Kinesis, May 1984 May 1, 1984

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 May '84 KMEJiS  Vancouver women protested at the Savoy, an erstwhile second  See story p. 3.  moviehouse that now shows pornography, on April 26.  Socreds dump VSW  by Emma Kivisild  The Vancouver Status of Women has lost its  core funding. A telephone announcement  from the BC Attorney-General's office on  April 16 informed the organization that  they would not be receiving their $83,500  grant for the upcoming year.  The move came after months of hedging on  the part of the province. As early, as  January, VSW staffers had reason to believe that a decision had already been  made to cut funds completely, precipitating a flood of letters and telegrams from  concerned women around BC. In February  more than 50 women lobbied the Socred  and NDP Caucuses. In March, the organization received interim funding until the  end of. May, but no word on the on going  grant.  To justify the cut, Attorney-General  Brian Smith cited Socred restraint, and  said the group did not provide "direct  justice services." Perhaps the free  weekly women's legal clinics, the lawyer  referral, legal research and legal resources used by women and groups throughout the Lower Mainland had slipped Mr.  Smith's mind.  It is more likely that the  comment is an unsuccessful attempt to  cover up what is clearly a political move.  VSW has been vocal in its criticism of  Socred attacks on social services and  human rights, since women have been the  group hardest hit by Socred policies.  The cut to VSW is part of an overall program aimed at destroying what few rights  women, minority groups, trade unions, and  the poor have managed to win.  To reiterate a point made innumerable times  times since the first Socred budget package last July, none of this has anything  to do with 'restraint', or saving money,  and everything to do with smashing progressive voices of dissent in the province.  The Socreds obviously have enough money /  to spend on Northeast Coal, Expo '86,  BC Place, ALRT, and similar pet projects  of the party's cabinet members. Their  slashing of funds is deliberately  NDP MLA Rosemary Brown criticized Smith's  move, saying that VSW is another group  "callously abandoned" by the Socreds, and  that the organization is well known for its  trust and efficiency.  Astrid Davidson, of the B.C. Federation of  Labour, said "The decision to eliminate  funding to the Status of Women was premeditated and planned on an entirely political basis. We are seeing the most vindictive side of the Social Credit government. This is punishment of the Status  of Women for their willingness to speak  continued on p. 3  Bill 27:  "deplorable"  by Esther Shannon  Bill 11, British Columbia's new Human Rights  Act, was tabled in April in the provincial  legislature.  Bob McClelland, Minister of Labour, and the  man responsible for human rights in the  province, says the new bill ensures B.C.  will have the best human rights protection  in the country.  Gordon Fairweather, chief commissioner of  the Canadian Human Rights Commission, says  the new act is seriously out of step with  federal legislation and that of all other  provinces. Fairweather asserts the changes  to human rights laws in British Columbia  are ideological and deplorable.  The Human Rights Coalition, a grassroots  coalition of groups and the main organizing  force behind opposition to Bill 11, says  the legislation is irrational and frightening.  Jon Gates, spokesman for the Coalition,  says Bill 11 is poorer legislation than its  notorious predecessor Bill 27, withdrawn  after massive and continuing protest.  Bill 11 omits the reasonable cause pro-  in the 11 year old Human Rights Act.  continued on p. 4  A day in the life...  by Jan De Grass  It's 9 am and there is a new volunteer  doing phone shift at the Vancouver Status  of Women today. She's still finding her  way.around—learning everyone's name—and  there is a heap of mail on the desk in  front of her. The phone has already started to ring and she's looking a little  worried. Lorri has arrived to train the  new volunteer, but she's immediately  called to the phone. It's the Federated  Anti-Poverty Group wanting to know if VSW  will organize a press conference and  speak publicly about the effects of the  welfare cuts on women.  Cat, the office manager, arrives to sort  the mail before disappearing into her  office to generate a pile of correspondence and bills of her own. The mail reveals a cross section of the many groups  that connect with Vancouver Status of  Women. There's an article for Kinesis  .  written by a woman in Terrace; a very  personal letter from someone wanting to  set up daycare in, her community wanting  advice; a request for the VSW production  of a video and accompanying booklet about  "Not a Love Story" - the on  pornography. There is a request from a  church group for a speaker about violence  and pornography for one of their upcoming  meetings. Along with the newspapers, flyers and Kinesis  subscription forms, it's  quite a stack.  Half an hour later, Lorri is still talking  on the phone and the new volunteer is  smiling bravely. In the space of twenty  minutes, a woman calls wondering whether  assertiveness training classes will take  place. (She is referred to staffer Patty  Moore who is out of the office that morning leading an AT session at South Vancouver Family Place.) Another call comes  in from someone wanting a lawyer to help  her begin a custody case.  She is satisfied simply to receive a name  and phone number, but some days women who  call requesting a lawyer need to know more  than just the legal steps on the path to  solving their problems. They need counselling - they need validation that their  problem is real and can happen to any  woman.  Another caller wonders if there have been  advances in the Name Change Act - she's  doing Ph.D. research at Simon Fraser. And  finally a Kinesis  volunteer writer phones  to ask when is absolutely the very last  date that she can turn in her article...  In the Kinesis  production room, a volunteer is scurrying to a press deadline.  Meanwhile, back at the reception desk, a  succession of visitors have arrived to ask  questions, peruse the bulletin board or  ask for information about an event.  A woman drops in for the first time and  is looking for a job, preferably in a non-  traditional trade. Staff have information  about work training programs. They also  share the building's office space with  Women in Trades, a support organization.  At noon staff worker Pat Feindel has  taken her lunch into her office and  closed the door. She is preparing a report based on VSW's presentation to the  Fraser Commission hearings on pornography.  She is also trying not to be boggled by  the other mountain of work on her desk.  The speaker request from the church group  has been referred to her for follow-up  and she's wondering how she can speak  before that organization, while preparing  to lead a workshop on women and nuclear  disarmament, on the same day.  Between the phone calls and frequent  checks on the new volunteer's progress,  Lorri is reading the parliamentary task  force on pension reform. She has already  researched VSW's position on the issue;  she's sure that the task force is not  coming to grips with their major goals.  continued on p. 21 MOVEMENT MATTERS  Nestle  boycott  suspended  After five long years of Boycott activity  in Canada, Nestle has finally agreed to  demands to halt all its infant formula  promotion in the Third World.  Boycott-endorsing groups are being encouraged to suspend the Boycott for six  months while Nestle activity is monitored  to ensure compliance with the agreement.  During the fall, the Steering Committee  of the International Nestle Boycott  Committee (INBC) did an extensive analysis of Nestle's policies and practices.  The Steering Committee identified many  improvements in Nestle's policies over  the past years but also quite a few areas  where they were still not in compliance  with the WHO/UNICEF Code. Of those four  major concerns were set as priorities:  - the need for adequate hazard warnings  on labels;   [rpsjlll  - the requirement to include information  on the risks/hazards of formula feeding  in literature for mothers and health professionals as required by the WHO/UNICEF  Code;  - the elimination of personal gifts for  health professionals; and most importantly  - severe restrictions on the distribution  of free supplies of infant formula to  hospitals.  These four priorities were announced by  the INBC in mid-December, 1983. Nestle  contacted the INBC after the December  announcement and indicated that they were  ready, for the first time, to enter into  direct discussions with the INBC.  There are, however, many challenges ahead,  including getting Nestle to-apply the  agreement universally, and having the  other formula companies come up to Nestle 's standards.  (Infact Canada Newsletter)   KMMJiS   KINESIS is published ten times a year  by Vancouver Status of Women. Its  objectives are to enhance understanding about the changing position  of women in society and work actively  towards achieving social change.  VIEWS EXPRESSED IN KINESIS are  those of the writer and do not necessarily reflect VSW policy. All unsigned  material is the responsibility of the  Kinesis editorial group.  CORRESPONDENCE: Kinesis, Vancouver Status of Women, 400 A West  5th Ave., Vancouver, B.C. V5Y 1J8.  MEMBERSHIP in Vancouver Status of  Women is $20/year (or what you can  afford). This includes a subscription  to Kinesis. Individual subscriptions  to Kinesis are $13/year.  SUBMISSIONS are welcome. We reserve the right to edit, and submission  does not guarantee publication.  WORKERS THIS ISSUE: Libby Barlow,  Jan De Grass, Vicky Donaldson, Cole  Dudley, Shari Dunnet, Dorothy Elias,  Patty Gibson, Anne Grace, Linda  Grant, Susan1 Higginbotham, Nicky  Hood, Judy Hopkins, Kim Irving,  Emma Kivisild, Cat L'Hirondelle,  Claudia Macdonald, Nichola Martin,  Rosemarie Rupps, Cy-Thea Sand, Joey  Schibild, Ivy Scott, Swee Sim Tan,  Marrianne van Loon, and Helene  Wizotski.  Typesetting and camera work by  Baseline Type & Graphics Cooperative.  KINESIS is a member of the Canadian  Periodical Publishers Association.  Women win  harassment case  by Pat Daley  ."A woman's dignity is very important." It  was that sentiment that led six former  employees of Commodore Business Machines  in Toronto through four years of negotiations and Ontario Human Rights Commission  hearings on their complaints of sexual  harassment.  In a recent interview with the Toronto  Clarion,  Eneida Majia and Edilma Biljak  said that even though they both still  receive anonymous phone calls asking if  they want sex, they would do it again.  Majia, Biljak and four other women, all  immigrants from South America, won a  landmark cash settlement totalling  $21,000 last October when law professor  Peter Cumming, who heard the case, found  they had been sexually harassed by foreman Raphael DeFilippis. But the women  have yet to see their money.  Commodore is not only appealing the decision, but DeFilippis was promoted at  another plant. In contrast, since Eneida  Majia filed her complaint in 1979 she has  found only sporadic employment and is  currently unemployed. Biljak works part-  time in a steel mill. Commodore's actions  have resulted in a Toronto Board of Education decision to no longer purchase the  company's computers for use in classrooms.  And the six women finally received a show  of solidarity from the women's movement  when they were asked to lead this year's  International Women's Day march.  Mejia filed her complaint on the advice  of an Employment and Immigration Canada  lawyer after being fired by DeFilippis in  1979. When she asked other women in the  plant to act as witnesses for her, they  decided to follow suit.  In 1980, a year after the complaints were  filed, DeFilippis was transferred to Commodore's Pharmacy Avenue plant. Mejia said  four women there have also filed a sexual  harassment complaint.  Meanwhile, the Centre for Spanish Speaking People is considering making a video  about their experience, said Mejia. She  would like to be able to speak to groups  of women who may not know about their  rights in the workplace. (aaHon)  Ontario woman  released from jail  In late March, an Ontario woman heard from  a provincial court judge that he would  not cite her for contempt of court again  for continuing to refuse to testify  against her fiance.  Later Judge Leonard Montgomery dismissed  two charges of assault causing bodily  harm against Terry Reed, 21, saying that  while he "entertains suspicions: that Mr-  Reed assaulted Ms. Mitchell, there was  not sufficient evidence.  In January, Judge Montgomery sentenced  Karen Mitchell, 22, to three months in  jail for refusing to testify. She served  only one week of the sentence, after it  was reduced by the Ontario Court of  Appeal.  Mr. Reed's trial was adjourned and Ms.  Mitchell, who is 7 1/2 months pregnant,  was again called to the stand where she  refused to testify.  Judge Montgomery said that while he still  regarded her refusal as an attack on the  administration of justice, "it would be  contrary to fundamental justice" to cite  her again considering her pregnancy,  health problems, and the fact that she  intended to marry Mr. Reed.  Assistant Crown Attorney Michael Miller  noted that Mr. Reed had a.criminal record  which included assault and breach of recognizance.  Outside of court, Ms. Mitchell, who  appeared with Mr. Own, told reporters  that she had been scared but was determined not to testify even if it meant  going back to jail.  Parallel cases in Canadian courts recently have also seen the sentencing of rape  victims, women battered by their husbands.  It is an alarming trend.  (Research from Globe & Mail)  Camp to stop ELF  An encampment by women to protest the  escalating arms race and in particular,  Project Elf, the Navy's controversial first  strike one way transmitter for the oncoming fleet of Trident nuclear submarines,  will open in Northern Wisconsin on May 28.  The encampment, known as the Women's Peace  Presence to Stop Project Elf, will be  maintained near the Elf site throughout the  summer of 1984. The women have been organizing since last summer.  Together, Project Elf and the Trident submarine fleet would transform the U.S.  submarine force from a retaliatory stance,  to the primary offensive nuclear threat  against the Soviet Union. Developing such  offensive first strike capability greatly  increases the risk of both intentional and  accidental nuclear war.  The women need donations of camping equipment, rolls of netting, lumber, food and  other supplies. They also need financial  donations to purchase land near the Elf  site. Write to Women Peace Presence to Stop  Project Elf, Financial web, 731 State St.,  Madison, WI,USA 53703 Women  picket Savoy  by Shari Dunnet  On Thursday, April 26th, 50 people turned  out to protest the Savoy Cinema's change  in policy. Since May 1980 the Savoy has  been a second-run movie house, like the  Ridge and the Van East.  It changed its  format to so-called "erotica" two weeks  ago, cancelling the schedule which was to  run until June 24.  Sean Daly, owner and manager of the Savoy,  blames Pay-TV and the video craze for his  failing business which he says is near  bankruptcy. In an article in the Georgia  Straight,  Daly is quoted as saying he  "feels that his new policy will cause some  controversy" and indeed it has.  "Women's groups," he said, "do not object  to erotic films, just pornography."  This leads to the question of what exactly  is pornography?  After speaking with Mary Louise McCausland,  the censor at the BC Film Classification  Branch, (which screens all films shown in  British Columbia), it is obvious that this  question is not the primary concern of  ACROSS BC  censorship.  The present standard for films that are  OK'd are those that show no penetration,  ejaculation, bestiality, child pornography,  olence or sexual coercion..  Under these guidelines, violent messages  can still be conveyed. In one of the  Savoy's films, "Open Nightly", an episode  with a baby carriage and a woman pretending to be a 6 or 7 year old girl is one  scenario in which both child pornography  and sexual coercion are strongly suggested.  These regulations permit simply editing  a few frames from existing films to have  them adhere to present guidelines. Therefore, a hard-core porn film can be tailored into soft-core porn, and labelled  "erotica", while still containing the  messages of the original hard-core movie.  The Savoy's change in policy must be challenged. The B.C. Classification Branch's  standards must also be questioned as they  appear to be functioning, not in the best  interest of social responsibility to the  community, but primarily in the interest  of the movie house owners who have chosen  to show this type of film, and need the  protection of an official governmental  agency's classification.  l Sean Daly was asked about the movies  he how shows, he replied that he hasn't  seen any Qf them. As he put it, he "hasn't  any time".  We are left questioning what is eroticism,  and what i£ pornography, and in whose  terms these are defined. Who is responsible  to whom?  Update on the Health Collective  by Beth Trotter  The Health Collective has been in existence  for twelve years, and for many of those  years it has received core funding from  the provincial government. As Kinesis  readers are aware, in the summer of 1983  the Collective lost all of our provincial  funding. With the assistance of donations,  and a small, one-time-only grant from City  Hall, we have continued to operate until  the present. This has been possible only  because of the work of regular unpaid  volunteers and previous staff who came  back to volunteer their time and knowledge.  This year the VWHC has received a one year  grant from the Health Promotion Directorate  of the federal Ministry of Health and  Welfare, to develop resource materials and  present workshops on five health-related  topics of concern to women. These workshops  will be done in various locations throughout B.C. and Alberta. The workshop topics  are Premenstrual Syndrome, Menopause, DES,  Breast Health, and Cervical/Vaginal Health.  The emphasis will be on making resource  materials available on these topics to  women in various centres, and to encourage  the development of self-help groups  focussing on these issues. We will also be  organizing a conference, to be held in  November, to.which women from the various  areas in which the original workshops have  been presented will be invited. The conference will focus on the concept of self-help  and how we as women can use it in learning  about and dealing with our health problems.  Although this grant makes it possible for  a few of us to receive salaries to continue  doing educational work, it is short term  and does not provide core funding for the  centre. So, of course, we are still seeking  donations and beginning to plan, once  again, how and where to seek future core  funding sources for the centre.  Apart from the work going on that is associated with the grant, we wanted to make  you aware of what else is continuing to  happen at the Health. Collective. Our  resource centre is open - the hours are  Tuesdays 10-1, Wednesdays 7-9:30 p.m.,  Thursdays 1-4, and Saturdays 1-4. Women  may either phone or drop in.  The workers in the resource centre provide  women with information about health and  health-related issues in as clear and  easily understood ways as possible. We  believe that it is very important that  women have the necessary information to  make informed choices about their health  care. We have extensive files and books on  most aspects of women's health - pregnancy  and childbirth, birth control methods,  abnormal pap smears, menopause, premenstrual syndrome, and sexually transmitted dis<  Funding CUt continued from p. 1  out in the face of the government's attack  on women and women's rights."  The Status of Women is a research and service organization that offers legal assistance, assertiveness training, organizing  work on issues like pornography, and monitoring of government policy. It has approximately 1100 members, and helps 175 women  and groups weekly.  Staff, board and volunteers are regrouping  to discuss the fate of these services now  that core funding is gone. The organization  has an annual grant of $22,000 form the  City of Vancouver, and has applied to the  Secretary of State Women's Branch. VSW will  not disappear, but services will inevitably  be drastically reduced.  VSW publishes Kinesis,  providing the paper  with ahome, and valuable input and anal  ysis. If at all possible, Kinesis  will  continue to be published. VSW and Kinesis  need support in the most serious funding  crisis of their 12 year history. There  are many ways you can help:  1. Protest to: Attorney-General Brian  Smith, Parliament Bldgs, Victoria, BC,  V8V 1X4, your MLA, with copies to VSW.  2. Support letter to Secretary of State  Serge Joyal, House of Commons, Ottawa,  Ontario K1A 0A6, for our funding application, (no stamp necessary).  3. Pledge donations for ongoing support.  4. Join VSW and subscribe to Kinesis ($20  per year for both) to keep posted on news  about women that's not in the dailies.  5. Contact Vancouver Status of Women,  400A W. 5th Avenue, Vancouver BC,  V5Y 1J8, phone 873-1427, or 876-2849.  The files contain information on  prevention, possible causes and treatments  - both conventional (drugs and surgery)  and non-conventional (diet, vitamins,  herbs, etc.) -for many problems. As well  as information on specific problems, we  also have files on general preventive  information - information about diet,  exercise, stress reduction, vitamins and  minerals. Our files also contain a lot of  information about alternative approaches  to healing generally - healing through  nutrition, herbs, homeopathy and other  holistic practices. We also have a separate  set of files on occupational health issues,  including information about the hazards of  various workplaces - ranging from chemical  contamination to radiation from video  display terminals;  and what you as a worker  can do about it.  Many women come to the Health Collective  asking us to recommend a doctor. Although  we don't make specific recommendations, we  do keep files in the resource centre of  women's comments on their experiences with  specific doctors. We also have files on  naturopaths, chiropractors, dentists,  massage therapists, as well as counsellors,  therapists and psychologists. Women are  welcome to look at these files.  As well as providing access to information  in our resource centre, we do pregnancy  testing and provide supportive counselling  and information on pregnancy and abortion.  We are continuing to fit diaphragms and  cervical caps, and are teaching the  ovulation method * both as a form of birth  control and as. an aid to conception. We do  workshops on various topics, although in  a more limited way than before the funding  cut. Recently we held a workshop on cervical self-help and one on artificial  insemination for lesbians and single women.  The VWHC is located at 1501 West Broadway  (at Granville). Our phone number is  736-6696. Please call us for more information.       fer&;'*^ LABOUR  Women need unions need...  by Marion Pollock  The union/non-union dispute currently being  played out in British Columbia has very  serious implications for women. The  struggle is not limited to False Creek,  the Expo site, or any forum in B.C., but  is instead part and parcel of an international economic crisis - a crisis in  which women bear a disproportionate economic  burden.  With only a few exceptions, major corporations worldwide are experienceing a sharp  decline in their rates of profit. Industrial output is down, and most plants are  not producing at their full capacity.  Examples of this are reported daily by the  media. In France, for example, the government is closing down what they determined  to be "unproductive" steel mills. Locally,  companies like MacMillan Bloedel often  run only one or two shifts at their sawmills instead of the normal three.  Faced with economic decline, large corporations are willing to undertake fairly  aggressive 'anti-people' programs in  order to increase their profits. These may  include a number of tactics: the creation  of widespread unemployment through layoffs,  the introduction of technological changes,  the depression of wages, and attacks on  unions. In a similar situation, governments  will cut back on social services to 'save  money.'  That these things are happening and not  only in B.C., is amply documented. In the  U.S., numerous employers have demanded  that their workers 'voluntarily' reduce  Human Rights continued from p. 1  The old code prohibited discrimination or  denial of services "unless reasonable  cause exists for such denial or discrimination." Reasonable cause allowed gays  and lesbians and other groups not identified in the code to register complaints  with the Human Rights Commission.  As with Bill 27, Bill 11 scraps the Human  Rights Commission and Branch and replaces  them with a single council. The old act  provided for a commission which was responsible for education and promotion on human  rights. Bill 11 means B.C. will be the only  province in Canada without an education  component in its human rights act. Without  an education aspect, British Columbians  will know much less about their rights for  protection against discrimination.  The Human Rights Branch, also abolished,  was the investigative and conciliation  body provided by the Act. Trained investigators processed and, where possible,  conciliated between parties in any given  dispute. Under the new act the government  has set up a council with power to  investigate or dismiss complaints.  Investigations will be the responsibility  of Industrial Relations Officers (IRO) at  the Ministry of Labour. IRO have no  training or experience with the Human  Rights Act. In any case, as the province  does not intend to hire more IRO's for  the additional work load, complaints will  be impossibly delayed.  According to Jon Gates, these changes  amount to "open season" on minorities in  British Columbia. Gates cites the findings*  of April Katz, Acting Director of the soon  to be defunct commission, who has presented  statistics showing a 23% increase in  sexual harrassment complaints since the  government first began weakening the  enforcement aspects of the act.  A further serious problem with the Bill,  says Gates, is the absence of a conciliation process for complaints. No concili-  their wages. Across Canada, wage increases  have dropped from an average of about 11%  in 1978 to less than 4% last year. Attacks  on social services create a reduced  standard of living that forces workers to  take any job at any price. In B.C. the  gutting of the Human Rights Commission is  a sign to employers that they are free to  discriminate.  The combination of these factors with the  current financial crisis creates the perfect environment for bosses like the Kerk-  hoff Construction Co. which gained notoriety  during the March Building Trades showdown  at False Creek in Vancouver. Kerkhoff is  trying a new twist on an old theme: hiring  non-union workers at wages substantially  lower than union rates.  Non-union companies make large profits at  the expense of workers' wages. To cite  one particularly blatant example, the  contract to build an addition to Vancouver  General Hospital was recently awarded to  a non-union firm, Kirkwell Construction.  Their bid was 2% lower than the next bidder,  a union contractor, yet the wages offered  to Kirkwell workers are 40% lower. In  Kelowna, skilled tradespeople are being  offered non-union jobs at $4.50/hour.  The direct impact of recent attacks on  union rights has been, in B.C., centred  Union at Eaton's  gets certification  Unions have finally come to Eaton's Department Stores. In a precedent setting move  the Retail Wholesale and Department Stores  Union has been certified at Eaton's  Brampton and St. Catherines, Ontario locations.  The success of this organizing drive is  exciting when one realizes that it took  place during a period of both high, unemployment and attacks on unions nationwide,  Department stores have traditionally been  low-wage ghettoes for working women who  must also deal with the paternalistic  attitudes of the stores' management personnel. In addition, in recent years  department stores have increasingly relied  on part-time help as a means to avoid  paying higher full-time wages and fringe  benefits.  The two union certifications make it clear  that woman workers are fed up. Let's hope  that this trend continues!  ation, according to Gates, means an  approach to problem solving which is  confrontational rather than educational.  "Complainants," said Gates, "won't have  anonymity either. People, and particularly  women, will be much less likely to complain  against their employer if right from the  start they will have no confidentiality."  The Coalition considers Bill 11 a "massive  fraud" against the people of B.C. The much  heralded consultative process set up by  the Socreds after they withdrew Bill 27  has been denounced by two members of the  government appointed Human Rights Advisory  Committee. Although the Coalition is  planning protest actions against the Bill,  (including a vigil in Victoria on May 1st,  when the act is slated for second reading),  confidence is not high that the government  will amend or withdraw Bill 11.  The Canadian Charter of Rights equality  provisions will come into effect on April  1 of 1985. According to Gates if Bill 11  is passed, British Columbians will find  better protection for their human rights  under the Charter than is provided in  their Provincial Human Rights Act.  around male dominated unions. But union  members everywhere, including women, are  affected by the Socred policy of 'not  discriminating' between unionized and non-  unionized employers at Expo '86.  These are women's issues, and are hot only  issues for trade-unionists. When companies  like Kerkhoff are supported by government  legislation, wages drop. This has a spillover effect on the wages of women. This  is especially disastrous because we make  an average of 59% of men's wages as it is.  Any attempts to reduce our real incomes  will only increase the wage gap. Moreover,  since many women are already working for  poverty-level wages, moves by government  and big business to lower everyone's incomes will result in women being condemned  to long-term poverty. Coupled with social  service cutbacks, this means that women  will become increasingly subject to  exploitation from individual men and unscrupulous employers. In addition, women  are always the worst hit by high unemployment levels, and are traditionally the  'last hired and first fired'.  Many women have looked at the largely all-  male picket lines at Kerkhoff, listened  to the outcry about Expo '86, and wondered  what it had to do with them. One of the  major tasks of feminists should be to  clarify the situation so that the outcry  also includes the right of women to  either have a job at decent rate of pay,  or to be entitled to adequate social services. As women, we have to pressure unions  to begin to organize the unorganized (who  are mostly women), and to develop programs  which address the needs of the unemployed.  How to  make offices safe  Office Work Can Be Dangerous to Your  Health,  a new book by Dr. Jeanne Stellman  and Mary Sue Henifin, was published in  January by Pantheon Books.  The book is designed as "a working guide  to working people," said Dr. Stellman, "a  practical guide to setting up an office  for maximum health and safety." Major  chapters discuss the use of video display  terminals, the use and design of office  furniture and equipment, office lighting,  fire safety, office space and indoor air  pollution.  Readers are provided with an extensive  checklist to enable them to go through  their own offices and critically examine  the conditions described in the book.  The chapter on VDT's, for instance, is  reference for survey questions such as:  "Does the VDT workstation have the following features: a. nonglare walls, ceilings,  and work surfaces? b. adjustable, nonglare  lighting, shielded and indirect? c. screen  at right angles to windows?  The discussion on indoor air pollution  points out the possible presence in the  office environment of such hazards as  asbestos, formaldehyde, cigarette smoke,  germs in heating and ventilation systems,  radon in construction materials, and  microwaves from broadcasting antennae.  This chapter features a page-long table  listing some of the estimated 2,000 constituents of cigarette smoke and their  known health effects.  Office Work Can Be Dangerous to Your  Health  is available from WOHRC at $15.95  per copy hard cover and $6.95 per copy  soft cover plus an additional $1 for  postage and handling. WOHRC - School of  Public Health, 21 Audobon Ave., 3rd Floor,  NY,NY 10032 PENSIONS  VSW  HHHHHHHHHHHHH  by Lorri Rudland  In the February '84 issue of Kinesis,  Louise Dulude, chairperson of the pensions  committee of the National Action CommitteeJll  (NAC) of the Status of Women, responded toj&i  an October '83 article which briefly outlined the Vancouver Status of Women's  (VSW) position on pension reform. She    111  brought up several issues which need  further discussion.  As Dulude states, NAC, VSW, and most other  women's groups agreed on the issue of  raising the Canada/Quebec Pension Plan  C/QPP to a 50% replacement rate of preretirement earnings, and on mandatory  pension credit splitting between spouses.  There was not intent to pose a struggle  between NAC - pensions for homemakers -  versus VSW - equal pension-credit splitting  between spouses. On rereading the article,  however, it could have been presented  differently to ensure that there was no  possibility for such confusion to occur.  The essential philosophical and strategic  differences remain as stated.  The Vancouver Status of Women is concerned  that all  women resident in Canada, including homemakers, receive an adequate  pension. We disagree with Dulude's  proposal that a special "pension for home-  makers" is the best way to ensure that this  is done.  Before some of Dulude's basic arguments  can be challenged, the entire way in which  Dulude defines the problem must be  addressed. Dulude stated "the disagreement  centres around what is to be done after  pension credits have been split between  the spouses." Because the wife could still  receive an inadequate pesion income after  credit splitting, Dulude proposed that  there were only three solution: to do  nothing, a "cruel alternative"; to endorse  high widow's pensions, which are "offensive  to most women" because they re-inforce the  concept that wives are "dependents" rather  than productive members of society, and  because they don't provide coverage based  on women's own work; or, to be in favour  of Dulude's/NAC's proposal for "pensions  for homemakers".  In fact, our "disagreement" is much  broader than Dulude outlined. It does not  center, as Dulude stated, upon what to do  for the spouse in the home after pension  credits are split. It does center on how  best to design a pension system that will  provide fair and adequate benefits to all  women, including the majority of women,  those working full or part time in the paid  labour force, in a way that does not  financially ghettoize women yet again into  a traditional role. By focussing her  analysis at the wrong end of the pension  system, Dulude's arguments appear logical  until the overall problem is  greater depth.  Let us begin, instead, at the beginning.  In order to design a pension program that  is fair and adequate, we must first examine  women's real relationship to the home and  to the paid labour force. The statistics  are revealing:  • 66% (72% in Ontario) of all women between  the ages of 25 and 34 (prime child-  bearing years) are in the workforce  (1983)  • 76% of all employed women work full-time,•  contrary to the popular myth that women  work part-time for pin money, and, this  percentage increases,.rather than drops,  for women in prime child-bearing years.  • 45% of all mothers with children under 3  work in the paid labour force (a 40%  increase over the last 5 years).  All of this illustrates a fact of Canadian  life: the two earner family is in the  majority. Therefore, to design a pension  system that addresses women's needs by  focussing on the full-time homemaker misses  the needs of the majority of Canadian  women homemakers who work full or part-  time in the paid labour force.  Dulude admitted that the main criticism  against NAC's (and the Parliamentary Task  Force's) proposal was the one I discussed,  which has been oft-stated by Monica Townson,  various other women's groups, the Minority  report of the Parliamentary Task Force,  Ted Miller M.P., N.D.P., labour unions and  other groups. To recognize the privatized  housework done by full-time homemakers  ignores the housework done by all other  women (and even men, although rarely.)  Her answer to this criticism is: "In reality, women with full-time jobs do not  need pension credits for homemaking because  they are already included in the C/QPP."  What kind of an answer is that? If the  pension is based on a recognition of  women's unpaid labour in the home, why do  the only people who get recognized become  those women who do housework exclusively,  rather than the majority of Canadian  women homemakers who do housework in  addition to their full or part time paid  labour?  Recognizing women's work in the home in  this way is in reality a kind of deferred  wages for housework, subsidized by all  Canadians. It is tihe wrong principle  upon which to design a pension supplement.  The women's movement has consistently  fought for matrimonial property laws that  recognize marriage as a joint economic  partnership of equals. In this way, a  husband's (or Wife's) earnings are automatically shared between the two economic  partners.  Mandatory pension credit splii-ting (as  both NAC and VSW support) reflects this  principle. To tag on a special pension for  homemaking is to subsidize one group of  workers at the expense of all the others,  and to undermine the concept that housework (and parenting) are -shared responsibilities between men and women.  In conjunction with doubling the C/QPP to  50%, the best way to ensure adequate  pensions is to increase the Old Age  Security benefit (VSW preference because  it is a universal, non income-tested  benefit), or the Guaranteed Income  Supplement (which NAC recommends). In this  way, the working poor - i.e. women - who  still earn approximately 60% of the wages  men earn, could be adequately provided for,  as well as full-time homemakers.  There are many other problems with the  Dulude proposal. Rather than providing the  full-time homemaker with a pension in her  own right, as Dulude stated, the one-  earner couple is actually bemused with  about 13% more income than the two-earner  couple which earns the same family income.  If, for example,.the total family income  is $20,000 yearly, and in one case each  earns $10,000, and in the other only the  husband works. The full-time homemaker receives a higher pension income than the  full-time woman wage earner. Dulude re  sponds that there is a trick in that argument because it is the .splitting between  -spouses produces such a result. But  isn't it a fundamental principle of feminism that marriage is a shared economic  partnership and that she should have entitlement to her husband's pension benefits? If it works for private plans and  matrimonial property, why doesn't it apply  to pensions for homemakers?  Monica Townson summarized other problems  with the NAC proposal when she appeared  before the Task Force in June, 1983. -"If  it is so demeaning for women to depend on  survivor pensions, why is it recommended  that these benefits should be mandatory   continued on p. 23 PORNOGRAPHY  byPatFeindel  April 3 of this year saw the Fraser  Committee's second swing through Vancouver  on its cross-Canada tour of hearings on  pornography and prostitution. Set up by  Justice Minister Mark MacGulgan in the  summer of 1983, the Committee's task is to  hear public concerns and proposals on  pornography and prostitution and to make  recommendations by December 31, 1984, to  the federal government on how to address  these issues at the legislative level.  Vancouver and Victoria had the unique  distinction of being the only two centres  in Canada where public interest was great  enough to warrant separate hearings for  each issue. In Vancouver, the Committee  heard three days of presentations on  prostitution, and one day on pornography,  with 13 speakers presenting on pornography.  A variety of positions were heard on the  pornography question, including those of  Red Hot Video (presented by their lawyer  Mark Dwor) and of the B.C. Civil Liberties  Association. Both defended the "rights" of  pornography distributors and consumers.  But the majority of submissions spoke from  a concern about the damage being done by  the increased availability of pornographic  material, particulary material dealing  with overt violence against women, and  demanded government action. Reasons for  that concern varied, however, and  recommendations for exactly how to address  it though the legal system diverged considerably .  While some groups focussed on feminist  concerns about pornography's promotion of  hatred and sexual violence towards women  (North Shore Women's Centre, Port Coquitlam' s Women's Centre, Vancouver Status of  Women, Working Group on Sexual Violence,  and Jancis Andrews of the north shore)  others concentrated more on the availability and impact of sexually explicit  and violent material on children and teenagers (B.C. Teachers Federation, University  Women's Club, the Anglican Church of  Canada). The B.C. Teachers Federation  presented an excellent slide show offering  a range of images form cartoons, advertizing, "softcore", and "hardcore"  pornography to demonstrate the pervasiveness of misogynist attitudes, not just in  so-called "porn", but in all kinds of  media imagery. They pointed particularly  to material that promotes the sexual  objectification of young girls.  The.cumulative message conveyed to the  Committee by these various approaches was  one of great concern over pornography,  concern that has little to do with  puritanical prudery and a great deal to do  with what pornography is saying about  women, about sex, and about young girls as  sexual objects. While the basis for these  concerns ranged from feminist to strongly  religious and moralisitic values, nevertheless, the clearest and strongest  opposition expressed dealt with porno-  graphy's violent, misogynist messages, its  massively increased availability, and its  serious impact on the lives of women and  girls, and on men as well.  From the opposing side of the debate, the  Committee heard advocates for the rights  \of pornographers and their customers. The  B.C. Civil Liberties Association, while  agreeing with many criticisms of pornography, could not agree that pornography  constituted a significant enough harm to  women to warrant legal control. Control in  the area of child pornography, however,  was seen by this group as justified. Red  Hot Video's lawyer pleaded, ignorance of  the limits of the law due to its lack of  clarity or consistency, and concern for  their customers' rights to freedom of  speech. While conceding that one shouldn't  advocate violence, Mr. Dwor refrained from  commenting on the violent content of a  Is  a law  the solution?  large proportion of Red Hot Video's  merchandise.  In the area of recommendations, groups  varied more widely. Some dealt only with  recommended amendments to the current  obscenity section of the Criminal Code.  Others went on to develop proposals for  using hate literature sections of the  Criminal Code to cover pornography, and  still others made a wider series of  recommendations using the law in several  areas - the Broadcast Act, Human Rights  Codes, Charter of Rights, etc.  A few groups, particularly those who have  been actively trying to get some response  from the B.C. legal system, pointed out  the inherently sexist bias of law enforcement agencies (no matter what law is being  enforced) which results in the ultimate  collusion of the legal system with the  pronography industry. Some went a step  further recommending a number of educational, economic, and social policies aimed  at changing the basic power imbalance  between men and women, and to reducing the  sexist and violent attitudes towards women  that allow the proliferation and acceptance  of pornography.  A highlight of the afternoon's proceedings  was the revelation by two different groups  - the North Shore Women's Centre and the  University Women's Club - that a prominent  member of the business community, namely  Expo '86 Chairman Jim Pattison, is the  owner of Mainland Magazine Service Ltd.,  which distributes over 250 pornographic  magazine titles to the Lower Mainland area.  The North Shore Women's Centre and the  Congress of Canadian Women have since  arranged a meeting for May 3rd with  Vancouver City's Community Services  Committee and requested that the Committee  call Mr. Pattison before them to discuss  his connection with the pornography  business.  After all the time and money spent on the  Fraser Committee, one would hope that some  useful action will result. But prospects  for significant change coming from the  federal legislative level are limited at  best. Prior to the beginning of the  hearings, Mark MacGuigan had already tabled  in the House of Commons a proposed amendment to the obscenity section of the  Criminal Code - the result of earlier  research done in 1978 by the Parliamentary  Standing Committee on Justice and Legal  Affairs, to which feminists also made  presentations. (One wonders how many  committees it takes to hear what women  have to say.) Meanwhile, groups presenting  to this year's Fraser.Committee severely  criticized the proposed amendment for not  addressing feminist concerns adequately.  It appears that Dr. MacGuigan hopes to push  through the proposed amendment before an  election. And as feminists who have worked  on legislative change know, once an amendment is enacted, it will be a very long  time before we ever see another one on the  same issue. Furthermore, the chances of  this amendment having any impact on the  control of pornography are minimal, as it  proposes only minor changes in the definition of "obscenity". The chances of such  a change influencing the commitment of law  enforcement agencies in the provinces to  take the issue of pornography seriously,  are next to none.  Deeper concerns must arise for feminists  over the concentration of so much time and  publicity on the notion that a federal law  - any law - can solve the "problem" of  pornography. Even a well-worded and actively  enforced law will only deal with the worst  of pornography, and will still be enforced  by a judicial system completely dominated  by male sexist bias. And what of all the  rest of the media images which would  inevitably escape the limited arm of the  law?  In looking at the job of putting an end to  pornographic imagery, it seems crucial to  recognize that we must take on a large part  of the battle ourselves, directly against  the pornography industry and also against  those aspects of the social system that  accept it and legitimize it. When I  compare the prospect of appealing to a  paternalistic legal system for "protection",  when that system has clearly indicated its  commitment to protecting profits - when I  compare that to taking some kind of direct  action in the community, the latter feels  much more empowering.  While not invalidating the hard work that  has been done and continues to be done  on the legal front, it is important to look  at ways we can take our own actions against  pornography that do not simply call for  state intervention. We can speak out  directly to the distributors and sellers of  pornography, indicate that we will not  tolerate their making profits off our pain  and exploitation, we can boycott stores,  picket theatres, leaflet customers, put  pressure on the owners behind the scenes.  It is a huge struggle, a sometimes overwhelming one, but each small victory is a  step forward that can pave the way for more.  Li In  the  name of  beauty..  by Emma Kivisild  Our bodies and how we feel about them -  the ways in which we struggle to overcome  the perpetual stereotypes of women's  bodies - the pressures of looksism that  threaten women who don't conform - these  are the concepts which are the focus of  this month's Kinesis  supplement. We are  featuring articles on anorexia bulimia,  being tall, fat fitness, tattoos,  mastectomy, and bathing suits.  When the idea for this supplement first  came up, body image was only one of the  proposed features. That there is enough  material on this aspect alone is indicative of its continuing importance.  Historically, the results of rigidly enforced standards for women's looks are  well-documented: the broken ribs from  corsets, for instance, and the painful  and infected feet of footbinding. Recently,  this documentation has come to include the  OtftsiMM* to)-for girts  ' wfoo g»*w end grewj. ■• j  deaths of anorexia victims, and the continuing invisible abuse of our minds, the  self-hate, and anxiety. It is not women  who dreamed up these tortures. They were  and are designed to deprive us of any  sense of our potential physical power.  A walk down the street, or a look at any  mainstream magazine (even Ms.)  is enough  to make it painfully clear that corsets  may be gone, but the attitudes that  created them are not. Fat women are subject  to a range of stress-related conditions  that endanger their health. New, revealing  'sports' fashions dictate the removal of  body hair from almost everywhere. The  prevalence of anorexia bulimia has reached  unprecedented levels in college-age women,  a high percentage of whom report having  induced vomiting in order to stay thin.  Diet sodas are overrunning the market.  Spike heels are back. And, as much of the  writing in this supplement indicates, many  feminists still grapple with the ravages of  pervasive advertising and conditioning.  Old values die hard, especially when they  are constantly reinforced by sophisticated  imagery.  In some ways, it is frustrating to have to  accord the issue so much time and energy.  For so long, we have been defined by our  looks, allowed anxiety about them to dictate much of our behaviour, tried to prove  that there's more to being female than  "tits and ass". It would be nice to let it  go, to work on other things.  Like it or not, body image is important.  For one thing, to be a woman and feel good  ... no  more  about yourself is liberating. But 'feeling  good about yourself is also the line used  to plug innumerable diet plans, makeovers,  etc. It is certainly the advertising  impetus behind the fitness boom that is  sweeping North America. Whatever base the  aerobics/body-building craze had in making  it OK for women to be strong has been  eroded by the overwhelming pressures it.  has created - to not only be emaciated,  but have good muscle tone, a tan, and dress  right, too. The cult of the look good/feel  good maxim, is not helping most women.  For most feminists, the body image issue  is about control - control of our bodies.  The struggle to control our image of ourselves, to wrest it from the doctors,  advertisers, and sportswear manufacturers,  is part of a continuum that includes many  of the key fronts on which feminism is  fought. Pornography, sexual assault, choice  on abortion, battering, alternative health  care, lesbianism, sexual harassment - all  are battles for the territory of our bodies.  Again and again, we have asserted that our  bodies are our own, not to be used for  objectification or the promotion of  violence, not to be violated, forced to  bear children, beaten, or used as a  sexual plaything.  Behind every victory of the women's movement, every rape crisis centre or pornography picket, are women who have been  subject to societal demands to mutilate  themselves in the name of beauty. By  learning to like our bodies, we are asserting, too, that we will rebel against this  mutilation -.  It is an important part of  taking them back. When we say that we don't  buy the myth that women need  to clean up,  shrink, distort or paint themselves to be  acceptable, we define our right to determine what happens to us.  This is not easy to do, and as a movement  we have a distance to go before we can say  that we have managed to free ourselves from  the internalization of body image stigma.  We are only beginning to address fat liberation, have barely started to make connections with disabled women, formed the first  feminist sports organization in the last  two years, and begun only recently to look  at the effects of cancer on a populus  trained to think of themselves ,in terms of  a very narrow code of appropriate looks.  Body image is one of the lynchpins of feminism.' Until we win this battle, we'll be nowhere near winning the war. Learning to like food  by Judith Michaels  As a child I was "skinny." My mother used  to worry because I picked at my food.  "Heaven forbid you should ever get sick.  You have nothing to lose from," she often  1 amen ted. f?$^5tt l!'f?"-r>  Then in my teens, I discovered boys,  binging and dieting and not necessarily in  that order. Most of my friends were  popular and fashionably slim.  Linking the  two together,' I started to "diet." Dieting  and calisthenics weren't much fun, but I  was becoming obsessed with shrinking into  a perfect size 7 so I, too, could have a  "perfect" life.  My love-hate relationship with food intensified. When I restricted my intake or  didn't eat, I was "good" because I was "in  control." And when I over-ate, I felt  guilty for lacking "will power."  Then I heard about fasting. Everyone  talked about the way it "cleansed" the  body.  I wanted to get rid of all my excess  fat, so it seemed like the ultimate solution.  I now alternated between binging  and starvation.  But the pounds didn't  melt off like I had hoped.  I remember feeling very much alone. I desperately wanted to give up food to be thin,  but I couldn't. ' Dieting which is natural  and life-sustaining had become my "habit":  the fig newtons during finals, the graham  wafers when I was bored, arid the bread  because it was there.  The only time I  could lose weight was when I was "in love."  During those times the last thing on my  mind was food, so it was easy.  One of my friends during this time was  Melanie. I used to envy her because she  was slim; she also had a boyfriend. I  never stopped to think that she, too, had  problems to work out.  "I suppose it started in the summer  between grades 11 and 12," says Melanie.  "I ate more and my mother said I was  filling out nicely. I gained about ten  pounds, mostly on my shoulders and legs;  "I thought I shouldn't get any fatter,, so  I started eating less and running five  miles a day... Sometimes I felt faint in  school.  "I remember friends telling Mom that I  was getting thin. And Mom would get mad  at me for not eating. But I felt I was  getting attention.  "J. thought I looked lovely. I wore tight  tops, and thought it was really neat being  so thin...But still I always thought I had  just one more pound to go."  "I wasn't happy in grade 12 - the pressure  of performing, being a model student and a  model person. I was the middle child in  our family. I was always the practical one,  doing things for myself while the other  two got all the attention."  The summer after her high school graduation  Melanie was forced to realize that her  dieting was now controlling her life.  "When I got mono, it ruined my holiday in  England. I was in bed for two months. My  mother came over to England, and I  realized I was losing control...". ?M&¬ßm%  Today Melanie and I can look back and talk  about what we went through, but neither of  us is satisfied with our bodies or our  relationship with food.  At 5' 9" she is now 127 pounds. At her  lowest, she was 110, but she would still  like to fill out a bit more.  "I don't eat enough. If I'm the slightest  bit upset, I can't eat," she says.  Presently, I'm 120 pounds, a.vast improvement from my days of weighing in at 147.  According to the weight charts, I'm about  right for someone who is 5' 4", but I'm  not satisfied. I want to get back down to  my low of 114. Yet when I weighed 114, I  used to think I .should lose a few more...  Melanie and I are not alone. Says Marrianne  Van Loon of the Peak:  "Anorexia bulemia is  a combination of what was formerly considered two diseases: anorexia nervosa - self-  starvation - and bulemia, which is chronic  binge-eating, or "Pigging out." In recent  years, these two disorders have been found  together with alarming frequency.  "Along with disrupted eating patterns, the  disease often includes abuse of laxatives,  diet pills, and/or self-induced vomiting.  The victims are usually young, middle and  expected to diet and exercise (in our expensive color-coordinated aerobic outfits)  because the "perfect" body is slim and  muscular. We're now told that even "skinny"  people can be too "fat," and we're advised  to exchange our bathroom scales for calipers to gauge our worth.  As for eating disorders, they are now discussed more openly (it's not just -a matter  of will power anymore), and the media is  cashing in. There are numerous articles,  books, and even a few movies on the subject. There is also an increasing number  of counsellors specializing in this area  and also self-help groups for women.  Four years ago, Doris Maranda and Sandy  Friednan started "Facing- your Fat" - They  describe themselves as "a self-awareness  approach to fat and bulemia which focuses  on breaking down the addictive and obsessional pattern of compulsive eating and of  dealing with the root causes."  Anorexia and  bulemia are almost  exclusively found  among women.  This isn't surprising, since we  have always been  bombarded with  messages about  how we should  look. In societies  like ours, looks are  everything if you  are born female.  upper-class women. Anorexic bulemics may be  any weight; thin, fat or average, but are  all, in some way, obsessed with food and  eating."  Anorexia and bulemia are almost exclusively  found among women. This isn't surprising  since we have always been bombarded with  messages about how we should look. And in  patriarchal societies, such as ours, looks-  are everything if you are born female.  Thin hasn't always been desirable. In the  middle ages and also in the late Victorian  and Edwardian times, the ideal woman had  large proportions.  But fashions change and so do ideal figure  types. In the early 1900's, curves were  out. Instead, "boyish" flat-chested  flappers became the new ideal. And in the  late 60's, many women literally starved  themselves so they could waste away to  Twiggy-like proportions.  Today, skinny just isn't good enough. In  the name of health and beauty we're  Doris and Sandy conduct private sessions  in addition to workshops. They'll soon be  starting up a new series of workshops for  bulemics. For more information call Doris  at 736-7180 or Sandy at 731-8752.  ANAD (anorexia nervosa and associated disorders) is a self-help group which was  started in the U.S. in 1976. Vancouver'?  chapter, headed by Bev Mclagan and Toby  Silverton, has been in existence since  September 1982. Meetings are held every  second Friday. There are two groups: one  for people with eating disorders and a  separate one for their family. For more  information call 875-9690.  If you have an eating disorder consider  Marrianne's advice: "the most important  things to remember are that it is a serious  axsorder, it is not your fault, and it can  be overcome. There is such a thing as  feeling good about yourself, no matter what  you weigh or how much you eat." The most infuriating misconceptions about fat people  are that we are lazy, stupid, underachievers, lacking in  will power, and out of control, that there must be  something wrong with us. Well, there has been something wrong—we have fallen victim to the vicious circle  that steals our self-esteem.  Fat and fit: classes for women  by Suzanne Bell  Suzanne Bell, a large fitness instructor  and topical speaker on the issues of "fat  and fit" is a past president of Large as  Life Association and former manager in a  major corporation. She is currently owner  and president of Living-Large Enterprises  Ltd.  The biggest obstacle I had to overcome  after accepting myself as a fat person was  to get others off my back.  The others I refer to are probably like  yourself I Who in your life is fat? Your  friend, your sister, brother, lover, mother  or a casual acquaintance? Chances are there  is someone you know who has been fighting  what seems a never ending battle of weight  loss.  If you are a fat person or a friend of a  fat person you owe it to yourself to get  some of the facts straight.  Weight loss can be easy, however only 5%  of the fat population can maintain a weight  loss of at least 20 pounds for two years  or more. (Stunkard, 1979). That leaves 95%  of us who will ultimately remain fat despite  repeated weight loss attempts. These  statistics are continually reinforced  through research and continually ignored  by almost everyone.  In my work as a fitness instructor I have  met hundreds of women who have dieted for  years and only managed to get larger.  The most infuriating misconceptions about  fat people are that we are lazy, stupid,  underachievers, lacking in will power  (obviously) and out of control. After all  if we continue dieting and failing there  must be something wrong with us! Well,  there has been something wrong. We have  repeatedly failed and therefore fallen  victim to the vicious circle that steals  our self-esteem.  It is important for fat people and friends  of fat people to understand that we have  rights. We are no less intelligent in a  size 22 than we are in a size i0 or no  less worthwhile as a person at 200 pounds  or 120 pounds. Perhaps we would be less  embarrassing in size 10!  My personal freedom from the stigma of  living large came slowly. One of my first  steps was to take the YWCA leadership  Training Program, and start, in 1982, one  of the first large fitness classes for  large women, taught by  a large woman.  I have also spent the last two years on the  speaking circuit. I address graduating  fitness instructors on fat issues,' and do  a practical program with them, as well as  educating medical personnel, women's groups  and television audiences about the whole  issue. We, as large women, need to dispell  the misconceptions and biases that others  have of us. We need to create for ourselves  a sense of self-acceptance, we need to feel  good about ourselves, and we certainly  need to feel successful.  There are many roads to success but one  that has worked well for many large  women is through fitness.  This may not be the road for everyone but  for the women who have had the courage to  venture forth, it has changed their lives.  Many of the large women taking fitness  arrived at class for the first time  thinking this was it, they would finally  find the secret key to thinness. Some came  because they felt the pressure to join a  fitness class. Others still aren't sure  why they came.  The most important thing is that all these  women have been successful. They have  grown more fit, feel very good about themselves and see a brighter future about  living large in a thin world. Most have not  lost weight nor gained weight.  What is different about large fitness  classes? One of the key factors is fear.  Many of the women are afraid that if they  start to exercise they will endanger their  health. Much of the class is devoted to  creating a safe environment for fitness -  the women learn how to monitor their heart  rates, and watch for danger signals.  (Many of these are precautions that should  be the norm in other fitness classes.)  Large fitness classes do not involve any  jumping up and down, because of the cardiovascular stress, and the stress on knees  and other joints. In my classes, I try to  gear the program to the participants'  needs as much as possible - I want them to  feel successsful.  In the last few years, fitness classes for  large women have been very successful.  One organization, Large as Life, now has  120 members, and conducts 10 bi-weekly  classes in the Lower Mainland. Women are  coming out to the classes in increasing  numbers, and continuing in the program.  The success of the programs has given  large fitness classes credibility in a  difficult market.  Recently, in an effort to provide broader  services for large women I have established  an organization called Living Large. My  partner, psychologist Barrie Mowatt, and  myself, will be offering fitness programs  and are developing seminars challenging fat  prejudices and self-hate. Also in the works  are tapes, and a book, about fitness for  large people. We want to try to draw the  large woman out.  We need to change the way we feel about  ourselves so we can go out and show the  thin world around us that we have the right  to live at any size!  If you wish more information write to us at:  LIVING-LARGE ENT. LTD., 9th floor, 1281  West Georgia St., Vancouver, B.C., V6E 3J7  or call 324-7394  Large as Life is a non-profit organization,  and can be reached at P.O.  Box 33791,  Station A,  Vancouver.  Living Large is looking for large women  interested in becoming fitness leaders. 10 Kinesis May '84  Bathing  'beauty'?  No thanks!  Some 1930 bathers  by Nicky Hood  Bathing/swimming has evolved as an activity  over the years and the attire worn has,  quite naturally, followed suit. Swimming  is healthy. And fun. And should make us  feel good about ourselves. Alas, as the  suites and skills have evolved, so have  a host of body-image problems. The bathing  cult can be disastrous, even for feminists.  Women initially took to bathing two  centuries ago for its medicinal value.  Being dunked beneath the waves two or  three times and hastily towelled down was  thought to be excellent therapy for a  number of ailments.  In the mid-1800's it became more generally  accepted that exercise might cure the  "weaker sex" of some of her ills. At that  time, the long gown that was originally  sported by women who bathed gave way to  a shorter mid-calf dress and bloomers  which was being worn by women who had  taken to more vigorous recreations on  land. This alteration to the bathing  garment enabled women to engage in a  greater frolic in the ocean wihile continuing to protect their modesty.      W^^Mi  However liberating this may have seemed,  the concern with modesty was an overwhelming factor. "No all-white or flesh-  coloured suits (were) permited or suits  that exposed the chest lower than a line  drawn on a level with the arm pits."  This was typical of the regulations  governing men's bathing attire. Women's  virtue was, of course, more closely  guarded.  But with the turn of the century first  wave of feminism, social mores changed,  as did women's roles in society. No longer  passive, women needed clothing that allow-j  ed them freedom of movement, in their new  activities. Yards of material were discarded and the bathing suit became a suit  in which one could truly swim.  At the same time as the practical elements  of design were introduced, the aesthetic  appearance of the suit also became important. The modern young women of the  flapper era were, supposedly, concerned  with style and colour and the ability to  attract the opposite sex and in the 1920's,  swlmsuits were featured in fashion magazines. Brighter colours were used, and  satin and taffeta replaced heavy wool  flannel as the popular materials.  Some of the new designs went so far as  to follow the lines of the torso. Clearly,  19th century propriety, like the fabric  in the swimsuits, was in scant supply.  Thus the bathing beauty was conceived. It  is a legacy that is still with us.  While a Club Med vacation is beyond the  pocketbook and consciousness of most  women, the image of the hairless slender  beauty beading water off her oiled and  tanned body is certainly the ideal of our  society. Even before I liked swimming or  going to the beach I wanted to look good  in a bathing suit.  It doesn't seem to matter that we've  spent months plowing through the waters  of Britannia Pool with less than perfect  figures. Bring on the warm weather, the  sun on the sea and a little sexist advertising, and suddenly the gap between us  and those emaciated models is too enormous  to bear.  Strong muscular legs that I usually consider attractive suddenly just look fat  as they bulge out of the bottom of my  navy blue swimsuit cum Speedo girdle.  It happens every spring. I become dissatisfied with my body.  It is hard to avoid measuring oneself up  to some set standard and even harder not  to feel guilty while doing so. One debilitating spring phenomenon is the desire to  be thin. The urge to diet and the accompanying guilt create a split between the  social and political self that needs to  be reconciled.  And then there's body hair. It's hard to  imagine a woman growing up who managed to  miss out on the concept of the female as  the hairless being. So at some point we'vr  all had to come to grips with exposing  our hairy legs in public. Armpits aren't  open to such constant scrutiny and seem  easier to deal with. Legs, however, are  a different problem.  It's fairly easy to stop shaving one's legs  in the fall. It's baring them in the spring  that's difficult. In my case, the pale skin  reacquired over winter makes the hairs,  coarse and dark from years of shaving,  look even coarser. (One year in my youth  I was even convinced that my kneecaps were  too haxry and shaved them meticulously.)  Initially the obsession with shaving was  confined to the lower leg. It occasionally  extended upward to the inner thigh, but new  suits, with a higher cut to elongate the  leg and make it appear more slender, pressure women to shave even more of their  bodies. (The area known in beauty circles  as the "bikini".)  This is dangerous - physically and psychologically. Not only is the sensitive skin  of the groin prone to infection from scraping by the razor, but the removal of the  pubic hair enforces the idea that female  sexuality is either dirty and to be hidden  away, or non-existent.  Yes - ba^JEfiag suits are a problem. The  conflict between the politics of body image  and the societal definition of feminine  beauty flares in the summer months as  clothes are shed and the body is exposed.  But, in my opinion, the solution is not to  go back to wool flannel dresses. When one  goes a step further in bathing, practicality, and removes the final barrier between  the skin and the sun - the suit - the  problem disappears.  The notion that hair does not belong on  one part of the body when it can plainly  be seen to exist on all parts, becomes at  once absurd: When we no longer attempt to  squeeze our flesh into a spandex suit it  ceases to be too ample.  Sixty years after the bathing beauty was  created, you can reject the image that  came with her. Both your conscious and  physical selves can expand and relax to  enjoy the sun and the waves free of the  constraints of the bathing beauty complex  - and the suit that goes with it. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\  WOMEN &  TATTOOS  by Ivy Scott  "It's a statement of me."  In talking with several women, I found  that getting a tattoo is often a way of  expressing something about one's individuality. Tattoos can show rebellion  against social rules, and also validate  strongly-felt ideas and emotions.  Tattoos are, however, generally associated with masculinity and male subcultures.  Sailors and members of motorcycle clubs  have used tattoos as symbols of toughness, virility, and for the bikers, rejection of authority.  Women who get tattoos also reject authority, by refusing to play the role of a  Women and men in prisons often get tattoos;  a phenomenon which first made me think of  the way a tattoo can express one's emotions.  It can bring internal pain literally to the  surface, making it tangible and visible.  Rage and grief are validated with a symbol  inscribed on the skin. Thexfact that the  tattoo is permanent validates the emotion  in a way that no impermanent symbol can.  In prison, the choice to mark one's body  is one of the few left to people in a very  powerless situation.  Certainly, tattoos can express positive  emotions as well. Several women spoke of  freedom as a feeling they closely associated with their -tattoos, or with the points  Women who get tattoos  reject authority, by  refusing to play the role  of a "good woman."  "good woman". In the classic patriarchal  division of women into "madonnas" and  "whores" (or "saints" and "sluts"), it  is the whore, the disreputable woman,  who gets tattoos. In urban areas where  greater deviance is tolerated, tattoos  on women are becoming more acceptable,  though still only tattoos that are small  and discretely located.  Women often do choose to get their tattoos  on areas of their bodies that aren't so  often seen by others. This may sometimes  be a compromise with feminity or sometimes because the tattoo is not intended  to convey a message to the rest of the  world.  The "macho" aspect of tattoos seems less  important to the women I spoke to than  their rebellious aspect. Rather than  imitating the aggressive symbols that men  often get, they chose designs that they  thought were beautiful and artistic or  that had a personal significance attached  to them.  in their lives when they got them. For one,  her heart-shaped tattoo symbolizes the  importance of love in her life. My black  panther for me symbolizes strength. The  fact that different emotions are expressed  may explain why one woman feels that tattooing is positive, a form of decoration, while  another worries that it is a sort of mutilation of one's body.  Sometimes there was a carefully thought-out  explanation for a woman's tattoo; sometimes she simply felt it was attractive.  One woman chose a moon and star symbol  because she felt a strong connection with  the moon and its cycles. The symbol kept  recurring in her life as she considered  getting a tattoo. Looking around in the  tattoo shop, she was very drawn to an  egyptian eye design which was later discovered to represent the left eye of Horus,  the moon.  Another woman's tattoo reaffirms her  committment to women's struggles. The three  continued on p. 18  by Marrianne van Loon  Tall is beautiful in our society, as long  as you're not too tall. If you're a woman  too tall usually means taller than the  average male.  The sixties introduced the cult of tall  women; beauty was a 5'10" model who weighed less than most women of average height.  This 'cult of tall' is not only concerned  with height (or rather the lack thereof),  but with weight. At least tall women now  have role models; women who are proud of  their height and even make money from it.  All the same, the eternal problem remains.  It is an unwritten law that the male in  a heterosexual relationship must be at  least as tall as the female, and preferably taller. Who hasn't heard women proclaiming "I'd never go out with him. He's  too short".  For men height is advantageous. Men are  supposed to have a strong physical presence and height confers status. With  women this is also the case, but to a  much lesser extent. It is hard not to  feel subordinate to someone you must look  up to. However, for women caught up in  the contest to win a husband, height is  a disability for this very reason. How  much harder it is for a man to feel superior when he has to look up to his female  mate!  Maybe as sex stereotyping becomes less  rigid, height will become less of a  determining factor in choosing a mate and  more relevant criteria will take its place.  Obviously though, on average women are  not as tall as men, although it may be  possible that cultural expectations play  some role in physiological development.  To add height, short women can wear unhealthy and restrictive high heeled  shoes. To lose height, tall women can  avoid such shoes and slouch. Some parents  have become so anxious about their daughter's height that they have consulted the  medical establishment, writing another  chapter in the horror story of women and  beauty.  Girls have been made shorter surgically by shortening their leg bones.  Estrogen can also be used to limit height  by one or two inches. This controversial  treatment involves administering large  daily doses of estrogen to girls to induce puberty which slows down growth by  an inch or two.  continued on p. 18 May'84 Kinesis 13  Poetry from loss: Writings on mastectomy  Falling From Grace,  Elly Van de Walle,  Press Gang Publishers, April/84  by Robin Barnett  Each year thousands of people are diagnosed  with cancer. These people will undergo  various treatments to cure or contain  their cancers. Many undergo surgery. Some  will have intestines excised, some women  will have their uterus removed and some  meir will lose a testicle. All these  operations are miserable experiences.  There is such a stigma surrounding cancer  in our society that fear and guilt ridden  silences often accompany these situations.  Many people blame themselves for getting  I know that with my clothes will go  the last shreds "of control  I retain over my body,  so I remain dressed all afternoon  and evening  while the anesthetist and some  bored interns drift in and out.  Elly describes her fears and portrays  other people's false assurances and refusal  to acknowledge the disease - cancer.  Elly's poetry is at its best when evoking  all the range of emotions she has about  the breast loss. One short poem, The cut  is all wrong,  'is one of several dealing  with the actual operation:  They laid me down.  They drew a line.  They cut me open  scooped me out  and sewed me up again.  image and the implications of losing a  breast:  Does he love me still? The dreadful  shame in bed. These are harder to heal  than loss of a breast.  Elly is a strong woman. She has been thrust  into a wrenching situation and made a path  for herself. But how she gets onto this  path is not so clear. She mentions in her  introduction that she did a lot of medical  research and the information helped her  "put things in perspective." This important  part of self knowledge is not explored much  in the poetry. Nor do we get much sense of  Elly's support circle (except for mention  of "family and friends").  The short biography at the end of the book  tells us that Elly comes from a highly  educated and almost certainly privileged  background. How did this affect her ability  to make changes? Yes, it's important for  us to know how other women in similar  situations feel, but we need tangible  things to grasp onto to help us figure out  how to get through or past what we are .  experiencing.  We are also told that Elly underwent  breast reconstruction when the Provincial  medical plan began paying for the procedure  for mastectomy patients. I am sorry that  we are not given more insight into her  decision to opt for that. Breast reconstruction is currently the choice of most  mastectomy patients if their type of  surgery is conducive to such an operation.  The medical profession encourages women  to go this route, particularly younger  women.  Breast -cancer survival rates have been  unchanged for 50 years. Modern medicine  has been unable to improve these rates and  does not have a clear understanding of  just what breast cancer is. Surgical  Our society does  not reach out and  support these people even  though many estimate that  cancer is 80% environmentally  caused.  Breast cancer is probably the worst of  these operations. Not because the surgery  is that much different than the others,  but because of the immense emotional/  psychological burden thrust onto the women  who face breast surgery. One of the horrors  of our society is that women are defined  by body image and bodily functions.  The removal of a breast(s) strikes directly  at this socialization. Even with the rise  of modern feminism there are only a few  voices exploring the relationship of woman  as human being with the loss of breasts.  Elly Van de Walle's book of poetry,  Falling From Grace,  is one recently published response to the crisis of breast  cancer and mastectomy (the surgical removal  of the breast). For Elly, writing was a  part of her survival (her cancer was diagnosed eight years ago). She was able to  document her fears, anger and loss; learn  from this process and move on with her  life.  The poems in this short book (thirty pages  of poems) were written over a six year  period. Some began as prose and were revised into poetry form. They trace Elly's  experiences and feelings from the time of  her entrance into the hospital for a biopsy  and mastectomy, to a later assessment in  1983.  When Elly underwent her mastectomy, the  practice was more barbaric that it is  today. A foreword by Dr. Paticia Rebbeck  and an introduction by Elly give an overview for Elly's situation from the modern  medical approach.  Today many breast cancer patients may be  treated by lumpectomy (removing the lump  only) accompanied by radiation. Women  should seek surgeons, who give them time  to think about biopsy results and prospective treatment rather than having mastectomies at the same time as biopsies.  From the first poem, Checking in,  we are  shown many of the reactions people have as  they enter hospital:  removal, radiation and chemotherapy are the  treatments. Throughout all of these,  women are encouraged to keep up their  feminine image and to ignore the brutaliz-  ation to their body and soul.  A prothesis is a form which fits inside a  bra to give the appearance of a two  breasted woman. Women are encouraged to  begin wearing these while still in the  hospital after mastectomy. In The Cancer  Journals  Audre Lorde was the first feminist  writer to raise questions about this  practise. Simply put, can women feel like  they are whole human beings with only one  ■ breast? Can they meet the world as such?  Breast reconstruction and implants make  permanent protheses possible. But, they  can never substitute for a real breast.  These reconstructions involve implanting a  bag with a silicone product under the  skin. The new breast will never move or  look like a real one. The woman will always  know that she is missing her breast.  Usually the reconstruction is done a year  after mastectomy. In cases where the woman  is "extremely uptight" about not having  the breast, the operation may be done in  two to six months. The woman may have to  undergo several operations in order to  reconstruct both the breast and the nipple,  depending upon the kind of mastectomy and  any other treatment she receives.  There are risks with the reconstructions:  A small percentage of women might have a  recurrance which is covered by a reconstruction, even though physicians and  radiologists claim that these can be  discovered by mammography. The common  problem is the hardening of tissue  surrounding the implant. Sometimes this  will soften in time. In extreme cases,  the implant must be surgically removed.  Other risks include those involved with  any surgery like infection or rejection of  the implant.  Much more money goes into research about  breast reconstruction than cancer prevention or cancer counselling for these  women.        -tl^fjC his^'l^  It is in light of all this that I am  concerned about the title of this book of  poems and the illustration on the cover.  Falling From Grace  implies a less than  perfect human being. The image on the  cover (drawn by Elly) shows a woman with  head lowered (we don't see her face) and  a large red blotch where her breast was.  These images are part of what Elly has  gone through, but the overall message of  the book is one of strength. I would like  to see an image of a pregnant mother with  \  breast.  Falling From Grace will be inspiration for  women (especially younger women) to carry  on their lives after.mastectomy.  I recommend  The Cancer Journals to anyone  with cancer.  It touches extensively on the  questions and fears a person with cancer  can examine and raises many feminist questions about breast cancer.  The anger and pain of losing her breast  are right with us in these poems:  I choke, gasp for air,  try to bring up in the sink.  Screaming would help  but what would the neighbors  But there are also societal pressures.  Elly brings up the taboos against speaking  out. Others tell her stories of  patients who live normal lives and expect  her to act "normal" also. There is a  revealing poem about a meeting with other  i who had mastectomies. The real  feelings of loss and despair are pushed  into the silence.  ribly pleased with ourselves.  : doing so well.  In fact, look at me  I'm even reproducing  positively budding.  The last lines refer to Elly's pregnancy  three months after the mastectomy despite  warnings from doctors not to attempt such  a thing. She traces some of her thoughts  and feelings ranging from breast feeding  to the daily care of her children as•she  had another child three years later. These  passages certainly speak to young women  with breast cancer who want to have  children and who fear for their own and  the children's future.  Elly also touches upon the issues of body  What causes breast cancer?  There was a fine red line across my  chest where a knife entered,  but now  a branch winds about the  scar and travels from arm to heart   ; Deena Metzger_  There is currently a national  breast 'cancer screening study  being carried out in Canada.  One of the purposes of this  study is to assess the value <  regular mammography for women  under 50. Mammography is a  sophisticated x-ray technique.  There is far less radiation involved than  even five years ago, but there may still  be risks to symptomless \  Microscopic abnormal cells may be seen.  These are not necessarily cancer, but  could involve a woman in unnecessary  surgery for diagnosis. Mammography is also  not as accurate for women under 50. Tests  done on female survivors of the atom bomb  have shown that breast tissue is sensitive  to radiation.  One major problem is that early detection  systems are pushed rather than real pre-  ion. In the U.S., the American Cancer  Society now lists several dietary habits  as possibly carcinogenic. The Canadian  Cancer Society has yet to follow this lead.  Dietary fat consumption seems to be a big  factor in breast cancer. Studies compare  the lower rate of breast cancer in Japanese  women who have a lower fat diet, with that  of North American women. The dietary fat  appears to influence the production and  excretion of estrogen and other hormones  implicated in breast cancer.  Oral contraceptives and hormones have also  been implicated. In a recent English study  researchers found that early use of the  Pill in teenagers affected later rates of  breast cancer. Young breast tissue is  extremely sensitive to hormones. Also  affected are post menopausal women who  undergo estrogen replacement treatment.  Caffeine consumption and cigarette smoking  also linked to breast fibrocysts. These  benign cysts in the breasts, but are  still abnormalities, and opinions vary #s  to whether they are related to breast  cancer. They certainly make detection of  lumps more difficult and both coffee and  cigarettes are implicated in other cancers.  There is information on these topics at  the Vancouver Women's Health Collective,  as well as information regarding particularly high risk groups in society and  self-examination which detects most breast  lumps.  by Hella Hammid, from a poster by Sheila Levranl de Brelteville 14 Kinesis May'84  PEACE  Women on the line  by Andrea Clarke  The railroad tracks that lead into the US  Naval Trident Submarine Base, Bangor,  Washington provide the means for the shipment of nuclear warheads and.missile  motors for assembly at the base for the  Trident missile system.. The tracks outside  the gate of the Bangor base have been the  site of protest against the shipment of  nuclear warheads to Bangor as recently  as November,   1983.  The Pantex plant in Amarillo, Texas is  the assembly site for nuclear warheads  for the Trident nuclear missile system  that is shipped to Bangor, Washington.  Missile motors are shipped in special  containers or in trailer units from the  Hercules Corporation in Magna, -Utah to  Bangor.  People involved with Ground Zero,  Washington  (Centre for Non-Violent Action) have  been gathering information and' slides of  the various trains that enter Bangor and  have managed to involve over'20.0 towns  and cities throughout the U.S.  in the  "tracks campaign",. The  "tracks campaign"  has been involved in making contact with  people that live in the communities where  trains carry nuclear war materials.  One of  the objectives of the campaign is to raise  consciousness to the point where people  will refuse to allow shipment of those  materials through their communities.  The  establishment of nuclear weapon free zones  in some parts of the U.S. has managed  to force re-routing of the shipment of  nuclear related materials.  Sandy, an American woman who has walked  for peace throughout the U.S. and Japan,  was determined to see the realization of  a women's peace walk.  Living on Lopez  Island,  in the San Juan Islands,  Sandy was  quite familiar with the Trident Submarine  Base and the tracks campaign.   With support  from Ground Zero, friends and supporters,  "On the Line", was on its '.way.   Women decided to walk through all the communities  through which the  "White train" (so-called  because it carries nuclear warheads and  is painted white by U.S.  law) travels,  and talk to as many people as possible  about its implications.  Nine women of  various ages, cultural and class backgrounds began their peace quest March 21,  1984,  hoping to arrive in Amarillo,  Texas  by early October.  My friend Carole is a veteran peace walker.  She walked from New Orleans to New York,  to the United Nations Special Session  on Disarmament in June 1982. She walked  throughout Germany and has talked about  wanting to walk across Canada. Her long  standing dream has been a women's walk  for peace. Carole had been really excited  about this walk for months, but in the end  we both knew that we needed to "stay at  home" for awhile. So we decided to see  them off and perhaps walk the first few  miles.  It was raining by the time the Coho ferry  had reached Port Angeles. The date was  March 20th, a Tuesday evening. We arrived  at,a Buddhist temple on a piece of land  shared by a young family and some Buddhist  Monks of the Nipihozan Myhoji order. It  was built in the summer of 1982 at the  time of the Trident Blocade. The monks of  this order have been building Peace  Pagodas all over the world and are presently constructing one at Ground Zero, which  is very close to the Bangor Trident Submarine Base.  The women walkers and all their supporters  were all sitting together when we arrived,  preparing to organize for dinner. We were  to congregate in a new addition to the  temple. The room was full of women and  some small children and a few men. It was  very light, warm and friendly. It felt  like a family reunion, though I recognized  no one. We ate together and later formed  a circle and shared our purpose for being  there.  The support and love generated from this  group of people was quite overwhelming. It  was especially interesting to hear the  words of a Chicana woman, the only woman  of colour, to hear her experience of  poverty and oppression and to see and feel  her give so much strength, beauty and  meaning to the walk. I attribute my  inspiration from this action largely to  the incredible caring expressed by so many  of the friends of the walkers.  We were told that the rising hour was 5 a.m.  so we all got to bed no later than midnight.  Many of us slept in the temple; I didn't  sleep at all. I was too enraptured by these  women. I was beginning to feel the desire  to be part of their walk.  At 5 a.m. the Buddhist prayer began and  some of us chanted and drummed. Everyone  was awake and alert, (surprisingly  enough) and we had breakfast together. The  two carts that the women are pulling with  them, carrying their belongings, were  packed and ready to go. By 8 a.m. we were  all ready to meet at the site of the beginning of the walk, the Bangor gate of  the US Naval Trident.Submarine base.  Immediately upon my arrival at the site,  I noticed an older couple that had parked  about 300 feet away from our gathering.  This couple came prepared with their  few hundred yards to the Bangor gate,  sang a song about women's strength, and  the walk began. The head banner read,  "Women are on the Line :- White train  threatens life on earth." There were about  10 support walkers and off we went through  the rural roads of Bainbridge Island.  Carole and I joined in walking the first  8-9 miles.  It was only minutes before school children  began running after us to enquire about who  we were, what we were doing, and where  we were going. I talked to a couple of  adolescent boys, dressed in their private  catholic school uniforms. They were very  polite and impressed with the committment  of the walkers, but they believed that we  needed protection from the "Russians".  I could see this was going to be a very  interesting experience, walking and following the route of the 'white train1. It  was inspiring realizing the many people  these women would reach.  If you feel low and frustrated about the  political work in your community, walk  for peace this summer and become re-energized. The women will walk 100-120 miles  per week and arrive at the Pantex plant  in early October, 1984 in Amarillo, Texas.  This is the assembly site of nuclear warheads for the Trident nuclear missiles,  transported by the 'white train'. They  will travel through eight states to Texas  and continue on to Charleston, South  Carolina Naval Weapons Station, to arrive  early March, 1985. This is a women's only  one year walk. For more information  please contact: Maura Tucker/Patti Contaxis  Seattle, 206-328-2475, or write 6160  Lynwood Centre Rd., Bainbridge Island,  Washington, U.S.A. 98119.  "what about the Kremlin" picket signs and  the American flag. I delivered a leaflet  to them that explained the women's walk  and in return they handed me some literature about the "Soviet Threat".. The woman  stood silently holding the flag as I continued to discuss the implications of the  arms race with the man. There was quite a  bit of press and t.v. cameras and before  I knew it, the cameras were filming our  "debate." I left the American flag and  gathered with the group of supporters.  We formed a larger circle on the tracks,  and members of the circle made offerings  of songs, poems, and thoughts. One of  the women walkers shared some Native American sacred chants. We moved towards a  send-off ceremony and various individuals  from the circle presented gifts, thoughts,  and support to the walkers.  It was an especially moving experience.  The circle felt protected and powerful.  The irony of the representation of the  tracks and the destination of the materials delivered onto the base, and the  beginning of this peace walk, with so much  hope and love, was very striking.  After the ceremony, the women walked the  The "on the line" women walking the 'white  train' route can be contacted during the  walk at:  BOISE, ID. c/o Boise Women for Peace c/o  Snake River Alliance, P.O. Box 1713, 83701  (until May 10th)...POCATELLO, ID. c/o Jane  Vitale, 1969 Barton Rd., 83204 (until  May 29th)...LARAMIE WY." c/o Mignon Hill,  264 N. 9th, 82070 (until June 25th)...  SIDNEY, NEB. c/o Marion Lenzen, R.R.#1,  Box 56, 69162 (until July 8th)...FAIR-  BURY, NEB. c/o Bessie Svajgar, 1125 C St.  68352 (until August 1st)...EMPORIA, KAN.  c/o Pauline Rose Penner, 1014 Mechanic,  66801 (until August 15)...WITCHITA, KAN.  c/o Mary Harren, 1407 N. Topeka, 67214  (until August 23)...WOODWARD OK. c/o Dee  Duggin, 1423 4th, 73801 (until Sept. 7th)  ...AMARILLO TX. c/o Habitat for Humanity,  Box 775. 79105 (until Sept. 25).  Please address to: On the Line, then  walker's name and c/o... also write peace  walker HOLD (on envelope) or forward as  the case may be. ARTS  Filmfest Filmfest Filmfest Filmfest FUmfest Filmfest Filmfest Fill  There are many films of interest to women  at the upcoming Vancouver International  Film Festival (April 27 - May 24). None o:  these films have been previewed, so the  following summaries are not necessarily  a recommendation. Films are at the Ridge  or the Vancouver East Cinema.  Backstage at the Kirov  (USA/USSR, 1984)  Sunday April 29, 7:00 (V.E.C.)  Thursday May 2, 7:00 (Ridge)  A backstage look at the ballet company  which virtually introduced classical danci  to the U.S.  Born in Flames  (USA, 1983)  Sunday May 18, 7:00 (Ridge)  Part radical feminist manifesto, part sci-  fi fantasy set ten years after the revolution in America. The Women's Army is  marching...  Charles and Lucie  (France, 1980)  Thursday May 3, 7:00 (V.E.C.)  Directed by Nelly Kaplan who collaborated  with Abel Gance (Napoleon),  a comedy about  an elderly couple who set off on a magical  goose-chase after a fortune.  Chicken Ranch  (USA, 1982)  Thursday May 17, 7:00 (Ridge)  Cinema Verite look at a Nevada brothel.  Behind the scenes of exploitation and  sex-business.  Dirty Dishes  (France, 1982)  Wednesday May 9, 7:00 (Ridge)  Monday May 14, 7:00 (V.E.C.)  The waking nightmares of a housewife by  Joyce Bunuel, daughter-in-law of Luis  Bunuel, surrealist film-maker.  Die Erben  (The Inheritors)   (Austria, 1982)  Thursday May 24, 9:30 (Ridge)  Ultra-right youth are the contemporary  inheritors of the Nazis. Not so much a  documentary as a work of political horror.  Girl with Red Hair  Falasha: Exile of the Black Jews  (Canada,  1983)  Monday May 21, 7:00 (V.E.C.)  The plight of Ethiopia's black Jews caught  between the old land-owning aristocracy  and the revolutionaries of modern Ethiopia.  The Girl with Red Hair  (Netherlands, 1981)  Friday May 11, 9:30 (Ridge)  Story of a young, innocent girl caught up  in WW II who, through fear, shyness,  aggression, despair and resistance changes  into a hard and merciless executor of  Dutch and German traitors.  Hanna K  (France/Israil, 1983)  Saturday May 12, 9:30 (Ridge)  Saturday May 19, 9:30 (V.E.C.)  Costa-Gavras' follow-up to Missing  examines  the Palestinian-Israel conflict.  Hookers on Davie   (Canada, 1984)  Thursday May 17, 9:30 (Ridge)  By Janis Cole and Holly Dalg, makers of  P4W: Prison for Women,  the documentary  about Vancouver prostitution. (Double-  billed with Chicken Ranch...see you there.)  In Our Hands   (USA, 1983)  Sunday May 20, 7:00 (Ridge)  "On June 12, 1983, nearly a million people  paraded down New York's streets in an  extraordinary protest against the nuclear  arms race." That landmark event on film.  Kamilla  (Norway, 1981)  Thursday May 3, 7:00 (Ridge)  Through the eyes of a seven-year-old girl  living in 1948 Norway, we see the turmoil  of her parents' marriage, the shame of the  recent German occupation and an American  cultural invasion. Director Vibeke  Lokkeberg plays the child's mother.  Keiko  (Japan, 1978)  Tuesday May 8, 9:30 (V.E.C.)  A Japanese feature written and directed  by Quebecois Claude Gagnon! A young girl  who develops a close relationship with  another woman, despite her parents' insistence on a traditional, family-arranged  marriage.  Marianne and Juliane  Love Letters  (USA, 1983)  Wednesday May 2, 9:30 (Ridge)  Sunday May 13, 9:30 (V.E.C:)  Amy Jones (of Slumber Party Massacre  fame)  directs Jamie Lee Curtis in the story of  a young woman who finds a bunch of love  letters addressed to her mother by a man  she has never heard of.  Marianne and Julianne  (Germany,- 1981)  Tuesday May 22, 7:00 (Ridge)  By Margarethe Von Trotta, the first woman  director to win the Golden Lion award at  the Venice Film Festival. Based on the  life of former Bader-Meinhoff terrorist  Gudrun Ensslin and her sister's quest to  prove that she did not commit suicide  while in prison as officially claimed.  Puberty Blues  (Australia, 1981)  Saturday May 5, 9:30 (Ridge)  Saturday May 12, 7:00 (V.E.C.)  According to the blurb, a "feminist  Porky's".  The surfer cult from the point  of view of the girls...  Sally and Freedom  (Sweden, 1981)  Monday May 21, 7:00 (Ridge)  Directed by Gunnel Lindblom, star of  several Ingmar Bergman films, this is the  story of a twenty-eight-year-old social  worker splitting from a ten-year marriage  and trying to live life without compromise.  The l-Thite Rose  (West Germany, 1982)  Sunday April 29, 9:30 (V.E.C.)  Friday May 11, 7:00 (Ridge)  A current German box-office hit, about  21-year-old Sophie Scholl, member of the  White Rose group in Germany who preached  passive resistance to National Socialism.  May ?84 Kinesis 15  Film  documents  survivors' lives  by Carolynn Jones  They talk about the guilt they feel because  they lived when so many died. They talk  about their fear each time they are sick,  their fear of early death. They talk about  their fears for their children. They are  victims of the atomic bomb.  Survivors,  a one-hour documentary about  atomic bomb survivors, is horrifying in  great part because Hiroshima and Nagasaki  are not part of the past for these women  and men interviewed. It is about Japanese-  Americans who were in Japan during the war.  Some went there to avoid relocation camps  in the U.S., and some were simply visiting  relatives or studying in Japan and were  caught by the war. The effects of the bomb  are still with them, in the scars on their  faces, their chronic medical problems, and  in psychological damage which can never be  repaired.  The interviews are thematically organized  so that survivors speak first of the moment  of the explosion, one after another. Then  we hear stories of searching for relatives,  of life in Hiroshima for the week or two  right after the bombing, the return to the  United States, medical work, political  work.  We hear of their feelings of guilt and fear  (though, surprisingly, not anger), what  they remember and what they try to forget.  One woman says, "I always get up in the  middle of the night and start screaming."  Interviews with American doctors are cut  in, so we hear the survivors talk about  their medical problems and then hear the  doctors list leukemia, cancer of all parts  of the body, anemia, cataracts, and early  menopause among women as some of the  radiation effects these people are likely  to suffer from. Second and third generation  effects are discussed. We see a woman with  her retarded boy, the grandson of a sur-  Survivors  includes filming done in Hiroshima hospitals after the bombing, forcing  us to look at the bodies of the dead and  the suffering of the living.  The one hopeful note in the film is  hearing survivors talk about their  political work. Some are involved with the  Committee of Atomic Bomb Survivors, which  is trying to get medical benefits from the  U.S. government "before we all die", as  one says.  This powerful film would be a good educational tool for peace groups. We are  fortunate to have a good print available  in Vancouver.  Survivors,  one-hour documentary,   16 mm  (or video) by Steven Okazaki  Survivors is available for sale or rent  in 16 mm or video through Canadian Filmmakers Distribution West,   #1-525 West  Pender Street,   Vancouver,    684-3014.  Special arrangements can be made for nonprofit groups.  Available in Toronto through Canadian  Filmmakers Distribution Centre. by Brenda Ingratta  You can't wear' necklaces because you  might be strangled by somebody  - by men  from behind.  You can 't wear certain  shoes or tight clothing because you  might need to run. My mother thinks I  should just stay inside after it gets  dark. But I like to be able to walk'at  night and sort out my thoughts after the  day is done and I've expended a lot of  energy doing the things that are important to me.  The woman is walking down the sidewalk.  It is night. We see only her feet and  hear her footsteps on the pavement. As  we share the images of neon-lit shops,  dark bushes and deserted streets with  her, we also share her perceptions of  walking alone at night.  It is a scene from Night Without Fear,  a  new film by Laurie Meeker completed just  in time for a premiere on International  Women's Day at the Robson Square Cinema.  Night Without Fear  addresses many issues  of concern to women: the stereotypical  images of women shaped by the media,  woman battering, sexual assault, the  Vancouver bus-stop rapist, the Red Hot  Video firebombing, the anti-pornography  efforts of Media Watch and Take Back the  Night marches. Throughout the film the  audience is. drawn back to the voices of  women relating their anger and frustration  over their constant vulnerability at  night. i§E.'1£r>T-:  "You keep coming back to everyday reality,  the everyday experience of walking at  night," Meeker says. "All these stories  flow from all women of all ages - it's  the kind of issue that is so pervasive  and of concern to all women and yet it's  something we never talk about. It's amazing to have these things talked about in  a film because they never are.  "The way the film is structured is that  the walking at night is the first part.  The second part interweaves images of  women and the third part shows women in  action. For me it's quite inspirational  seeing women marching and in action together, working together. So the film is  called Night Without Fear because that's  the goal we're working towards."  Meeker believes that the night itself  has become a symbol of violence for many  J  Women are not afraid of the night,  she says, they1re afraid of what the night  could hold for them: "The real cause of  the fear is the possible threat of rape  or being killed. The night has become on  a theoretical level a symbol of oppression  and violence."  Women are also oppressed by the images  perpetuated by the media. Night Without  Fear  contains 1960's footage from a  fashion show where men are behind the  camera and women are the models and thus  objects, and where a commercial of male  scientists testing a car is intercut with  a woman-vacuuming the carpet.  "The 1960's footage is important because  that's our backdrop, what we were socialized into. That juxtaposed with contemporary images makes the point that things  haven't changed that much," Meeker notes.  "Sexism in the media is very influential  on attitudes. I think a lot of people  try to claim that things have changed for  women but there hasn't been that much  change in terms of the male culture's  attitude."  The voiceover in the film cites the  influence of pornography in shaping the  attitude that violence against women is  acceptable behaviour, thereby condoning  and even encouraging rapes and assaults  like the attacks by the so-called Vancouver bus-stop rapist. Red Hot Video is  condemned as a chief pornography outlet,  and a clip from one of the videos entitled  Fantastex  is shown where a mild-mannered  male secretary turns into a brutal knife-  wielding rapist who attacks his female  boss.  The scene introduces the third section of  Night Without Fear where women are shown  actively campaigning to effect change.  Footage of the Red Hot Video firebombing  and anti-pornography marches are included.  "I realized that the firebombing was  the event to document because it was  obvious that that sort of action is  very extreme and radical. It shows what  women are driven to when nothing else  works," Meeker says. "That was the first  footage I shot for the film.  "My original idea was to end the film  with the pickets and the Take Back the  Night march because for me whenever I've  participated with the pickets it's really  an exciting and uplifiting experience.  from Night Without Fear  It's wonderful to be in that environment  with women and feel safe and feel powerful. I thought I'd end with that to show  what women are doing. But then I realized  that it wasn't a good idea to do that  because after the march you still have to  walk home by yourself. That experience  fades away very quickly and you're back  into reality in a male-dominated society  where violence and fear exist."  The point is punctuated with the voice-  over during the film credits where  younger women express their desire for  streets that they can walk safely at  night and commiserate about the fact that  reality doesn't allow such a luxury.  "The audience that would be interested  in my films is probably a women's audience.  That's who I'm most concerned with because  women don't have the kind of film available to them that they need to validate  or articulate their experience," Meeker  points out. "I make films to communicate;  I have things I want to say. A woman's  point of view and a feminist perspective  needs to be documented and distributed.  "Making films requires a lot of knowledge  in a lot of different areas. The entire  process is very engaging. You start with  your subject and do the research, then you  go out into the field to interview people,  then you take your camera and do all the  technical stuff, then there's the editing.  Usually a film takes up to a year to make.  Night Without Fear  took fifteen months;  that's the longest work I've ever done.  "There aren't a lot of feminist filmmakers,  so when you're doing a film with feminist  content, first of all you have to defend  the content and the feminist perspective.  So you get into theoretical arguments on  that level. Also, my work experiments  with form and a lot of feminist film does  that. So you have to justify experimentation and explain why you're doing it. I  think feminism is still fighting to be  seen as a legitimate practice, not only in  feminist writing but in filmmaking, the  arts, in all areas. Feminism has the kind  of spectre that the word 'Communism' has.  Even so-called 'liberals' at the college  level are still resistant to feminism  and feminist theory. ,  "Michelle Citron has influenced me the  most. I think Daughter Rite  is a landmark  film in terms of feminist filmmaking and  theory. Not only is it interesting in  form but it's very accessible to everyone.  At the same time it's a critique of other  film forms such as cinema verite and  the narrative technique. By combining all  that it really brings into question traditional forms of filmmaking and at the  same time explores a feminist topic about  mother-daughter relationships that hasn't  been explored to that degree before. I'm  not very interested in Hollywood cinema or  mainstream film.  "In the end the fact remains that we live  in this male-dominated culture and we have  to intervene in any way possible. Filmmaking  is one very powerful way to get our voices  heard."  (Laurie Meeker's films Night Without Fear  (1933) and Footbinding (1978) and Michelle  Citron's Daughter Rite (1979) are distributed by Women in Focus, 204-456 W. Broadway, Vancouver, B.C. V5Y 1R3. (604)872-2250.) ARTS  May'84 Kinesis 17  Doris Chase:   f  Video and feminism  by Karen Henry  Doris Chase brought her videotapes to  Vancouver to share with women interested  in video. Only a small number turned out  on a miserably rainy evening but Doris  carried on in her characteristic professional style. She has shown her work  :ln Vancouver previously at the Video Inn,  and her latest work has been a series of  theatre pieces by and for women, thus  Women In Focus seemed an appropriate  milieu.  The evening began with a rough cut version of a documentary which is being done  about her life and her work. The tape  begins and ends with a computer faceted  image of her face and from this affected  cover addresses her personal development  through family and work as a sculptor and  then in film and video. The quality and  colour of the tape changes as it is a  composite of stills, film and video -  glossy black and whites, to warmer film  images, and the electronic dazzle of computerized video work.  Unfortunately, the style is reminiscent  of a '50's television documentary. The  voice quality and style of delivery of  the male commentator reminded me of 'Industry on Parade1 - a regular filler in  the early days of television in the  States which glorified work in a patriotic  context.  In the Doris Chase documentary the voice  became patronizing - recognition by the  bastions of male culture. The tape combined intimate close-ups of Doris looking  sensitive and dedicated within the context  of this detached, lordly editorial style.  The contrast seemed contrived and all too  reminiscent of outmoded dynamics. Technical difficulties with the equipment on  that evening marred the presentation somewhat.  The documentation showed tantalizing clips  of Doris's dance tapes, beautifully colour-  ized and synthesized images of movement  and sculpture which were her original  inspiration for video. Since then her  work has become more conceptual. She has  taken on the issues of feminism in the  Concept Series. These are professional  collaborations in which the video special  effects are used to enhance a dramatic  script and sometimes dance.  On Tuesday night two of the tapes were  shown - Mask  and 3 Storey Suite. Mask  is  a black woman's angry memory and her  connection with her African archetype  which is a recurring image of her own face  painted in tribal design. The movement is  closely calculated within the space of  the video format. Special effects are used  to expound on the dialogue in a very simple  straight-forward manner in this tape,  i.e. when the woman asks, "Did I have a  twin sister who took the umbilical cord  in her baby fist rather than live in this  exile?", the image splits into two dancing  women.  The dialogue runs the gamut of black and  feminist issues ending with religion and  the search for. "the mother goddess within  all women." The Mask  tape has sensitive  framing and delicately if not provocatively  applied effects. The drama moves slowly and  steadily through a recounting of events  and comes to accepted conclusions. The  piece is not emotionally based but rather  intellectual, like a lecture.  The special effects in 3 Storey Suite  are  distracting. Storyteller Laura Simms tells  three feminist folk tales. For the first  while we don't see her face without colour-  ized distortion, thus the person is kept  at a distance from the audience, unknown.  Computerization in this tape seems forced,  having gone over into technique rather  than inspiration.  The magic of the computer effects in the  dance tapes is waning in the Concept  Series. The later tapes operate in a very  professional manner but without the same  level of commitment and discovery. They  tend to be didactic.  Doris Chase is writing scripts for her  new productions, to be theatre pieces on  older women and relationships. She is moving away from overt feminism in her work  due to a lack of commercial acceptance and  funding options.  ^ mi ci n n n in  RlT  T  Aesthetic lacks analysis  by Jill Pollock  I have not yet come across a clear, concise, and suitable definition for the  "feminist aesthetic", one that fits all  my criteria and then goes beyond.  The reason is neither presumption nor  ignorance, but rather because it is a  complex and diverse (and at the same time  highly personal) concept. Every time I  go to an exhibition of artwork made by  women, I am hopeful and anticipate seeing  how the life experiences of the artist  will be manifested in the work - in  short, does the art hold a feminist aesthetic and if so, what elements (tangible  and otherwise) constitute that aesthetic?  Alison Rossiter's photographs were installed in the Coburg Gallery in early  April. Her work seems to illustrate an  attempt, albeit unsuccessful, to explore  a particular aspect of women's experiences.  The intention of the work was not only  sound but laudable. Rossiter had produced  a series of colour photographs dealing,  on one level at least, with an imposed  elevation of motherhood and housework.  Shiny, new baby clothes (pink of course),  household cleaning objects, utensils and  'baby treasures' were positioned in the  centre of various types of materials.  Each image represented one object  placed on a complimentary piece of fabric,  which in some works was also colour-coordinated.  Thus there was a pink baby frock laid on  a piece of pink velour. A new white and  blue plastic broom was arranged on bunched-  up white satin.  Rossiter is a good technician. She did  her own colour printing and the quality  control was excellent. However, her  point was belaboured and somewhat simplistic. Simplistic because the analysis  of and the connections between backdrop  and object were obvious, overt and  stereotypical. Incorporating the baby-  shower approach to her images, Rossiter  took one concept and repeated and repeated and repeated it. Through a direct,  frontal camera angle along with the newness of the objects and the lush qualities  of the materials, the work became icono-  graphic. Irons and brooms were transformed  into sacred trinkets. Had she extended  or elaborated her basic analysis, the  work would have been far more powerful  and interesting.  There was the sense that Rossiter was  attempting to alter the established  values - to show the absurdity of mother  hood as a religion with household objects  as revered idols. Unfortunately, the interpretation was over-worked and under-  analyzed.  After having viewed one, possibly two,  of the photographs, the trend was set  and there were no more surprises. The  exhibition became an exercise in colour  texture.  Hopefully, this series will lead Rossiter  to make more challenging and thought-  provOking art - she certainly has the  technical skills to do so.  m  Pink Baby Series: Dress I  18 Kinesis May'84  ublieaions in  ARTS  eview;  In addition to providing readers with  examples of poetry, fiction and personal  narratives that speak out on women's lives,  many women's periodicals and literary  magazines help to promote and support the  work of women writers by also publishing  reviews and criticism of women's work.  Since the amount of work written by women  has grown in the past few years (despite  grant cut-backs and hard financial times),  there is presently a substantial body of  writing by women that demands critical  response.  Unfortunately, women's literary journals  have only so much room for reviews and  mainstream and academic review journals  cannot be counted on to sufficiently  review women's work. Due to this situation,  the following periodicals serve a most  necessary function. By concentrating their  publishing efforts on reviews of literature and art by women^ these journals  support women's writing, not only by  publicizing the work through reviews, but  in a larger sense, they provide a forum  for pritical response to women's writing  and emphasize the need for the development  of a strong body of varied, creative and  serious feminist criticism that will further illuminate the importance of literature that tells the truth of women's lives.  Motheroot Journal.   214 Dewey Street,  Pittsburg, PA U.S.A. 15218. $5(US) 4 issues  The most radical of the three, Motheroot  Journal  is a treasure chest to readers  interested in women's small press publishing, since the reviews in Motheroot  deal  only with small press literature. Motheroot  is usually published quarterly, but  last year, the journal fell on lean financial times and had to postpone a number of  issues. Finally, the long awaited double  issue was released in the fall of 1983,  along with a catalogue of Motheroot Press  books, evidence that this periodical is  back on her feet. The fall '83 issue,  along with reviews of books by Meriel  LeSeur, Sandy Boucher and an interview with  writer/publisher Barbara Wilson (Seal  Press, Seattle), included a reprint of  a review by the late June Arnold and a  narrative by Sonia Jones which spoke  lovingly and with much respect of this  wonderful lesbian writer who died in March  1982. Such writings emphasize the warm and  personal tone of Motheroot,  not only as a  source of news and reviews of women's  writing but also as a record/forum of the  greater women's literary community.  Send copies of your magazine for review in  this space. Readers- if you find a publication you want to share, please send it  in. (If requested, it will be returned  after I review it.)    Writers,  editors,  publishing collectives - send me your  back issues. All mail should be addressed  to Joy Parks,   490 Wilson Avenue, Apt.   202,  Downsview,  Ontario, M5H 1T8.  Tall    continued from p. 11  Dr. Earl Plunkett of the University of  Western Ontario estimated in the Vancouver  Sun  last summer that three to four hundred  Canadian girls have undergone this treatment in the last twenty years. The Canadian Medical Association keeps no records.  In addition to "cosmetic" usage, his  estimate includes girls with curvature  TattOOS continued from p. 11  woman symbols with a fist in the centre  one validates the anger she felt and the  work she was doing against illusions at  that point in her life.  A third woman's bleeding rose represented  to her the beauty that remains after hardship and loss of innocence.  Tattoos sometimes serve as a means of  cultural identification. As some men use  them to identify with biker or military  subcultures, some women use them to identify with biker, prostitute, or lesbian subcultures .  The decision to get a tattoo is sometimes  spontaneous, sometimes thought out over a  number of years. Similarly, which symbol  to get and which area of the body to have  it done on are sometimes carefully planned  decisions and sometimes based just on  intuitive feeling.  What seems important is that these tattoos  were something that women got for themselves, from themselves. They can express  strongly one's state of mind at a particular point in one's life. Thus, even if that  state of mind changes drastically, a  tattoo reminds us of what has influenced  our current reality.  of the spine which can be eased by height  limitation. With documented side effects  including excessive menstruation, high  blood pressure and headaches, cosmetic  therapy is dangerous and of limited use.  The marriage market is not the only place  where tall women are discrimated against.  Even when sex stereotypes are eradicated  these other problems will probably remain.  What value there is attributed to tallness  in women is not reflected in the consumer  market. Like other less common body shapes  and sizes, clothing a tall body means one  of four things: 1) making your own clothes  to add length; 2) always having short  sleeves, pants, etc.; 3) wearing men's  clothes; 4) spending a lot of money in  expensive specialty shops. Shoes are even  e difficult, most surely will cost  |more and may have to be ordered specially.  In the home and even at work, counters,  tables and desks are not high enough for  tall people to use comfortably. Car seats,  even pushed back as far as they go, may  not go far enough back, and its hard to  find a bike with a big enough frame. And  look out for low-ceilinged basement  suites, they're lethal.  There are many advantages to being tall  though, especially if you are able to overcome the worst disadvantage; believing you  must find a man taller than yourself. You  don't get lost in crowds or stores because  you are a head above everyone else. Movies  aren't spent trying to see through somebody else's head. People are less likely  to hassle you if you're tall - who wants  to pick a fight with someone bigger than  themselves. You can reach things that other  people can't. And you never have to look  up to anybody.  The New Women's Times/Bi-monthly Feminist  Review.   New Women's Times Inc., 804 Meigs  Street, Rochester, N.Y. U.S.A. 14620  $15(US) monthly.  An equally important review journal, New  Women's Times Feminist Review  is published  as a bi-monthly art and literary supplement to the New Women's Times newsmagazine.  While this journal also publishes a number  of reviews on small press books, its pages  are open to university press books and  quality mainstream works. Feminist Review  has to be praised for its wide range of  books featured, books by lesbians and  heterosexual women, women of colour, poor  women and many others. Along with the  reviews, each issue of this journal usually  contains a longer non-academic theoretical  essay, dealing with a number of works or  a specific area of women's literature.  For example, Feminist Review  recently  published, in segments, Jan Clausen's  Movement of Poets,  a brilliant work on  the relationship between lesbian poetry  and lesbian politics. The writing in  Feminist Review  is alive with a wonderful  energy and clarity and completely devoid  of the critical jargon that forces  many interested readers to shy away from  critical writings.  The Women's Review of Books.  Wellesley  College Centre for Research on Women,  Wellesley, MA, U.S.A. 02181. $12(US)/  $15(CAN) monthly.  The newest of the three journals reviewed  in this space, The Women's Review of  Books,   is a journal of critical writing  by women that attempts to bridge the gap  between grassroots feminists and academic  women. Since its premier issue last  fall, this journal has consistantly presented analytical reviews of poetry,  fiction and non-fiction by women from all  types of presses. Many of the books reviewed in this journal are important  cultural works that risk being ignored  by the more radical grassroots journals  due to their academic content. The Women 's  Review of Books  proves, however, that  intelligent critical response to women's  writing need not be elitist and stresses  that thoughtful and articulate analysis  of women's artistic and literary culture  must be presented in a manner that is not  racist, sexist, heterosexist or classist  and that serious critical writing must  not be directed only to women with educational privilege, but to all women, and  that the literary traditions we are reclaiming must speak to and belong to us  all. May '84 Kinesis 19  ARTS  by Connie Smith  It is one of the tragedies of our culture  that our heroines are often lost to us  before we have a chance to learn from them.  Such is the case of Ada Smith, a singer  and nightclub hostess known most of her  life as Bricktop.  It's not that Bricktop was obscure. She  wasn't. She was legendary. But the people  who knew her and loved her were part of  a privileged world far removed from my own  life: John Steinbeck, Evelyn Waugh, Cole  Porter, The Duke of Windsor, King Farouk,  F. Scott Fitzgerald, T.S. Eliot, and by  the time I reached the age when I was  taught about these men of history, Bricktop  was retired and living alone in New York  City. No one ever told me about her.  There was another side to her fame, equally  inaccessible, but for more legitimate  reasons. Bricktop was often featured in  magazines distributed in black neighbourhoods. In the words of author and historian,  James Haskins, who collaborated with Bricktop in writing her life story, "It was a  fact of existence for the average American  black to be on intimate terms with the  stories of those few of us who managed to  burrow out from under."  Bricktop's grandmother was a slave. Her  mother was sired by the master of the house  and born into slavery two years before the  Emancipation Proclamation. Bricktop was  born free in 1894 in West Virginia. She was  the fifth child delivered to Hattie Smith  and her husband. They named her Ada Beatrice  Queen Victoria Louise Virginia Smith; but  she was later called Bricktop because of  her red hair.  Shortly after her birth, Bricktop's father  died. Hattie was 37, alone and very poor.  She moved her family to Chicago where she  had relatives who were passing for white.  It was her hope that they were in a better  situation and could help her get settled.  Unfortunately, times were difficult for  them as well. But Hattie stuck it out and  eventually she found a boarding house to  run on the south side of town.  The south side of Chicago was like many  urban black communities. It was poor in  material matters but rich in culture -  especially when it came to music. Bricktop  grew up in this environment and became  completely infatuated with the goings on  in the saloons, particularly in the backrooms where the music was made.  Bricktop never considered herself a singer,  yet that is how she made her living. When  she was 16, she left home to travel the  black vaudeville circuit. It was a very  hard life for a young woman and a very  dangerous profession. America did not take  kindly to blacks on the road. But Bricktop  survived.  After a few grueling years in barrel  houses, she started singing in nightclubs  in Chicago, Washington, D.C. and New York  City. It was at Connie's Inn in Harlem  that her reputation solidified and her  talent and personality earned her an invitation to Paris.  Bricktop arrived in Paris in 1924 and the  American colony loved her. Not only could  she sing, but she knew all the latest  American dances. Almost immediately she  was invited to exclusive parties to sing  RUBY MUSIC  and give dance lessons. In retrospect,  the idea of a black woman teaching the  Charleston to affluent white Americans may  seem demeaning to some. But Bricktop was  a working woman. She was tough, independent  and extremely charming and these people  were her clients. It is ironic, however,  that because she never lost touch with  her roots, she became a kind of reality  touchstone for American millionaires,  artists, writers, film stars and European  royality. They followed her to every club  engagement in Paris. Eventually someone  suggested she manage her own club and  for the next 40 years, Bricktop's was the  most exclusive saloon in the world.  But Bricktop had other admirers as well  for she was not above using her influence  to help as many people as possible. In  her years stateside, she discovered a  young piano player and his band in Washington, D.C. She sang a few songs with him  and decided to take him to New York to  get work. She got him a job at The Cotton  Club and Duke Ellington never looked back.  In Paris, she encouraged a young busboy to  keep writing. His name was Langston Hughes  and he grew up to become the poet laureate  of the American blacks. She took entertainer Josephine Baker under her wing  when she realized that Josephine had a  penchant for destructive men. In this case,  she was not wholly successful. But she  gave another young singer a chance and the  two women befriended for life. Unfortunately, her friend, Mabel Mercer died  recently. But no one could really help her  when she was forced to return to New York  in 1939 to escape the Nazi invasion of  Paris. .  After sixteen years out of the country,  Bricktop found the situation in New York  quite drastic. She had become unaccustomed  to segregation and overt racism. At 45,  Bricktop was broke, jobless and without  respect. She managed to last five years  in the city before a friend financed a  Bricktop's nightclub in Mexico City. Again  Bricktop reigned supreme, but there were  problems with the Mexican government and  she longed for Paris, the place she considered home.  After six years in Mexico City, she returned to a Paris she didn't recognize.  Post-war Paris had become as racist as  New York, a gift from the white American  G.I.'s. A year later, in 1951, she relocated in Rome where she operated Brick-  top's until her retirement in 1964. She  was 69 years old and she was tired of  staying up all night.  Bricktop spent most of her remaining  20 years in New York City. Occasionally,  she would make a public appearance or  consent to sing, but she was tired and in  fragile health. She preferred to stay at  home.  In 1979, she hosted a "Bricktop Hour" at  Club "21". It was here that she met James  Haskins, the man who would later help  her write her autobiography. Bricktop  was  published by Atheneum Publishers on her  89th birthday, August 14, 1983. The mayor  arrived at her apartment and gave her a  paperweight and a scroll.  It was this book that brought me to her  and in January I produced an interview  with Bricktip for a CBC radio program.  What makes this interview significant, is  that four days later, Bricktop passed  away in her sleep.  We scheduled the interview for late afternoon because she told us that she didn't  like talking to people before noon. She  remained in bed during the interview; but  she said she had arthritis, nothing more.  She reminisced a bit about her friends,  but mostly she was philosophical. She  talked about the lessons her mother taught  her and about her own creed.- "If you're  going to think; think about something."  She spoke a lot about passion and about  the men in her life. She admitted that  she could not remember them all and in  some cases, it was just as well. When  asked about her health, she said, "I'll  live. But if I don't, I've had one of the  most beautiful, great lives in the world  and I'm grateful, and God knows it." She  died quietly, January 31, 1984, in sharp  contrast to the way she lived. 20 Kinesis May'84  LETTERS  Kudos from  former staffer  Kinesis:  Each issue of Kinesis  these days prompts  me to write and pat you all on the back  for work well done. In particular, I  commend you on the snazzy page design,  something I always wished I had more skill  with. I see a few new names on the masthead, but many old ones too - which is  great to see. I miss my friends and I miss  working on Kinesis  I've adapted nicely to the change back to  small-town living (we live just out of  town on an acreage) and am enjoying the  chance to pick up outdoor/mechanical/  gardening type skills. The pace is, if  not slower, then/less hectic than city  life. The rat race being on a much smaller  scale, I feel less the rat and more human.  Every once in a while, I hear through the  grapevine that VSW's funding has had it  this time. Now, I've seen it come through  till now, but if it doesn't - I do not  want to see Kinesis  go under. I am prepared to commit $10-$15/month forever to  support its expenses.  At expenses of $2000/month, it would  take just 200 like-minded people to secure  Kinesis.   I think you could find this number of supporters, so I guess my point  is not to get too jittery about funding.  You've got enough on your hands producing  the newspaper, and your readers will  come  through for you in turn if it becomes  necessary.  I've enclosed $2.00 as I've given away  my March '84 issue in an attempt to solicit a new subscription, and would like  another mailed to me.  A suggestion - an old difficult refrain,  I know - but could you get some articles  from outlying B.C. feminists? Something  as simple as what are feminists doing  outside the city these days, and how it  goes, would interest me.  Janet Beebe, (ex-VSW staffer)  Reader and  reviewer disagree  Kinesis:  I read with interest the review of "Something About Amelia" by Kate Shire, and I  felt compelled to express my opinion of  this film and her review.  Like Ms. Shire, I was pleased that many  of the incest stereotypes were challenged,  but I disagree with her criticism of the  portrayal of the mother. In my opinion and  experience, the mother's reactions to her  daughter's revelations are fairly typical.  The film fails us in that it does not  go far enough in examining mother's  reaction.  The film is uncritical in its portrayal  of what usually happens when incest is  revealed although those of us who have  worked with incest victims know that the  present official procedure leaves much  to be desired. This uncritical attitude  particularly hurts the mother. The mother  looks bad because there is no examination  of the reasons for her initially negative  reaction. Believing her daughter would  destroy her trust and dependence upon her  husband and threatens her whole way of  life, a life based on her role within  the family unit.  This same lack of analysis prevents us  from clearly seeing the underlying base  of father's incestuous behaviour. As a  result, we fail to see the primary importance of mending and strengthening the  mother/daughter bond. This is swept aside  as attention is focussed on the husband/  wife and father/daughter relationship.  I agree with Ms. Shire that this film  had no intention of questioning or  challenging the basic assumptions of our  male dominated society. I have offered  this criticism as I am concerned lest the  feminist viewpoint be lost to readers  seeking understanding and instead finding  gross inaccuracies in our criticisms.  Jeanette Poirier, Halifax, N.S.  Solidarity Times  sub to Kinesis  to the editors and financial wizards of  kinesis,  due to the collapse of funding/support  from the be fed of labour to the solidarity times lou and myself received a refund-  on our subscription, the amount was not  large but we felt that kinesis  can use  all the money they can get. so we are  sending you this donation, curtesy of  the unsolidarity like action of our  favourite trade union body.  hope that others like us will do the same  with their refund as there is a desperate  need for alternative news out of be.  your iwd edition was really enjoyable  perhaps you could do some sort of summary  of the last six months for those of us  not in the province.  in solidarity, Susan Mullan & Lou Nelson  Montreal  Art vs. propaganda:  artist responds  K.O. Kanne wrote an article in the October  '83 Kinesis  called "When is art subversive  when do politics subvert art?" I liked it  a lot. Then, in the February '84 issue,  Monica Thwaites' article "Art v. craft v.  propaganda" expanded on the ideas in K.O.  Kanne's piece. I disagreed with most of  what Thwaites said, but I was excited to  read it. The way we develop our ideas  is by trying them out, re-thinking them,  arguing, discussing, re-thinking again.  So here is my thinking sparked by Monica  Thwaites. My examples will be mostly  taken from 'Western' visual art, because  that's the tradition I work in and the  area I know best.  One issue is the style the article was  written in - lots of big words and complicated sentence structures. It's a style  a lot of art criticism uses. For art cri  tics, it can sometimes start to seem  like the normal way to write. It just  slips off the end of our pencils effortlessly. But I think it's dangerous for  us as feminists, because most people will  read the first paragraph, shrug, and turn  the page. It's really hard to read. Sure,  people could understand it if they struggled through it, but why should they? It's  not more beautiful, deep, or precise than  simpler language. It's just more complicated. We've learned that writing style  from the mainstream art world. They write  like that because they don't want  most  people to understand them. They believe  art is for a highly educated elite. I  don't think that's what we want.  As for the content of the article, there  were two main sections, one on the differences between art and craft, and one on  the difference between art and propaganda.  I found the section on craft confusing.  I was never quite sure how she was defining craft. It starts out: "Regardless  of the political ramifications and historical significance of the craftswoman in  our society, craft itself is a discipline  separate from that of art by virtue of  aesthetic values and creative objectives  unique to craft alone." It seems like  she's defining craft as functional work,  like weaving, pottery, quilting, etc. But  later she says "...thus we have both a  craft of writing, painting, dancing, etc.",  which sounds like she's talking about  craft as technique, as "craftspersonship".  In either case, I don't see the value of  separating art from craft.  If we take the definition of craft as  functional work - quilts as opposed to  paintings - the separation is hazy. There  are paintings that use the same visual  language that women have put into their  quilts for centuries. There are quilts  that were made to hang on gallery walls  and have never seen a bed. So where is the  sharp division? Is it art only if it won't  keep you warm?  Furthermore, people's ideas about art and  craft change from culture to culture and  throughout history. In 'Western' society,  this big separation between art and craft  dates back only to the Renaissance and  the roots of capitalism. Many other cultures  have never had that split. Our concepts  of art, craft, and the difference between  them aren't based on some kind of unchanging aesthetics. They're influenced by the  social, economic, and political factors  of the times. If we're defining art and  craft, we can't ignore those factors.  If we take the definition of craft as  work that has purely technical concerns,  as opposed to work with an emotional/spiritual aspect to it, I still don't see  what's useful about separating them. I mean,  we can talk about "the craft of writing"  and "the art of writing" and perhaps  understand writing better by contrasting  those two elements, but out in the world,  writing is a mixture of both elements. It's  not like two separate things that are  clearly different from each other. It's  more like a continuum, with art that's  purely technical and denies all content  on one end, and art that's all content  and no technique on the other, but most  art falls somewhere in between.  But that's a minor quibble compared to  how I felt about the art v. propaganda  section. She says propaganda is "communicating and advocating a particular concept,  dogma, or politics, concepts that are  essentially foreign to the inherent concerns of art and craft." I disagree. I  think concepts, dogmas, and politics are  perfectly compatible with art and have  been throughout history. For centuries  European art was dominated by the Catholic  Church. Art of that time was propaganda  for the Church, and that dogma produces May '84 Kinesis 21  LETTERS  some beautiful art. As the economic and  political power of the Church lessened,  art started to reflect the concerns of  wealthy nobles and the rising merchant  class, because they had the money to hire  artists. Again, some excellent art was  produced, all about what terrific guys the  nobles were and how much expensive stuff  they owned. Politics and econdmics have  been interwoven with art both subtly and  blatantly in all times and cultures. A  portrait in oils or a totem pole, commissioned to show a family's history and  status in the community, are both profoundly political, which takes nothing away  from their value as art.  We can see the unconscious politics in  art clearly when we look at the work of  many 20th Century 'Western' male painters  (Munch and Dekooning are extreme examples)  who show women as grasping, devouring,  cruelly sexual, and not quite human. Those  men probably never thought about their portrayal of women in political terms, but  it was (is) political. Their paintings reflected the backlash against feminism and  the gains that union women, suffragettes,  black women, all  women were making. The  politics of their times shaped those man  and their paintings. The ideas and values  that are dominant in a culture have an  effect on art - they effect the way we  see, the styles that appeal to us, in ways  we hardly notice. It's like the air we  breathe - we may not be aware of it, but  it's everywhere. If we don't actively shape  our  politics into our art, the dominant  politics of our times may be shaping it  for us.  I'm not saying that all consciously political art is great art. I've made some pretty  dumb stuff sometimes. A few years ago, I  decided I hadn't done enough really serious  really heavy political art for a while. So  I was trying to do some really serious,  really heavy stuff and it all looked like  crap to me. After a few weeks I was wringing my hands and saying "Oh god, maybe all  political artwork is  boring and stupid."  But luckily my friend Portland took me in  hand, reminded me about all the terrific  political art there is in the world, and  told me my problem was that I was working  from this "should" in my head, instead of  from an overwhelming passion in my head,  heart, eyes, hands, and guts simultaneously  And I think she was right. I think that  for any art to be really moving it has to  be working on a lot of different levels  at once. It has to appeal to our senses,  our minds, our emotions, and more. And  yes, some political art comes only from  the head and it's pretty thin stuff. But  the same can be said of some abstract art.  It's a problem all art shares.  In K.O. Kanne's article she writes, "Politics subverts art whenever it is tagged  on as a directive, as opposed to having  already been integrated into a vision."  I agree, and I've seen (heard, read) a  fair amount of political artwork with that  integrated vision. In Monica Thwaites'  article she says, "I have purposefully  avoided discussing the complex area wherein art and craft and propaganda overlap  successfully as in, for example, Judy  Chicago's "Dinner Party", or the writings  of Virgina Woolf." That makes it sound as  if only a few famous artists have every  integrated art, craft, and propaganda  successfully. I don't think that's true.  I think that an integrated vision is characteristic of many women artists. As women,  most of us have been socialized not  to put  our work, our emotions, our politics,  etc. into separate little compartments.  Most of us have been trained from birth  to be housewives whose work isn't separated  from private life, or sex, or emotions,  and is never done. I hear over and over  from women in art schools that they want  to, need  to do art that's about their  everyday lives, often in spite of heavy  opposition from their male teachers. This  is one of our great strengths as artists  that men could well learn from. And it  shows in the art of many, many women at all  levels of technical skill.  Towards the end of her article, Thwaites  says, "thus, propaganda while necessary  in the advocation of the feminist cause,  must be clearly distinguished from the art  created by feminists so as to prevent our  art from being reduced to repetitions of  barren and abstract ideologies...wherein  all relevance to the concerns of. the life  of the individual woman ceases to exist."  Yes, but feminism isn't a barren and  abstract ideology. We struggle to keep our  politics, as well as our art, close to the  heart, rooted in the reality of women's  lives. Then our politics and our art can  sing together a deep, wild truth.  Persimmon Blackbridge  (NB. Many of the ideas in this article,  as well as much needed encouragement  to write it came from Elizabeth Shefrin.)  Price needs  to be replaced  Open Letter to: Mayor Harcourt and Aldermen/women ...  As you may know, the West End Advisory  Council has been harassing both Johns and  prostitutes verbally and physically. These  sorts of vigilante groups are not the way  to deal with the prostitution issue.  Their actions concern you directly. Gordon  Price, who is employed by the City Social  Planning Department to look at a number of  West End issues, including prostitution,  has taken part in the vigilante actions.  What is he doing out there? Why is the  city paying him $15,000.00 to do research  on prostitution when he has already made  up his mind about the issue?  We have not yet seen his report, but his  actions cast a dubious light on all prostitution research he has done. We think  that it is totally ludicrous that this  man, known for his strong anti-prostitute  stance, should ever have been hired to  do this important work in the first place.  Price should be immediately replaced with  someone with a little more objectivity  and fairness, if it is not already too  late. And, without serious consultation  with the prostitutes themselves through  their organization, Alliance for the  Safety of Prostitutes (ASP), we cannot  understand how any real solution will ever  be reached. This is not to say that the  concerns of West End residents are unimportant; obviously they are. However, all  of those involved deserve the right to be  heard. It is time that those who have  never been taken seriously, the prostitutes, are given a chance.  We look forward to receiving your reply  and seeing some positive action on the  issus of prostitution.  In peace,  M.van Loon, Kandace Kerr,  Faith Jones, Jeff S., Jeanette van Loon,  Peter R.  Thanks for  the coverage  Kinesis:  Good luck in your funding application;  it is more vital, than ever that you keep  going, you are our 'flag-ship' and focus,  how as ever and perhaps even more so as  things.go from bad to worse. Thanks above  all for Kinesis',  it keeps me sane if making me homesick. The 'solidarity' coverage  was splendid, especially compared to that"  we got in the commercial press here.  In support, Gillain Walker, Ottawa, Ont.  Announcements  behind the times  I'm enclosing a cheque for renewal of my  subscription. Kinesis  is important to  me. You put together a first-class magazine.  May I carp about one thing that concerns  me though: often I don't get my copy until  after  several of the things in the  announcements have passed. Could you  perhaps a) put.mailing date on the outside as some other magazines do so subscribers can keep records of how long it  takes in the mail and b) get announcements  in a month earlier and give some Feb. and  March announcements in the Feb. issue, or  at least to March 15.  Thanks and good luck with your funding.  Thanks for the suggestions. Readers can  help keep Bulletin Board up to date  sending in announcements early. Our  meter puts a mailing date on the papers,  and they get mailed the same day. Ed.  VSW working day continued from p. 1  It's the kind of meaty issue that needs  to be constantly developed in discussions  with staff and board and she makes a note  to raise it at the next meeting.  The new volunteer is settled in for the  afternoon and is just starting to feel  comfortable in her phone answering role,  when the inevitable happens. The phone  rings and she answers it jauntily with  Hello, Status of Women... There is a long  silence on the other end of the line,  and finally, a gigantic sob. The caller  is in great distress. She's worked up her  courage to make that first phone call for  help.  Patty, who has just walked in the door,  spends nearly 45 minutes on the phone  with the woman and finally refers her to  transition house. The new volunteer is  visibly shaken after the phone call. Although the staff don't say so, they are  glad that at least the volunteer hadn't  answered the phone to an abusive, anti-  woman caller - an occasional harassment. If  she had, she might not return to help again.  There's just time for a few more things  before the end of the day: a single  mother has not received her welfare  cheque and she's not getting a valid  reason from Human Resources. She's desperate and has heard that VSW does advocacy work. Could someone phone them and  try to get the matter straightened out?  As the staff leave for the day the 'night  shift' arrives - the volunteers who produce Kinesis',  also a group of women who  are using VSW space for their organization's meetings.  The new volunteer is on her way home,  thinking.about supper and a hot bath and  also thinking that although the day had  been eventful and interesting,.she might  not choose to work on the phone shift  tomorrow morning.  Consequently, it was a staff member who  picked up the phone the following day  when the Attorney General's department  called to announce the provincial  government had cut off all funding to  the Vancouver Status of Women. 22 Kinesis May'84  BULLETIN BOARD  JOBS  PRESS GANG WILL BE HIRING one full-time  <,  staff person in May. The application  deadline is May 11th, 1984. Press Gang  is a worker-controlled, feminist and  anti-capitalist print shop and book  publisher. The new collective member  will be primarily responsible for  running a small offset printing press,  with some responsibility for bindery  and pre-press work. Applicants should  have some experience in the printing  trade, preferably running an A.B. Dick  or similar press, although training  can be provided. Equally important is  an interest and experience in working  collectively.  SELF-HELP AFTERNOON organized by the Vancouver Women's Health Collective, Sat.  June 2 at 1p.m. We will focus on vaginal  and cervical health and teach cervical  ,self-exam. We will also discuss vaginal  infections, their causes and treatment,  Pap tests, etc. For more info about j  the content, the location of the workshop, or if you need childcare, call the  Health Collective at 736-6696.  PRESS GANG IS ALSO looking for women who  are interested in acquiring some skills  in the printing trade to work with us  on a volunteer basis. The work would  be primarily in the bindery, but could  also involve pre-press, bookkeeping,  fundraising and other tasks. Training  will be provided. For more info call  Press Gang at 253-1224.  WORKSHOPS  PROCLAIMING OURSELVES: An Empowerment  Workshop for Women, Sat. May 12, 10-4  at UBC. Led by Jillian Ridington and  Carol Gordon. $25. Inquiries, 222-5272.  THE B.C. EDUCATIONAL SYSTEM will be the  subject of all day workshops sponsored  by Budget University, Sat. May 12,  4:00 at King Edward campus of VCC.  00-  STORYTELLING AND WORKSHOP FOR WOMEN, Sunday,  May 20, 2-5 pm. From 2-3 pm. we will hear  'Tales of strong women'; from 3-5 pm we  will explore our own stories using words,  play, movement, guided relaxation, and  fantasy. The cost is $2 for the storytelling; $6 for the workshop. Call Mary  Love May at 733-6402 for more info and  to register.  DES WORKSHOP will be presented by the  Vancouver Women's Health Collective,  Tuesday, May 22 at 7:30 p.m. in the  Robson Square Media Centre. DES is a  synthetic estrogen frequently given to  pregnant women in North America between  1941-1971 to prevent miscarriage. In  1971 the drug was banned for use in  pregnancy when it was linked to many  health problems in children of women  who took it. In this workshop we will  provide information and emotional  support to women who think or know they  are DES exposed. The workshop is open  to all interested women. Phone the  Health Collective at 736-6696 for more  info, or if you need childcare for the  workshop.  WOMEN EMERGING, a week-end workshop on  Galiano Island, May 26-27, 1984, led  by Sara Joy David, clinical psychologist  and feminist therapist. Included are  stress reduction exercises, breathing,  bodywork, applied meditation, creative  visualizations, affirmations, feminist  analysis, singing and techniques  developed by Chuck Spezzano for clearing  out intergenerational family blocks.  To register phone 385-2954 or write to  1165 Fairfield Road, Victoria, B.C.  V8V 3A9. Cost for room & board (including nutritious meals) is $60; Tuition  is $50-$200 on a sliding scale.  WALK AND ROLL, organized by CAAW&S (Canadian Association for the Advancement  of Women & Sport) in celebration of  National Physical Activity Week, will  take place May 19 at the False Creek  Elementary School, 11a.m.-3p.m. Rain or  shine. The circular course can be  completed on foot or wheels. Fitness  demonstrations all day. For more info  call CAAW&S'at 687-3333, loc. 242.  FOOTPRINTS OF THE MIND: Personal exploration through phototherapy is an experi-  entially-based workshop led by Judy  Weiser, director of the Phototherapy  Centre. July 27-29 on Gabriola Island.  For more info contact Judy at 689-9709.  For registration info contact PD Seminars, Davis Road, Gabriola Island,B.C.  VOR 1X0.  EVENTS  YET ANOTHER CAPRI HALL DANCE! Come celebrate Your Mother's Day with us. May 4  at 8p.m., Capri Hall, 3925 Fraser, All  Women Welcome. Childcare/wheelchair  accessible/smoking allowed. Advanced  tickets at Ariel/Octopus East/Little  Sisters/Womens Bookstore. Organized by  the 1984 Vancouver Lesbian Connection.  CO-OP RADIO MARATHON, May 4-13 will feature  special public affairs, music and restro-  spective programming.  Tune in to CFRO,  102.7 FM. Pledge your support. Become a  member. Help keep Co-op Radio on the air.  BUDGET UNIVERSITY GRADUATION Benefit Dance  with Communique,  Sat. May 12, 8:00-1:00  at the Ukranian Hall, 805 E. Pender,  Vane.  $5 employed; $3 unemployed.  Childcare provided.  BIM'S MOTHER'S DAY COUNTRY SPECTACULAR,  with a band and special guests. Wed. May  13, 8 pm at Vane. East Cultural Centre.  Opening of Claire Kujundzic's art show at  La Quena, 1111 Commercial Dr., Vane,  May 15.  LESBIAN INFORMATION^ LINE COLLECTIVE  KtiXMll  nMxem  JUNE   22-8=30 pm.  CRPRI  HALL-53-55  392S FRASER STREET-  Tickets available at —  women  only  Ariel Books  Women-s Bookstore  Little Sisters  Octopus east ft west  RAPE RELIEF 4th ANNUAL WALKATHON, Sunday  May 27, beginning at 11a.m., Stanley  Park Seawall. We invite you to walk with  us or sponsor a walker. The Walkathon  helps raise funds to keep a Women's  Shelter available to women and their  children. Phone 872-8212 for more info.  BIKE-A-TH0N to raise funds for the control  zones in El Salvador, June 2, beginning  at Queen Elizabeth Park at 8a.m. Jointly  organized by the Solidarity Committee of  El Salvador (a Vancouver organization)  and the Committee in Solidarity with  the People of El Salvador (in Belling-  ham, WA.) Participants from the two  groups will meet at the Peace Arch Park  at the border (approx. 50 km. from Vancouver) . There will be speakers and  music beginning at 1:00p.m. For more  info on how you can participate and get  your pledge sheets, please contact Andrea  at 872-3415.  .S?£\^G HAS spRUNc>  lt^national Women's Day  Benefit  Dinner  s£  bakers  a. place, ^or women 4 -friends  5bO D&vieSt.  Weds. May lb $10  6 "7 pm cocktails       -vjomarx on'v  7~830 buffet pj^eg!)   '&*&$  8 -~11 entevtairyn^t- T.BA-  AbVANCE. TICKETS ONCf: Vfcnver\'s Book-Stons.  Ariel, Octopus e&st & West  PRIVATIZATION AND THE PUBLIC TRUST, a  conference sponsored by the Social  Planning & Review Council of B.C. and  the Canadian Council on Social Development, will take place May 31 - June 2  at U.B.C. Instructional Resources Centre.  The conference will address the realities |  of the privatization of social services  and the necessity of relating social  concern to social responsibility. For  more info write to 301-1107 Homer St.,  Vane, V6B 2Y1, or call 685-9725.  TO INFORM US ABOUT YOU, AND YOU ABOUT US  is the theme of the 1984 National Conference of the Canadian Assoc, for the  Advancement of Women and Sport, taking  place June 8, 9 & 10 in Ottawa. The keynote speaker is Greta Nemiroff, a well-  known feminist from Montreal. For more  info write to CAAWS, P.O. Box 3769,  Station C, Ottawa K1Y 4J8.  CONNIE KALD0R, gifted songwriter and performer, will be in concert Friday, May  25 at the Queen Elizabeth Playhouse,  8:00 pm. Tickets $9, $10, reserved  seating, available from Black Swan  Records, Octopus Books East, Vane. Folk  Music Festival and at VTC/CBO outlets. May'84 Kinesis 23  BULLETIN BOARD  COMMUNITY CALENDAR FOR THE SOUTH SURREY/  White Rock Women's Place Association,  1425 George St., White Rock, B.C. Ph.  536-9611 for more info. Ongoing programs:  Mom & Tot Drop In/Everywoman's Drop In/  Women's Night - film and social/Sunday  Afternoon at the Movies - 1st Sunday of  the month. Special Programs: May 5th,  Workshop: "Assertion for Women", 10-4.  Led by Michaela Johnson. May 16 "Not a  Love Story" - film and discussion.  June 9, Anger Workshop, 10-4.  GROUPS  LESBIAN DROP-IN, Thursday evenings, 7-10p.m.  at 1501 W. Broadway, Vancouver. Call 734-  1016 Thurs. or Sun. 7-10p.m. for more  info.  LESBIANS AGAINST THE BUDGET - Speakers  Available. We are a group of lesbians  that came together in October, 1983 to  fight a repressive budget and legislation. We are individuals and group  representatives who vary in background,  political perspectives and public visibility as lesbians. We have speakers on  how our issues relate to yours. Please  contact us at 879-6884 (Lower Mainland  Solidarity Coalition Office) or write  us at P.O. Box 1559, Station A, Vancouver,  B.C. V6C 2P7.  LESBIANS AGAINST THE BUDGET - meets the  first Tuesday of each month at 7:30p.m  in suite 301, 2515 Burrard. All women  welcome.  CALLING ALL KINESIS WORKERS, present and  future! We are planning to meet on a day in  June—to find out about the different aspects of the paper, work out our strengths  and weaknesses, and meet the new staff.  Call the VSW office, 873-5925, for details.  CLASSIFIED  AUTO REPAIR: Complete Car Care By Women.  We specialize in tune ups and brakes.  Please leave your name and number at  253-7596*for pager #9689.  SPACE AVAILABLE IN A MIXED CO-OP HOUSE in  Commercial Drive area. We are looking  for someone who is friendly, stable  and politically aware, whose lifestyle  is compatible with a small baby. Non-  smoker preferred. Rent is $180 or less  plus utilities. Available now or June  1. 254-2230.  HELPING OURSELVES: A Handbook for Women  Starting Groups.  Available for $5 from  Women's Counselling Referral & Education  Centre of Toronto, 348 College Street,  Toronto, Ontario, M5T 1S4.  ITS NOT A PIPE DREAM.  ST END FOOD CO-OP,  1806 Victoria Drive, IS YOURS TO SHARE.  One-stop shopping in a helpful, social atmosphere at a food store that you can own.  Optional work requirement for discounts on groceries. We're open from  Tuesday to Friday, 2-7:30 and Saturday and Sunday from 10:30-5:30.  Phone 254-5044.  THE VANCOUVER WOMEN'S BOOKSTORE is seeking  new members. If you like literature  and have a feminist spirit, please cali  us or drop in to 315 Cambie Street.  Ph. 684-0523.  PRESS GANG is having a fundraising raffle.  To donate prizes or sell tickets, call  253-1224.  "RITES" is a new magazine for lesbian and  gay liberation. It features provocative  commentary, news, reviews, interviews,  lifestyle and health columns, artists  and their work, want ads and more. Subscribe now and get 10 issues of "Rites"  for $14.50. Write to Box 65, Station  F, Toronto, Ontario. M4Y 2L4.  MEDIA WATCH is expanding and needs donations of office furniture, kitchen  table and chairs, and small fridge. Will  pick up. Call 873-8511.  THE OPEN DOOR, a rural lesbian newsletter,  invites submissions and subscriptions.  We feature articles on rural issues,  connections, prose and poetry, coming  out. For more info,, contact the Northern  Lesbians Collective, RR #2, Box 50,  USK Store, Terrace, B.C. V8G 3Z9.  NEW TITLES at the Vancouver Women's Bookstore. Fiction: Light a Penny Candle,  Maeve Binchy, $4.95/Isis,   Janine Veto,  $9.05/4 Severed Wasp,  Madeline L'Engle,  i   $9.95/Patience & Sarah(reprint), Isabel  Miller, $3.25.'Non-fiction: Falling  from Grace,  poetry, Elly Van de Walle,  §5.95./Out from Under,   ed. Jean Swallow,  $11.20/fcte Are All Part of One Another:  A Barbara Deming Reader,   $1A.25/The  Grand Domestic Revolution,  Dolores  Hayden, $13.95.  VANCOUVER STATUS OF WOMEN  ANNUAL GENERAL MEETING  Thursday, June 28  N.D.P. Hall  517 East Broadway  7:30 p.m.  Nominations are now being accepted for the executive. In order to run for the executive, you  must have been a member of VSW in good standing for at least six months. If interested,  send your name and phone number by May 28 to Vancouver Status of Women, 400A West  5th Ave., Vancouver, V5Y1J8, Attn: Nominations Committee.  DO YOU ENJOY KEEPING UP WITH THE NEWS?  Do you get angry when women's issues  are relegated to page 17 of the daily  paper? Do you ask more insightful  questions than Barbara Frum? Do you  want to make use of all those endless  conversations in the bar?  Have we got a job for you.  Join the Kinesis  News Group..We need  women to cover issues: and events from  a feminist perspective. Call Jan, Patty  or Emma at 873-5925.  Renovations, Construction and Design  1140 E. 13th.  Vancouver, B.C.  VST 2M2  Pensions  continued from p. 5  for private pension plans? If it is true  that women reject survivor benefits  because they imply dependency, why does it  not imply dependency to have to depend on  their husbands to contribute to the home-  maker pension scheme?  "The idea that the NAC proposal somehow  forces the husband to contribute to a  pension for the wife who provides home-  making services for him is simply not so.  In a one-earner couple, the husband's •  earnings constitute the bulk of family  income. Mandatory higher contributions  will therefore come out of family income  and that will reduce the disposable income  of the family, including that of the wife.  If survivor's benefits are to be abolished,  as NAC proposes, what happens to the full  time homemaker whose husband dies before  reaching 65 years, which means that no  survivor's benefits are payable?  There are two major reasons for the Right  to support the homemaker pension scheme:  it is considerably cheaper (it is just a  small supplement intended for a minority  of women) than a real pension.reform. One  thing the Right can do is "add" and "subtract", especially the latter. Secondly,  it is "traditional". It endorses the concept of women's place in the home, and  these people have never had any doubt about  where women belong.  The list of objections could,continue but  the major areas of disagreement have been  outlined. The real problem for women and  women's groups across Cananda is to oppose  the Dulude/NAC proposal, now endorsed by  the Parliamentary Task Force, and to  support increases in the OAS/GIS and a  doubling of the C/QPP instead. We've been raided! Can you help?  Write letters, pledge, join!  SUBSCRIBE TO KMESiJ  Published 10 times a year  by Vancouver Status of Women  400A West 5th Ave., Vancouver, B.C. V5Y 1J8  □ VSW membership - includes Kinesis subscription •  $20 (or what you can afford)  □ Kinesis subscription only - $13  □ Institutions - $40.  □ Sustainers - $75  Name___ j   _ Amount Enclosed.  Please remember that VSW operates on inadequate  funding — we need member support!


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