Illuminations Hearing whispers of Mary Magadelenes
voice
By PATRICIA LEFEVERE
Special Report Writer New York
Sluts, tramps, harlots -- such women
populate the pages of the Hebrew Bible, mostly authored by men. Yet the
prostitute par excellence of the New Testament, Mary Magdalene, remains an
enigma. Nowhere does it say she lived a life of prostitution. Yet her image as
a repentant whore has fascinated painters, preachers, playwrights and the
public down the ages.
Mary is the one from whom Jesus expelled seven demons, the one who
washes, anoints and massages him, who witnesses his death and burial and is the
first person to whom he appears after his Resurrection.
She is likewise the woman who has long haunted the dreams and
waking hours of actress Anita Stenger Dacanay.
After a year of reading every book she could corral about Mary
Magdalene -- both scholarly and fictional -- Dacanay wrote a play about her,
titled Qadishtu. The word is Akkadian, the Semitic language of
Mesopotamia, and refers to women who lived in temples in the goddess-worshiping
civilizations of the Holy Land and parts of the Middle and Near East.
Scholars have labeled these women prostitutes,
probably because of their liberal sexual practices, Dacanay believes. Yet she
has learned that the literal translation for qadishtu is
sanctified or holy women. What if these women were, as
some scholars hold, priestesses in the tradition of goddess worship? Could Mary
Magdalene have been one of them? What was her relationship to Jesus?
These are some of the questions that Dacanay, who performs the
one-woman show, raises with her audience.
The playwright is also concerned about Marys significance to
women of today. Shes convinced that Mary Magdalene represents every
Christian woman. Her depiction as a sinful penitent -- the classic fallen woman
-- is part of the heritage that has been yoked to women in the church for
centuries, up to and including our own, Dacanay said.
She spoke with NCR at JFK International Airport here in
February en route to Chicago, where she lives with her husband, Gary. Dacanay
is a member of the Still Point Theatre Collective, a ministry of St.
Stephens Lutheran Church in suburban Lincoln Park.
The actress has been touring with the companys Points
of Arrival; a Jean Donovan Journey. The play depicts one of the four
American religious women raped and murdered by Salvadoran soldiers in 1980.
A cruel, distant god
Whether in Chicago or on the road, Dacanay, 32, admits to a
15-year struggle to reconcile the anger she has felt toward the Catholic church
in which she was raised and her deepening relationship with the person of
Jesus. I believe the greatest abuse I suffered as a child, an adolescent
and an adult was the idea propounded by my mother, the church and society that
God was a man, she said.
Dacanay felt that God the Father represented something cruel
and distant and very male -- a God who could extract a
horrible death from his beloved Son. By contrast, she found
Jesus humility, grace, compassion and courage to be qualities more common
to women than to men, she said. In Jesus I was able to see a bit of what
I could truly be if I learned to love well.
The playwright described the birthing of her drama as
excruciating and watched herself vacillate between excitement
and sheer terror. Prayer, meditation, reflection along the shore of Lake
Michigan and hearing Mary Magdalenes voice in snippets and
whispers all went into the work, she said.
Dacanay wondered if the reason for Christs great love for
Mary Magdalene was because she possessed her own spiritual strength and
wisdom, because she herself was a child of the Goddess, [a child] who knew and
claimed her rightful place on earth and who refused to apologize to the men in
power in Jerusalem for being a strong, self-actualized woman.
Dacanays probings lead her to despise and
disclaim the prophetic slut image that she said the church
has imposed on Mary Magdalene only to have it taken up in pop culture. The
readings started her on a journey of recognition and worship of the feminine
divine. Dacanay said that her spiritual searchings were not so much attempts to
find a new religion, but to discover how so many had embraced a creed that so
suppresses women.
For her, religion is at best a vessel in which to hold our faith.
It gives us a structure, guidelines and a path by which to express our souls,
she said.
A new consciousness
On her way to rediscovering the feminine divine she talked of
detours shed made into Native American spirituality, New Age, Buddhism,
yoga and most recently Wicca -- all of them leading her to an awareness of the
divine feminine and of the holiness of all creation, she said. Dacanay is
convinced that a new feminine divine consciousness is forming on the
planet.
The fact that many other women also identify with this concept is,
she said, a result of their struggles, their feelings of alienation and
loneliness, and their choosing at times solitude and at other times sharing,
but always an interconnectedness to the divine. For Dacanay, the divine
includes and reveres the feminine alongside the masculine.
Millennias of patriarchy and church teaching -- from the evils
attributed to Eve, the first mother, to the Catholic churchs perception
of women as unfit for priesthood today -- have silenced the souls of many
women, she fears, and have caused them to feel unworthy. Dacanay was reduced to
sobs last year when attending Mass in Toronto and hearing the words:
Lord, I am not worthy. It echoed much of the patterning of her
youth and of her Ohio Catholic school education, she said.
Still, on that trip, she made friends with a Canadian Jesuit who
has helped her find peace while mourning the loss of the religion that has
played such a large role in her life. Perhaps that is why the last scene of
Qadishtu has Mary Magdalene kneeling to wash feet. Even though some
whove seen the play in Baltimore and Chicago have been troubled by such a
depiction, Dacanay sees it as the place where forgiveness can occur and where
womens work of caretaking for others across the ages is acknowledged.
The actress-playwright has layered Qadishtu with
elements drawn from both goddess religions and Christianity, employing songs,
readings and audience participation rituals in the hope of creating a healing
ceremony as well as an interesting piece of drama. Over 75 minutes she has the
character of Mary Magdalene lead the audience through the story, and she
invites them to worship with her. Interspersed are monologues chronicling
Dacanays own faith journey in writing the play.
A wise, complex woman
The work explores such spiritual themes as love, loss,
forgiveness, healing and resurrection. To date the show has raised many
questions from its different audiences, just what Dacanay intended. Her goal
was not necessarily to provide a more sympathetic understanding of Mary
Magdalene, but to show that her story and that of many women have been
oversimplified and not given the credit they deserve, she said.
Whoever Mary Magdalene was, I know she was more wise, more
complex and more wonderful than the two-dimensional view of her that has come
down to us. ... If I on a microcosmic level can create something that never
existed before, then on a macrocosmic level we can create something new and
better together, Dacanay told NCR. What she wants is a world of
peace.
For women, it just might have to begin with peace between the
sexes, she said. The age-old gender war is both unnatural and manmade, she
said. Its about culture and learned behavior that have been
the norm of patriarchy for only 5,000 years. Whats required for peace is
to step away from the paradigm of one person having to be over another to
survive, she said.
Dacanay believes that such a peace can break out at any
time. It only requires a community in which everyone is revered,
respected and esteemed.
For information about performances of Qadishtu,
contact: Still Point Theatre Collective, 1337 W. Ohio, Chicago IL 60622, (312)
226-0352.
National Catholic Reporter, April 30,
1999
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