It’s always striking that the first to witness the empty tomb were women. Women have been at the forefront, and yet hidden, in many of the key events of human and salvation history, particularly women of color. Women’s voices and contribution have often been overlooked, as seen poignantly in the anecdote by activist Sandi Toksvig: 

Years ago, when I was studying anthropology at university, one of my female professors held up a photograph of an antler bone with 28 markings on it. ‘This,’ she said, ‘is alleged to be man’s first attempt at a calendar.’ We all looked at the bone in admiration. ‘Tell me,’ she continued, ‘what man needs to know when 28 days have passed? I suspect that this is woman’s first attempt at a calendar.’

Asian feminist theologian Kwok Pui-lan increases the visibility of women in her work on Asian feminist theologies, bringing to the fore the voices of women whose efforts are both visible and yet also invisible in the work of justice. Through decolonizing Christianity, Kwok questions how women are often left on the sidelines, given not only the patriarchy and misogyny found in the church hierarchy and Christian tradition, but also because of patriarchy and misogyny found in our cultures and social milieu. This patriarchy and misogyny is often unconsciously perpetuated – while church leaders or socio-cultural or economics leaders of all genders might say they are inclusive, putting vulnerable populations such as women at the forefront of their agendas, their actions and unconscious habits might tell another story. These actions of eclipsing women may not be fully intended or deliberately chosen; however, the instances of women being marginalized ask us to reflect on how women are sidelined in often unconscious and subtle ways. We are thus invited to be sensitive to the ways women might be put down by both individual behavior and systemic oppression.

Kwok’s work prioritizes women, particularly women from Asia, responding to the common reasons as to why women have seemingly lesser roles in church tradition (see her work Introducing Asian Feminist Theology). For Kwok, the lesser treatment of Asian women in particular is a function of both misogyny in Christian tradition, and certain ways of understanding purity and womanhood in various Asian cultures and religious traditions – many of which go unquestioned. Kwok analyzes the way power is exercised in various cultures and within the Christian churches, and shows that what is often at work is the “power-over” model, where domination and control undergird the community. “In the Christian context, this hierarchical pyramid is supported by the belief that God is at the top, followed by the male, then the female, and then other categories of creation. The exercise of power is non-reciprocal, which often leads to an imbalance or even abuse of dominant power” (106).

There is a need, instead, for power-with-others, grounded in the assumption that we are all interrelated and our well-being is bound up together, rather than individuals who are in it only for themselves. Such power assumes an authority that is communal and shared, that focuses on justice and accountability for all. It allows the laity a deeper share of the ministry, given that the Christian hierarchy puts the male clergy on top; the Asian context that honors the elderly and father of the household; and male clergy who “act as patriarchs of an extended family” (107). In the face of many struggles, Kwok, as well as many other Asian Christian women, have sought to build bridges and networks to articulate and live out inclusive faith communities based on this form of power. This kind of power is what can help transform the church into a community that genuinely is for justice for all, especially its most vulnerable and marginalized members.

We invite you to join Mary Magdalene as she journey’s to the empty tomb:  What is going through your mind? What dangers do you face? Why are you risking them? 

Next, stand with Mary as she encounters the empty tomb: What are you feeling? 

Now, sit with Mary as she alone remains at the empty tomb: Where have the others gone? Why are you still there? 

Stay with Mary and hear your name called too: Do you recognize the Risen Christ calling your name? How do you recognize it? What is the Risen Christ asking of you? 

Finally, set out with Mary: Where are you going? To whom are you going? What will you do and say? 

Francoise Bosteels, who I met in 2018 during the Ecclesia of Women in Asia conference, creates beautiful dolls depicting scenes from the Bible. Her website reads: “She trained as a nurse, but in 1965 she joined the Sisters of the Divine Saviour in France. She came to India in 1974 and worked in health education programs and in leprosy prevention and care in South Tamil Nadu villages. The village life, people’s closeness to nature and the beauty and simplicity of their lives were her first inspiration in the creation of dolls.”  Her work depicts everyday life, women in scripture, and aims to show their key roles and place in the stories we often hear from Scripture. She is based in Bangalore, India.

Her artwork serves as an invitation for us to reflect on how important women are and have been in the work toward justice and the Kingdom of God. How can we continue to lift up women’s voices (and other voices at the margins!) in ways that make visible the hidden labor of many women today?

The Magnificat by Francoise Bosteels

Image description: On a brown wooden table set against a white background, with the backs of black chairs visible set around the table, are four dolls on a beige platform. In front of the dolls, sitting on the table, is a green leaf with a tea candle placed on it. At the feet of each doll are sprinkled small white petals or pebbles. Each figure has dark brown skin, and is in a position of dancing. The first, on the far left, wears a red top and long skirt with an olive green cape that covers her head and flows down her back. She plays a white clarinet-like instrument. Gold jewelry adorns her forehead and wrists. The next figure wears a similar outfit, with green underneath and dark purple over top, and she plays a tambourine. The third and fourth figures are in positions of dancing, one wearing a yellow sari with a green blouse underneath, and the other in a blue sari with yellow underneath.

The Annunciation by Francoise Bosteels

Image description: On a brown wooden table set against a white background, with the backs of black chairs visible set around the table, are two dolls on a beige platform. On the left stands a brown woman wearing a white blouse and skirt, and an orange hair covering that flows behind her. She wears gold jewelry at her forehead, earrings, and wrists, and holds a gold chalice. To her right, bowed on one knee, is a figure wearing a peach-colored tunic and white bottoms. They hold out a brown bowl with a loaf of bread in it. In front of the two figures is a larger brown urn with a tea candle inside.