Arising the Sacred Feminine (Myosho Ginny Matthews)

The Sacred Feminine is not confined to those in female bodies. Many difficulties in life come from denigration of the Sacred Feminine, including the way the planet and women are treated. Imagery of Divinity has not included the feminine in our culture. Decades ago, many women were focused on claiming masculine power. Rinzai Zen is warrior practice, very masculine, but there is a feminine aspect to it in relating to a teacher and working on koans to embody spiritual understanding. Connection to female teachers in Hindu and Lakota traditions complemented Ginny’s Zen practice given the need to integrate masculine monastic transcendent approaches with life as a mother and householder. Embodiment practices can be explored such as dancing, singing, and individual rituals including creating an altar and honoring the four elements of air, water, fire, and earth, which can change the way we move through our day. Community rituals like circles, salt rituals, witnessing fire rituals, and honoring our female lineages are egalitarian. There is no hierarchy in the Sacred Feminine. There is a Japanese ritual centered around Jizo, a bodhisattva deity for babies and children who have died. Nature and beauty are pathways to the Sacred Feminine. The Sacred Masculine has the strength to hold the Sacred Feminine in partnership. The fierce quality of the feminine comes from truth. The forms of traditions seem to be evolving. Feminine icons may be more present today due to an unbalanced form of masculine patriarchy. Relationships between generations help break down the more toxic aspects of cultural conditioning. Myosho Ginny Matthews was a student of Joshu Sasaki Roshi for 40 years. She took lay ordination in 2000, leads retreats on practice, is a dance teacher and choreographer, and is featured in the book, The Unknown She: Eight Faces of an Emerging Consciousness.