Posted on Leave a comment

#TIH: The Convergence of Truth & Memory St. Barbea of Edessa, Upper Mesopotamia

The City of Edessa By Bernard Gagnon Courtesy of Wikipedia

Our Posts–Education, Faith, and Feminine Spiritual Transformations

Joan of Arc by the Author via Generative AI

Every topic we’ve explored—economics, faith, women’s financial autonomy, the politics of truth—has really been a study in memory. Who remembers. Who forgets. Who gets written into the story of a nation, a family, a church, an economy. And who has to fight to be seen. At its core, this work is about how memory shapes identity, and how identity shapes the choices women make in a world that is always negotiating power. Truth is one of the most powerful forms of currency.

What looks like separate topics between economics, Catholic spirituality, women’s financial literacy, truth and transformation, has always been one conversation. We’ve been studying the point of convergence: where memory becomes identity, where identity becomes history, and where history becomes story. At that crossroads, women make choices that reveal who they are and what they believe. This is the terrain where truth is chosen, not inherited. Therefore, when you understand the world, you can make choices in it. Also, there are so many women that have been martyrs and leaders, and they go unnoticed and unwritten about today.

Edessa, Upper Mesopotamia, St. Barbea

Convergence is the moment when spiritual truth, political pressure, and personal identity collide — and the choice you make reveals who you are. Few places in the ancient world embodied this collision more fully than Edessa. Born from the collapse of empires, it rose on a fault line of history a frontier city where Arab kings, Roman legions, and Persian armies contested not only territory but allegiance. Perched between worlds, Edessa functioned as both buffer and battleground, a place where control depended less on walls than on the loyalty of its people. Shifting between Parthian, Armenian, and Roman rule, the city learned early that power here was provisional: armies could occupy its streets, but belief determined whether authority endured. January 29th is the feast day of St. Barbea who is honored here today.

Saint Barbea of Edessa: Holding To Conviction

Saint Barbea of Edessa was an early Christian martyr from Syria, remembered primarily for her courage during the persecutions under Emperor Trajan. She was the sister of Saint Sarbelius and was converted to Christianity through the influence of Saint Barsimeus, a prominent Christian leader in Edessa.

St. Barbea image by the author via generative AI

Once she embraced the faith, Barbea practiced it openly despite the intense hostility toward Christians at the time. Her refusal to renounce Christ led to her arrest and brutal torture. According to tradition, she endured:

  • burning with hot irons
  • severe scourging
  • and ultimately death by spear

Throughout these ordeals, she remained unwavering in her devotion.

Barbea is considered a pre‑congregation saint, meaning her veneration predates the formal canonization process of the Catholic Church. She has no specific patronage or iconographic symbols associated with her, but her legacy endures through the commemoration of her feast day on January 29. She is honored as a model of loyalty, courage, and steadfast faith, especially among those who look to the early martyrs for inspiration. Her story stands as a testament to the strength of conviction and the power of belief in the face of persecution.

Epistemic Memory

This is interesting because where your epistemic memory is matters. I included this in my graduate school thesis, and I will share it here on the site. It is all about memory and story and it is key to any people’s and nation’s survival.

Posted on Leave a comment

The Home for the Friendless: A Legacy of Women’s Empowerment

By Chiara Luz Atoyebi

The Chicago Home For the Friendless, Chicago Illinois, 1858. Image in the Public Domain

The Home for the Friendless: Origins and Mission

In the mid-19th century, Chicago was a city in transition—rapidly growing, bustling with commerce, and attracting immigrants and rural migrants seeking opportunity. Yet, beneath the promise of prosperity lay stark realities: poverty, homelessness, and social isolation. Industrialization and urbanization created a class of vulnerable individuals—particularly women—who lacked family support and financial security. It was in this climate that the Home for the Friendless was founded on March 18, 1858.

The term “friendless” was a poignant descriptor for those without family or social networks. The Home’s mission was clear: to provide shelter, care, and moral guidance to indigent women and children, many of whom were widows, unmarried mothers, or orphans. These women faced harsh judgment in Victorian society, where respectability was tied to marriage and domesticity. Without a husband or family, survival was precarious.

The Home for the Friendless offered more than a roof—it provided hope and dignity. Residents received food, clothing, and spiritual instruction. Children were placed in homes or trained for employment, while women learned practical skills to regain independence. This charitable work reflected the era’s ethos of benevolent reform, driven largely by women’s organizations and religious groups who believed in uplifting the “fallen” through moral and domestic education.

I wrote about the work of social reformers Jane Addams and Victoria Earle Matthews and their houses for women here.


Chicago in the Late 19th Century: A City of Contrasts

By the 1870s, Chicago had become a symbol of American ambition. The Great Fire of 1871 had devastated the city, but reconstruction brought modern architecture and economic dynamism. Yet, the fire also deepened social divides. Thousands were left homeless, and charitable institutions like the Home for the Friendless became lifelines for those who had lost everything.

Victorian ideals dominated social life. Women were expected to embody purity and domestic virtue, but industrialization blurred these boundaries. Many women entered the workforce out of necessity, challenging traditional norms. At the same time, philanthropy became a socially acceptable outlet for women’s public engagement, allowing them to exercise influence while reinforcing domestic values.

It was within this cultural framework that the Home for the Friendless thrived—and innovated.

(A large incentive for this article is based upon the idea of our food and food systems. More specifically, the removal of the highly deadly and dangerous ultra processed foods from our shelves and households.)


The Birth of the Cookbook: “Tried and True Recipes”

In 1874, the Home for the Friendless launched a bold fundraising initiative: a community cookbook titled Tried and True Recipes. The Home Cook Book of Chicago.” Published by J.F. Waggoner, this volume compiled recipes contributed by women from Chicago and other towns. Its purpose was twofold: to raise money for the Home and to celebrate the culinary expertise of American women.

Why a cookbook? In Victorian America, cooking was more than sustenance—it was a marker of virtue and refinement. By producing a cookbook, the Home tapped into the domestic pride of middle-class households while creating a practical product that could circulate widely. The title “Tried and True” emphasized reliability, appealing to homemakers seeking tested recipes in an era before standardized measurements.

The book was a collective effort, reflecting the power of women’s networks. Contributors shared family recipes, regional specialties, and household tips. This collaborative spirit mirrored the Home’s mission: community support for those in need. Proceeds from sales funded shelter, food, and vocational training for residents, making the cookbook a tool of both culinary and social reform.


Impact on American Culinary Culture

The Home Cook Book of Chicago was more than a charity project—it was a cultural milestone. It helped popularize the community cookbook model, which became a staple of American life. Churches, schools, and civic groups across the country adopted this format, blending recipes with local identity and philanthropy.

The book also contributed to the standardization of home cooking. By presenting tested recipes, it offered consistency in an era when oral tradition and handwritten notes dominated. Moreover, it preserved a snapshot of 19th-century foodways, from hearty breads to elaborate preserves, shaping the American palate for generations.


Serving the Friendless: How It Helped Women

Funds from the cookbook supported programs that transformed lives. Indigent and unmarried women—often stigmatized as “fallen”—found refuge and purpose. The Home provided industrial training, teaching sewing, laundry, and cooking skills that enabled women to earn wages. For unmarried mothers, it offered a safe haven during pregnancy and assistance in placing children in adoptive homes.

This work was radical in its quiet way. At a time when social safety nets were nonexistent, the Home for the Friendless embodied the principle that charity could restore dignity. It also underscored the gendered nature of reform: women helping women, using domestic arts as instruments of empowerment.


A Taste of History: Iconic Recipes

The cookbook’s pages brimmed with dishes that defined Victorian kitchens. Here are a few that stand out:

1. Corn Bread

A staple of Midwestern tables, corn bread symbolized thrift and abundance. Its simplicity made it accessible to all classes, while its versatility ensured a place in both humble and festive meals.

2. Pickled Oysters

Before refrigeration, pickling was essential for preservation. Oysters, a delicacy, reflected aspirations of refinement even in inland cities like Chicago.

3. Election Cake

This spiced fruit cake, traditionally baked for civic gatherings, linked food to democracy. Its presence in the cookbook speaks to the communal spirit of the era.

4. Graham Gems

Whole-wheat muffins championed by health reformers signaled the rise of nutritional awareness—a precursor to modern wellness trends.

5. Preserved Fruits and Jellies

From peaches to currants, these recipes showcased domestic ingenuity. Preserving fruit was both practical and symbolic of abundance, reinforcing ideals of household competence.


Conclusion

The story of the Home for the Friendless and its cookbook is a testament to resilience, creativity, and community. In a city rebuilding from disaster, amid shifting social norms, women harnessed the power of domestic culture to address urgent needs. Their efforts fed bodies and souls, leaving a legacy that endures in the pages of American culinary history.

The Home Cook Book of Chicago was more than a collection of recipes—it was a manifesto of care, a bridge between private kitchens and public good. Through corn bread and election cake, through pickled oysters and Graham gems, it told a story of women who turned flour and sugar into instruments of hope.

Posted on 2 Comments

Excuse Me While I Eat My BLT: The Not-So Cutesy Demure Edition

Daily writing prompt
What makes you nervous?

How many times have you gone to one of those white tablecloth lunches or dinners and you are starving? Even though you ate earlier that day, or you had the tea and bagels in the morning, everyone seems to be ravished by noon. It’s crazy. By the time they roll out the food it’s all crunchy and saucy and awkward. It’s also at that very moment when you’ve lost the battle of “to eat the onions or pick them off,” that your boss wants to be buddy -buddy and sit next to you. Obviously, the onions will have to wait until the next luncheon.

For me, situations like that always makes me nervous. It’s why I now pack some nuts in my bag and do a little snacking before I sit down. There is nothing that scares me more than biting into my sandwich and then having a small piece of lettuce shoot out of my mouth. Or drinking my coffee only to have it dribble out the corner of my mouth and onto my white shirt–dang it! I’m not one of those women who can stoically sit in front of a buffet of food and casually chit chat while not eating at all. These women were the discipline MVP’s before Ozempic hit the scene. No, by the time lunch is up, I’m typically hangry.

Granted, I don’t hate eating in front of people. I just hate being too hungry in front of people. It’s like all bets are off in the class department when Jose Andres or someone is catering. You will have to think of me as you will. It’s like paella is about to be incoming very fast. More than anything, I’m often too nervous to eat on some occasions. Let alone in spaces where I’m trying to make an impression. I can do soup, noodles, small bites and anything that requires chop sticks.

This is actually my first time thinking about this, and now I’m wondering if I need therapy. But yeah, messy foods and meetings are a no for me. I’d rather drink my beverage and look glamourous, unless it’s our second time lunching together, then all bets are off.

Posted on Leave a comment

Interview With Mom Film Fest and Director Alicia Cunningham: Balancing Motherhood, Writing, & Life (Replay)

By: Chiara La Luz Atoyebi

Posted on Leave a comment

I Trust My Instincts, But I’m Sometimes Scared Where They’ll Lead Me

Daily writing prompt
Do you trust your instincts?

Growing up I was very impulsive. Like hop in cars and on planes on a whim, and even down to get engaged because: I-felt -like it–impulsive. Looking back, I never really had a bunch of regrets because I was so caught up in the moment. Which can be good. Living in the moment is a constant reminder that today is really the only day that’s promised and so you live it full out. I tend to believe I was always following my heart and passions and that my gut checks were largely right. I have no regrets when I look back on life. It was definitely full force ahead.

Well, I did have my blind spots. The only place I never seem to follow my instincts full out is when it comes to love. You know that reckless abandon that makes you want to run towards someone and never look back? Yeah, that’s always been scary for me. I mean, what if I fall in love myself? Kind of like what ended up happening over and over any way–but that’s another story for another time.

I think the best relationships don’t worry about the fall out, or maybe they do worry about it and don’t care, either way it’s a gamble. You never can tell what’ll happen on the crazy, sexy, outrageous train of love.

There is another side to making strange gut decisions, and that is feeling something and ignoring it. How many times, have you felt like,” this person is sooo perfect. Wait, no they’re too perfect…let me check out someone a bit more flawed or familiar?” That’s actually trauma. That’s an unhealed area of life and maybe even a revelation on allowing television and social media to shape your relationships.

The correct choice was probably the person that you may have had to take a leap of faith with. Maybe they weren’t that exciting but they made you laugh or they studied you intently when you spoke. Maybe they were the person that made you lose track of time, or you feel safe, when you’re used to feeling reckless.

Or when it comes to love and relationships you can be so detached from your sacral and root chakras, and detached from the truth of who you are, and what you want, that you decide to just date someone’s resume. That way, you know you won’t make a mistake. It’s a quiet kept secret but men do this too. They often go towards someone’s resume and what their parents want and fully ignore what makes they happy. Later on down the line they find themselves suffering in silence over the one that got away.

“Reflections of You” (2021) Korean Drama

That kind of love that has your stomach twisted in knots, but is forbidden on so many levels, is depicted so well in the Korean drama “Reflections of You”. I have never seen two people look so miserable apart, and while one stays attached to the one he was loyal to from the beginning and the other lives her best painter life but has an empty marriage, it is an ongoing cat-and-mouse chase of self-denial and unnecessary hell. They both could have kept their smiles and become the artists they were born to be had they simply stayed together. But loyalty called them both, and they paid for it royally. Don’t get me wrong I would done the same thing and have done the same thing, but we are looking at the road less travelled during the road to reconstructing the self.

It’s a position where you have to ask yourself what is more important: instinct or loyalty? It’s a difference between the devil you know and the devil you don’t know.

Needless to say, if this was a easy cut and dry topic, there wouldn’t be so many relationship podcasts out there pondering the subject. Following your instincts are for those who are willing to take big risks for a big reward. Oftentimes, it calls for going against tradition and even coming up against naysayers. What would you do? Do you often follow your instincts? Or do you follow them in some instances and not in others?

My goal for life going forward is to take on the courage of my spiritual guides and advisors. I plan to go big or go home. I may seem to be taking baby steps, but in my mind I am leaping forward. How about you?

Posted on Leave a comment

The Leadership journey

Posted on Leave a comment

“What Is Ours?” A Group Exhibition presented by The Women’s Caucus for Art Washington, DC.

As many of you know this art journey has been my soul’s journey and serves as a well spring of healing. Especially when it is created among a sisterhood. Please join us for an evening of poetry and connection this September 8, 2022. The exhibition will be at the Sandy Spring Museum. There will be an open mic night and we encourage you to come through and speak your mind. Register: The Sandy Spring Museum. See you there!

Posted on Leave a comment

Civic Arts Presents An Inspirational Interview With Artist & Life Coach “MUSE”

An interview with Melissa “MUSE” Colon to liberate your mind

Melissa “MUSE” Colon is a certified life coach and artist who is also the creator of the popular Pep Talks Workshop. She is a newly minted mother of a month old daughter and in today’s interview she speaks with us about purpose, tribe, entrepreneurship, and the importance of community for women.

There are so many gems in this conversation–you won’t want to miss it. I definitely consider myself both a follower and friend of this very magical women.

*Before you click away from the page. Please be sure to scan the QR code or visit our link and give us some feedback on your creative life.

As always, I am here for you in the comments.

Peace be with you and enjoy,

Chiara

Posted on Leave a comment

Where Do You Go For Culture & Creativity

Calling all artists, writers, creatives, makers, dancers and patrons of the arts. We want to know where you go for culture and creativity. Please Scan the QR Code and take our survey. To learn more visit: The Arts and Humanities Council of Montgomery County. #dmv

Best, Chiara

Posted on Leave a comment

We Are Free to Chose But We are Not Free From The Consequences of Our Choices: Lin Jing Jing

As technology evolves, so does the landscape and context in which we create and view art. The global reach of the internet makes distant communities feel close. We can feel a level of intimacy being created within the constructs of social media and digital culture. The use of zoom and interviews and talks happening in people’s homes has broadened the perspective of some skeptics that have remained averse to converting to new mediums of communication. In short, it isn’t all bad. However, society has changed. We are a microwave insta-culture that wants all of our options on display like the dollar menu before we decide to purchase—well, anything.

You Need To Be Careful With Me: I Fall In Love and I Fall in Love Fast, 2019

In her solo exhibition Lov-Lov Shop, at the DeSarthe Gallery in Hong Kong, Beijing based artist Lin Jing Jing, explores the effects of technology on our personalities, how we interact in society and the infiltration of artificial intelligence (AI). According to her bio on the gallery website Jing Jing’s work, “explores the depths of social and personal identity in the context of modern society, often examining themes such as confusion and quest, existence and absence, constraint and resistance through a lens of paradox.”[1]


[1] Desarthe. “Lin Jing Jing.” Accessed 20 May 2020. https://www.desarthe.com/artist/lin-jingjing.html

 

 

In her six screen video installation,” You Need to be Careful With me: I Fall in Love and I Fall in Love Forever, 2019 challenges the viewer to look deeply into their choices. On the various screens we are given choices to experience perfect unbothered love through images of what is pleasing to our senses. For example, there is the image of the singing paramour who is pledging unconditional love through song. 

On another screen the woman dancing appears to be available to perform at any given moment. Just for you. There is a plate of food and man exuding power and intellect inside of a television screen. JinJing calls these images the menu. You can have your choice. 

On another screen the woman dancing appears to be available to perform at any given moment. Just for you. There is a plate of food and man exuding power and intellect inside of a television screen. JinJing calls these images the menu. You can have your choice. 

On another screen the woman dancing appears to be available to perform at any given moment. Just for you. There is a plate of food and man exuding power and intellect inside of a television screen. JinJing calls these images the menu. You can have your choice.
I was drawn to this work because of my friends of mine that are dating in the age of the app. There interaction is based on what is being displayed visually. What is being displayed visually is usually only part of the truth or not true at all.
In Jing Jing’s Lov-Lov shop she creates an ephemeral world that gives the feeling of being transported to an alternate universe. A world that is close yet faraway. These are the personal yet impersonal interactions of the times.
While exploring her work, I began to understand how culture could forgo the headache of dating a human being or interacting with them at all. If we are on the search for perfection, we will only find it within artificial intelligence.  


 
In her upcoming show for the gallery titled “Take Off” the artist creates a dreamworld that investigates privacy, technology and the role we play. The images evoke a frightening feeling that we all need to wake up and notice what is happening around us.

More of artist Lin JingJing’s work can be seen here: https://www.linjingjing.org/interdisciplinary-project/take-off-project/

In her upcoming show for the gallery titled “Take Off” the artist creates a dreamworld that investigates privacy, technology and the role we play. The images evoke a frightening feeling that we all need to wake up and notice what is happening around us. 

As the artist says 

 

Posted on Leave a comment

Black Radical Women Artists 1965-1985

I had the fortune of partaking in an intimate virtual lecture with Catherine Morris, curator, of the Elizabeth Sackler Center for Feminist Art locates the @brooklynmuseum. Lots of these wonderful artists featured in these exhibits you may learn about on my new site chiaratoyebi.com along with many nameless, faceless creators that add meaning and hold up a mirror to our societies. Their art pushes boundaries and moves forward the agendas for change we all are part of. These artists, especially women artists of color, domestically and globally need to be recognized and supported for the amazing work they do. Art is healing. In the words of artist and friend @imanasfari “art makes a home happy.” Nothing is more true than the latter statement. In times of crisis we must create. These books are about black women that demanded to be hurt. That struggled to bring their visions and voices to life and be heard when no one seemed to be listening. Curated by Rujeko Hockley and Catherine Morris together they created the amazing treasure trove of a sourcebook “ We wanted A Revolution. Black Radical Women 1965 to 1985.”

Posted on Leave a comment

When A Trumpet Sounds: Kara Walker, Examining Root Causes With Pencil and Paper

Kara Walker – Untitled, 1995. Ink and charcoal on paper. 
Suite of 14 works, 24 x 18 inches (61 x 45.7 cm) each courtesy Sikemma Jenkins & Co.

Kara Walker. 1995. Look Away! Look Away! Look Away! / The Battle of Atlanta, Being the Narrative of a Negress in the Flames of Desire / The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven. Sculpture and Installations. https://0-library-artstor-org.library.scad.edu/asset/LARRY_QUALLS_10310855292.

In Kara Walker’s Study for The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven (1995), she uses the relationships between master, slave, and the slave master’s wife to explore sexuality, race, and gender amidst the backdrop of America’s peculiar institution. In the untitled sketch, created in ink and charcoal, Walker presents what we can only presume to be the very beginnings of one of the many drawings that would later evolve into the silhouettes that made her famous. Walker’s work was heavily influenced by the racism she experienced as a child moving from California to Atlanta. Also, it was influenced by her reading of Uncle Tom’s Cabin[1].

The sketch is an important reference to problems that plague race relations in America today. The fetishization of black female sexuality, the ordained purity of white womanhood, and white male dominance.

In the sketch, we see a woman praying. We can assume that she is a wife who is both beautiful and pious. She is doing what any wife in the antebellum south would do when they are suspicious of the whereabouts of their husband and sexual prowess of his mistress.  Yet in this drawing, the object of affection is a child and the man old, white, and probably pious himself. There is a smile on the girls face that says that suggests her complicit nature and even enjoyment of the event about to take place. She feels that her role is just as important I not more than the wife’s. Nothing in the image suggests anything that is beloved even if it appears to be. That is what makes it unnerving.

In the Cult of True Womanhood 1860-1865 scholar, Barbara Weller writes,” a true woman was a true woman, wherever she was found. If anyone, male or female, dared to tamper with the complex of virtues which made up True Womanhood, he was damned immediately as an enemy of God, of civilization and of the Republic. It was a fearful obligation, a solemn responsibility, which the nineteenth-century American woman had-to uphold the pillars of the temple with her frail white hand.[2]

In today’s discourse this scene would look a lot like sex trafficking. However, this is a very real event that, at face value, tore apart established families. It harmed the psyche of an oppressed people and created many fatherless families. 

Although Walker’s motivations stemmed from the racism that she experienced as a child. She was underwent protests for her work from black artists. One artist in particular, Betye Saars, was very vocal. In the International Review of American Art she called out Walker’s work as being opportunist with a goal of being famous. Saars stated, “The trend today is to be as nasty as you want to be. There is no personal integrity.”[3]

The New York Times had a similar view calling Walker’s art “Shock Art.”[4]

However, in the picture sketched above Walker seems to have a true connection to her ancestry and the ability to explore the psychological landscape of slavery and its repercussions.

The girl with her master has no idea what is love or not love. She more than likely has not known anything other than what she has experienced. She plays a role. The wife plays the role she is cast in. She is to be idyllic. What culture tells her to be she knows no different. They are both victims of the peculiar institution desirous of freedom.

 In this picture, Walker leaves us wondering who is the woman crying for? We are privy to the vision of her prayer however, it is not clear if the tears are for herself, the girl, or the situation. There is an insight into Walker’s perception of suffering. This is a love triangle amidst the horrors of slavery.

Walker’s work is the very definition of identity politics. She repeatedly gives voice to the souls of black folk all laid bare on her canvas. If Kanye West thought that slavery was a “choice” he clearly has never experienced work by Kara Walker.

Walker’s work is messy, revealing, exaggerated and difficult to digest. It gives the work a surreal feeling because it is matter of fact. Yet, on any given day she shows us what happened. What happens and how turn a blind eye each day to our “normal.” If confession of sin is the gateway to freedom, we must be able to look closer at each character in the sketch to see their humanity and create an understanding I believe Kara Walker is aiming for.

[1]  Rebecca Peabody (2012) Kara Walker, on The End of Uncle Tom, Word & Image, 28:2, 181-192, DOI: 10.1080/02666286.2012.677622

[2] The Cult of True Womanhood 1860-1865,  Barbara Weller, This content downloaded from 132.174.254.81 on Sat, 02 May 2020 22:00:50 UTC All use subject to https://about.jstor.org/term 

[3] Abusive, Cartoonish, Obscene:How Kara Walker Painted Trump’s America. Retrievedn2 May 2020 https://www.huffpost.com/entry/kara-walker-trump-art_n_59b2d120e4b0dfaafcf7d240

[4] Julia Szabo, (1997) ‘Kara Walker’s Shock Art’ The New York Times retrieved  2 May 2020 https://timesmachine.nytimes.com/timesmachine/1997/03/23/074535.html?pageNumber=357