What We Need to Know about Childhood Sexual Abuse:
A Panel Discussion

 

Editor’s Introduction: Christian Feminism Today editor Letha Dawson Scanzoni interviewed three professionals in the fields of mental health and religion to help us understand more about childhood sexual abuse. First, each was asked to answer the same three questions. Then each panelist was asked to answer separate questions geared to her particular area of counseling, research, and general expertise. (Sharon Billings was traveling and no longer had the cantata lyrics at hand so did not answer the first panel question.) Information about the panelists may be found at the end of the panel discussion. This article is part of the six-part discussion of childhood sexual abuse from the Fall, 2008 issue of Christian Feminism Today, which began with an article about Margaret Meier’s cantata about healing from childhood sexual abuse.

Panel Question 1.  Was there anything that particularly struck you in the way the “SOCSA Quilt” lyrics describe stages of  psychological pain and healing from childhood sexual abuse?

Marie Fortune

First of all, let me give a general response. I rely on sacred music to nourish my soul.  But this is something more.   This music is sacred because it names “the unmentionable sin” in a corporate setting of church.  It does so in the midst of our faith tradition, using scripture to express and enlighten us along this dark and painful path.

In thinking about the lyrics, the notion of “theft” is critical. I have met with so many survivors who want to talk about “what they lost.”  I always ask them to think about what was stolen from them.  That shifts the conversation to a real agent of harm who took something that was theirs, rather than their experience alone (such as losing their car keys in which there is no agent).  

But Part I is the absolutely most important—naming the sin, the “unmentionable sin.”

Then in Part II, Healing and Hope, there is the agency of survivors, which is the most hopeful thing of all in the face of abuse.

Elizabeth Bowman

I was struck with the accuracy and  sophisticated knowledge of childhood sexual abuse (CSA) displayed throughout this work, and of the skillful representation of emotions in the vocal and instrumental music, showing the progression of the abuse and the developmental process of the victim on the path to becoming a survivor.   

This cantata was extremely accurate in depicting the threats used by abusers to silence victims, progressing chronologically from threats of death toward younger children to threats of being judged crazy, typically used against adolescents.  I found psychological realism and skillful musical symbolism in the depiction of isolation, terror, confusion, and despair in CSA victims, and the chronological depiction of the move from isolation and fear (wailing solos, energetic scores, and rapid throbbing tympani “heartbeats”), through silence and confusion (vocalizations of distress without words) to anger (energetic group chants), to empathy for the wounded self (soothing lullaby), and the increasing depiction of connection of the survivor to others (upbeat choruses and triumphant tympani) as the survivor moves from remembering trauma to connecting again with life. The therapeutic movements are subtle and realistic. 

Nearly all the stages of recovery from CSA are depicted here, in the general order of their occurrence: terror, pain, hiding, guilt, shame, silence, despair, breaking silence, anger and disavowal of the perpetrator’s guilt, self-empathy, grief, tentative hope for healing, stronger connections to others, demands for justice in solidarity with other survivors, self worth, and the restoration of capacity for joy and empathy for others. The capability of the survivor to care for others occurs in the closing lines before the last piece. The performers address the audience, thank them for hearing and believing their story, and tell them not to deny or ignore CSA; it could have happened to them or might be happening next door.

The entire cantata mirrors the stages of trauma therapy: stabilization, remembering and mourning trauma, then reconnection to life, self, and others. 

The one selection I found somewhat out of chronological order was the opening piece of section II, “Take it Back!”  This disavowal of the perpetrator’s guilt is necessary in treatment, but usually is not the first piece of work accomplished by survivors. This piece was realistic in portraying rising anger as healing begins.

I was most impressed by the skillful matching of lyrics with musical tone, types of instruments and voices to evoke the emotions of abuse victims and experiences of survivors in therapy.  The symbolism is subtle, but powerful and effective. The  musical form consistently matched the stage of recovery to convey a coherent whole. 

Panel Question 2.  Based on your experience of working with persons who have been sexually abused as children, what might be some possible reactions to this cantata?   Do you believe that when performances of this work are announced, a warning might be useful similar to the one that the International Society for the Study of Trauma and Dissociation (ISSTD) posts to accompany an online gallery of drawings and paintings by persons who have suffered trauma and whose art expresses “themes of coping, hope, and healing”?  That warning states: Please be aware that the images on the following pages may be disturbing or offensive to some individuals. These images may trigger uncomfortable thoughts, feelings, or memories in people who have experienced trauma.  (ISSTD Gallery of Inspiration)    

Sharon Billings

One reaction was stated to me by a friend, when we listened together.  She said she had completed that piece of her life and had zero desire to wade through those emotions again. Music being so powerful, she particularly resisted the genre (being a musician herself). 

If one attended a performance of this work, she or he could abruptly depart the venue without explanation for self or others. 

For those living in a memory- repressed state, convulsive emotional response could ensue (sobbing, agitation, inability to sit still, soft crying throughout, total withdrawal leading to silence, possible depression), catching themselves and their companions completely unaware.  I recall an adult male client who for all his years of parenting developed inner hysteria whenever his children batted about a balloon or climbed into bed with him and his wife.

Yes, I absolutely believe that a carefully worded explanation would need to accompany every advertisement of a performance, both verbally and in print.

Marie Fortune

I think that there will be strong reactions of grief and anger, of relief and appreciation.  Telling the story and naming the injustice is so important for survivors!

It is very important that survivors be alerted to the contents of the cantata so that they can be fully informed and make a choice about engaging with it. Many survivors have worked hard on their own healing and know their limits. They also know what experiences might be helpful to them. There could be a statement like this: “For your information: If you are a survivor of sexual abuse, be aware that the cantata describes one survivor’s experience from victimization to healing. You may find this difficult or helpful.”

Elizabeth Bowman

When the words can be clearly discerned, this is an emotionally powerful cantata. Unfortunately, understanding the lyrics is a challenge. I first listened to this CD without the words available to read while I was driving my car. I could feel the emotional power, but became bored with being unable to hear what it was about. The CD recording by the Mt. San Antonio College Chamber Singers rendered the lyrics unintelligible. When I was able to listen to it while reading the lyrics from the CD liner, however, I was quite moved and impressed. 

CSA survivors are likely to have two reactions to the cantata: 

First, from survivors who have healed, a likely response would be relief and satisfaction at having their experiences named and recognized with accurate empathy and an emphasis on recovery and healing.

Second, from unhealed survivors or those early in recovery, reactions of sadness, anger, intense horror or anxiety may occur, with possible panic attacks or flashbacks of trauma during performances or in the ensuing days. Dissociation of memory (amnesia or numbing of emotions) during the performance or nightmares of trauma afterwards are a quite possible outcome for unhealed survivors with posttraumatic stress disorder.

Therefore, I would heartily recommend public performances of this cantata be accompanied by a caveat for those who may find this cantata triggers overwhelming memories and feelings about trauma. Music powerfully evokes emotions. The combined power of the music (especially the tympani) and the realistic lyrics could be a potent trigger for flashbacks of abuse, even for those in long-term recovery.  If the unhealed CSA victim can get through Part I, the triumphant hope of Part II might uplift sagging spirits, infuse hope, and give a glimpse of the road to recovery ahead.

Panel Question 3.  What are some ways we as Christian feminists can help in creating awareness of the issue and aiding in the healing of persons who have been abused?

Sharon Billings

 Inviting people to tell their stories is a first step. Listen, listen, listen—did I say listen? However, the listener must, must, must be a safe container emotionally for the content. This is a tough topic, difficult to conceptualize— even more difficult the closer the relationship is between the two parties and the perpetrator.

Speakers need to repetitively share  details, even though hearers often prefer only the outlines and inwardly shrink from repetitions.  As the audience (listener), that means we need to develop awareness of the stages of our response: from denial through resistance to discomfort, and finally, non-judgmental acceptance. Only then are we a sufficiently safe companion for the sufferer.       While we are still in any of the reactive stages, it is kinder to recuse ourselves.

Once we believe—having waded through our stages of disbelief or judgment—we can then create opportunities for both education and healing: recovery groups, lectures, writing venues, art therapy experiences, and so on.

Our greatest contribution is to accept without requiring the victim to satisfy our curiosities, uncertainties. Every skeptical expression or vocalization on our part is an additional wound to the person speaking.

Marie Fortune

We need to continue to name the sin in Christian settings and to press churches to open their eyes and their hearts to survivors.

I would love to see the Cantata performed somewhere like the National Cathedral for April Sexual Abuse Awareness Month, for example.  Or some other prominent venue where it could be a part of a public awareness effort.

I am working with a group now called CounterQuo,  http://www.counterquo.org/faqs/#faq_87 who are trying to raise public awareness of sexual assault and abuse issues.  I would think they might be interested in cosponsoring something with FaithTrust Institute. http://www.faithtrustinstitute.org

Elizabeth Bowman

We can:

(1)  Educate our pastors privately about childhood sexual abuse in Christian homes and churches.

(2)  Ask our pastors to preach a compassionate sermon on child abuse or domestic violence. 

(3)  Ask pastors to mention survivors of childhood abuse, adult domestic violence, and rape in their public prayers for healing.

(4)  Mention CSA survivors ourselves when we pray publicly. 

(5)  Lead or invite local experts to lead an adult Sunday School class or series of classes on child abuse in our communities. Discuss theological implications of such abuse in Christian churches and homes.

(6)  Donate to our church libraries books on child abuse and other violence in churches and Christian homes.  Ensure the congregation knows the titles of these donations. 

(7)  Form a prayer group in a private home to pray for survivors of child abuse in our congregations, and let the congregation know the group is for anyone— survivors, supporters of survivors, or those interested in learning more about childhood abuse.  Offer social and prayer support to survivors in these prayer groups. 

(8)  Ask the church to approve a policy that at least two adults must be present at all times children are engaged with adults in church activities. 

(9)  Help establish a church fund for financial assistance to needy church members seeking mental health care for childhood abuse or adult domestic violence.

(10)  Make information about domestic violence shelters available in the women’s restrooms of the church. 

(11)  Lead a short-term Bible study on violence and victimization in the Bible. 

(12)  Advocate with legislators and secular and religious policy makers for adequate funding of shelters and protection for abused children.   

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Sharon Billings, M.A. is a marriage and family therapist and spiritual director. She lives in Sacramento, California and is a longtime member and former coordinator of EEWC.

Elizabeth S. Bowman, M.D. is a psychiatrist in private practice in Indianapolis, Consulting Psychiatrist for the Indiana University Epilepsy Clinic, Adjunct Professor of Neurology, and former Professor of Psychiatry at the Indiana University School of medicine. She is the former coeditor of the Journal of Trauma and Dissociation.

Rev. Dr. Marie Fortune is the founder and senior analyst at the FaithTrust Institute in Seattle, Washington (formerly known as The Center for the Prevention of Sexual and Domestic Violence), an international, multifaith training and educational organization. She is a graduate of Yale Divinity School, a minister in the United Church of Christ, an educator, ethicist, theologian, and author of many books on sexual ethics, sexual and domestic violence, and abuse by religious leaders. She has served on task forces on violence against women and domestic violence for the U.S. Justice Department and the Department of Defense. She is also editor of the Journal of Religion and Abuse.

© 2008 Evangelical and Ecumenical Women's Caucus