Sunday, 18 October I originally found out about Cosi Fabian from the film 1 Giant Leap where the filmmakers interviewed a sacred prostitute [click to http: What she said kept ringing in my ears. When it came to editing this issue on Sexuality I decided to look her up.
Sunday, 18 October I originally found out about Cosi Fabian from the film 1 Giant Leap where the filmmakers interviewed a sacred prostitute [click to http: What she said kept ringing in my ears.
When it came to editing this issue on Sexuality I decided to look her up. Due to internet technology I soon found out that she had a piece called The Holy Whore in an anthology called Whores and Other Feminists edited by Jill Nagle published by Routledge in The following comes from that book.
This seven-year experiment has paid off magnificently: To say nothing of confounding most of our preconceptions around both female and male sexuality. But I will start this story seven years before I took the great leap into Whoredom, back when I staggered through the door of a step meeting and started my ongoing recovery from alcoholism which is, along with a certain flamboyance and good legs, part of the Fabian legacy.
So I shifted my quest from bottle to library, where I began my continuing search for a mythos and attendant morality, which would express and inspire me as a woman. To an extent my spirit resonated to Native American and Asian prayers, but this driving force of my life was still without words, without shape, without story.
As a woman whose spiritual force was matched by a sexual joy I still was without a noble framework. And without stories there is no articulation of experience. Without stories a woman is lost when she comes to make the important decisions of her life.
She does not learn to value her struggles, to celebrate her strengths, to comprehend her pain. Without stories she cannot understand herself. Without stories she is alienated from those deeper experiences of self and world that have been called spiritual or religious.
She is closed in silence. For here was a version of The Divine that not only was female, but also wondrously, gloriously sexual. In translations of Mesopotamian hymns I was introduced to the young goddess thus: She went to the sheepfold, to the shepherd. She leaned against the apple tree, her vulva was wondrous to behold.
Rejoicing at her wondrous vulva, the young woman Inanna applauded herself. Inanna set out by herself. And I wanted to know more. Her priestesses, who included sex in their religious duties, have been even more sullied by our core, Christian values which essentially place the burden of The fall of man and the death of the Christ upon the sexual, and seductive, power of woman.
Religious or not, Christian or not, all women are distorted by this veil of shame, hidden from ourselves and each other. We see the unmistakable triangle on cave walls. We enter the long barrows of Europe through the vulvic gateway to the sanctuary of the womb interior.
Spiral dances carry the memory of the dance of earth and heaven, as did the Sacred Prostitutes of Ptolomaic Egypt, the horae, who marked the passage of time when they danced the sun god Ra safely through the gateways of the night. They were called Ladies of the Hour.
The dancing priestesses were banished, but their rituals and nomenclature survived: A Temple Harlot by the name of Shamhat who plays a significant role in the Sumerian Epic of Gilgamesh, replays this profound gift - the teaching of a conscious, sentient life - as opposed to non-conscious survival.
This is her story: Once upon a time, there was a young king - the strongest man in the land - whose name was Gilgamesh. But there was a problem: He was abusing the power given him by the Gods, had become Tyrant, not Saviour.
The people were in despair: They asked Aruru, Mother of the Gods, to create a foil for Gilgamesh to temper his harmful strength. She created a primitive man, Enkidu the warrior.
Who could educate the wild brute, prepare him for his role as companion and confidante to Gilgamesh? The Ancients still remembered what we have now forgotten - that it is woman who brought man from animal consciousness into a sentient, social and moral existence.
And the quintessence of woman in her ritual, empowered, cosmic state was - and is - the Temple Harlot! Some say it was the goddess herself who placed Shamhat by the oasis water. Some say it was a hunter frustrated by Enkidu.Let this fragment of Inanna’s story sink in.
Inanna is the Queen of Heaven and Earth. Ereshkigal is the Goddess of the Underworld. This is a story and reality where Goddesses, not Gods, reign in the Great Above and Great Below, and hold between them the primal mysteries of life, death and rebirth.
In Semitic, this goddess’ name was Sin; in Sumerian, she was called Nanna or Inanna. Nanna is perhaps best known as the deity to whom the famed Ziggurat of Ur is dedicated.
Later, Nanna/Sin would be identified as Ishtar and, still later, as Aphrodite. Jul 17, · Inanna (Ishtar), the Queen of Heaven and Earth, is usually depicted as a beautiful curly-haired goddess in lavish clothes or naked.
Known as Inanna to Sumerians, Ishtar to Babylonians and Astarte to Phoenicians, this goddess ruled over love, fertility and grupobittia.coms: The goddess Inanna represents the many facets of being a woman and the myriad of roles they play.
She is a powerful example of a courageous mode of being that is unafraid to face the changes that are required during the course of a woman’s life. Transformation: Was I Hiding or What?!
Transformation: was I hiding or what?! Our computer didn’t even recognize my old photos! 😂 Seriously looking back and sorting through all the old. The story of Inanna the Sumerian goddess is at least years old, and is mostly known not only through archaeological discoveries but also in a far more sophisticated way: through the poetic hymns of Inanna’s High Priestess, Enheduanna, the daughter of King Sargon of Sumer.