Toward a Critical Theological Imagination, Parts 1-3
César ‘CJ’ Baldelomar urgently calls for imaginative critical theology theorists
Dancing at the Louvre (The French Collection Part 1: #1) story quilt by Faith Ringgold (1991), acrylic on canvas, tie-dyed, pieced fabric border, 73.5 x 80 in. Source: Gund Gallery at Kenyon College, Gift of David Horvitz '74 and Francie Bishop Good
“Dancing at the Louvre is all about breaking the rules…Drawing on her own struggle for recognition in an art world dominated by European traditions and male artists, [Faith] Ringgold uses this narrative format to literally rewrite the past by weaving together histories of modern art, African-American culture, and personal biography.” —Dr. Virginia B. Spivey, Kahn Academy
In this three-part series, César ‘CJ’ Baldelomar argues toward “a critical theological imagination, one that urgently calls for critical theology theorists in hopes of liberating imaginations to envision what never was…If this call is not taken seriously, then perhaps the only remaining solution is indeed to press the restart button on the entire theological—and by extension, academic—enterprise.”
Are you a critical theology theorist with ideas for reigniting theological imagination? If so, let’s begin to form an informal network where our imaginations, en conjunto—shaped through our words and deeds—can begin to take flight outside the normative academic spaces. Contact CJ Baldelomar at baldelom@bc.edu.
