Mami Wata deities are closely associated with water. Traditions on both sides of the Atlantic tell of people who have returned from the paradisiacal realm of a mermaid which may be underwater, in the spirit realm or both. The people who were captured usually while boating or swimming were released on a mermaid demand, which may be as simple as not eating any more fish. Those who return are miraculously in dry clothing and gaze at the world with a new deeper spiritual understanding. Often these survivors in time grow more beautiful, their lifestyles more lavish and abundant, and their personalities more easygoing after the encounter.

Aye Aye Captain was my first sea shanty /rock band. We played and recorded an album in 2002. Death By Doll, my current band with Skippy Spiral recorded a more traditional sounding album, which was released in 2008 on Emperor Penguin Records. Death By Doll is currently active and Vincent D. Dominion (the spawn of a long Norwegian sailing lineage, which I see in him constantly) and I do shows all the time.

The latest album is a combination of Electro and Rococo (ElectRococo) with Skippy doing electro beats and harpsichord and Charlotte Antique and I singing operatic.

I spend most my time indoors in a sedentary kind of life, drawing and writing but there is a side to me that wants to just run away and apply to the merchant marines or sign up to be part of the crew on a tall ship off the coast of Trinidad and Tobago. I think there would be a lot of down time on these ships where I could draw my graphic novels in between ports, but I don't know if I would lose my connection to my career if I do this, which is what keeps me land-bound.

When I was a kid and I read about Pippi and her pirate adventures I wanted so bad to search for hidden treasures in caves and sail to isolated far away islands. Sea shanties have this whimsical soul in them, but also and the realities of a rough life at sea.

I was raised on a horse ranch in Idaho and always felt land locked, I closed my eyes and dreamed of the sea, vowing to never live anywhere that I was not in close proximity again. I always thought life on a ranch and dealing with farm equipment and cattle was probably as hard and psychical as a ship.

This is the only reason why I think I could be a sailor, but the older I get the more I think I couldn't handle it. I also think I maybe never could, that I'm too much of a sissy, but maybe one day I can be one of those pleasure cruisers and have a little boat.

I'd like to go to Caracou or Georgetown and sing shanties to the people then sail off on a ship and trade songs for coconuts and pineapple the ladies balance on their head like a Carmen Miranda hat.

Sometimes, I think aspects of NY is like what Atlantis used to be, I also feel a Roman thing there too, especially during balmy NY summers when ladies are walking down the street in light drapey sheer cotton. The best compliment I have ever had is one day a little girl, maybe only 2 years old was rolling by in a stroller and as she passed me pointed and said "Mermaid!" I think the love of mermaids is pervasive in NY and they have to let it out somehow so they started the parade. It's the funniest, nautical celebration ever, and New York's chance to have Carnival like in Brazil, or Fat Tuesday like New Orleans.

I understand you are in the Mermaids of New York documentary. Can you tell me about that?
Vincent made a comment today, which I thought would be perfect for this interview.
He has a theory that the movie Splash, which greatly influenced me as a kid to move to NY and be a mermaid (and also gave me hope that I could grow up and look like Daryl) was the impetus to the entire mermaid scene of NY and perhaps even started the Mermaid Parade tradition.
Either that or if the mermaid parade came before the movie perhaps the movie was inspired by the parade. We don't know which came first, the fin or the feet. However, the mermaid obsession seems to be concentrated in NY more than everywhere else. When Jessica Delfino and I hosted the Naughty Nautical Nite at the Slipper Room in Lower East Side NYC, it was truly a bounty of the sea!

There are cabaret scenes abundant in every port town, originally more liberal and eclectic than other cities, because of the ports, I think this is why they thrive in these cities. And where there is cabaret there are mermaids.

Some of my favorite NY mermaids, are Lady Aye, Mica, and the crew of the Mermaids of NY documentary, Bambi the Mermaid, Whitney Ward (often seen as a Kali/Mermaid) Viva Knievel, Junko, Mara G. Haseltine (who does reef restoration through sculpture), Machine Dazzle and the Dazzle Dancers, Adam Dugas, Kai Altair, Shien Lee and the ladies of Dances Of Vice, Banzai featuring Muffin Head and Eric Schmalenberger, and so much more! I think the cabaret is really a place where people go in this day and age to worship the goddess in her many forms... Belly Dancers, Drag Queens, Performance Artists, Can Can Dancers, Musical comedy, Circus Performer, Freak, etc. It's a place to be free.

Do you have any favorite mermaid movies/songs/books/art/lore?
I'm reading an awesome book now called The Chalice and The Blade which is about the origins of society and women's history. I'm reading it so I can put the best info possible in my new graphic novel Hand Book For Hot Witches (due out on Holt in 2012).

The Chalice represents the vessel of life and creativity and is the origin of the Holy Grail myth. It is the symbol of the partnership society which is what started civilization in the first place. It was a utopia where people were equal, and women held honored positions as teachers, philosophers, priestesses, etc.

Art flourished and there was a real city called Crete where everyone had access to lovely homes, which had all four elements, light and air, indoor pluming and central fountains, community gardens, and beautiful murals and paintings, dishware, lamps and glass work. It was said to be the real story and place behind the myth of Atlantis.

The snake goddess was the origin of the mermaid, with her ever-changing cycles of life (maiden, mother, crone, and even for women now during our monthly period) is like a snake changing her skin.

She is depicted as half lady half snake (which looks like a mermaid tail) and also a mermaid with a snake, as before mentioned with Mama Wata who is black and is also like the Black Madonna.

So when lady of any age is drawn to the image and idea of a mermaid, what she is really doing is getting in touch with the Goddess, even if our current society doesn't let us know what the Goddess is, we all know in our heart of hearts that she is alive today in every one of us, and by celebrating Mermaids we celebrate the Goddess and keep her alive in the cycle of life. What the Goddess originally represents IS life itself.

What about your own art and comics - have mermaids always been favorite subjects for you?
Yes, and I always subconsciously knew they were a powerful , import and sexy alluring image, but not until now, have I pieced all the info together to see the whole picture and how it pertains to my own experiences as well as the experiences of all women on earth through out time.

JD is my girl Gemini twin, and everyone always thought we were each other even though she's a brunette and I'm blonde and I'm six yrs older than her.

I also have several mermaid dresses most of them glittering aquamarine in some form. I always know other mermaids because their favorite color is usually aquamarine, however there are coral pink, sea green, ocean silver , arctic white, and other kinds of mermaids I meet all the time.

Any other thoughts about mermaids you'd like to share?? =-)
There are many secret mermaid names, and people have them and don't even know it. You should look up the meaning of your name and see if you have one.
My name means Dark Sea in Gaelic (Dar-cy), which makes since because I love to surf but don't love to be tan and try to avoid the sun. I like to go to the ocean to swim after 3:00 and stay at the sea until night. In Portuguese Dame Darcy is Dama De Mara-Negro. "Lady of the Black Sea" I know my parents named me after a murder ballad but I don't think my Mom was aware of the mermaid connotation. Speaking of Mom...

My wonderful mother is so into mermaids she has a whole mermaid themed home overlooking the ocean from which I am writing this now. My dear witch friend Amber did Mom's whole astrological chart which showed that all her houses are moving into Scorpio, the witchiest dreamy water sign that reigns over intuition and creativity, it also shows that my mom is soon going to retire from being a nurse and be able to do all her shell crafts now and not have to put up with anyone's crap.

Oh BTW speaking of astrology, I have a rising of Scorpio and am a Gemini on the cusp of Cancer which means I am an air sign bordered on both sides by water. I think this makes for a bubbly time but also for choppy seas. And that when someone has water in their chart, especially a rising, or sun, or moon, sign, they look like or act like a mermaid and are drawn to the water.

For instance a Cancer rising means they will look like a mermaid on the surface no matter what their real birthday is.

Water sun sign is BEING a mermaid like my witch sister Mara (her name literally means ocean) born a Pisces, and the most Mermaidly lady coming straight at you from Atlantis.

Moon sign meaning what they really are under it all, like if someone has a birthday born in a very solid and logical sign like Capricorn but really has a Scorpio moon, watch out, they have a secret mermaid soul, and are not as predictable as you think.

Before I sign out, here's a seaweed /raw food recipe so you can eat like a Mermaid without hurting any fish:

*Luxurious Mermaid Mock Tuna Salad Sandwich
Ingredients
2 cups nuts (almonds and cashews work best)
1-cup seaweed
Seafood seasoning
1 lemon, juiced
Salt
Pepper
Garlic powder
Sea salt
Brewer's yeast
Olive oil
Celery, chopped
Romaine lettuce
Cherry tomatoes
Gradually blend 2 cups of nuts into powder in the blender. Then blend a cup of seaweed. Put it in a bowl and mix it with the seafood seasoning, lemon, salt, pepper, garlic powder, sea salt, and brewers yeast. Mix with olive oil until it is the consistency of tuna salad. Finely chop celery and mix in as well. Take romaine lettuce leaves and spoon in the tuna salad. Place cherry tomatoes on top. Wrap in the lettuce leaf.

Thanks for including me, I love your Mermaid book Carolyn!

And thank you fellow mermaid lovers for reading. To contact me or see my art/books/and music please go to DameDarcy.com.

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So I am a big big fan of Dame Darcy, who is one of those glorious artist types who can do anything and everything and makes everything - everything! - more astonishing and beautiful. She writes and draws and paints and sings and plays instruments and makes films and probably does many, many magical secret...

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Ye Faerie Hymnal

Some of the chants and hymns have musical transcripts and mp3 audio files.

And The Spirit
All Will Be Well
Angels Of Healing
Air I Am
Air Moves Us
Animal Spirits
Aphrodite's Song
Anthem To The Sun
Barge Of Heaven
Beautiful Goddess
The Beginning Of The Earth
Benediction
Birthday Song
Blessed Am I
Blood Of The Ancients
Born Of Water
Breaths
Bringing In The May
Brothers Remembered
Burn Bright
Calling On The Spirits
Can't Stop The Spirit
Cauldron Of Changes
Cauldron Of The Ocean
Chant From The Hill
Children Of The Goddess
Chill Of The Night
Circle Casting Song
Circle Casting Song 2
Circling Song
Circular Motion
Come Brothers, Come
Coming Into My Own
Cone Of Power Song
Cornmother Chant
Dear Friends, Queer Friends
Deep Within My Heart
Directions Chant
Crone Song
Demeter's Song (The Wealthy One)
To Dreamland
Earth Gave Us Birth
The Earth Is Our Mother
Elements
Faerie Shaman
Festival Of Friends
Fill Us With Thy Love
Flames Within Me (Burn Bright)
Fly Like Eagles
Food Chant
Free the Heart
From Thee I Receive
Goddess Of The Night
Grandmother Song
Greek Goddess Chant
Green God
Guardians
Happy Hippopotamus
The Harvest
He Is Wild, He Is Free
Healing Song
Hecate, Ceridwen
Hiahno! Hiahno! Hiahno!
High, Holy Sun
Hine Ma Tov
Hold Me
I Am A Circle
I Am Here
I Am The God
I Am The Ocean
I Am Thee
I Know That You Know
If The People...
In Beauty
In Peace And Beauty
I'm In You
John, Come Kiss Me Now
Kali Ma
Kore Chant
Lady Of The Flowing Waters
Last Night
Laughter Makes the World Go Round
Let's Go Down
Light Is Returning
Light One Candle
Listen, Brother, Listen
The Lone Wolf
Long Wing Feathers
The Long Time Sun
Love As A River
Love Is To Give Away
Love Round
The Love Temple
Lu The Sun King
Lord of the Dance
Lotus Goddess
Make New Friends
Many Ways, Many Names
May The Circle Be Open
May The Circle Be Unbroken
Midwinter Song
Moon Chant
Moon White Lily
The Moon Song
My Spirit's In The Sky
My Body is a Temple
Moon Mother
Mother Of All Things
Never Turning Back
Ocean Love
Ode To Lupin
Oh, Goddess
One With Thee
Onward Dykes
Open Hearts
Open My Robe
Out Of The Darkness
Opening
Plea For One World
The Power To Change
Prayer Of Peace
Purple God
Radiant Light
Rainbow Woman
Rainbow Trail
The Return
Raven And Eagle
Return
Rise With The Fire
The River Is Flowing
The Sacred Mystery
Sabbat
Seven Fabrics Chant
Seven God Chant
Seven Goddess Chant
Shamanistic Journey
She Comes As A Wave
She Harbors Me
Shaman
She's Been Waiting
Shine, Shine, Shine
Silver Shining Wheel
Snake Woman
Solid
Song To Inanna
Spirit Of The Plants
Spirit Of The Wind
Summer Solstice Power Chant
Sure As The Wind
Spirits, Carry Me
Stonewall Girls
Strolling Song
Sufi Memorial Song
Summer Solstice God Song
Teddy Bears' Picnic
Take My Hand
Thank The Source
Thank You Mother Earth
The Faggot God Is Here
There Is No End To The Circle
Time To Love
'Tis A Gift
Touching Her Deep
Vine And Fig Tree
Vision Song
The Walls
Waltzing With Bears
Way Of The Heart
Warriors Of The Heart
We All Come
We Are A Circle
We Are An Old People
We Are Alive
We Are All One
We Are Faggots
We Are The Change
We Are The Flow
We Are The Power In Everyone
We Come From The Mountain
We Remain Faithful
The Weenie Man
When The Faeries Sing (White Coral Bells)
Where Does It Lead
Where There's Fear
White Buffalo Woman
You Are Our Loving Mother

And The Spirit
By Susan Arrow
Just as rain comes with healing showers, or thunderclouds,
We shape our landscape above the ocean and rise as clouds.

Just as a stone thrown into the water sends ripples wide,
Our courage teaches, our loving reaches through space and time.

All Will Be Well
Author Unkown
All Will Be Well, All Will Be Well,
All manner of things will be well.

Earth will be well, we will be well,
All manner of things will be well.

Angels Of Healing
By Lisa Thiel
Air I Am
By Andras Corbin Arthan
Air I am, Fire I am,
Water, Earth, and Spirit I am.

Air Moves Us
By Cathleen Shell, Moonsea, Prune
The balance of the wheel goes round and round,
The balance of the wheel goes round.

Animal Spirits
Author Unknown
Let my trickiness be that of the coyote,
Not directed at my people or myself,
But at those who won't let us be.

Aphrodite's Song
Adapted By Sparky T. Rabbit, 1984
Anthem To The Sun

By Rick Hamouris

The Beginning Of The Earth
By Delaney Johnson And Starhawk
Benediction
Sufi Islamia Ruhamat Society
Barge Of Heaven (Courtship of Innana And Dumuzi)
Adapted From Sumerian Text By Starhawk, 1987
Blessed Am I
Author Unknown
Blood Of The Ancients
By Ellen Klaver
Beautiful Goddess
By Cindie Sallee
Birthday Song
DC Radical Faeries
Born Of Water
From Kate Kaufman's Coven, Madison, WI
Breaths
by Birago Diop, as performed by Sweet Honey in the Rock
Bringing In The May
By Rick Hamouris
And now the quarters we must cross,
Between the equal and extreme.
we know that Mars' dance is done,
So that all can feel the Sun,
As it penetrates our flesh and blood and spirit born as one.
(Chorus) and Counterpoint).
A living circle cast in love,
With friends and strangers as one voice,
Upon that strong and fallen steel,
We project an ancient will,
Sending power all around the world, protecting you and heal.
(Chorus) and Counterpoint).

Brothers Remembered
By Emerald For Wings And Waves Gathering, Fall 1990
Burn Bright
By Nicholas Sea, 1980
Calling On The Spirits
By Charlie Murphy
Can't Stop The Spirit
By Naomi Little Bear This chant also has a bunch more verses, plus circles
would often make them up by replacing "mountain" with
other words, then using a different third and possibly also
last lines reflecting the qualities of the new word choice.
Cauldron Of Changes
Oothoon Of St. Louis, MO
Cauldron of changes, blossom of bone,
Ark of eternity, hole in the stone.

Cauldron Of The Ocean
By Haragano, 1988
She comes as a wave from the cauldron of the ocean,
Swept to the shore, transformed once more.

Chant From The Hill
Author Unknown
Faerie hill, faerie wood,
Faerie skin and bells and brotherhood.

Father Sky, Mother Earth,
Sun and Moon and Rain which give us birth.

Children Of The Goddess
By Phil Wayne
Chill Of The Night
A Faerie Chant For Sowen, 1985
It is the chill of the night,
It is the dark,
We live, we pass, we die.

It is the chill of the night,
It is the dark,
Fear lives, fear passes, fear dies.

It is the chill of the night,
It is the dark,
Hate lives, hate passes, hate dies.

Circle Casting Song
By Athanor Fellowship
Circle Casting Song 2
By Changing Woman, 1988
Chorus:
All around the wheel from the center from the hub,
Moving faster, faster, faster, circles made of love.

North, Mother Earth, dressed in velvet green,
Help us keep our pledge to leave this planet clean.

Circling Song
Author Unknown
We are men of the loving circle,
We are lovemen who circle the world.

We are men of the loving circle.
We are lovemen who circle the world.

Circular Motion

Come Brothers, Come
By Sparky T. Rabbit, 1982
Come, brothers, come to the radiant Sun; O Horned One!

I see [name of loved one] in the radiant sun; O Horned One!

Coming Into My Own
By Albert At Okanagen Healing Gathering, Spring 1990
Cone Of Power Song
By Selena Fox
Cornmother Chant
By Lisa Thiel
Sacred Cornmother, come to me,
Make my way sacred, fill me with beauty.

Crone Song
By Anodea Judith
Dear Friends, Queer Friends
Adapted From Love Round, Also In This Collection variation 2
Deep Within My Heart
Author Unknown
Directions Chant
By Gil Morris (Orion Stormcrow)
Demeter's Song (The Wealthy One)
By Starhawk
Chorus:
I am the wealthy one.
I am the wealthy one.

All that I have, I give to you:
Blossom and bud, the leaf and promise of all to come,
The corn and wheat, the grass and the earth below your feet.
(chorus)
All that you have I give to you:
Rhythm and form, the lover's smile and the worker's arm,
Your blood and your breath, pleasure and sorrow, birth and death.
(chorus)
All that I am, I am in you:
The change that frees, the heart that cries and the hand that heals,
The eye that sees true, power to destroy and to renew.
(chorus)
All that I am, I am in you.
All that I am depends on you.

To Dreamland
Traditional
One bring morning, when my work is done,
I'm gonna fly away home.
(repeat)

Fly away home to Dreamland,
Fly away home.
(repeat)

Earth Gave Us Birth
By Ayusha Homoko Of Earthfirst
The Earth Is Our Mother
Author Unknown
Elements
By Co'Lo'Neh, 1988
Faerie Shaman
by Anodea Judith, Philip Wayne
Festival Of Friends
Author Unknown
Fill Us With Thy Love
By Lisa Thiel
Fill us with they love, fill us with thy light,
Fill us with they love, fill us with thy light,
Fill us with they love, fill us with thy light.

Make us strong, make us fearless,
Make us strong, make us fearless,
Make us strong, make us fearless.

Let all our power be the power of love,
Let all our power be the power of love,
Let all our power be the power of love.

Fly Like Eagles
Author Unknown
Food Chant
By Various Faeries
Ice cream, a pop tart and a pizza,
Pecan pie, Dove bars, banana.
alternate version per Starbuck
Ice Cream, a pop tart, chocolate latte,
Gellato, pizza, banana.

Free the Heart
by Diana EarthMission
Free the heart, let it go,
What we reap is what we sow.

From Thee I Receive
By Joseph And Nathan.
From thee I receive
to thee I give
Together we share
And from this we live.

Goddess Of The Night

Grandmother Song
By Lisa Thiel
Guide me on my Spirit Journey
(repeat 3 times)

Greek Goddess Chant
By Susan Arrow
Green God
By Buffalo John
Replace Redwood/Old Growth with combinations like the following: Apple/orchard; Grassland/prairie; Plankton/ocean; Spinach/garden

Guardians
Author Unknown
Happy Hippopotamus
Author Unknown
Chorus:
All I want is a happy hippopotamus, happy hippopotamus, happy hippopotamus,
All I want is a happy hippopotamus to keep me company.

The Harvest
By Rick Hamouris
He Is Wild, He Is Free
By Feather Singing And K. Cat
Healing Song
By Charlie Murphy
Hecate, Ceridwen
By Patricia Wit
Hiahno! Hiahno! Hiahno!
Traditional Native Chant
High, Holy Sun
Author Unknown
High, holy sun,
Stimulator, life giver.

Hine Ma Tov
Traditional Jewish Song
Hine ma tov oo manayim, shevet achim gam yachad.

Hold Me
Author Unknown
I Am A Circle
By Adele Getty
I Am Here
By Greg Johnson, 1987
Chorus:
I am here, right here among you.
(3x 1st and last; 2x other times)

I Am The God
By Beverly Cady
I Am The Ocean
Author Unknown
I Am Thee
By Lisa Thiel
I Know That You Know
Author Unknown
I know that you know that I love you.
What I want you to know is that I know that you love me.

If The People...
Translation Of Russian Folksong
In Beauty
Author Unknown
In Peace And Beauty
By Lisa Thiel
I'm In You
Author Unknown
Other verses:

John, Come Kiss Me Now
by Allan Troxler, 1978, Running Water Rounds
John, come kiss me now.
Once again for our love gentle.
John, come kiss me now!
Transcription in PDF format
Audio piano in MP3 format
By Sparky T. Rabbit, 1982 Audio singing lesson in MP3 format By Starhawk, et. al.
Kali Ma
Author Unknown by Orion Stormcrow
Kore Chant
By Lisa Thiel
Alternate verses and counterpoints:
Compliments Of Proudpansy
Lady Of The Flowing Waters
by Allan Troxler, 1978, Running Water Rounds
Last Night

Laughter Makes
Traditional
Transcription in PDF format

Audio in MP3 format
Author Unknown
Leaper In The Corn
Author Unknown
Let's Go Down

Light Is Returning

Light is returning,
Even though it is the darkest night,
No one can hold back the dawn.

Let's keep it burning,
Let's keep the flame of hope alive,
Let's make a journey through the storm.
Author Unknown
One planet is turning,
Circles on her path around the sun,
Earth-Mother is calling her children home.
Author Unknown Transcription in PDF format
Audio in MP3 format
Light One Candle
Adapted from an Arapaho song Transcription in PDF format
Audio in MP3 format Author Unknown
Listen, Brother (Listen Listen Listen)

The Lone Wolf

Long Wing Feathers
Author Unknown
The Long Time Sun

Love As A River

Love as a river, flowing from my heart, flowing from my heart.
Love like the waves of the sea,
Washing over you and washing over me.
Author Unknown
Love Is To Give Away

Love is something if you give it away, give it away, give it away.
Love is something if you give it away, you wind up having more.

Love Round

See Also Dear Friends, A Fae Adaptation
By Raven Moonshadow
Love Temple

I am building a Love Temple, here in between my Hopes and Fears
'cause when they go out and about they need some quiet place to meet
adapted from Methodist hymn
I am building a Love Temple, here in between my Hopes and Fears
'cause when they go out and about they need some quiet place to meet
By Lisa Thiel
Lu The Sun King
Author Unknown
Tell me why, Oh, tell me why,
Must the clouds come to darken the sky.

Lord of the Dance
Author Unknown
Lotus Goddess
Author Unknown
Make New Friends

Make new friends, but keep the old,
Some are silver, the others are gold.

Many Ways, Many Names

May The Circle Be Open

May the circle be open, but unbroken,
May the peace of the Goddess grow in our hearts.
By Roz, Wings Of Vanthi
Merrie meet and Merrie part and
Merrie meet again.
By Reclaiming
Blessed Be
Blessed Be
Blessed Be.

A common variation on this chant is "Merry Meet, and Merry Part, and Mary Tyler Moore".

May The Circle Be Unbroken
By Susan Arrow
Midwinter Song
By Co'Lo'neh, 1988
We return again,
To be born again.
By Sparky T. Rabbit, 1983
We turn toward the light
Through the darkest night.
Author Unknown
Moon Chant
By Lisa Thiel
Moon White Lily
By Lisa Thiel
The Moon Song

My Spirit's In The Sky

Moon Mother
By Judy Small
Mother Of All Things

Chorus:
Oh, mother, mother, mother of all things.
Oh, mother, mother, mother of all things.
By Charlie Murphy
My Body is a Temple

Never Turning Back
By Emerald, For The Wings And Waves Gathering, Fall 1990
Also try: Standing proudly, singing loudly, loving boldly.

Ocean Love
by the Her-Singing Chorus
published by Proud Pansy Productions
Ohhhh, mother ocean-love,
Ocean-love, ocean-love,

Ode To Lupin
Author Unknown
Oh, Goddess

Onward Dykes
By Graham Conner
One With Thee
By Mark Wirth, 1988
Open hearts, open hearts,
Open up that part of you to me.
Author Unknown
Open My Robe

I can open my robe, I can let go of fear.
There's no need to fear,
There's nothing here to fear.
By Starhawk
Out Of The Darkness
By Lisa Thiel
Opening

Plea For One World
By Sparky T. Rabbit, 1987
A plea for one world is sung in many different lands:
Here is a plea from a world that is hungry for peace.
By Sparky T. Rabbit, 1987
The Power To Change
Author Unknown
Prayer Of Peace

May peace, may peace, may peace fill your soul.
Let peace, let peace, let peace make you whole.
By Lisa Thiel
Purple God

Queer God

Radiant Light

Strand by strand, hand over hand,
Thread by thread, we weave the web.

Rainbow Woman

Rainbow woman, rainbow woman, rainbow woman,
By Lisa Thiel
Shining being, eternally wise,
Dancing across the ancient skies,
By Joan Halifax And The Medicine Wheel Group
Rainbow woman, rainbow woman, rainbow woman, rainbow woman.

Creation mother, shines with moon beams
Planting the seeds of sacred dreams.

Rainbow woman, rainbow woman, rainbow woman, rainbow woman.
By Co'Lo'Neh
Rainbow Trail
Author Unknown
The Return
By Starhawk
(alternates:)

The owls, the wolves, the foxes, the bears
The paper, the glass, the metal, the plastic.

Raven And Eagle
Author Unknown
Return

Rise With The Fire
By Lisa Thiel
We can rise with the fire of freedom,
Truth is the fire that burns our chains.

And we can stop the fire of destruction,
Healing is the fire burning through our veins.

The River Is Flowing
Author Unknown
Mother, carry me, child I will always be,
Mother, carry me back to the sea.
By Charlie Murphy
The Sacred Mystery

We are humans with our humanity,
We don't know when we don't see,
By Deana Metzger
Oh, let us be in harmony,
And let us walk in beauty.
Hand motions:
Isis (fingers make HORNS)
Astarte (point at the STARS)
Diana (draw back a BOW)
Hecate (walk with a CANE)
Demeter (hands grow up like PLANTS)
Kali (swing ARMS)
Inana (rub WOMB)
Sabbat
By Various Faeries, similar to Seven Goddess Chant
Seven God Chant

Pan Poseidon Dionysus Cernunnos Mithras Loki Apollo
Lyrics By Susan Arrow, sung to the tune of Sentimental Journey
Seven Goddess Chant

Isis Astarte Diana Hecate Demeter Kali Inana
By Heragano
Seven Fabrics Chant

Lycra, Spandex, Dacron, Polyester
Nylon, Orlon, Quiana
Author Unknown
Shamanistic Journey

I'll beat the drum for hour after hour,
'Till I fall into a trance.
I'm gonna find my own subconscious power,
Joinin' in the spiral dance.
(chorus)
Gonna chant, gonna shake my rattle,
Keeping time with the moon and stars,
I might range to London or Seattle,
Tibet or Luna, Venus or Mars
(chorus)
By Duane Worthington
She Comes As A Wave
By Paula Wallowics, Copyright 1979 Bridge, by Lunacy:
She comes as a wave from the cauldron of the ocean,
Swept to the shore, transformed once more.
Author Unknown
She Harbors Me

She harbors me, she harbors me,
This Earth, my mother, she harbors me.
By Peter Soderberg
Shaman

She's Been Waiting
By Starhawk
Shine, Shine, Shine

Shine, shine, shine,
Oh, bright, shining, swift-horned one.
Ahirra Mazda!

Silver Shining Wheel
By Raven Moonshadow
Holy maiden, huntress, Artemis, Artemis,
Maiden, come to us. (3x)
Silver shining wheel of radiance, radiance
Mother, come to us. (3x)
Ancient queen of wisdom, Hecate, Ceridwen,
Old one, come to us. (3x)
Holy shining sunlight, radiant, radiant,
Brother, come to us. (3x)
Silver shining wheel of radiance, radiance,
Mother, come to us. (until...
By Lisa Thiel
Snake Woman

(Repeat w/harmony)
By Lisa Thiel
(Repeat w/harmony)
By Shelly Jakobsen
Solid

Song To Inanna

I am your child, O ancient mother,
I am the child of the mother of the world.
(repeat)

Spirit Of The Plants
By Starhawk
Spirit Of The Wind
Author Unknown
Spirit of the Wind, carry me,
Spirit of the Wind, carry me home,
Spirit of the Wind, carry me home to myself.
By John Seed of Earth First
Spirit of the Moon, carry me,
Spirit of the Moon, carry me home,
Spirit of the Moon, carry me home to myself.
By Those At The FAG Event, NYC June 1989
Spirit of the Sun, carry me,
Spirit of the Sun, carry me home,
Spirit of the Sun, carry me home to myself.
By Marianna Evans
Summer Solstice Power Chant

Sure As The Wind

Spirits, Carry Me
Author Unknown
Stonewall Girls

Strolling Song
By Susan Stern And Bonnie Barnett
Oo, oo, I come to you, singing as I'm strolling,
Oo, oo, I come to you, with loving and alarming.

Oo, oo, I come to you, underneath the moonlight,
Oo, oo, I come to you, gazing at the stars bright.

Sufi Memorial Song
By Kennedy And Bratton
Return again, return again, return to the land of your soul. (3x)
Author Unknown
Summer Solstice God Song

Take My Hand
By Susan Arrow
by Peter Burkholder
published by Proud Pansy Productions
Kawashaway North Woods Faerie Tribe
Teddy Bears' Picnic

Thank The Source
By Starhawk
And I call your Name,
And I call your Name!

Thank You Mother Earth
By Deena Metzger
The Faggot God Is Here
Old Shaker Song Repeat first verse
And we will not be afraid,
No, we will not be afraid.
By Feather Singing
There Is No End To The Circle
Author Unknown
There is no end to the circle, no end,
There is no end to life, no end.
By Changing Woman, 1988.
Time To Love
Try replacing underlined pairs; some suggestions:
'Tis A Gift
By Rick Hamouris
Touching Her Deep

Vine And Fig Tree
Author Unknown
Vision Song
By Steven Longfellow Fiske
I see as lover sees, the Seeing Eye of the lover of sight.
I see as lover sees, the Seeing Eye of the lover of sight.
Original Words And Tune By Z. Budapest And Ian Corrigan
sung as a round
The Walls

Waltzing With Bears

Way Of The Heart

Warriors Of The Heart

We All Come From the Goddess

Cock and balls, cock and balls,
Love one brother, love them all

Transcription in PDF format
Audio piano in MP3 format
Audio singing in MP3 format

We Are A Circle

Copyright © 1986 by Rick Hamouris. All Rights Reserved. Permission Upon Request.

Chorus: We are a circle within a circle, with no beginning and never ending.

You hear us sing, you hear us cry,

Now hear us call you Spirits of Air and Sky.

Inside our heart there glows a spark,

Love and desire, a burning Fire.

Within our blood, within our tears,
[Sung in this manner, your circle has been cast in song. The chorus structure invokes the triple goddess 5 times, the verses invoke the four directions and elements and close (create) the circle. The closing chorus invokes the 5 points of the pentacle. The 20 total repetitions of the chorus invoke the higher power of 2 (cooperation and partnership)]
There lies the altar of living Water
By Morning Feather And Will Shepardson
Take our fear, take our pain,
By Rose May Dance And Starhawk
Take the Darkness into the Earth again.
Translation Of Native Chant
The Circle closes, between the Worlds,

To mark this Sacred Space where we come face to face.

We Are An Old People
(heard sung by a small group of fae in the Wolf Creek kitchen at a Naraya circa 2010)
We Are Alive
Words By Shekhinah Mountainwater To Traditional Tune
We Are All One
By Reclaiming
We Are Faggots
Author Unknown
Purple Star Tribe, Dallas, 1971
published by Proud Pansy Productions
By Charlie Murphy
We Are the Change
Author Unknown
We Are The Flow
Traditional
We Are The Power In Everyone

We Come From The Mountain

We Remain Faithful

The Weenie Man
By Starhawk
When The Faeries Sing (White Coral Bells)
By Lisa Thiel
Where Does It Lead
Author Unknown
Where does it lead,
this strange young love of mine?
Only heaven and the lilies know.

Where does it lead,
this strange young love of mine?
Anywhere he takes me I will go.
Audio in MP3 format

Where There's Fear

White Buffalo Woman

You Are Our Loving Mother

If you have more faerie chants or hymns, or recordings or transcriptions of any of the hymns, please send us a comment below.

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Some of the chants and hymns have musical transcripts and mp3 audio files.

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La bruja es la que carga con una herida mortal, siempre abierta, que no le permite ser vulnerable. La herida, hecha por los hombres, hace que reniegue de ellos. La primera herida, la más vieja. Ella es la que quiere ser vista y, al mismo tiempo, estar escondida.

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El espíritu masculino, la urgencia de negar toda forma de feminidad. La purga que existe dentro del cuerpo. ¿De dónde nace? ¿Por qué deseo tanto ser como ellos? El mundo es como una obra y hay unos papeles que deseamos. ¿Por qué insiste en encajar?

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La madre debe de cuidar y proteger. Es la figura que calma y que se encarga de mantener el orden. Mientras que el animus reniega de su condición, la madre busca equilibrarlo todo. Sin embargo, su trabajo es ingrato, carga con un peso demasiado grande para cualquier persona y es impuesto a ella por sí misma y por les demás.

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Sólo reconociendo el sexo se reconoce la identidad. La madurez se encuentra en la madurez sexual y el poder está en esas mismas relaciones. Es por eso que el espíritu del deseo busca ser encontrada. Ella desea el poder y el reconocimiento. Desea romper y reventar, así como crear y construir.

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La virgen, la imagen de la inocencia y la fascinación. ¿Cómo se ve el mundo cuando todo lo desconoces? En el mundo gay, todo lo que te muestran es un mundo de cuentos en el que dos hombres se pueden relacionar como personas normales. ¿Es así, acaso?

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Que significa, "aquelle que posée mil manos y mil ojos para ver y consolar los dolores del mundo"

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Guan Yin, bodhisattva de la compasión/misericordia

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Guan Yin, bodhisattva de la compasión/misericordia

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La Bodhisattva comprende los sentimientos de temor y responde a las peticiones de ayuda con su Compasión. Como Madre Misericordiosa, oye las peticiones de quienes desean tener hijos. Asimismo el Movimiento Mahakaruna (La Gran Compasión), ha dado a conocer las "108 Glorias de Guanyin", promulgadas por S.G. Devadip Baghwan Singh, como una eficaz oración transformadora.

En Occidente muchos son los que asocian la figura de Guanyin con las de las diosas madres y figuras maternas protectoras de otras religiones, tales como Isis en el antiguo Egipto y Śakti, Párvati, Sītā o Radha en el hinduismo.

En Oriente son numerosos los templos y estatuas dedicados a esta bodhisattva.

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Una mujer Budista China de Hong-Kong me dijo que los chinos no consideran que Kuan Yin tenga una identidad femenina sino una identidad masculina bajo una forma femenina.

"La virgen María y el budismo"

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Por Ella Rozett, traducion por Jesús Ángel Gomollón Garcia*

La Virgen María es ampliamente conocida en el mundo Budista, la única excepción sea quizás María Kannon. Esta última es un híbrido de la Virgen María y la Bodhisattva del amor y la compasión a quien los Japoneses llaman Kannon, los Chinos Kuan Yin, los Tibetanos Chenresig y los Hindúes Avalokiteshvara. En el Budismo Hindo-Tibetano este Bodhisattva es masculino, pero en el Budismo Sino-Japonés entre los siglos VIII-X se convirtió gradualmente en femenino¹, al menos en apariencia. Una mujer Budista China de Hong-Kong me dijo que los chinos no consideran que Kuan Yin tenga una identidad femenina sino una identidad masculina bajo una forma femenina. Martin Palmer y Jay Ramsay en su libro "Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion"-Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-, trazan la historia desde el Bodhisattva masculino de las escrituras Budistas hasta la diosa femenina de la gente laica China y Japonesa. Ellos confirman que aquellos que tratan con los Sutras (textos sagrados Budistas), i.e., monjes y gente laica educada, saben que Kuan Yin es de género masculino en las escrituras. Explican su cambio de sexo aparente con varias leyendas y según algunas el Bodhisattva se volverá del género masculino de nuevo cuando él/ella entre al Nirvana.

Ellos cuentan también que los japoneses no se sienten tan desconcertados por el género de su diosa como parece que lo están muchos chinos².

Porque la Virgen María y Kannon tienen tantas cosas en común, japoneses Cristianos perseguidos de siglos pasados rendían culto secretamente a Jesús y María en la forma de Maria-Kannon con niño. Hoy en día hay un Centro Zen Cristiano-Budista en Texas llamado "Maria-Kannon". (Ver los enlaces).

Como la Virgen María, Kannon es una expresión del aspecto divino de la feminidad, una personificación del amor y la compasión, una salvadora en la calamidad, una realizadora de milagros. Se aparece a sus devotos como una señora amable y gentil de belleza celestial, algunas veces desprendiendo una esencia de flores dulces. De forma muy parecida a la Virgen María, la Kuan Yin China se dice que vivió una vida humana de autosacrificio y santidad extremas antes de ascender al cielo y convertirse en la Diosa Celestial de la Misericordia y la Compasión. Desde su ascensión ha estado apareciendo como "una mujer de blanco" a aquellos que necesitaban su ayuda. Sus devotos responden a su amoroso cuidado rindiéndole honores en su cumpleaños y acudiendo en peregrinación a sus lugares sagrados en montañas, cuevas y templos. He aquí un relato de lo que puede suceder en estos casos: "Huang Kuei-nien y algunos compañeros emprendieron la peregrinación a P'u-t'o Sha. Fueron a la Cueva de Sonidos de la Marea y rezaron con gran devoción, cantando el nombre de Kuan Yin. De repente vieron una luz brillante, y Kuan Yin apareció, sentada sobre una roca encima de la cueva. Huang estaba tan conmovido que hizo votos de dedicar su vida al estudio de las escrituras Budistas, comiendo solo dieta vegetariana, y absteniéndose de matar"³. Todo esto a mí me suena muy Mariano.

Algunos ven el origen las sorprendentes similitudes entre María y especialmente la Kuan Yin de Vestido Blanco en la influencia de los Cristianos en China. Martin Palmer y Jay Ramsay cuentan la historia de Cristianos Nestorianos que llegaron a China a principios de los años 600⁴. Nestorio fue un Arzobispo depuesto de Constantinopla que murió alrededor del año 450 E.C. Resulta irónico que parte de su herejía consistiese en negarse a llamar a María "Madre de Dios", y sin embargo su influencia en China ayudó a elevar a Kuan Yin a un estatus casi divino. Dios/Diosa obra ciertamente de modos misteriosos. Los Nestorianos veneraban a la Madre de Jesús (simplemente no como "Madre de Dios") e importaban imágenes de Madonnas a lo largo de Persia, Arabia, y la Ruta de la Seda hasta Mongolia, China, Tibet e India. En aquellos tiempos los Chinos anhelaban la divinidad femenina, y el Budismo Chino necesitaba a alguien que pudiese competir con las poderosas diosas Taoístas. De este modo, la Madonna con niño tañó una cuerda y se fundió con Kuan Yin, a quien las mujeres rezaban para tener niños, generalmente niños varones. Así Kuan Yin la que trae a los niños vino a ser representada con un niño varón bien en sus brazos, bien a su lado.

1. Kuan Yin traedora de niños, con niño varón , 2. Kuan Yin con Niño, 3. Kuan Yin Madre Amorosa, 4. María Kannon

En las fotos de más arriba podemos seguir el desarrollo desde Kuan Yin a Maria Kannon y desde una bodhisattva femenina relativamente desapegada que procura niños a otros, a una "Madre amable" (Jibo Kannon) como los Japoneses llaman a Kuan Yin cuando sostiene un niño en sus brazos. Otras formas reminiscentes de María en Kannon se llaman Koyasu Kannon (la que da y cría los niños) y Juntei Kannon (la que es pura). Para más fotos y más información hacer click en el artículo de Mark Schumacher " Virgen María & Kannon, Dos Madres Misericordiosas". Él dice que uno puede decir a veces de una estatua de la madre amable Kuan Yin que se trata de María Kannon cuando una cruz Cristiana se encuentra escondida en alguna parte de la obra. Pero a menudo es la visión del observador la que decide si él/ella ve una estatua como una representación de María o de Kannon. Por ejemplo, la Kuan Yin de la foto 3 a mí me parece una Virgen María China.

Desde el siglo XIV puede decirse que las dos se han hecho prácticamente indistinguibles. Este desarrollo comenzó cuando los Católicos finalmente entraron en China (7 siglos después de los Nestorianos), llevando con ellos Madonnas de porcelana blanca. Los artistas Chinos inmediatamente imitaron esas figuras y produjeron en masa Kuan Yins de vestido blanco. Esto es muy notable porque el blanco es en China tradicionalmente el color del luto. Sin embargo, a través de María y Kuan Yin llegó a aceptarse también como un símbolo de pureza. Hasta hoy en día la Kuan Yin de Vestido Blanco es la deidad más popular de China. (Para más información sobre el intercambio cultural entre las iconografías China y Occidental véase Lauren Arnold, "Princely Gifts and Papal Treasures: The Franciscan Mission to China and its Influence on the Art of the West", -Regalos Principescos y Tesoros Papales: La Misión Franciscana a China y su Influencia sobre el Arte de Occidente- Desiderata Press, 1999)

Mi Experiencia Personal Siendo una Devota de María Bastante Budista

Aunque no lo he comentado directamente al hablar de la Virgen María,el Budismo a mí me preparó personalmente en muchas maneras para seguir a Nuestra Señora de las Apariciones.

En primer lugar, la práctica del Budismo Tibetano me familiarizó con la noción de que lo Absoluto se aparece a los buscadores sinceros en muchas maneras, ya sea con visiones celestiales o formas humanas temporales. Se entiende siempre que estas formas que toma lo Absoluto -siendo tan reales como nuestras propias formas- no son absolutas en sí mismas. Más bien, lo Absoluto las manifiesta temporalmente para beneficio nuestro como una imagen que retrata y transmite cualidades divinas.

Su esencia trasciende cualquier forma o imagen y se dice que es "la unión del vacío y la claridad". Del mismo modo que nuestra esencia también trasciende nuestras formas. Según el Budismo, nosotros somos también meras apariciones. Nuestra verdadera naturaleza va mucho más allá de lo que nuestros cuerpos nos hacen creer. Así, cuando alguien me pregunta: "¿Cómo puede una persona inteligente como tú creer en apariciones?" Yo siempre contesto: "¡Pero si todos nosotros somos apariciones en este sueño que llamamos vida!"

A mí me parece que María a menudo señala hacia esta realidad de materia formándose de "vacío y claridad" o energía y espíritu. Una y otra vez la gente describe sus apariciones como comenzando con una luz que se forma en el cielo. Gradualmente la luz se convierte en una forma humana. Parece que los Cristianos mayormente ignoran esta parte. Nunca he oído a nadie que lo comente. Parece que ellos imaginan que María está en el cielo en la forma en que ellos la vieron vestida. Pero la Reína del Cielo puede vestirse de cualquier cosa. En la Biblia ella es vista "vestida con el sol" (Apocalipsis 12:1), en su aparición en Roma fue vista vestida en el amor de la trinidad. Me parece que, de lo que los Cristianos están siendo testigos es del/de-la Dios/Diosa omnipresente vistiéndose a sí misma con forma humana de forma que nosotros podamos aprender a "vestirnos a nosotros mismos de Dios". (Para comparar con lo que Pablo dice acerca de vestirnos a nosotros mismos de Dios, lean Gal. 3:27, 1Cor. 15:53-54, Ef. 4:24.)

Supongo que los Cristianos no saben qué hacer con la Virgen María formándose a partir de la luz, porque tienen que creer en la resurrección del cuerpo, y en la asunción corporal de María al cielo. Pero yo pienso que su noción de lo que "cuerpo" significa en el cielo es demasiado literal. Por ejemplo el "cuerpo de la verdad" de Buda (dharmakaya), es una expansión ilimitada del universo, presente en todas partes.

Segundo, el Budismo me ayudó a prepararme para lo que en la Cristiandad se llama "consagrarse uno mismo al Inmaculado Corazón de María". Tiene paralelos significativos con las iniciaciones Budistas Tibetanas o "tomas de poder". En ambos se trata de fundirse con una persona celestial y después con la esencia divina que ello representa". En 1992-93 la Virgen María apareció presumiblemente en Colorado (aunque estas aparaciones aún no están acreditadas por la Iglesia). Allí dijo ella: "Mis queridos hijos, vengo a ofreceros mi mayor regalo- a daros mi amor en el intercambio más especial, mi corazón por el vuestro. En este acto vosotros haréis el Acto de Consagración a mi Inmaculado Corazón, tomando así parte en mi triunfo"⁵- Esto me suena a mí como muy Budista, porque no está llamando a abandonar nuestras identidades separadas para convertirnos en divinos en su lugar.

Parte de la consagración Cristiana así como de la iniciación Budista es un compromiso espiritual a llevar a cabo una cierta práctica diaria por el resto de la vida de la persona. Esto es una cosa difícil de hacer en una sociedad donde nadie parece comprometerse ya para nada que dure toda la vida. Mi gurú Tibetano Kalu Rimpoche me enseñó sobre el compromiso. Tomé mi primera iniciación sin tener ni idea sobre lo que estaba haciendo, o que eso conllevaba un compromiso. Después de eso, acudí a él en tres ocasiones separadas con algunas cuestiones sin ninguna relación con la iniciación. Cada vez él aparentemente me echaba una mirada y podía decir que no estaba cumpliendo mi compromiso. Así que cada vez me preguntaba: "¿Estás cumpliendo tu compromiso?" La primera vez dije: "¿Qué compromiso?", la segunda vez: "¿Puedo hacerlo en Inglés o con mis propias palabras?, la tercera vez: "Bueno, sí, podría decirse, más o menos". Ya que me había preguntado tres veces supuse que él se tomaba aquello muy en serio y que ése era un asunto de mucha mayor importancia de lo que mi mente no iluminada podía vislumbrar. Así que empecé a cumplir el compromiso estrictamente. (Sólo contiene una pequeña oración repetida siete veces todos los días). Él no me preguntó nunca más, no tenía que hacerlo, el podía "ver" con el ojo de la iluminación que yo lo estaba cumpliendo.

Otra cosa no podría haberme convencido más de la importancia de cumplir estrictamente mi compromiso presente con la Virgen María, que incluye tres sesiones de meditación diarias bastante largas, incluyendo rezar tres rosarios y en general obedecer los deseos de Nuestra Señora tanto como sea posible.

Hablando de obediencia. Esa es la tercera cosa que ni siquiera habría considerado sin una comprensión Budista. Es un tema de importancia entre los devotos de María y un entrenamiento en el desapego del ego. Si uno entiende que un yo separado con un deseo separado, es en razón última, una ilusión que no lleva a otra cosa que al sufrimiento, tiene sentido practicar el abandono de ese yo mediante la obediencia a Dios/Diosa. Cuando sabes que obedecer a Dios/Diosa lleva a la paz y felicidad últimas del nirvana, o la unión divina, es un poco más fácil de conseguir.

Cuarto, la práctica de meditación Budista también ayuda con el rosario. Para detalles véase mi artículo " Rezando el rosario: un acercamiento diferente"

Quinto, desde una perspectiva feminista yo siempre adopto una actitud de sospecha cuando oigo a la gente decir que María no es la meta de nuestro camino sino sólo el camino hacia la trinidad masculina. Pero desde un punto de vista Budista entiendo que todas las formas de personas celestiales (no sólo María) son una puerta hacia lo "sin forma", el fundamento de toda existencia, lo que la Cristiandad llama Dios Padre. Entonces, en ese sentido sí, María nos lleva al Padre, no a sí misma como una forma separada. De cualquier modo uno podría expresar la misma verdad de un modo menos patriarcal, diciendo que tanto la Virgen María como Jesús nos llevan más allá de las formas, a la verdad esencial y última que transciende todas las palabras y conceptos.

Por la otra parte, el Sutra del Corazón nos enseña que: "La forma es vacío, el vacío es forma; la forma no es diferente del vacío, ni el vacío es diferente de la forma". (Los Cristianos dirían: "Dios es inmanente y trascendente".) Así, la forma de la Virgen María nos conduce al Padre sin forma, pero a su vez el Padre sin forma también nos conduce de vuelta a Jesús y María, porque son todos uno.

Una vez oí a un sacerdote en la catedral de Santa Rosa, California, predicar sobre la Unidad de Jesús y María de un modo muy simple y hermoso, diciendo: "Cuando decimos, '¡María!' ella dice, '¡Jesús!' y cuando decimos, '¡Jesús!', el dice, "¡María!".

Sexto, el Budismo tambien ayuda a poner las cosas bajo una perspectiva filosófica. Cuando empiezas a leer sobre las apariciones Marianas puede resultar un poco desconcertante. ¿Qué clase de mundo es éste donde una señora aparece en el cielo, hace danzar el sol, escribe mensajes en las nubes, abre las puertas de las prisiones, para batallas, hace aparecer un río de fuego en el cielo ....? Si crees en todas estas cosas, ya no estás en un mundo material y estable; has entrado en un reino divino fluido, donde todo es posible ya nada está "moldeado en lo concreto". Puedes sentir como si estuvieses perdiendo la base. He aquí lo que la María que apareció en Colorado dice sobre ello: "Recuerda, es cuando encuentras que no tienes un suelo bajo tus pies, cuando te darás cuenta de que estás volando hacia mi abrazo" (p.14).
El Budismo acepta que la aparente estabilidad del mundo material es una ilusión. En realidad todo es energía, cambiando constantemente e impermanente. Las leyes naturales sólo son válidas mientras uno está bajo el hechizo de las ilusiones mundanas. Una vez que uno está completamente libre de ellas, especialmente de la noción de un yo separado, se abre un universo mucho mas grande y hermoso. Déjeme prevenirle sin embargo, para "perder el suelo bajo tus pies" de forma segura, necesitas un profesor que sea un auténtico maestro. La Virgen María es un maestro tal.

Notas al pie:
1. Martin Palmer y Jay Ramsay con Man-Ho Kwok, Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion, -Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-Thorsons Publishers, London: 1995, pp.8-9 and 25.

2. Ibid. 25, etc.

3. Gill Farrer-Hall, The Feminine Face of Buddhism-La Cara Femenina del Budismo-, Quest Books, 2002, p.62

4. Martin Palmer y Jay Ramsay con Man-Ho Kwok, Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion -Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-, op. cit. pp.22-25 + 38

5. In the End my Immaculate Heart Will Triumph: Consecration Preparation for the Triumphant Victory of the Immaculate Heart of Mary, -Al Final mi Corazón Inmaculado Triunfará: Preparación para la Consagración para la Victoria del Inmaculado Corazón de María- Queenship Publishing Co., (800) 647-9882, p.10. El lenguaje marcial de este librito es a veces duro de tragar pero el resto merece la pena.

*Prof. Jesús Ángel Gomollón Garcia enseña ingenieria en la universidad de La Coruña, cerca de Santiago de Compostella, España. Interfaithmary en Español

Por Ella Rozett, traducion por Jesús Ángel Gomollón Garcia*

La Virgen María es ampliamente conocida en el mundo Budista, la única excepción sea quizás María Kannon. Esta última es un híbrido de la Virgen María y la Bodhisattva del amor y la compasión a quien los Japoneses llaman Kannon, los Chinos Kuan Yin, los Tibetanos Chenresig y los Hindúes Avalokiteshvara. En el Budismo Hindo-Tibetano este Bodhisattva es masculino, pero en el Budismo Sino-Japonés entre los siglos VIII-X se convirtió gradualmente en femenino¹, al menos en apariencia. Una mujer Budista China de Hong-Kong me dijo que los chinos no consideran que Kuan Yin tenga una identidad femenina sino una identidad masculina bajo una forma femenina. Martin Palmer y Jay Ramsay en su libro "Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion"-Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-, trazan la historia desde el Bodhisattva masculino de las escrituras Budistas hasta la diosa femenina de la gente laica China y Japonesa. Ellos confirman que aquellos que tratan con los Sutras (textos sagrados Budistas), i.e., monjes y gente laica educada, saben que Kuan Yin es de género masculino en las escrituras. Explican su cambio de sexo aparente con varias leyendas y según algunas el Bodhisattva se volverá del género masculino de nuevo cuando él/ella entre al Nirvana.

Ellos cuentan también que los japoneses no se sienten tan desconcertados por el género de su diosa como parece que lo están muchos chinos².

Porque la Virgen María y Kannon tienen tantas cosas en común, japoneses Cristianos perseguidos de siglos pasados rendían culto secretamente a Jesús y María en la forma de Maria-Kannon con niño. Hoy en día hay un Centro Zen Cristiano-Budista en Texas llamado "Maria-Kannon". (Ver los enlaces).

Como la Virgen María, Kannon es una expresión del aspecto divino de la feminidad, una personificación del amor y la compasión, una salvadora en la calamidad, una realizadora de milagros. Se aparece a sus devotos como una señora amable y gentil de belleza celestial, algunas veces desprendiendo una esencia de flores dulces. De forma muy parecida a la Virgen María, la Kuan Yin China se dice que vivió una vida humana de autosacrificio y santidad extremas antes de ascender al cielo y convertirse en la Diosa Celestial de la Misericordia y la Compasión. Desde su ascensión ha estado apareciendo como "una mujer de blanco" a aquellos que necesitaban su ayuda. Sus devotos responden a su amoroso cuidado rindiéndole honores en su cumpleaños y acudiendo en peregrinación a sus lugares sagrados en montañas, cuevas y templos. He aquí un relato de lo que puede suceder en estos casos: "Huang Kuei-nien y algunos compañeros emprendieron la peregrinación a P'u-t'o Sha. Fueron a la Cueva de Sonidos de la Marea y rezaron con gran devoción, cantando el nombre de Kuan Yin. De repente vieron una luz brillante, y Kuan Yin apareció, sentada sobre una roca encima de la cueva. Huang estaba tan conmovido que hizo votos de dedicar su vida al estudio de las escrituras Budistas, comiendo solo dieta vegetariana, y absteniéndose de matar"³. Todo esto a mí me suena muy Mariano.

Algunos ven el origen las sorprendentes similitudes entre María y especialmente la Kuan Yin de Vestido Blanco en la influencia de los Cristianos en China. Martin Palmer y Jay Ramsay cuentan la historia de Cristianos Nestorianos que llegaron a China a principios de los años 600⁴. Nestorio fue un Arzobispo depuesto de Constantinopla que murió alrededor del año 450 E.C. Resulta irónico que parte de su herejía consistiese en negarse a llamar a María "Madre de Dios", y sin embargo su influencia en China ayudó a elevar a Kuan Yin a un estatus casi divino. Dios/Diosa obra ciertamente de modos misteriosos. Los Nestorianos veneraban a la Madre de Jesús (simplemente no como "Madre de Dios") e importaban imágenes de Madonnas a lo largo de Persia, Arabia, y la Ruta de la Seda hasta Mongolia, China, Tibet e India. En aquellos tiempos los Chinos anhelaban la divinidad femenina, y el Budismo Chino necesitaba a alguien que pudiese competir con las poderosas diosas Taoístas. De este modo, la Madonna con niño tañó una cuerda y se fundió con Kuan Yin, a quien las mujeres rezaban para tener niños, generalmente niños varones. Así Kuan Yin la que trae a los niños vino a ser representada con un niño varón bien en sus brazos, bien a su lado.

1. Kuan Yin traedora de niños, con niño varón , 2. Kuan Yin con Niño, 3. Kuan Yin Madre Amorosa, 4. María Kannon

En las fotos de más arriba podemos seguir el desarrollo desde Kuan Yin a Maria Kannon y desde una bodhisattva femenina relativamente desapegada que procura niños a otros, a una "Madre amable" (Jibo Kannon) como los Japoneses llaman a Kuan Yin cuando sostiene un niño en sus brazos. Otras formas reminiscentes de María en Kannon se llaman Koyasu Kannon (la que da y cría los niños) y Juntei Kannon (la que es pura). Para más fotos y más información hacer click en el artículo de Mark Schumacher " Virgen María & Kannon, Dos Madres Misericordiosas". Él dice que uno puede decir a veces de una estatua de la madre amable Kuan Yin que se trata de María Kannon cuando una cruz Cristiana se encuentra escondida en alguna parte de la obra. Pero a menudo es la visión del observador la que decide si él/ella ve una estatua como una representación de María o de Kannon. Por ejemplo, la Kuan Yin de la foto 3 a mí me parece una Virgen María China.

Desde el siglo XIV puede decirse que las dos se han hecho prácticamente indistinguibles. Este desarrollo comenzó cuando los Católicos finalmente entraron en China (7 siglos después de los Nestorianos), llevando con ellos Madonnas de porcelana blanca. Los artistas Chinos inmediatamente imitaron esas figuras y produjeron en masa Kuan Yins de vestido blanco. Esto es muy notable porque el blanco es en China tradicionalmente el color del luto. Sin embargo, a través de María y Kuan Yin llegó a aceptarse también como un símbolo de pureza. Hasta hoy en día la Kuan Yin de Vestido Blanco es la deidad más popular de China. (Para más información sobre el intercambio cultural entre las iconografías China y Occidental véase Lauren Arnold, "Princely Gifts and Papal Treasures: The Franciscan Mission to China and its Influence on the Art of the West", -Regalos Principescos y Tesoros Papales: La Misión Franciscana a China y su Influencia sobre el Arte de Occidente- Desiderata Press, 1999)

Mi Experiencia Personal Siendo una Devota de María Bastante Budista

Aunque no lo he comentado directamente al hablar de la Virgen María,el Budismo a mí me preparó personalmente en muchas maneras para seguir a Nuestra Señora de las Apariciones.

En primer lugar, la práctica del Budismo Tibetano me familiarizó con la noción de que lo Absoluto se aparece a los buscadores sinceros en muchas maneras, ya sea con visiones celestiales o formas humanas temporales. Se entiende siempre que estas formas que toma lo Absoluto -siendo tan reales como nuestras propias formas- no son absolutas en sí mismas. Más bien, lo Absoluto las manifiesta temporalmente para beneficio nuestro como una imagen que retrata y transmite cualidades divinas.

Su esencia trasciende cualquier forma o imagen y se dice que es "la unión del vacío y la claridad". Del mismo modo que nuestra esencia también trasciende nuestras formas. Según el Budismo, nosotros somos también meras apariciones. Nuestra verdadera naturaleza va mucho más allá de lo que nuestros cuerpos nos hacen creer. Así, cuando alguien me pregunta: "¿Cómo puede una persona inteligente como tú creer en apariciones?" Yo siempre contesto: "¡Pero si todos nosotros somos apariciones en este sueño que llamamos vida!"

A mí me parece que María a menudo señala hacia esta realidad de materia formándose de "vacío y claridad" o energía y espíritu. Una y otra vez la gente describe sus apariciones como comenzando con una luz que se forma en el cielo. Gradualmente la luz se convierte en una forma humana. Parece que los Cristianos mayormente ignoran esta parte. Nunca he oído a nadie que lo comente. Parece que ellos imaginan que María está en el cielo en la forma en que ellos la vieron vestida. Pero la Reína del Cielo puede vestirse de cualquier cosa. En la Biblia ella es vista "vestida con el sol" (Apocalipsis 12:1), en su aparición en Roma fue vista vestida en el amor de la trinidad. Me parece que, de lo que los Cristianos están siendo testigos es del/de-la Dios/Diosa omnipresente vistiéndose a sí misma con forma humana de forma que nosotros podamos aprender a "vestirnos a nosotros mismos de Dios". (Para comparar con lo que Pablo dice acerca de vestirnos a nosotros mismos de Dios, lean Gal. 3:27, 1Cor. 15:53-54, Ef. 4:24.)

Supongo que los Cristianos no saben qué hacer con la Virgen María formándose a partir de la luz, porque tienen que creer en la resurrección del cuerpo, y en la asunción corporal de María al cielo. Pero yo pienso que su noción de lo que "cuerpo" significa en el cielo es demasiado literal. Por ejemplo el "cuerpo de la verdad" de Buda (dharmakaya), es una expansión ilimitada del universo, presente en todas partes.

Segundo, el Budismo me ayudó a prepararme para lo que en la Cristiandad se llama "consagrarse uno mismo al Inmaculado Corazón de María". Tiene paralelos significativos con las iniciaciones Budistas Tibetanas o "tomas de poder". En ambos se trata de fundirse con una persona celestial y después con la esencia divina que ello representa". En 1992-93 la Virgen María apareció presumiblemente en Colorado (aunque estas aparaciones aún no están acreditadas por la Iglesia). Allí dijo ella: "Mis queridos hijos, vengo a ofreceros mi mayor regalo- a daros mi amor en el intercambio más especial, mi corazón por el vuestro. En este acto vosotros haréis el Acto de Consagración a mi Inmaculado Corazón, tomando así parte en mi triunfo"⁵- Esto me suena a mí como muy Budista, porque no está llamando a abandonar nuestras identidades separadas para convertirnos en divinos en su lugar.

Parte de la consagración Cristiana así como de la iniciación Budista es un compromiso espiritual a llevar a cabo una cierta práctica diaria por el resto de la vida de la persona. Esto es una cosa difícil de hacer en una sociedad donde nadie parece comprometerse ya para nada que dure toda la vida. Mi gurú Tibetano Kalu Rimpoche me enseñó sobre el compromiso. Tomé mi primera iniciación sin tener ni idea sobre lo que estaba haciendo, o que eso conllevaba un compromiso. Después de eso, acudí a él en tres ocasiones separadas con algunas cuestiones sin ninguna relación con la iniciación. Cada vez él aparentemente me echaba una mirada y podía decir que no estaba cumpliendo mi compromiso. Así que cada vez me preguntaba: "¿Estás cumpliendo tu compromiso?" La primera vez dije: "¿Qué compromiso?", la segunda vez: "¿Puedo hacerlo en Inglés o con mis propias palabras?, la tercera vez: "Bueno, sí, podría decirse, más o menos". Ya que me había preguntado tres veces supuse que él se tomaba aquello muy en serio y que ése era un asunto de mucha mayor importancia de lo que mi mente no iluminada podía vislumbrar. Así que empecé a cumplir el compromiso estrictamente. (Sólo contiene una pequeña oración repetida siete veces todos los días). Él no me preguntó nunca más, no tenía que hacerlo, el podía "ver" con el ojo de la iluminación que yo lo estaba cumpliendo.

Otra cosa no podría haberme convencido más de la importancia de cumplir estrictamente mi compromiso presente con la Virgen María, que incluye tres sesiones de meditación diarias bastante largas, incluyendo rezar tres rosarios y en general obedecer los deseos de Nuestra Señora tanto como sea posible.

Hablando de obediencia. Esa es la tercera cosa que ni siquiera habría considerado sin una comprensión Budista. Es un tema de importancia entre los devotos de María y un entrenamiento en el desapego del ego. Si uno entiende que un yo separado con un deseo separado, es en razón última, una ilusión que no lleva a otra cosa que al sufrimiento, tiene sentido practicar el abandono de ese yo mediante la obediencia a Dios/Diosa. Cuando sabes que obedecer a Dios/Diosa lleva a la paz y felicidad últimas del nirvana, o la unión divina, es un poco más fácil de conseguir.

Cuarto, la práctica de meditación Budista también ayuda con el rosario. Para detalles véase mi artículo " Rezando el rosario: un acercamiento diferente"

Quinto, desde una perspectiva feminista yo siempre adopto una actitud de sospecha cuando oigo a la gente decir que María no es la meta de nuestro camino sino sólo el camino hacia la trinidad masculina. Pero desde un punto de vista Budista entiendo que todas las formas de personas celestiales (no sólo María) son una puerta hacia lo "sin forma", el fundamento de toda existencia, lo que la Cristiandad llama Dios Padre. Entonces, en ese sentido sí, María nos lleva al Padre, no a sí misma como una forma separada. De cualquier modo uno podría expresar la misma verdad de un modo menos patriarcal, diciendo que tanto la Virgen María como Jesús nos llevan más allá de las formas, a la verdad esencial y última que transciende todas las palabras y conceptos.

Por la otra parte, el Sutra del Corazón nos enseña que: "La forma es vacío, el vacío es forma; la forma no es diferente del vacío, ni el vacío es diferente de la forma". (Los Cristianos dirían: "Dios es inmanente y trascendente".) Así, la forma de la Virgen María nos conduce al Padre sin forma, pero a su vez el Padre sin forma también nos conduce de vuelta a Jesús y María, porque son todos uno.

Una vez oí a un sacerdote en la catedral de Santa Rosa, California, predicar sobre la Unidad de Jesús y María de un modo muy simple y hermoso, diciendo: "Cuando decimos, '¡María!' ella dice, '¡Jesús!' y cuando decimos, '¡Jesús!', el dice, "¡María!".

Sexto, el Budismo tambien ayuda a poner las cosas bajo una perspectiva filosófica. Cuando empiezas a leer sobre las apariciones Marianas puede resultar un poco desconcertante. ¿Qué clase de mundo es éste donde una señora aparece en el cielo, hace danzar el sol, escribe mensajes en las nubes, abre las puertas de las prisiones, para batallas, hace aparecer un río de fuego en el cielo ....? Si crees en todas estas cosas, ya no estás en un mundo material y estable; has entrado en un reino divino fluido, donde todo es posible ya nada está "moldeado en lo concreto". Puedes sentir como si estuvieses perdiendo la base. He aquí lo que la María que apareció en Colorado dice sobre ello: "Recuerda, es cuando encuentras que no tienes un suelo bajo tus pies, cuando te darás cuenta de que estás volando hacia mi abrazo" (p.14).
El Budismo acepta que la aparente estabilidad del mundo material es una ilusión. En realidad todo es energía, cambiando constantemente e impermanente. Las leyes naturales sólo son válidas mientras uno está bajo el hechizo de las ilusiones mundanas. Una vez que uno está completamente libre de ellas, especialmente de la noción de un yo separado, se abre un universo mucho mas grande y hermoso. Déjeme prevenirle sin embargo, para "perder el suelo bajo tus pies" de forma segura, necesitas un profesor que sea un auténtico maestro. La Virgen María es un maestro tal.

Notas al pie:
1. Martin Palmer y Jay Ramsay con Man-Ho Kwok, Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion, -Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-Thorsons Publishers, London: 1995, pp.8-9 and 25.

2. Ibid. 25, etc.

3. Gill Farrer-Hall, The Feminine Face of Buddhism-La Cara Femenina del Budismo-, Quest Books, 2002, p.62

4. Martin Palmer y Jay Ramsay con Man-Ho Kwok, Kuan Yin: Myths and Prophecies of the Chinese Goddess of Compassion -Kuan Yin: Mitos y Profecías de la Diosa China de la Compasión-, op. cit. pp.22-25 + 38

5. In the End my Immaculate Heart Will Triumph: Consecration Preparation for the Triumphant Victory of the Immaculate Heart of Mary, -Al Final mi Corazón Inmaculado Triunfará: Preparación para la Consagración para la Victoria del Inmaculado Corazón de María- Queenship Publishing Co., (800) 647-9882, p.10. El lenguaje marcial de este librito es a veces duro de tragar pero el resto merece la pena.

*Prof. Jesús Ángel Gomollón Garcia enseña ingenieria en la universidad de La Coruña, cerca de Santiago de Compostella, España. Interfaithmary en Español

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La Virgen María Y El Budismo - Interfaith Mary Page

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Por Ella Rozett, traducion por Jesús Ángel Gomollón Garcia*

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Es curioso que, sin saberlo, una siempre busque esas figuras gays. Por ejemplo, yo no sabía quién era Britney Spears, pero quería escucharla.

-Conversación entre Alejandro Loaiza, psicólogo, y Daniela Idárraga, cantante

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'Memory' Elaine Paige | Cats The Musical

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La reina Mab, en su carro hecho de una sola perla, tirado por cuatro coleópteros de petos dorados y alas de pedrería, caminando sobre un rayo de sol, se coló por la ventana de una buhardilla donde estaban cuatro hombres flacos, barbudos e impertinentes, lamentándose como unos desdichados.

Por aquel tiempo, las hadas habían repartido sus dones a los mortales. A unos habían dado las varitas misteriosas que llenan de oro las pesadas cajas del comercio; a otros unas espigas maravillosas que al desgranarlas colmaban las trojes de riqueza; a otros unos cristales que hacían ver en el riñón de la madre tierra, oro y piedras preciosas; a quiénes cabelleras espesas y músculos de Goliat, y mazas enormes para machacar el hierro encendido; y a quiénes talones fuertes y piernas ágiles para montar en las rápidas caballerías que se beben el viento y que tienen las crines en la carrera.

Los cuatro hombres se quejaban. Al uno le había tocado en suerte una cantera, al otro el iris, al otro el ritmo, al otro el cielo azul.

***

La reina Mab oyó sus palabras. Decía el primero:

-¡Y bien! ¡Heme aquí en la gran lucha de mis sueños de mármol! Yo he arrancado el bloque y tengo el cincel. Todos tenéis, unos el oro, otros la armonía, otros la luz; yo pienso en la blanca y divina Venus que muestra su desnudez bajo el plafond color de cielo. Yo quiero dar a la masa la línea y la hermosura plástica; y que circule por las venas de la estatua una sangre incolora como la de los dioses. Yo tengo el espíritu de Grecia en el cerebro, y amo los desnudos en que la ninfa huye y el fauno tiende los brazos. ¡Oh Fidias! Tú eres para mí soberbio y augusto como un semi-dios, en el recinto de la eterna belleza, rey ante un ejército de hermosuras que a tus ojos arrojan el magnífico chitón, mostrando la esplendidez de la forma, en sus cuerpos de rosa y de nieve. Tú golpeas, hieres y domas el mármol, y suena el golpe armónico como un verso, y te adula la cigarra, amante del sol, oculta entre los pámpanos de la viña virgen. Para ti son los Apolos rubios y luminosos, las Minervas severas y soberanas. Tú, como un mago, conviertes la roca en simulacro y el colmillo del elefante en copa del festín. Y al ver tu grandeza siento el martirio de mi pequeñez. Porque pasaron los tiempos gloriosos. Porque tiemblo ante las miradas de hoy. Porque contemplo el ideal inmenso y las fuerzas exhaustas. Porque a medida que cincelo el bloque me ataraza el desaliento.

***

Y decía el otro:

-Lo que es hoy romperé mis pinceles. ¿Para qué quiero el iris, y esta gran paleta del campo florido, si a la postre mi cuadro no será admitido en el salón? ¿Qué abordaré? He recorrido todas las escuelas, todas las inspiraciones artísticas. He pintado el torso de Diana y el rostro de la Madona. He pedido a las campiñas sus colores, sus matices; he adulado a la luz como a una amada, y la he abrazado como a una querida. He sido adorador del desnudo, con sus magnificencias, con los tonos de sus carnaciones y con sus fugaces medias tintas. He trazado en mis lienzos los nimbos de los santos y las alas de los querubines. ¡Ah, pero siempre el terrible desencanto! ¡El porvenir! ¡Vender una Cleopatra en dos pesetas para poder almorzar!

¡Y yo, que podría en el estremecimiento de mi inspiración, trazar el gran cuadro que tengo aquí adentro...!

***

Y decía el otro:

-Perdida mi alma en la gran ilusión de mis sinfonías, temo todas las decepciones. Yo escucho todas las armonías, desde la lira de Terpandro hasta las fantasías orquestales de Wagner. Mis ideales, brillan en medio de mis audacias de inspirado. Yo tengo la percepción del filósofo que oyó la música de los astros. Todos los ruidos pueden aprisionarse, todos los ecos son susceptibles de combinaciones. Todo cabe en la línea de mis escalas cromáticas.

La luz vibrante es himno, y la melodía de la selva halla un eco en mi corazón. Desde el ruido de la tempestad hasta el canto del pájaro, todo se confunde y enlaza en la infinita cadencia. Entre tanto, no diviso sino la muchedumbre que befa y la celda del manicomio.

***

Y el último:

-Todos bebemos del agua clara de la fuente de Jonia. Pero el ideal flota en el azul; y para que los espíritus gocen de su luz suprema, es preciso que asciendan. Yo tengo el verso que es de miel y el que es de oro, y el que es de hierro candente. Yo soy el ánfora del celeste perfume: tengo el amor. Paloma, estrella, nido, lirio, vosotros conocéis mi morada. Para los vuelos inconmensurables tengo alas de águila que parten a golpes mágicos el huracán. Y para hallar consonantes, los busco en dos bocas que se juntan; y estalla el beso, y escribo la estrofa, y entonces si veis mi alma, conoceréis a mi Musa. Amo las epopeyas, porque de ellas brota el soplo heroico que agita las banderas que ondean sobre las lanzas y los penachos que tiemblan sobre los cascos; los cantos líricos, porque hablan de las diosas y de los amores; y las églogas, porque son olorosas a verbena y a tomillo, y al sano aliento del buey coronado de rosas. Yo escribiría algo inmortal; mas me abruma un porvenir de miseria y de hambre...

***

Entonces la reina Mab, del fondo de su carro hecho de una sola perla, tomó un velo azul, casi impalpable, como formado de suspiros, o de miradas de ángeles rubios y pensativos. Y aquel velo era el velo de los sueños, de los dulces sueños que hacen ver la vida de color de rosa. Y con él envolvió a los cuatro hombres flacos, barbudos e impertinentes. Los cuales cesaron de estar tristes, porque penetró en su pecho la esperanza, y en su cabeza el sol alegre, con el diablillo de la vanidad, que consuela en sus profundas decepciones a los pobres artistas.

Y desde entonces, en las buhardillas de los brillantes infelices, donde flota el sueño azul, se piensa en el porvenir como en la aurora, y se oyen risas que quitan la tristeza, y se bailan extrañas farándolas alrededor de un blanco Apolo, de un lindo paisaje, de un violín viejo, de un amarillento manuscrito.

FIN

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La reina Mab, en su carro hecho de una sola perla, tirado por cuatro coleópteros de petos dorados y alas de pedrería, caminando sobre un rayo de sol, se coló por la ventana de una buhardilla donde estaban cuatro hombres flacos, barbudos e impertinentes, lamentándose como unos desdichados.

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¿Santa marica?

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The wiki for all royal girls.

Welcome to the wiki dedicated to characters and real persons who are princesses, and also to princesshood.

Here a few rules to contributors:

-Princesses are, here, real or fictional female persons who are/were princesses by birth, marriage, or adoption.

-The honorary princesses category is for princesses who are this trough proclamation (self or not), the gain of a throne as a reward, the foundation of a kingdom, or because others call them like this (for another reason than an affectionate nickname). But it's required the person is explicitly called princess in at least one point of her story. Just being a prominent female character is not enough (= called an honorary princess by the contributor) and I'll have to delete the non-princesses characters.

-The characters have to be female.

- I' ll have to ban fanmade characters, as fictional and real life princesses are numerous enough. Fanmade princesses shall be on Idea or fan wikis.

-Refrain as well, from adding anecdotal characters, that are cameos. Prominent princesses are numerous enough.

-The image describing a category shall not be changed without asking. If you think you found an image that fits the category better, ask me first.

-Be extremely careful of the name of an image when you upload it, it can share the name of another one and replace it. It's better to rename images that have a common name (like "maxdefault").

-Fetishists fanarts will not be tolerated in photos. This is not the right place and photos are just here to illustrate the site.

-I' ve just deleted "Non Disney princesses" category. Not all princesses are Disney, in fact most of them are not and the category is useless.

-The toon category is deleted, it's the same thing as "animated princesses".

-And of course, the category "Princesses"! Well, this is the topic of the entire site...That's why the attached pages been deleted-also, because a page with just a photo is too laconic. And with just a phrase and no character sheet are this too.

-"Former princesses" category was deleted as it was redundant with "Fallen princesses". A princess can be destitute but never stripped entirely of her title.

The princess Wikia
Photos and videos are a great way to add visuals to your wiki. Find videos about your topic by exploring Wikia's Video Library.

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The wiki for all royal girls. Welcome to the wiki dedicated to characters and real persons who are princesses, and also to princesshood. Here a few rules to contributors: -Princesses are, here, real or fictional female persons who are/were princesses by birth, marriage, or adoption.

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Mercutio's Queen Mab Speech (Act 1 Scene 4) | The Comedy of Romeo and Juliet

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Queen Mab | Anglia Ruskin University & Shakespeare's Globe

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Queen Mab Speech | Romeo & Juliet Act 1 Scene 4 with Josh O'Connor, Fisayo Akinade and Shubham Saraf

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Thought of Mercutio on Queen Mab and on the love - YouTube.mp4

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Encantada - Beso de amor (HD) Español Latino

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同じ宿命を持った堕天使たちへ

闇の中に浮かび照らされた水の奥深き青をイメージする

神秘なる少女性と少年性を持った

永遠の瞬間の中で生きる人たちへ

世の中にある男と女の概念を取り除き

精神の共存を表現し永遠の記憶を呼び覚ます

今こそ目覚め蘇る時

自分自身の境界性を解き放て

その根源はMoi-même-Moitiéから始まる

ここは、外界の喧騒とも雑踏とも隔絶された

永遠の瞬間(とき)を刻む異空間

扉を開けば、

もう一人の自分自身と、出会えるはず...

美しくありたい。気高くありたい

そんな普遍的な欲求を満たすブランド、

それがMoi-même-Moitiéです

薔薇に香る可憐な美、十字架が放つ神秘的なイメージを

あますところなく網羅

決して流行に左右される事のない

まるで古えのゴシックなイメージを追求し

中世ヨーロッパの古城から抜け出たような

エレガントで怪奇、かつ妖艶な輝きをファッションに封印

洋服はもちろん、バッグやアクセサリーに至るまで

壮大なトータル・ファッション・プロジェクトを展開します

２１世紀の世界を優雅にダークに彩るMoi-même-Moitié

霧の煙る森

闇に浮かぶいにしえの城

チェンバロの調べ

蝋燭の灯に揺らぐ影

そして薔薇の香り...

そんな世界観を、あなたの肌にまとってみませんか

知的で高貴な、美の探求者すべてに捧ぐ...

To the fallen angels who share the same fate

Bringing to mind the deep blue of illuminated water in the darkness

To those who live inside this moment of eternity

Full of the enigmatic purity of children

Discarding the concepts of male and female in this world,

They portray the coexistence of spirits and recall memories of eternity

Now is the time to open your eyes and be reborn

Let go of the boundaries of your self

This process begins with Moi-même-Moitié

Far removed from the clamor and milling crowds of the outside world

There is another dimension carving out eternity

If you open the door,

you should be able to meet with another self...

To be beautiful. To be noble.

The brand that fulfills these universal desires

Is Moi-même-Moitié

Thoroughly bringing together the enigmatic image sent forth by the cross

And the fragrance of roses, reminiscent of ethereal beauty,

Never swayed by what is currently en vogue

Pursuing an entirely ancient Gothic image

Sealing into fashion an elegant, inscrutable, bewitching radiance

As if emerged from a medieval European castle

Developing a magnificent Total Fashion Project

With not only apparel but also bags and accessories,

Moi-même-Moitié colors the world of the 21st century gracefully dark

Woods shrouded in the mist

An ancient castle floating in the darkness

The melody of the harpsichord

Shadows swaying in candlelight

And the fragrance of roses...

Won't you try draping yourself in this philosophy?

To all intellectual and noble seekers of beauty, I dedicate this to you...

致擁有共同宿命的墮天使們ーー

以浮現在黒暗中被照亮的水面之深藍為靈感

獻給擁有著神秘的少女性與少年性

生息於永恆瞬間中的人們

破除世間固有的男女概念

表現精神的共存 喚醒永恆的記憶

現在正是覺醒的時刻

解放自身的局限性吧

這根源正起始於Moi-même-Moitié

這裡 是與外界的喧囂與紛擾隔絶的

刻畫著永恆瞬間的異空間

只要推開這扇門

一定能遇見另一個自己...

想要變得美麗 想要變得高雅

能滿足這一普遍欲求的品牌

正是Moi-même-Moitié

無論是芬芳薔薇的惹人憐愛 還是十字架的神秘氣質

都被毫無保留地網羅

絶不受流行所左右

追求古老的哥特美學

將仿佛從中世紀歐羅巴古堡中透出的

優雅、怪奇又妖艷的光芒封印入時尚設計

除服裝以外 更推出箱包與首飾

展開壯大的整體時尚計劃

這便是以優雅黒暗點綴21世紀的Moi-même-Moitié

籠罩著霧氣的森林

浮現在黒暗中的古城

古鋼琴的旋律

隨燭火搖曳的影子

以及薔薇的芬芳...

這樣的世界觀 何不親身體會一下？

獻給所有知性又高貴的 美的追求者...

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Moi-meme-Moitie まるでアンティークドールのような 無垢な愛らしさを演出

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Extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola, extrapola.

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Feliz, triste, feliz, triste. Como el toro cuando el matador le clava la estocada final y él sólo lo ve y dice; "Gracias... ¡Te odio!"

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Mirrormask Full - Read Mirrormask Full comic online in high quality. Dave McKean y Neil Gaiman (2005)

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Referencia para hacer el libro objeto - guión

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Mirrormask Full - Read Mirrormask Full comic online in high quality

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Read Mirrormask Full comic online - Mirrormask Full

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Snow White and the Seven Dwarfs - Issue 3

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Snow White and the Seven Dwarfs - Issue 3

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Explicación de la filosofía de la doncella a través de los pensamientos de Blancanieves

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Iglesia de San Juan el Bautista y San Juan el Evangelista, Toruń. Siglo XIV

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¿Cómo convertirse en un monstruo hermoso?

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¿Cómo convertirse en un monstruo hermoso?

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Instrucciones para convertirse en un monstruo hermoso

Cuando uno piensa en la palabra “monstruo” debe de pensar en algo aterrador, algo que hiele la sangre y ponga la piel de gallina. Y, pues sí, un monstruo debe de tener esa capacidad para poder defenderse. Pero, nunca se ha dicho que todo monstruo debe de ser extremadamente grotesco, capaz de inducir al vómito sólo con mirarle y causante de desmayos ante tal aberración.

Por el contrario, hay monstruos que van por las praderas con alas de plata o que van con vestides de tela de araña. Monstruos que danzan desnudes entre las aguas y ahogan a los marinos con sus cantos. ¡Maldites sean y vayan con Satanás de las aguas! Van por la vida causando desmayos con su belleza y causan temblores a causa del síndrome de Stendhal. Rompen todo lo establecido y hacen que los hombres más hombres se escondan detrás de sus esposas porque no pueden mirarles a la cara.

Yo, claramente, quiero ser así. Para ello, es necesario que une se arranque la piel (con cuidado, que romperse en mil pedazos siempre duele) que le impusieron los demás a une. Cuando ya no sea más que una criatura frágil de lágrimas y suspiros, hay que ir recogiendo los pedazos que más bonitos le parezcan. Si entre los que hay existen pedazos que no le convenzan, tírelos y agarre pedazos de las cosas que le hagan ser feliz. Cuando haya recogido suficientes pedazos para ello, empiece a remendarlos; no importa que no encajen, con el tiempo se amoldan. Envuélvase en ellos y sienta el calor de estar vive. Si alguien pregunta, sólo tiene que existir para espantarle o fascinarle.

¡Felicidades, es usted una criatura que aterra y enamora!

Finalmente, es un monstruo hermoso.

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3900 euros

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Diosa vudú del amor, de las mujeres y de las lesbianas

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Diosa vudú del amor y de los hombres homosexuales

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Diosa madre de la religión Yoruba, Ondina, madre de hombres afeminados. (Pero no homosexuales, ¿por alguna razón...?)

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𝑳𝑰𝑻𝑻𝑳𝑬 𝑴𝑰𝑺𝑺 𝑷𝑬𝑹𝑭𝑬𝑪𝑻 — Taylor Louderman // Sub. Español

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The mermaid of old Japan is more reminiscent of the infamous "Fiji mermaid" hoax than the beautiful fish-girls popular today, looking something like a cross between a monkey and a carp. But despite its grotesque appearance, the ningyo's scales are said to shine like gold, and like the traditional Western mermaid it is a romantically tragic creature.According to legend, a ningyo cannot speak, but its voice has a pleasant sound like a flute, and if it ever sheds tears it will be transformed into a human. But it is most famous for its flesh, a pleasant-smelling and delicious meat that is said to make anyone who eats it nigh-immortal."At the age of 800, the girl left this world, despite being immortal and ageless. Simply, her will to live ceased to be."I want to be young forever." "I don't want to be old." "I want to live just a little bit longer." Many people have these kind of desires, but with time all people grow old. After some time, death will pay us all a visit.The story of Yao Bikuni is meant for those who fear death, teaching them that "living along life does not guarantee happiness." Having a life with an end is the most appropriate thing for us. We should take to heart that fate is not pre-determined and live our lives appreciating each day we have. By doing this and living a healthy lifestyle, we can possibly maintain our beauty as we grow old.

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Weeping tears that become pearls and shining gold scales of a romantically tragic creature, the Ningyo has a sweet meat flesh that can renew into immortality.

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Little Goody Two Shoes - Story Reveal Trailer | PS5 Games

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by

Homiletics and Liturgics, Vanderbilt University Divinity School, Nashville, TN 37240, USA

1. Introduction

Liturgies, both in their language and art, often reinforce the belief that sexual dimorphism-a paradigm where "people are seen to be naturally (in a normative sense) unequivocally and exclusively male or unequivocally and exclusively female" ( Jung 2006, p. 293)-is 'natural' and 'God-given' along with the notion that to be a human being means to be created clearly 'female' or clearly 'male' 3 in the image of God ( Budwey 2023, chp. 4). In their discussion of "The Normative Power of Images," Stefanie Knauss and Daria Pezzoli-Oligati describe how art has been used in the "religious legitimation of gender norms" as it "communicate[s] and shape[s] normative ideas about and the actual practice of gender identity, gender roles, and the relationships between different gender categories" ( Knauss and Pezzoli-Oligati 2015, pp. 1-2).

Binary language and art exclude all those who identify outside of this strict binary-to the point of making people feel like they are monsters and not human ( Budwey 2023, chp. 3). While there are many examples from the Christian tradition-both visual and textual-that reinforce the sex/gender binary, there are also those that help expand religious imagination beyond the sex/gender binary ( Budwey 2018, 2020, 2023, chps. 4 and 5). These are what Marjorie Procter-Smith calls emancipatory language and images, those which challenge and transform norms and stereotypes ( Procter-Smith 2013, chp. 3). 4 One emancipatory image is that of Saint Wilgefortis, a crucified, bearded woman ( Figure 1). 5

Wilgefortis was one of the most popular medieval saints in Europe, closely rivaling devotion to the Virgin Mary ( Friesen 2001, p. 1). She was someone to whom people prayed as they sought liberation, comfort, and intercession. Today, the image of Wilgefortis can help to expand the vision of what it means to be created in the image of God beyond a sexually dimorphic understanding of Genesis 1:27 ( Budwey 2023, chp. 4), while offering comfort and healing to those who identify outside of the sex/gender binary.

2. The Legend of Wilgefortis

The legend of Saint Wilgefortis has its origins in the image of Volto Santo or holy face, a famous eight-foot-tall carved wooden cross in the Cathedral of Lucca in Italy ( Figure 2).

Originally thought to be from at least the twelfth to thirteenth centuries, recent scientific evidence now dates it to the eighth to ninth centuries, making it the oldest wooden sculpture in Europe ( Povoledo 2020). As Friesen describes, this is an example of a Christus triumphans (triumphant Christ) crucifix, where Christ is usually depicted with open eyes, sometimes wearing a "bejeweled crown instead of a crown of thorns," and Christ "is merely resting on the cross after the heroic and cosmic battle has already been won" ( Friesen 2001, pp. 11-12). Some of these carvings also portray Christ in a long robe, as the Volto Santo does, which "reflects an eastern or Syrian-Palestinian tradition which tended to portray Christ in the role of a divinely ordained High Priest" ( Friesen 2001, pp. 12-13). On special feast days, the cross is decorated "with precious dresses, ornaments, a crown and shoes" ( Friesen 2001, p. 15). 6 As Friesen points out, the symbolism of Christ's robe "as signifying sacred kingship and royal priesthood was not always fully understood or appreciated," and with the addition of the extra clothing added to the cross on feast days, this led "to the growing misunderstanding that the statue was, in fact, that of a woman rather than of Christ" ( Friesen 2001, p. 15). While some posit that as this cross spread throughout Europe so too did the confusion about the sex/gender of the person on the cross, Friesen argues that "many of these later images were deliberately created in order to portray a female saint," that is, Wilgefortis ( Friesen 2001, p. 2).

The legend of Wilgefortis dates from around the fourteenth century in Europe. She was a young Christian Portuguese princess who was to be wed to the king of Sicily. Because she had taken a vow of virginity, she prayed to avoid the marriage. Her prayers were answered when she grew a beard, yet this greatly angered her father who had arranged the marriage and he had her crucified. 7 As Wilgefortis' cult grew, she became more and more Christlike, "both in terms of her physical appearance and with regard to her martyrdom on the cross" ( Friesen 2001, p. 2). These depictions began to blur the boundaries between human and divine (Wilgefortis and Christ), and 'female' and 'male' ( Figure 3).

Friesen looks at many artistic versions of Wilgefortis in various countries where she is known by different names. 8 In Holland, she is known as Saint Onkommer and in England as Saint Uncumber, 9 with the etymology describing her as someone who "helps to free her supplicants from cumbersome concerns so that they may be 'un-encumbered' and thus unburdened and liberated, as indicated by her Latin name Liberata" ( Friesen 2001, p. 47). 10 In Bavaria and Tyrol, she is known as Saint Wilgefortis or Kümmernis. The name Wilgefortis might come from the Latin virgo fortis (strong virgin) or German hilge vratz (holy face), and Kümmernis comes from the German word Kummer meaning grief or sorrow ( Friesen 2001, p. 1). Women in unwanted and/or abusive marriages often called upon her, and in images where she is tied to the cross with ropes ( Figure 4) she was particularly seen as a "comforter and intercessor for people in bondage, especially for those in prison, as well as for conscripted soldiers" ( Friesen 2001, p. 4).

Additionally, Friesen writes that this image of "a crucified female saint who was held to have become Christlike" can be seen as filling "an emotional and spiritual need which the official patriarchal Church was failing to provide at the time, especially for women," as it allowed them to identify more closely with Christ on the cross ( Friesen 2001, p. 27). It is important to remember, as Elizabeth Nightlinger points out, that for women to attain higher spiritual levels at that time it often meant they had to become more "masculine": "Praise for a woman in the medieval Church was given in terms of virtues and traits considered to be masculine; sexual equality lay in the effective androgyny of a masculine mentality in a female body whose sexual nature was denied" ( Nightlinger 1993, pp. 302-3). 11

3. Interpretations of Wilgefortis

In the introduction to The Bloomsbury Reader in Religion, Sexuality and Gender ( Boisvert and Daniel-Hughes 2017), the editors explain why they chose to have a picture of Wilgefortis on the cover: 12

Wilgefortis' image adorns the cover of this reader because her story offers a compelling example of how religion and sexuality intersect. It reveals, first, how sexuality regularly infuses religious devotion and identification. Wilgefortis' religious devotion was expressed through her commitment to virginity and it was placed under threat because of an impending marriage. But there is something more here that solicits our interest in this saint's story. For it indicates that holiness or sacredness may itself be "queer." Here we take queer not as an identity (something that Wilgefortis has), but rather as a description of how her story unsettles binaries, such as male/female and human/divine.

In disrupting these binaries, Wilgefortis joins the notions of 'both/and' and 'neither/nor' to become 'both/neither.' The concept of 'both/neither' 13 comes from Leah DeVun's article "The Jesus Hermaphrodite: Science and Sex Difference in Premodern Europe" ( DeVun 2008), which explores various analogies used by alchemists to characterize the process of transmutation. One analogy was that of a 'hermaphrodite,' drawing from Ovid's Metamorphoses because "the hermaphrodite story provided a particularly apt model for alchemists: it described a fusion of male and female sexed parts into a biform body that was, as Ovid claimed, both and neither" ( DeVun 2008, p. 194). 14 Throughout her article, DeVun draws from fifteenth-century manuscripts that illustrate how "Christ is the ultimate hermaphrodite, a unity of contrary parts-the human and the divine-the male and the female" ( DeVun 2008, p. 209). 15 DeVun also makes a connection with Wilgefortis, who is often depicted as only wearing one shoe ( Figure 5).

Knauss and Pezzoli-Oligati describe art's ability to have multiple interpretations: "Because these practices of looking and relating are necessarily subjective and dynamic, they are open to multiple significations and conflicting meaning making processes: they can, at the same time, communicate dominant norms and question them for an individual in his/her [sic] relationship to the image and the wider set of practices surrounding it" ( Knauss and Pezzoli-Oligati 2015, p. 3). Individual viewers were therefore able to decide what the multivalent, gender-fluid symbol of Wilgefortis meant for them ( Wallace 2014, p. 52). Furthermore, Wallace writes that Wilgefortis-someone he portrays as experiencing "gendered transformations"-"could be alternately or simultaneously read as a virile woman, a feminine bride of Christ, a 'disfigured' virgin martyr, and a female version of Christ" ( Wallace 2014, pp. 44, 50, 52, 62). This fluidity fueled Wilgefortis' popularity, creating a "gender-blended image that may be interpreted as male, female, or both" ( Wallace 2014, pp. 52, 62). While Friesen explains that some modern-day viewers might find the image of Wilgefortis as "paradoxical," "contradictory," or even "offensive," she asserts that the combination of genders and the persons of Wilgefortis and Christ was deliberate, writing that "this gender ambiguity, far from being confusing or troubling, was instead regarded as inspiring, and even comforting" as it allowed the viewer to see the image "as either male or female-or even both at once" ( Friesen 2001, pp. 92-94, 107). This article now turns to contemporary depictions of Wilgefortis by artists who continue to be inspired by this gender-fluid image.

4. Contemporary Images of Wilgefortis

In addition to the above images of Wilgefortis from earlier time periods, there are also contemporary artists who are creating new portrayals of Wilgefortis. Although Wilgefortis was removed from the Roman Catholic calendar of saints in 1969 ( Cherry 2021), she continues to be a part of the religious imagination of people today, often as a queer icon. One example is by Shoushan ( Figure 6), which hails Wilgefortis as the "patron saint of gender equality and protection." 16 Kittredge Cherry further calls Wilgefortis the patron saint of many diverse people, including "intersex people, an asexual person, a transgender person, a person with Polycystic Ovary Syndrome or a lesbian virgin" ( Cherry 2021). 17

Queer Chicana artist Alma López (b. 1966) portrays Wilgefortis as "Saint Wilgefortis" and "Santa Liberata," both part of her Queer Santas: Holy Violence series. 18 In his discussion of her work, Sabia-Tanis elucidates how López's work is grounded in Wilgefortis' "connection with violence against women and the ability to free women from these situations," particularly those oppressed by patriarchy ( Tanis 2017, pp. 146, 168). López's Queer Santas series is a response to her asking why these women (including Saints Agatha and Lucy) refused to be married and instead chose to be tortured and killed. As a lesbian, López conveys how if she were in a similar situation, she too would refuse to be forced into a heterosexual marriage ( Tanis 2017, p. 146). Cherry highlights how the Queer Santas series therefore comes from López's "insight that [these] female martyrs may have protected their virginity to the death not so much out of faith, but because they were lesbians" ( Cherry 2021), thus referring to the etymology of Wilgefortis' name as virgo fortis, strong virgin ( Tanis 2017, p. 164).

For Sabia-Tanis, these images point "directly to the colonization of women's bodies (holy violence)" while also "sympathetically demonstrating ways in which female masculinity offers liberation and holiness (queer santas)" ( Tanis 2017, p. 164). The women represented as Wilgefortis and Liberata defy stereotypical feminine appearances through their female masculinity and what Sabia-Tanis expresses as "the strength and conviction to follow their own sexual path, regardless of the consequences, because of their faith" ( Tanis 2017, pp. 147, 149). Furthermore, just as Friesen, Wallace, and others argued that medieval depictions of Wilgefortis could be read as female, male, or both, Sabia-Tanis likewise contends that López's portrayals of Wilgefortis and Liberata can be seen as "female and masculine simultaneously" ( Tanis 2017, p. 150).

Looking more closely at these pieces, first with "Santa Liberata," one notices the t-shirt bears another of López's pieces of art, Our Lady (1999), her work that depicts the Virgin of Guadalupe as a strong woman who is proud of her body that created much controversy. 19 Tanis recounts how the woman who was the model for Our Lady, Raquel Salinas, is a survivor of sexual violence, further tying her to Santa Liberata as someone who liberates women from sexual violence ( Tanis 2017, pp. 154-55). He writes: "In this way, Salinas and López have created an image which functions as St. Liberata and St. Wilgefortis do-embodying flesh that has been exploited by colonialism and patriarchy, and the violence it causes and condones, in order to become freed from that impact" ( Tanis 2017, p. 156). Liberata is not shown on a cross, rather she is surrounded by flowers and butterflies, which López describes as "this idea of being released or freedom by perhaps ... this difficult decision that she's made. Where she's kept true to herself" ( Tanis 2017, p. 156; quoting López 2014, 00:15:37). 20

5. Wilgefortis in the Liturgy

This section returns to questions raised at the beginning of this article: How are liturgies complicit in perpetuating a normative view of the sex/gender binary? What liturgies of healing are being offered for those who are in crisis because they are under attack for not 'fitting' into the sex/gender binary? And how might the emancipatory image of Wilgefortis be used in the liturgy to help all people feel welcome?

To address the first question, liturgies perpetuate a normative view of the sex/gender binary in many ways, including the language used in prayers and songs, the images found in worship spaces, as well as through decisions about who may be in what leadership roles and even where people may sit based on their sex/gender ( Berger 2015). Siobhan Garrigan offers insight into how liturgies enforce the sex/gender binary:

As you sing with the faithful in all times and all places, how often have you sang in terms that were not based on heterosexist binaries-father and mother, male and female? Are you invited to sing as "sopranos and altos/tenors and basses" or just as "women/men," regardless of the voice God gave you? How is sexual diversity talked about and otherwise imaged in your worship? How do you recognize the one in every 2000 babies born with "indeterminate" sex organs? How many prayers begin only, "Brothers and Sisters?".

The movement toward inclusive and expansive language acknowledges the issues raised by Garrigan, including the reality that most language used in liturgies for both God and humans is binary-either 'female' and 'male' or 'woman' and 'man'-and yet there is the need for language that includes those who identify outside of the sex/gender binary (e.g., the use of "siblings" instead of/in addition to "brothers and sisters") as well as language for God that is not gendered (e.g., Friend or Parent instead of Mother or Father). 21 Additionally, most images found in worship spaces-including those of God, Jesus Christ, and saints-are depictions of people who are seen either as a woman or a man. 22 By introducing images of Wilgefortis into worship spaces, the liturgy could include art such as Figure 7 that can be seen as depicting not only a woman or a man but also as both woman and man and neither woman nor man, disrupting the normative sex/gender binary of either/or with both/neither by representing all those along the entire sex/gender spectrum.

Regarding the question of what liturgies of healing exist for those who are in crisis for being outside of the sex/gender binary, while there are not many (at least that are documented), there are a range of liturgies from those that are explicitly liturgies of healing to those that may not be labeled as healing liturgies, yet can still offer healing to those who have experienced suffering, trauma, and violence (both physical and psychological) because they identify outside of the sex/gender binary. 23 Some examples of liturgies that explicitly mention healing include "I Am Not a Mistake: A Healing Service for the Queer Soul" ( Institute for Creative Mindfulness 2022) and "An Apology Liturgy to LGBTIQ People" ( Maher et al. 2016). 24 There are also services that were written for gay and lesbian people that could be adapted to speak specifically to those outside of the sex/gender binary who need healing, including "A Healing Service" and "Rite of Healing from Lesbian/Gay Bashing" ( Cherry and Sherwood 1995, pp. 27-29, 34-36). Services of Renaming ( Episcopal Church 2018, pp. 120-24) and liturgies that are held during Pride, on Intersex Day of Remembrance/Intersex Solidarity Day (November 8), and on Transgender Day of Remembrance (November 20) 25 may not explicitly mention healing, but they are opportunities to both celebrate those who identify outside of the sex/gender binary as well as to remember those who have lost their lives because they did not 'fit' into society's normative view of sex/gender. Artwork depicting Wilgefortis could be incorporated into these liturgies to provide "nonbinary or gender-expansive imagery" that could be a "source of inspiration" ( Mills 2021, p. 149) as well as a source of healing.

In addition to these liturgies, Wilgefortis' feast day is on July 20 and offers the opportunity to celebrate this saint who has the potential to bring healing, liberation, and comfort to those who identify outside of the sex/gender binary. Some churches have celebrated worship on Wilgefortis' feast day, including Saint Wilgefortis Mission, a member of the Catholic Apostolic Church in North America in Schenectady, New York, 26 and the People's Presbyterian Church in Milan, Michigan. 27 Liturgies on Wilgefortis' feast day create space for the creation of liturgical vestments with her image, such as a fifteenth-century tunicle from the Order of the Golden Fleece ( Mills 2021, pp. 140-42), as well as the composition of music celebrating her, such as "an antiphon from a prayer book printed in Paris in 1553 for use at Salisbury" ( Nightlinger 1993, p. 293). 28 New liturgies for this feast day could incorporate emancipatory images of Wilgefortis as well as prayers and congregational song that use inclusive, expansive, and emancipatory language.

6. Conclusions

Images of Wilgefortis could be brought into a variety of liturgical spaces: healing services specifically for those who identify outside of the sex/gender binary and find themselves in crisis; LGBTQIA+ liturgies, such as those during Pride, on Intersex Day of Remembrance/Intersex Solidarity Day (November 8), and on Transgender Day of Remembrance (November 20); and Wilgefortis' feast day (July 20). Additionally, by bringing depictions of Wilgefortis into everyday liturgical spaces, churches could help expand the imagination of people to think outside the sex/gender binary with the hope of transforming ethical attitudes and behaviors toward those outside of the sex/gender binary, while also supporting and offering healing to those who already identify outside of it. This image of someone from Christian history who is 'both and neither' can encompass and provide liberation for all: those who identify as women, those who identify as men, those who identify as both women and men, and those who identify as neither women nor men. 29 In the words of biblical scholar Teresa Hornsby ( 2016, p. 103), this creates the ability to "embrace the ambiguous" and to "purge the illusion" that all people must neatly 'fit' into the sex/gender binary, allowing space for both those who wish to identify within the binary as well as those who do not wish to do so. When liturgical imaginations are expanded-both through verbal and visual emancipatory language-people can experience "a variety of understandings of the revelation of God in Jesus," reflecting a multiplicity of embodiments as this revelation "speak[s] in an emancipatory way to various persons at various times in their lives" ( Wallace 1999, p. 84). May the beautifully multivalent and fluid images of Wilgefortis help to bring forth the eschatological vision of Galatians 3:28, where all humans along the sex/gender continuum are able to flourish in their chosen identities.

Funding

This research received no external funding.

Institutional Review Board Statement

Informed Consent Statement

Data Availability Statement

Acknowledgments

I would like to thank Kimberly Belcher and the reviewers for their helpful comments on this article.

Conflicts of Interest

The author declares no conflict of interest.

Notes

2

The terms 'sex' and 'gender' are often conflated and "used synonymously in both social and legal contexts" ( Viloria and Nieto 2020, p. 16). This article follows the definitions of Viloria and Nieto where 'sex' (female, male, intersex) refers to "biological traits" and 'gender' (woman, man, nonbinary) refers to "gender identity" ( Viloria and Nieto 2020, p. 16). Furthermore, 'sex/gender' is used "in situations where it is accurate to note that both sex and gender, or either sex or gender, are being referenced" ( Viloria and Nieto 2020, p. 16). For a helpful glossary of terms, see ( Viloria and Nieto 2020, pp. 143-46).

7

12

18

28

The English translation of the Latin prayer is: "Hail, holy servant of Christ, Wilgefortis, you loved Christ with all your soul; as you spurned marriage to the king of Sicily, you kept faith to the crucified Lord. You suffered the torments of imprisonment by order of your father; a beard grew on your face, a gift you obtained from Christ because you wished to be His; you confounded those who wished you to marry. When your impious father saw you thus deformed, he raised you up on the cross, where you quickly in your virtue gave back your pleasing soul, commended to Christ. Therefore, we reflect on your memory with devout praise, O virgin; O blessed Wilgefortis, we request you to pray for us" ( Friesen 2001, p. 59). The original Latin can be found in ( Acta Sanctorum 1868) (available online at https://archive.org/details/actasanctorum32unse/page/n99/mode/2up accessed on 29 June 2022). The prayer may be found on p. 64 of the book which is volume 32, July part 5, and the section on Wilgefortis begins on p. 50, "De S. Liberata alias Wilgeforte virgine et martyre". I recognize the difficulty of the language of deformity (deformatam in the original Latin) in this prayer and how this would be harmful to those who identify outside of the sex/gender binary, particularly to intersex people who are told their bodies are 'deformed' and need to be 'corrected' or 'fixed.'

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Figure 6. St. Wilgefortis (2015) by Shoushan. Photo Credit: Image used with author's permission.

Figure 7. Wallfahrtsbild Kümmernis aus Schwarzau am Steinfeld, Öl, Relig. Brauchtum, Widmung des H. Pfarrers Berger, Schwarzau a. St. Anonymous. Städtisches Museum Neunkirchen. Photo Credit: Public Domain, licensed from alamy.com by the author.

Publisher's Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Budwey, S.A. Saint Wilgefortis: A Queer Image for Today. Religions 2022, 13, 616. https://doi.org/10.3390/rel13070616

AMA Style

Budwey SA. Saint Wilgefortis: A Queer Image for Today. Religions. 2022; 13(7):616. https://doi.org/10.3390/rel13070616

Chicago/Turabian Style

Budwey, Stephanie A. 2022. "Saint Wilgefortis: A Queer Image for Today" Religions 13, no. 7: 616. https://doi.org/10.3390/rel13070616

Note that from the first issue of 2016, this journal uses article numbers instead of page numbers. See further details here.

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Saint Wilgefortis: A Queer Image for Today

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An increasing number of people identify outside of the sex/gender binary, many of whom are in crisis and under attack simply because of how they choose to identify. There are few opportunities for them to experience healing in liturgies, particularly as these liturgies often perpetuate a normative view of the sex/gender binary through language and art.

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