With the women of Vulindlela, Haddad
used the contextual Bible study method. This methodology is rooted in the understanding
that all people, academically trained or not, have resources to offer with
regard to Biblical reading and understanding (145). In her essay, she compares
and contrasts two case studies about the group’s reading of Bible
passages. Considering my own background and interests, I especially was taken
by Haddad's approach in breaking open the story of the
rape of Tamar (2 Sam. 13:1-22) with the women. The group spent three weeks critically reading
the text from Samuel and engaging Haddad’s questions about the characters and
events in the text. Moreover, the women unpacked the story’s connections to their own experiences
of rape, gender violence, and oppression. They became increasingly freer
in the sharing of their feelings, and by the fourth week, the women were invited to
role-play Tamar’s story within their own context (147-148):
"The play opened with one woman screaming loudly that her daughter had been raped. Other women then ran to her assistance and called a community meeting. The play ended with all the women marching to the police station with a memorandum demanding that the rapist be brought to trial...The opportunity to role-play rape in the group was an articulation and enactment of what was normally hidden" (Ibid.).
By publicly articulating the
previously hidden issue of rape for the first time through drama, the women
were empowered to name for themselves potential future action steps, including
organizing and protesting. The protagonist Tamar became a mirror for the women. Her ability to own her sexual oppression and speak out against it liberated the
women in the group to begin to imagine and prepare for the day when they might
do the same within their public sphere (149-150). Just one woman’s willingness
to share her hidden story could provide another mirror in which the other women
in the group could identify their own secret truths and eventually share them
too. The collective storytelling and cooperative creation of shared narrative
was contagious; it could very well lead to social transformation if sacred
space is maintained (152-153).
As a singer-actor-minister-activist-intellectual (wannabe)-in-training
(or some combination of those – take your pick!), I have been and continue to
be seeking ways to integrate my passion for the arts into my ministry,
particularly with youth and with people on the margins of society. In my
previous two ministry positions, I have witnessed the power of the arts and
storytelling in various ways. At Cristo Rey Houston, I had the privilege of creating
and teaching a drama elective that culminated in sixteen students’ first
full-scale play, Robert Fulghum’s All I Really Need to Know I Learned in Kindergarten. Though the students were
communicating a script, not their own stories, they undoubtedly grew by leaps
and bounds. It was truly incredible working with them over the course of the
year, throughout which they became increasingly confident in their own voices
and comfortable in their own bodies. They took imaginative risks to embrace the
realities of their characters, and they took ownership of conveying the heart
of Fulghum’s message by working together, trusting each other, and being
accountable for their roles within the communal effort.
DRAMA STUDENTS from CRISTO REY JESUIT after their successful performance of
ROBERT FULGHUM'S ALL I REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN, 05.24.10
ROBERT FULGHUM'S ALL I REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN, 05.24.10
In Youth Ministry in Cicero, our
Monday evening meetings were central in the building of our new community of
teens and young adults. Every week, we came together for fellowship (during
which we would share our stories from the past week), followed by prayer, the reading
of Scripture, and a contemporary article or video around a particular
theme/issue, culminating in our “so what?” discussion: how were we being called
to live out the Gospel in our real lives? Over the course of two years, the
safe space we created allowed for vulnerable, authentic sharing and genuine
care for one another. The foundation we built within that space also propelled the
group out into the world for service and Spirit-filled engagement in the larger
community.
I am inspired by the South African
women about whom Haddad writes and by her amazing work as well. I hope to follow
her example and contribute in my own small way to the creation of safe
communities of self-expression that compel others and myself toward social
transformation.
Work Cited
Haddad, Beverley. "Living It Out: Faith Resources and Sites as Critical to Participatory Learning With Rural
South African Women." Journal of Feminist Studies for Religion 22.1 (2006): 135-54. PDF.
© 2012 Katie Davis
No comments:
Post a Comment