Kinesis

Kinesis Nov 1, 1984

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  -JCMMMX  COPE meets with women  by Kinesis staff writers  Vancouver voters go to the  polls on November 17th to  elect a new City Council, Parks  Board, and School Board. Municipal elections happen every  second year, but this year's  race takes on added significance in light of the political climate provincially and  nationally. Many see Vancou-r  ver's progressive City Council  as the last oasis in a province  suffering the effects of the  Socreds' severe 'restraint'  measures. The election of  another COPE (Committee of  Progressive Electors) dominated  Council will be a sign to Victoria, they say, that.Vancouver  is in opposition to the right  wing backlash that elected the  Socreds in 1983, and Brian Mulroney in 1984.  COPE has included women's issues in its campaign, something  which is encouraging in and of  itself. They have prepared a  summary of COPE policy on issues of importance to women,  including porn, prostitution,  jobs, and social services. They  also sponsored a Women's Day  Open house, which gave women  an opportunity to meet and talk  with COPE candidates. The meeting opened with presentations  from three panelists: Libby  Davies, COPE alderperson;  Pauline Weinstein, member of  the School Board; and Pat Wilson of the Parks Board.  Davies called COPE a "bright  light" amid the Socreds, and  pointed to their fiscal record  - maintaining jobs and services  with a reduced budget. She  cited jobs and services as a  top priority, and went on to  stress that COPE is committed  to equal employment opportunities for women, and to equal  pay for work of equal value.  COPE is opposed to strengthening the Criminal Code to impose  more sanctions on prostitutes,  and on pornography, Davies  noted COPE's efforts to use the  City's licensing by-laws and to  pressure the provincial government to prosecute porn distributors.  Pat Wilson of the Parks Board  noted the voctories she has won  as the only COPE Parks Board  member: free time at City Pools  and facility passes for welfare  recipients. Parks Board priorities for women are more women's  programs, especially for immigrant women, as well as a  freeze on user fees, and  elimination of fees for children, seniors, and the unemployed.  Dr. Pauline Weinstein said that  the primary concern for the  school board is funding cuts,  over which they have little  control, as they are the result of provincial policies.  COPE priorities in schools  are reduced class size, the  restoration of English as a  Second Language programs, and  programs for mature students,  and for students with special .  needs.  Prostitution and childcare  were the issues that conc-  cerned women attending the  women's day. There was a discussion about the youth of  many prostitutes - to which  one solution offered was increased programs for young  people in community centres.  Voters also seemed dissatisfied with the answer that  we have to wait for society  to change before we will see  the elimination of prostitution. While this is true,  it is also true that training  programs, and pressure on the  federal and provincial governments, might speed up the  change.  By-law puts porn under glass  by Pam Tranfield  An acceptable definition for  "sexually graphic" material  has yet to be created by legal  advisors at Vancouver City  Hall, but porn will be under  glass by by-law after January 1.  In the new year, 'adult' entertainment will have to be displayed at least 47 inches off  the floor in businesses, and  behind a sheet of opaque glass.  "We're just going to have to  see how it works," says Alder--  man Libby Davies, "we have the  cooperation of distributors to  place material (behind barriers) and some stores have already installed these." Davies  says she is not totally happy  with the "barrier by-law" as  the words "sexually explicit"  are open to interpretation.  Davies says she had been hoping  to include a 'save and except'  clause, which would apply to  educational or artistic  material.  Jancis Andrews of the North  Shore Women's Centre sees problems with a bylaw in which the  definitions are not clear.  "Anytime a by-law is passed,  the words have to be explicit,  if not, we're going to have  porn pimps dumping on enforcement," says Andrews.  The by-law is subject to a  six months review. Davies says  the power of the city to license and regulate sale of  pornography would follow a definition of "sexually graphic."  This information, she says, is'Ģ  held up until an appeal by Red .  Hot Video, which was found  guilty earlier this year of  distributing obscene material.  Andrews says this explanation  is difficult to understand, as  the Red Hot Video appeal was  prompted by the Charter of  This month's supplement: women working in the media  This month's Kinesis  supplement is on us - feminist journalists.  We work in print, radio and video, for the mainstream press, the  alternative media, and sometimes both at the same time, bringing a feminist perspective to news and reviews. As many of us  have remarked to each"other, we don't call ourselves 'writers',  though we write all the time - and our issues are rarely discussed in the very media we write for. What is^ a feminist perspective on news? What obstacles do we face in trying to make it  as journalists and keep our integrity? How do we report responsibly on our community? As you'll find out on p. 12, media women  in Vancouver will be getting together this month to discuss how  they are handling these questions now, and talk about ways to  improve. This issue has articles on lesbian periodicals, a new  black women's paper in England, early women journalists and more.  Rights and Freedoms, which  contains a loosely worded  clause on freedom of expres-  "Society agrees that children  should not have this material  but is blind to the fact that  children are receiving sex  education at the corner grocery, while they (parents)  don't seem to want sex education in the schools; Red Hot  Video has nothing to do with  this," says Andrews.  According to Davies, the forthcoming definition will allow  for levels of distribution to  be assessed. At least 12 specifically licenced adult entertainment stores would be allowed to distribute "sexually  graphic" material, as defined .  by the by-laws. Other outlets  would fall under a license to  distribute "soft porn."  "There is a gray area, and under the by-law we would deal  with this," says Davies.  Davies feels the success of any  regulation will depend on "our  (city hall's) powers to license  and regulate. Andrews hopes the  by-law will be made "as clear  as possible" so the "porn  pimps can't wriggle out."  By-laws submitted by Vancouver  women's groups which give a  feminist definition of porn  have yet to be considered.  Pornographic movie  Body Double is playing  at struck Famous Players  Theatres. See story  page 4.  There is little the municipal  government can do about  childcare, as subsidy for it  is federal and provincial,  but zoning and 'bonusing'  provisions can provide new  facilities, something COPE  supports.  On the whole, COPE has demon- .  strated an awareness and concern about women's issues  that is very encouraging.  Incumbent mayor Mike Harcourt  is running as a Civic Independent, with a slate of alderman-  ic candidates that includes  present alderman Bill Yee, and  candidates Reva Dexter, Ron  Johnson, and Carol Walker. The  Independents and COPE together  comprise the Unity Slate.  The Non-Partisan Alliance  (NPA) is, despite its name,  the voice of the right in this  election. The mayoral candidate they support, Bill Van-  derzalm, has a record in Socred administrations that  includes some of the most  severy budgetary measures on  education to date. Kinesis  spoke with Pam Glass, NPA  candidate for Council, about  women's issues in the campaign.  On pornography, she feels the  law is there and should be  enforced. On Parks Board user  fees, she assured Kinesis  that no one is turned away  from Parks Board facilities !  if they cannot, afford them,  but went on to add that "if  we continue to have union  agreements that continually  ask for more, someone will  have to pay," meaning the  On prostitution, Glass noted  the fact that as liaison with  the provincial Attorney General she was instrumental in  events leading up to the injunction that barred thirty  prostitutes from the West End  earlier this year as public  nuisances. She also had what  she called the 'happy occasion' to attend the 'victory'  celebration when the injunc-  On November 17th, the choice  is up to you. 2 Kinesis November "84  MOVEMENT MATTERS  iMsm*  Across B.C  4  Labour  5  Prisons: FLQ women  6  International • 8  WORKING IN THE MEDIA  Activist radio    9  What's a nice girl? 10  Early feminist journalists 11  Co-op women's caucus 12  Farewell to Womanspirit 13  Lesbian periodicals 14  Outwrlte 15  Media and art 16  The EmMy  17  ARTS  Henna Haywood   18  Georgiana Chappel 19  Rubymusic: Ferron 20  Cathy Fink 21  Women in Focus 22  Small Press Poetry 23  Letters 24  Bulletin Board 25  EDITORIAL GROUP: Jan DeGrass, Linda  Grant, Isis, Emma Kivisild (Editor), Barbara  Kuhne, Sharon Knapp, Claudia Macdonald,  Cy-Thea Sand, Connie Smoth, Michele Wollstonecroft.  EDITORIAL BOARD: Capl Bieranga, Jan  DeGrass, Patty Gibson! Punam Khosla,  Emma Kivisild, Michele Wollstonecroft.  CIRCULATION/DISTRIBUTION: Jan  AGAIN  CIRCULATION/DISTRIBUTION: Jan DeGrass,  Judy Rose, Joey Schibild, Vicky Donaldson,  Margaret McHugh, Cy-Thea Sand, Cat  L'Hirondelle.  ADVERTISING: Jill Pollack  OFFICE: Judy Hopkins, Ruth Meechan, Cat  L'Hirondelle, Nancy Maglio, Michele Wollstonecroft.  PRODUCTION THIS ISSUE: Jan DeGrass,  Cole Dudley, Michele Edwards, Patty Gibson, Heather Harris, Lisa Hebert, Karen Hill,  Judy Hopkins, Kim Irving, Isis (Co-ordinator),  Emma Kivisild, Sharon Knapp, Barbara  Kuhne, M. McPherson, Claudia Macdonald,  Mary Anne Pare, Swee Sim Tan, Angela  Wanczura, and Terry Thomson.  Smith by Sharon  Cover photo of Conni  Knapp.  KINESIS welcomes volunteers to work on  all aspects of the paper. Call us at 873-5925.  The next story meeting is on November 7th,  7:30 pm at the VSW office. All women  welcome. Don't miss our open house,  November 10th, 2-5 pm.  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.  V5Y1J8.  MEMBERSHIP in Vancouver Status of Women is  $23/year (or what you can afford). This includes a  subscription to Kinesis. Individual subscriptions  to Kinesis are $15/year.  SUBMISSIONS are welcome. We reserve the  right to edit, and submission does not guarantee  publication.  Hot off the press  Jte#  LvvA^  A Workbook  on Lesbianism  In October, Press Gang, Vancouver's feminist publishers, released a new title -  Stepping Out of Line: A Workbook on  Lesbianism and Feminism.   The idea for the  book began 10 years ago, when the Lesbian  Caucus of the B.C. Federation of Women was  formed at BCFW's founding comvention in  1974. In 1975, lesbians in BCFW began to  develop a workshop on lesbianism to present to women's groups around the province.  Stepping out of Line  is the script to that  workshop, though the book includes much  more: notes for facilitators, theoretical  articles on lesbianism and feminism, and  first-person accounts. It is intended not I  only for lesbians but for any woman or  activist interested in a better understanding of lesbian issues. The official  book launching will be at Press Gang this  month (see Bulletin Board), and watch for  the review in the next issue of Kinesis.  Also coming up in Kinesis -  supplement on  Racism in the December/January issue, with  articles on local anti-racist groups, black  and white women working together, and  immigration policies, an interview with  Jane Sapp, and more; review and analysis  of Caryl Churchill's Cloud 9; and in  February, a supplement on Rural Women.  International Women's Day Committee  International Women's Day Committee is continuing to meet every second Tuesday at  Britannia Community Centre (1661 Napier,  near Commercial Drive). At the last meeting  held October 16, we finalized the concept  for this year's march and rally, although  we don't as yet have a catchy slogan (any  ideas?). We want to emphasize women's continuing ability to resist cutbacks, and to  fight back even in hard times. We realize  that this is a repeat of last year and the  year before, but the times are still tough  and still we survive. Let's acknowledge  that.' All snappy slogans will be gratefully considered.  Next meeting  Next I.W.D.C. meeting will be November  13, 7:30 at Britannia. All women are welcome. For further information, contact Pat  at 253-1885.   I.W.D.  Benefit  I.W.D. Committee is once again*"presenting  "True Confessions", an evening of songs  and stories about the women's movement.  The place is the VMREU Lounge at 545 West  10th (10th and Cambie). The date is Friday,  November 23 at 8 pm. Tickets are $5 (employed) and $3 (unemployed), and will be  available through committee members or by  contacting Vancouver Status of Women at  873-1427. WARNING: The hall is small. This  event was completely sold out last year,  so get your tickets early!  Our Apologies  The following errors appeared in the  article 'BCTF Status of Women' in the  October '84 issue. Marian Dodds is not  the chairwoman of the BCTF Status of  Women committee - it is co-chaired by Kay  Howard and Margie Willers, and Dodds is  the Status of Women Program Co-ordinator,  assisted by Debbie Omand. The nine provincial committee members are not elected,  as stated in the article, but appointed  by the BCTF Executive Committee. Kinesis  apologizes for any inconvenience these  errors may have caused.  gBlil j  t>>'\Ao<  t&  \\*x°A  «  KINESIS IS AVAILABLE AT:  VANCOUVER AND AREA:  Agora Food Co-op  Beckwomans  East End Food Co-op  English Bay Books  La Quena Coffee House  Simon Fraser Univt  Spartacus Books.  UBCBookstore  Vanguard Books  Women's Health Collect  Women's Resource Cent  Haney Books, MapleRidge  PL Coquitlam Women'sCentre  Quesnel Women's Resource Centre  SouthSurrey/WhiteRock Women's*  Terrace Women's Resource Centre  Unemployed Action Centre, Nanaim  rring Co-op Books  Sherbrooke  BiblairieCGCLtee.  Winnipeg  Thunder Bay Co-op Books  Ottawa  re Globe Mags and Cigars  Edmonton  Aspen Books  Common Woman hooks  Book World  DECBookstore  Lichtman's News & Books  LonghouseBook Shop  It's About Time. Seattle, W  Old Wives Tales, San Franc  Room of One's Own, Madii  NEW ZEALAND  Broadsheet, Auk land  Women's Bookshop, Chris, November *84 Kinesis 3  ACROSS B.C.  Northern BC women denied choice for abortion  ■THE ABORTION  QUESTION  Mams ^fSa8?l m  by Karen Ochs  The town of Smithers and its  outlying areas join a number  of communities in BC hit by a  right-wing backlash against  women's access to safe therapeutic abortions.  A local hospital board decision disbanded the town's  Therapeutic Abortion Committee  (TAC) Oct. 3. The board's  executive reinstated the TAC  at a special meeting two weeks  later, but two of the doctors  chosen for the new TAC are  staunchly anti-abortion, and  the third is opposed to abortion, though he is seen by  other doctors to be "more  moderate." Another anti-  abortion doctor will alternate  for any of the three who cannot attend a committee meeting.  What this means to most women  of the Bulkley Valley is no  safe therapeutic abortions. Unless a woman's life is endangered, or the doctors  believe her pregnancy resulted  from rape or incest, her application for a therapeutic  abortion will now probably be  denied.  This leaves her three options:  to seek a therapeutic abortion  elsewhere; to seek an alternate  form of abortion here; or to  continue her pregnancy.  Time and money make looifing for  an abortion somewhere else difficult. Smithers is located  roughly half-way between Prince  George and Prince Rupert. The  two nearest hospitals do not  have Therapeutic Abortion  Committees. Terrace hospital  regulations require a woman to  live there. Prince George and  Prince Rupert hospitals are  reputed to turn down a high  percentage of applications.  The woman's next option is  Vancouver, but a bus ticket to  Vancouver costs $65 one way,  and some doctors there have  been known to charge a woman  another $70 for a referral.  Often, by the time a woman has  decided to seek a therapeutic  abortion, been referred to the  TAC here and been refused, she  has little time to decide to  take the 20 hour trip to  Vancouver and apply for a first  trimester abortion there.  The result is that a woman will  be more likely to continue a  pregnancy, even though she  feels she cannot raise the  child. Or she will look for  another way to abort.    -A&*;•>-  The decision by the Bulkley  Valley District Hospital Board  to disband the Therapeutic  Abortion Commitee is the result  of an organized campaign by  anti-abortionists here.  Smithers is a conservative town,  heavily influenced by Duth  Reform, Roman Catholic and  fundamentalist churches. Much  of the anti-abortion sentiment  is perpetuated through them -  one board member who voted to  disband the TAC said it was  "God's will" if a woman died  because she couldn't have a  therapeutic abortion at the  hospital.  "Birthright" and "Pro Life"  organizations are both active  here. Members of the groups  regularly place ads and letters  in the local paper presenting  fetuses as complete, unborn,  white babies; calling therapeutic abortions unsafe; and  trivializing women's reasons  for seeking abortions (women,  want abortions "to afford  designer jeans" several say).  The campaign against abortions  has included placing two signs  depicting fat pink babies as  objects of abortions along the  highway, pressuring the hospital administration by a letter  writing campaign and blacklisting the doctor here who  does perform the therapeutic  abortions.  At the last annual general  meeting of the hospital society  the anti-abortionists on the  board of directors became a  majority. The motion to disband the TAC passed by a margin of 5 to 4. Four who voted  against the committee did so  on the basis of their personal  values which they wanted to  impose on the community. The  chair, who broke the tie, is  reputed to be seeking nomination either federally or  provincially and may be using  her position on the board as  political leverage.  On hearing about the decision,  the Bulkley Valley Pro Choice  Alliance, which organized a  year ago, called a public  meeting. At the meeting we  decided to circulate a petition  demanding that the TAC be reinstated; to ask'people to  phone their doctors encouraging them to organize for choice;  to check the legalities of the  board's decision; to write the  hospital board, local MLA's and  the Minister of Health; and to  encourage concerned people to  join the hospital society.  Our campaign was public: talk  to people, respond to the media,  organize a video presentation -  be seen and be heard. We emphasized that no Therapeutic  Abortion Committee meant no  abortions under any circumstance.  At the same time, doctors  organized to protest the decision. They were angry the  hospital board no longer  allowed them the option to  decide which abortions they  would perform. They threatened to pull out of all committees, effectively shutting  down the hospital.  Looking back a day  later, it appears the  white middle-class board  won. They've been able  to effectively stop all  abortions.  The board met with their  lawyer to discuss their liability for a death that could  have been prevented by an  abortion - something they had  not considered before their  decision. They met with the  doctors' respresentative.  Then they called the special  meeting that set up the current TAC.  Looking back a day later, it  appears the white middle-  class board won. They've been  able to effectively stop all  abortions. Those board members  who want to appear conciliatory  can do so by pointing out that  they appointed a TAC. Those  board members who want to  appear anti-abortion can do so  by saying they were pressured  by the doctors into allowing  the TAC.  On the other hand, pro-choice  advocates have been able to  bring the issue of choice and  self-determination to the  front of the community - people  are talking and are no longer  complacent. We've also discovered new allies, and some  are pleasant surprises. It  seems possible we will get rid  df some of the anti-abortionists on the hospital board at  the annual general meeting in  May 1985.  Unfortunately',  one question  still lurks: how long till the  first woman tries to abort  herself and is injured or killed  as a result? How well can we  organize against that?  Poor transit  bypamTrarifield  Ifoe^lTlgh. -Cost of urban transit  4$£#|kses the poverty of single-  support women and families on  s^^^^^e by denying them access  ^^^piexpensive food outlets,  -^creation, and support in  Crisis periods. A petition  calling for free bus passes  for these women and children  in the lower mainland is being  circulated by the Organization  of Unemployed Workers (OUW).  "Single moms are forced to  stay at home," says Essence  Padman of OUW, "Giving mobility  would save these people money  that, right now, is going back  to the government through the  busses."  Welfare rates have not kept up  with inflation according to  Padman. Single support mothers  pay proportionally more for  housing than any other group  of people.  Padman says increases in welfare would "probably go to the  landlord" but passes would  allow mothers to take their  children to libraries and other  forms of "free" recreation.  Families would also be able to  go more places together.  At present, a return bus ride  for a mother with two children  over age five is $3.50. A  single-support mother with  children under age five pays  $1.70 per return trip - the  same rate as a working person.  Padman cited the cloistered  family as one prone to violence, as little time can be  spent in varied environments  with friends or other support  people. Children and parents  "stuck in the house" can become bored and restless, and  the stress of poverty is increased through this tedium.  Over 1500 people signed the  petition in the first week of  distribution at food banks,  welfare offices, cultural  events and the OUW office at  1645 Commercial Drive.  The provincial government has  not been approached with the  idea to date.  "Surely if he (Bill Bennett)  can spend huge amounts of  money on ALRT, then we have  the right to be mobile," says  Padman.  The Organization of Unemployed  Workers is an independent,  non-affiliated group of voluh-.-yl  teers. They provide solidarity *  for workers in labor dispute^^H  and support, counselling- an^^B  advocacy for unemployed peoplft/  SociSl and educational evenings  are also offered at the" £$ntr.e. "  For more information *$££&$■" ^  bus passes or the OUW, call  255-7613, 10 a.m. - 2 p.m.  Monday to Frida«||||| 4 Kinesis November "S4  ACROSS B.C.  Vancouver supporters of Doug Stewart demonstrate outside Solicitor General's office.  Vancouver Five  Hunger striker wins transfer  by Marion Grove  On Oct. 31, in an unprecedented decision, hunger-striker  and Vancouver Five member  Doug Stewart was granted  transfer back to Kent Prison  in B.C. The decision, effective Nov. 29, was made on the  26th day of Doug's hunger-  strike, while protest actions  were in progress in Vancouver,  Toronto, Montreal, and London,  England. Agnes Stewart, Doug's  mother, was in Ottawa waiting  to see the Solicitor General.  Doug was sentenced last spring  to six years for his part in  the bombing of an environmentally damaging B.C. Hydro  substation on Vancouver Island.  Other Vancouver Five members  received sentences ranging  from 10 years to life for the  arson attacks on three Vancouver porn video outlets,  bombing Litton Systems, which  manufactured the cruise missile guidance system, and  related charges.  Doug, who speaks only English,  was transferred in July from  Kent to Archambeault, an all-  French prison in Quebec and  reputedly the worst prison in  Canada. Doug's work and study  programs were interrupted and  limited, and he was isolated  from his friends and family.  There is little doubt that  this was an attempt by RCMP  and corrections officials to  make Doug's relatively short  sentence as unbearable as  possible. It is also a case  of corrections officials overstepping their bounds by imposing arbitrary punishment  upon a prisoner beyond that  already imposed by a judge.  Seven people were arrested  Oct. 29 for an occupation of  the Solicitor General's office  in Montreal and charged with  public mischief - a charge  carrying a maximum five year  sentence. Agnes Stewart was  among those supporters on Oct.  31 who, concerned about Doug's  deteriorating condition and  days of stalling by the Solicitor General, were also  prepared to get arrested to  force a decision. She and  three other close friends had  visited Doug in Montreal  throughout his hunger-strike,  and travelled back and forth  to Ottawa to talk with officials there. Hundreds of  protest letters and telegrams  were sent to the Solicitor  General and other authorities  by supporters from throughout  Canada and elsewhere.  Write Doug and other members  of the Five c/o Free the Five  Defence Group, Box 48296, Ben-  tall Station, Vancouver, B.C.  V7X 1A1.  Famous Players strikers  target scabs and porn  At press time, Famous Players  theatres across B.C. continue  to be picketed by striking  members of the International  Alliance of Theatrical Stage  Employees and Moving Picture  Machine Operators (I.A.T.S.E.)  Local B-72.  The local, which represents a  workforce that is approximately  70% female - candycounter workers, cashiers, and ushers - is  protesting moves made by management in the negotiation of  a new contract. The company  wants to stop paying time and  a half on Sundays, which is a  major rollback in a contract  that already includes no medical, dental, sick benefits, or  pensions.  They also want to add a clause  - to the contract that says that  management can perform bargain-  Annual  ESL crusade  The Canadian Farmworkers  Union is seeking volunteer  tutors for the third annual  English As A Second Language  Crusade, from November '84  until May '85. The abysmal  conditions of farm labour  are well-known: workers work  twelve to fourteen hours a  day for piece rates that are  often well below minimum wage.  The Crusade uses English  language training to enable  Punjabi farmworkers to speak  up for the rights they have,  and demand those they do not  yet have.  The Crusade needs dedicated  tutors to spend two sessions  each week teaching groups of  three to four workers in  South Vancouver: ongoing  training and support will be  provided. For information  please call David Jackson at  430-6055.  B.C. Women meet to act on Charter of Rights  On April 17, 1985, the last  sections of the Canadian Charter of Rights and Freedoms,  those which guarantee the  equality of women, will be  proclaimed.  The Vancouver Charter of  Rights Coalition feels women  and women's organizations must  act now on the sections of the  charter which have not yet  been proclaimed, as it will be  much harder to achieve changes  that are necessary after April  17, when all action will have  to go through the courts.  Women from around B.C. met in  October at the Women's Conference on the Charter of  Rights, to talk about these  and other issues arising from  the Charter. The conference,  sponsored by the Charter of  Rights Coalition, was attended by representatives of more  than 20 women's groups.  One motion to come out of  the conference was for support of a group called LEAF  (Legal, Education, and Action  Fund). They hope to raise a  million dollars from Canadian  women and women's groups to  use as a legal fund to set  precedents under the charter.  Some concerns were raised  with regard to this fund:  that because LEAF has decided  already to only take cases  that are likely to succeed,  that it is an elitist use of  much-needed funds; and that  all of its operations are  located in Eastern Canada.  Delegates took the motion  back to their member groups  for discussion.  Analysis of the Charter of  Rights and how it affects women will appear in upcoming  issues of Kinesis.  ing unit work. Inclusion of  this clause would destroy job  security for workers, and could  lead to smashing the union  altogether.  The theatres, kept open with  scab labour, have been picketed for more than two months.  Women's groups were notified  recently that one of the films  opening at these management-  run theatres is 'Body Double'.  Director Brian De Palma has  been called to task by feminists in the past for sexual  violence in his films 'Carrie',  'Dressed to Kill', and 'Blow  Out'. In 'Body Double', which  focuses on voyeurism and violently expressed misogyny disguised as lust, a woman is  murdered with a huge electric 'Ģ  drill.  'Body Double' is showing at the  Downtown, 965 Granville; Rich-  mind Square, 6780 Minoru Blvd.;  Lougheed Mall; and the Willow-  brook Six in Langley. The  Willowbrook theatre is not  part of the IATSE dispute.  Other struck theatres in the  Lower Mainland are: Capitol  Six; Denman Place; Fine Arts;  Stanley; Vancouver Center;  Columbia in New Westminster;  Guildford; and the Park Royal.  Three struck theatres are in  Victoria, one is in Nanaimo,  and one is in Prince Rupert.  Film portrays  Indian activist  In February 1976, the body of  a woman was found on the Pine  Ridge Reservation in South  Dakota. The official autopsy  attributed her death to exposure. Both hands were  severed and sent to Washington  for fingerprinting, and the  body was hastily buried without legal documents.  When the FBI identified the  woman as Annie Mae Aquash, a  Canadian Indian active in the  American Indian Movement,  friends demanded a second  autopsy. It.revealed that  Annie Mae had been killed by  a bullet fired execution-  style into the back of her  head.  'Brave Hearted Woman', a film  of the life and death story  of Annie Mae Aquash, is the  startling story of a Canadian  victim in the secret war between the FBI, the RCMP and  the American Indian Movement.  It will be shown free on Friday November 9th, at 7:30  pm at the Carnegie Centre,  401 Main, at Hastings. Sponsored by the Society of the  People Struggling to be Free. November fi4 Kinesis 5  LABOUR  BCFed women's  conference  by Esther Shannon  At the B.C. Federation of Labour!s 1983  convention, a call was issued for a conference to educate trade unionists on  pornography. This October, over 200  women from unions and community groups  attended 'Women: Influencing Change,'  a conference organized by the Federation's  Women's Committee. Along with the pornography focus, delegates attended sessions  on organizing the unorganized, pensions,  technological change, changing roles and  workstyle alternatives, and looked at  emerging issues such as part time work,  flex time and job sharing.  According to Astrid Davidson, Director of  the Federation's Women's Programs, this  year's conference was more exciting than  those held previously. Davidson pointed  out that in the past trade union women  didn't always feel comfortable discussing  "women's lib" issues. Today, she noted,  the interest in women's issues is real  and women are more politically active in  unions and are more articulate about their  concerns.  The conference got off to a slow start  with a rambling and unoriginal keynote  address by Doris Anderson, past president  of the National Action Council on the  Status of Women. Anderson's focus on  federal politics was clearly remote from  most women in the audience. Their concerns  rest more with the provincial government's continuing assault on women's and  trade union rights.  A panel on women influencing change was received better, as it addressed key issues  for women in unions. One panelist, Anne  Harvey, was recently elected president of  the Office and Technical Employees Union,  Local 378. She encouraged delegates with  the story of the 4 1/2 year struggle to  get a women in a top role at OTEU. Harvey's  advice was to start with a core of committed women and emphasize rank and file  concerns. It was a good primer on fighting  for democratic control in unions. Many  women obviously identified with the problem of gaining power from male dominated  unions.(Even those whose membership consist of a majority of women are faced  with this struggle).  The conference plenary heard workshop  reports and recommendations. Many reports  were actively critical of union internal  organization and lack of committment to  women1s issues. Recommendations demanded  more Federation action on unemployment,  technological change and a shorter work  week. A constant complaint was the unions'  failure to educate on women's issues. One  workshop even demanded a conference to  educate men on the changing role of women.  In the workshops on pensions, participants  were critical of union pension funds being  overseen by male committees unconcerned  about women pensioners.  Unfortunately, the fate of these recommendations is unknown. According to con- '  ference organizers, no Federation conferences develop policy resolutions. These  recommendations will pass to the Women's  Committe and be presented to the Federation executive. Action on recommendations  is dependent on their approval. The other  alternative women have to create policy is  to bring resolutions through their unions  and present them at the annual Federation  Convention.  Opinion on the usefulness of the executive  council route was divided. Some delegates  believe the conference must be able to  develop policy and go direct to convention.  They point- to the difficulty women have in  pushing policy resolutions through their  unions. Women, they noted, are often iso-  n win support for  Other delegates thought the conference  served an important educational function  and a policy conference would only mean  unions would select delegates who could  be counted on the toe the union line. In  their view both the free exchange and the  networking between women would suffer.  Another problem with the current structure  is the lack of independence of the women's  committee. All committee members are appointed by the Federation executive. It's  clear such a process lacks accountability  since it means the committee owes its positions to and relies for action on the  very officers who are probably most committed to preserving the status quo. There  is a certain inescapable irony in promoting  a conference on pornography where those  attending, women, are prevented from developing any statements, positions or resolutions on pornography. Those who decide  the Federation's position on pornography  will most probably be the executive  council, consisting of, in the majority,  BCFed affirmative action  by Esther Shannon  The B.C. Federation of Labour will move,  at its November convention, to introduce  affirmative action at its executive level.  According to Astrid Davidson, Director of  the Federation's Women's Programs, the  Federation's officers will table a constitutional amendment to provide slots for  women on the executive body.  At present there are 12 executive officers,  3 of whom are women. This body will be increased from 12 to 16, and the additional  4 seats must be filled by women. As well,  the executive council, presently made up of  20 members, 12 of whom are Federation officers, will be increased to 25, 8 of whom  must be women.  The executive council and officers, barring  the annual convention, is the Federation's  highest body. It oversees Federation  business and implements policies passed at  Convention. There are 4 women presently  serving on the executive council.  Davidson said it is necessary to increase  the total number of executive slots, rather  than simply providing for women's spaces  within the current numbers, because most  unions will nominate their top officers to  serve on the executive. The top officers  in most unions are men and unions are  loath to give up these positions to women.  Creating additional spaces should allow  unions to nominate candidates who are just  a little lower in the union hierarchy.  Davidson points out there are many women  in these position in unions.  Davidson is confident the amendment, since  it has executive backing, will pass at the  convention. Due to deadline constraints  Kinesis  is unable to get reaction on this  move from women trade unionists. The Dec/  Jan issue will carry a full report of the  Federation convention, including reaction  to this affirmative acction program from  women in the union movement.  Ariel Books and Turnstone Press  invite you to meet  Sandra Birdsell  (author of Night Travellers)  Sandra will be reading from her new book  Ladies of the House  8:00 p.m. • Friday, November 16  at Ariel Books, 2766 West 4th Avenue  See you there!  IHOP  Coffee break  by Pam Tranfield  An electrical power outage in New Westminster October 21 could have been great for  business at the International House of Pancakes on 8th Avenue if not for the energy  of 50 customers who dropped in for a cup  of coffee - and stayed for two hours.  The customers included unemployed people,  teachers, millworkers, and members of the  Independent Canadian Transit Union. They  came to sit and sip in order to draw a  promise from IHOP management that the  restaurant would no longer accept goods  from Slade and Stewart food distributors.  Slade and Stewart employees were locked  out May 22, and until the action, this  restaurant was among businesses accepting  goods from behind picket lines.  IHOP manager Ed Jeske refused to confirm  reports that he would look elsewhere for  supplies. At the time of the occupation,  coffee drinkers filled 2/3 of the restaurant. The stand lasted two hours, with  breakfast patrons turning away at the door  and parking lot, according to organizer  Sandra Nichol of the Organization of  Unemployed Workers.  A total of 76 employees of the Retail and -  Wholesale Union are affected by the lockout  30 workers at the Vancouver distribution  centre and the remaining at Penticton, Kam-  loops and Terrace.  Slade and Stewart have continued operations  with 20 scab workers, paid $8 per hour. The  locked out employees made $15 per hour with  company benefits, yet .the price of goods  has not decreased since the lockout began.  "The impact is felt when a business loses  by scabbing. We all lose when people who  have worked for years can suddenly be cast  out," says Nichol.  The central issue in the dispute is accumulated time off provisions which have allowed employment to increase at the centres  Workers were allowed to accumulate five  extra hours of work per week which was  used as additional vacation time-. The workers had been without a contract for 14  months prior to the lockout.  Slade and Stewart is a subsidiary of Pacifii  Fruit Co., the second largest food company  in the world. It distributes fresh and  processed fruit and vegetables to stores  and restaurants throughout B.C.  The protest was organized by the Organization of Unemployed Workers, which staged  similar actions earlier this month at  downtown businesses which received Slade  and Stewart products.  It has not been confirmed if those stores  and restaurants have quit accepting from  this distributor.  For more information on these businesses,  call Pat at 253-3430  LESBIAN  INFORMATION LINE  Need Information?  Want to Talk?  Contact LI.L.—(604) 734-1016  Thurs. & Sun. 7-10 p.m.  GOtleetiVG or write 1501 W- Broa^way,  , PLANE JANE CONSTRUCTION r  6 Kinesis November *84   by Lou Nelson  The following interview is a condensation of  a lengthier one done in 1980 with four  Quebecoise women who were arrested and imprisoned after the War Measures Act was  declared on October 16, 1970. They were  charged with being members of the Front de  Liberation du Quebec (Quebec Liberation  Front - FLQ), or with "accessory after the  fact" (knowingly aiding someone after they  have committed a crime). The FLQ was a  loosely knit organization made up of largely autonomous groups called cells. Members  believed the time had come for violent  attempts to liberate the people of Quebec.  In the end, charges against the four were  suspended, though they spent, individually,  anywhere from six months to just under a  Ten years after their arrest they look back  on their experience. They share their insights about the situations of male and  female prisoners, make some surprising  comparisons between their lives behind bars  and life outside prison, and explore the  relationship between themselves as political prisoners and the other prisoners inside^  I was moved to do this translation (from  French into English) because I was struck  by the timeliness of the topic. We have all  been following the trials and sentencing of  Ann Hansen, Brent Taylor, Julie Belmas,  Gerry Hannah and Doug Stewart. The lengthy  sentences they have received have appalled  many of us, whether we agree with their  tactics or not. They have obviously been  subjected to the harsh counter-attack which  the state reserves for politically motivated  crimes. But even in that category their  sentences are unusually severe.  It is interesting in this regard to look at  some of the charges and sentences of FLQ  members in the years before the 1970 October  crisis. The FLQ had been active since 1963  and was credited with numerous bombings  and robberies. To give just a few examples:  1) Marcel Faulkner was arrested in 1966 and  convicted of two separate charges of involuntary homicide, three charges of conspiracy  to plant explosives, and one charge of  conspiracy to commit theft with violence.  He was sentenced to six years and eight  months in prison.  2) Robert Levesque, arrested in 1966 and  charged with six different counts including  robbery, burglary and planting bombs was  sentenced to seven years in prison.  3) Claude Simard, convicted in 1967 on eight  charges including involuntary homicide,  armed robbery, theft with violence and  possession of explosives, was sentenced to  five years and ten months in prison.  In this context, a life sentence for conspiracy to rob a Brink's truck is arbitrarily excessive. But the state and the  judicial system, depending on the politics  of the time, engage in different degrees of  reprisal. In 1969 Pierre-Paul Geoffroy was  arrested and convicted of 31 charges of  conspiracy to make bombs, 31 charges of  making bombs, 31 charges of conspiracy to  plant bombs and 31 charges of planting  bombs. Though he had no previous record,  no one had been killed in the bomb attacks,  and he pleaded guilty to all charges,  Geoffroy received 124 life sentences, one  for each of the charges.  In 1970 no woman received a lengthy sentence  for FLQ related charges. In 1984, with the  FIVE, the women have been judged as harshly,  , It is interesting to note that women won the right  to sit on a jury in Quebec only in 1971, shortly  after seven women invaded the juror's box in a trial  against Paul Rose (FLQ member). They were showing  their support for Lise Balcer, who had refused to  testify on the grounds that "There is no reason for  J system to recognize women as wjltnesses  FLQ women look back  if  i  scogni  ' The s  "We know what if s like  to live under constant  if not more so, than the men. Women who  rebel are now seen as acting in their own  right, not just as adjuncts to the men in  their lives. Things have changed,- partly  as a result of the events of 1970, but as  Lise Rose points out in recent comments  on the interview: "I hope that this will be  useful in making links between the women  prisoners of Vancouver and the women of  1970...since prisons are places that change  all too slowly."  This interview offers a rare look at the  prison system from the point of view of  women political prisoners. Though the  experience of the four women in the interview cannot be directly compared with that  of Ann Hansen and Julie Belmas, who will  be incarcerated for much longer periods, I  think what they have to say is still relevant. The experience of these women in  Quebec in 1970 is part of our history of  struggle against repressive forces in our  society. Too often the role that women have  played in that struggle has been i  or completely lost. Here is a rescued fragment from the turmoil of the early  seventies.  The original interview that this shortened  version is taken from was moderated by  Fabie Demers, who also transcribed the  tapes. She has been invaluable in verifying  information and in helping with the translation. Lise Rose and Lise Balcer  consented to use of their full names in the  transcript. The remaining two women are  identified by first names only.  OCTOBER 1970 REVISITED  Lise Rose:  Fighting the judicial system is  one form of militancy...because you confront  a system that judges you, and you have to  'face the music', as Colette says. You  suffer every day and it's hard. Inside  (prison) we went through some tough times  because of our militancy, because we  couldn't close our eyes to what was going  on. There were some heart-breaking things  that went on with other prisoners, and we  spoke out, and came through it.  Lise Balcer:  I'd like to raise one thing.  What was unusual about what we went through  was that it was just women together (in  prison). We were not under the domination  of men, the bosses, the leaders, telling  us what to do. We found ourselves together,  among women, and we made our own decisions  about things based on our experience, our  own experience, really coming from the guts.  L.R. :  We discovered strength we didn't know  we had.  L.B..  ..exactly...  L.R.:   ...solidarity too. Often you hear  that women don't support each other. Inside  we discovered that that was false. It's  really a myth. It's not true that women do  not support each other. Inside we discovered our strength in ourselves. The pow«  action, the power of making demands  aI  2"  L.B.:  When we were inside, we did things  and nothing got out. We wanted to get  things publicized in the newspapers, but  at first nothing happened.  L.R.:  I  remember, among other things, a  hunger strike. It lasted 20 days....  Colette:  We started the hunger strike.  Then after it was taken up by Parthenais  (a provincial men's prison in Montreal, for  those sentenced to terms under two years.  Ed.)  L.B.:  We asked ourselves why the guys did  not join us...  L.R.:   Then it came out in the papers about  Parthenais, but nothing about us. We were  the ones who started it. It was 13 days old  when they finally joined in. And they had  only been on the hunger strike two days  when it appeared in the papers...The thing  is, women don't do dramatic actions. And  it's not that I think that our actions  aren't dramatic, but rather that they don't  appear as such. When we women were on a  hunger strike, it was; not 'important'. But  when the boys did it, it made the news.  But that's the thing, we don't control the  media. That story got out because it '  clicked in the head of a male reporter  when he found out that the men in Parthenais were on a hunger strike.  L.B.:  And also because some of the guys  were lawyers or businessmen. They had  contacts. The media did not think the  women's strike was newsworthy. Women doing  We discovered strength we didn't  know we had.  a hunger strike...to begin with, a woman's  body is not considered important. Whereas  a man suffering - that's real pain! A  woman suffering...  L.R.:  .can take it  ...is used to pain...  L.B.:  And a woman's pain is often 'foolish'  A woman...often cries for no reason. A  man who cries, that they respond to, but  a woman who cries - it's not serious, she  does it all the time.  L.R.:  The slavery,-the loss of liberty  that they experience inside, we live with  it every day outside: the fact that we  can't walk alone at night, a whole bunch  of things like that that they don't know  about. Men are not used to always being  under surveillance, to being limited  in what they do.  scrutiny"  But we know what it's like to be under  constant scrutiny. You sit down at a table  to eat and some guy sits nearby and bugs  you. The guys don't put up with that. For  example, when you have visitors in prison  ...I remember that it didn't bother me.to  have a matron nearby, it was like a part  of my life; but I felt that if I went to  visit Jacques, and there was a guard  nearby, that got to him. The men don't  know what it's like to live like that.  L.B.:  But it's also because they always  have stuff to say, everything they say is  important. For instance, if Jacques is  speaking with .his lawyer, then that's very  important, you know, it's not...  • it's  ot chit-chat  L.B.:  A woman in.the prison visiting-room  talking to her lawyer is just chit-chatting.  They figure she has nothing worth hiding.  C.:  The subtle-oppression of women that we  experience every day outside prison, is  also going to be found inside prison.  They often treated us with kid gloves. I'm  sure that the interrogations the guys  went through were different than ours,  probably more violent...  L.R.:  I'm sure they used different tactics  with us than with the men. Like using  arguments with Denise about her children:  a lot of things like "If you ever want to  see your children again..."  Denise: It was worse than that. They  brought me down to the office, with the  phone right close by. It was Christmas  Eve. They said to me, "If you're a good  girl you'll tell us what happened and then  you can phone them...perhaps even join  them for Christmas."  C.:  Actually it was worse for us because  the interrogations were not.done by women.  They were done by men. That means that  the humiliation that you're used to from  childhood...  L.R.:   ...since infancy*..  C.:   In each interrogation it was like a  double assault.  D.:  The first day I was arrested I was  questioned from 8 in the morning until 9:30  at night.  C.:   I think they did the same with just  about everybody.  L.R.:  They would come and harass us every  day, any time of the day or night, without  being accompanied by a matron. That was  against the law.  C.:  When I was too hot in the cell and was  nude under the covers, it was a man who  would come in and get me. Not a woman. If  it had been a woman it would have seemed  more equal. But when a big guy comes in to  get you and you go down in the elevator  alone with him, it's a double threat. You  can't minimize that...  L.B.:  Perhaps I'm wrong, but I find that  the experience we went through inside was  truly unique...because we were all together  and we could really see ourselves and our  values. We were closer with each other  because we were isolated from society.  L.R.:  We came up with things that perhaps  we wouldn't have if we'd only been involved  in men's groups.  L.B.:  And you couldn't count on anyone else,  except the lawyers (women and men), when  we were in a really bad situation. Inside,  whatever we could influence ourselves, by  our own strength, we did, and we took it  all the way. We didn't stop. There was not  one day when we weren't fighting.  L.R.:   I think we really had an impact.  There were women there who came from  different backgrounds, who were charged  with different things. We were not a group  that was used to working together, but  even so, we all had a certain degree of  consciousness. That's what scared the shit  out of them. I remember that inside they  were afraid of us.  There was another woman, her husband had  thrown her out of the house and had beaten  her, and they put her in prison. Can you  imagine!  L.B.:  Then there was the little one, Diane,  I.think she got 10 years because she  killed her husband who beat her.  L.R.:  A political act!  D.:  At a certain point you get sick of it.  L.B.:   I don't know, when you get sick of  it...then it's no longer political, it's  madness. Like a woman who kills her kid...  there was a nurse who killed her kid, hit  it with a telephone. And another one,  Annette, who killed hers, they say she  scalded it in the bath. She forgot to turn  on the cold water. But if you knew Annette,  you knew that she wasn't crazy, she wasn't  hiding a sadistic side. She was very aware  and very generous. She was a good woman.  L.R.:   I don't know if you can make a distinction between ordinary prisoners and  political prisoners, I really don't know..  L.R.:  We all live in the same world. What  makes us, political prisoners, different,  is perhaps that we've lived through some  things, or met someone at just the right  moment, or the education we got triggered  things off for us...because it's not just  anybody that ends up in prison. I tell myself that if we'd been through what those-  women had been through, probably we would  be where they are.  What makes us, political  prisoners, different, is perhaps  that we lived through some  things, or met someone at just the  right time, or the education we  got triggered things off for us...  because it's not just anyone that  ends up in prison.  C.:  It's not just misfits that go to jail!  L.B.:  Far from it!  L.R.:   It's marginalized people.  C.:   It's women struggling...prostitutes...  L.R.:  Struggling against the system.  D.: They fight in isolation, that's why  it doesn't have much impact.  L.B.: Though there were disadvantages to  being political prisoners, 'cause you're  both recognized as such by a certain class  November !84 Kinesis 7  of people, and yet not recognized officially by the government. At the same time we  were privileged, because we could change  things. That counts for something.  C.:  We had our <  where the diffei  s..and that's  lies.  L.R.:  What I see is a subtle diff€  between political action and individual  action. For sure there were women inside  who changed things, but often it was an  individual action in the sense that they  tried to change something they didn't like,  and indirectly they would change things  for the others. But that was not the  primary goal. Whereas.with us, the goal  was not necessarily to improve our own  situation. It was political to do a hunger  strike. It was not fun for us..-.  Because sometimes they were willing to  give certain privileges only to us, and  we would say - no special treatment for  us unless the others are getting it too.  Political action is different in that  sense. I don't deny that ordinary prisoners can have a political impact. But they  often want to change something for  themselves. I'm not saying it's negative  or bad...  C. :  I don't know, it's just a slight  difference. The way I look at it is that  for us it was an individual decision as  well, but we know how to organize around  it. In the sense that when we wanted to  have more rights, for instance to be able  to write longer letters, that it was important for me personally. Then if everyone agreed, we. would fight for it  together.  D.:  The idea would come from one person,  and then we would push for it together.  L.R.:  But it went farther than that because, like I said, we could have easily  gotten those privileges for ourselves.  Lots of times they were ready to make  small concessions, 'cause they were afraid  of us, and they wanted to keep us quiet.  I remember that we wanted the rules  changed for the whole prison, not just  for us. That's why we fought the battles  the way we did.  *In her comments on the original transcript, Lise Rose wrote:  The solidarity among the political prisoners was spontaneous. On the other hand we  had to fight the lies spread by the  matrons in order to establish solidarity  with the ordinary prisoners. They believed  we were intellectuals, snobs, scornful. I  was the first of all the women political  prisoners to be sentenced. I was waiting  for another trial. I could have been put  with the other detainees, or with the  ordinary prisoners. The higher-ups decided to put me with the ordinary prisoners, as a punishment. My first day was the  only difficult one. After a week, our  solidarity was such that we asked that a  prisoner be sent to hospital (since she  was sick), that a nurse be assigned to  the night shift (as there was only one  on day shift), that an undesirable matron  be transferred, and that I be allowed to  teach drawing, enamel on copper, and  ceramics courses for- which we had equipment and rooms but no teacher. INTERNATIONAL  by Belinda Earle  Saturday, October 20, and Nancy White, Connie Kaldor and Holly Arntzen play to a  packed audience in North Vancouver's Centennial Theatre. The event is a benefit for  Amnesty International (A.I.) and the culmination of a week of activities organized  by A.I. volunteers. The reason? To raise  public awareness (and money.') of the plight  of hundreds of women who are detained, im-  . prisoned or tortured because of their  political beliefs, religious beliefs, ethnic background or relationship to others  who are similarly detained...Prisoners of  Conscience.  For the last 23 years. A.I. members have  worked to try to improve the conditions of  Prisoners of Conscience (PdC) all over the  world. With organizations and supporters in  over 150 countries, A.I. is independent of  any single government or political group  and continues to maintain its apolitical  status by endeavoring to assist PoCs whatever their political or religious background.  Amnesty International does not endorse the  views of PoCs but believe that such views,  peacefully held, have a right to be heard.  As long as the individual neither advocates  or uses violence, A.I*. seeks their release,  and challenges any government which refuses  to acknowledge this principle. The organization also opposes the death penalty and  torture or other cruel, inhuman or degrading  treatment or punishment in all cases, without reservation.  It is an immense task. All over the world,  women and men are imprisoned for their  beliefs. Sometimes they are held for long  periods of time without a trial; sometimes  they are tried but in camera  and without  legal representation. Sentences may be  arbitrarily extended, prisoners moved to  new, undisclosed locations, or adequate  food or medical provisions denied.  In many countries torture is frequently  used to extract "confessions" or to intimidate the individual or their families  and friends. Nor is the execution of PoCs  uncommon, either in their place of "detention or by government or para-government  organizations on the "outside." In the case  of such executions, A.I. pressures the  government of that country to instigate an  independent inquiry.  Women Prisoners-of Conscience are particularly vulnerable in prison. A.I. believes  that female PoCs are often raped. At  present A.I. is requesting that the Philippine government hold an impartial investigation into the case of Hilda Narcisco. In  March 1983 Hilda was arrested without warrant by about 30 (yes, 30) military personnel. The men took her from the house of a  German Lutheran pastor in Mandanao and  forced her into a car. She was blindfolded  and taken to an interrogation centre. She  was sexually molested on the journey. The  next day she was interrogated and raped.  In August, after six months in detention,  she appeared before a judge who ordered  that the charges of subversion against her  be dropped on the grounds of lack of evidence. Hilda was finally realeased on 6  September.  With astonishing courage Hilda took steps  to initiate a case against the military  personnel who had sexually abused and  raped her. Supported by local women's  groups, she hoped that her determination  would help put an end to the reported widespread sexual abuse of women political  detainees. Hilda's case is still open.  Forced to move every month because of  fear of her unknown assailants, she found  it impossible to establish the identities  of her attackers because of the non-cooperation of the military authorities. Her  lawyers were informed by the Minister of  National Defense that there was insufficient  evidence to bring the case to cours.  The scale of this sexual abuse is not known  by Amnesty International but is believed  to be far more widespread than reports suggest. Shame, fear and a desire to forget  silence many women. In some countries  religious and cultural concerns play an  important part. For example, in Pakistan,  women political prisoners are often very  reluctant to make known publicly, or even  to close relatives, the details of their  treatment while in detention. The rigourous  interrogations, complete lack of privacy,  and constant supervision, often by male  guards, are severely humiliating to women  of Muslim faith.  In Iran, women inmates in Evin prison are  held in a special block, Zendan - Zanan. A  report from a witness says: "There are around  40 children, aged from one to twelve. They  are kept because they are an asset to the  prison authorities for gaining confessions:  when a mother is- lashed, the child is made  to watch. One such mother screamed that she  was ready to confess when she could no  longer stand the agony of her three-year-  old daughter being made to watch in the  grip of two guards."  Such behavior is not unique to one country.  A woman who was tortured in Chile testified:  "At one point, I realized that my daughter  was in front of me. I even managed to touch  her: I felt her hands. 'Mummy, say something, anything to make this stop,' she  was saying They took her to an adjacent  room and there, there I listened in horror  as they began to torture her with electricity."  The Tales go on. In South Africa, Nonzomo  Winnie Mandela has been either imprisoned,  or officially 'banned' from society for  most of the last twenty years. In the USSR,  human rights activist Tatyana Velikanova  is in a strict-regime labour colony.  Does A.I. really make a difference? Yes.  Although governments that suspend the human  rights of their people rarely write to A.I.  to thank them for pointing out an injustice,  it appears that one third to one half of  the people whom A.I. adopts as PoCs experience an improvement in-their situation.  This may be in the form of additional  visits from their families, receiving  medical aid, a review of or reduction of  their sentence and occasionally even release.  Yulia Voznesenskaya, a former Soviet PoC,  right after her release: "Sometimes in the  camp, the camp authorities and wardens  would start to be especially polite to me  and they would avoid ill-treating other  women prisoners in my presence. I guessed  something had put them on their guard.  Later on, quite by accident, I found out  that a letter from abroad had come for me  and this caused this change in their behaviour."  "I remember clearly the emotion I felt on  returning to my cell after one of their  fortnightly visits, the only time I talked  to anyone, having learned about your let-^  ters. The solidarity that is expressed over  oceans of distance gives strength and faith  in one's human integrity and its essential  values intact...." A letter from Lilian  Celiberti, a Prisoner of Conscience from  Uruguay, to'the Italian group which worked  for her release.  If you would like more information about  Amnesty International's work, write to  Amnesty International, 105 - 1955 West 4th  Avenue, Vancouver, B.C. V6J 1M7 or call  (604) 734-5150.   Belinda Earle is an Amnesty International  volunteer.  Women united in the British coal strike  by Pam Tranfield  The role of women in the British Coal Mine  Strike was mentioned briefly and superficially by Yorkshire miner Steve Shukla,  speaking at Brittania High School on  October 14.  Shukla, on a fund-raising tour for the  National Union of Mine- Workers (NUM) called  women a "major motivation" for the trade  unions in Britain. He cited the wives' skill  at collecting and cooking food, and collecting money as a major support effort for  the strikers.  But women in parts of Britain, Wales and  Scotland' are also walking with men on the  pickets; are marching in protest; and forming a powerful autonomous movement within  the working class.  The coal strike was provoked by government  plans to close 20 coal mines through the  British Isles this year. This would eliminate 20., 000 jobs and close entire towns which  depend on mining for survival. Since March,  over 183,000 miners have walked out for  their jobs, homes and perhaps the future of  the trade union movement in Britain.  The threat to home and families may have,  in Shukla's words, provoked women who have  never been involved in trade unions; but  women are working within and without the  unions.  In August, support groups from England,  Scotland and Wales led more then 17,000  women through central London in a solidarity march for the strikers, and to protest  government cutbacks. Outwrite,  a women's  newspaper from London, says the emergence  of the working class movement is significant beyond strike activity. .  "(The women) are acting more autonomously;  they travel around the country making  speeches, linking up with women in other  regions, talking about natio.nal coordination and organization. There is discussion  within the present women's organization  against the strike."  The right-wing threat to trade unions is  part of a world-wide'trend which is affecting the rights of working people here in  British Columbia. Solidarity is needed to  resist and break the efforts of government  and management to destroy people's rights.  Shukla stated the NUM is gaining support  from other unions, such as the steel and  autoworkers and nurses. However, not all  men are willing to accept the growing involvement of women in the struggle.  In Wales {Spare Rib,   September 1984) not  all NUM lodges welcome and support women's  full participation, especially on the  pickets. Even some food distribution has  been jealously guarded by men.  "A woman from a newly established group  told me how the men in her village jealously guard their kitchen and tried to stop  women meeting and put pressure on individuals to stop a group from forming."  (Stevle Smith).  This month, mediation talks between miners  and the management failed. A threat by  foremen to walk off the job was averted.  People on the pickets or in their homes  and workplaces are getting colder in  Britain. Whatever the outcome of the strike'  to strengthen or weaken the trade union  nt around the world - women will  : out more united through the struggle. WORKING IN THE MEDIA  November ^ Kinesis 9  by Jan DeGrass  Vancouver Co-operative Radio,  CFRO,  is a  listener-owned community radio station  heard at 102.7 FM on the dial and on  cable at 45 locations in B.C.  Connie  Smith, Mickey Rogers and Victoria Fenner  have all worked with commercial radio yet  put in long and dedicated hours at Co-op  radio.  Jan DeGrass spoke with them about  differences between the two.  So you've all worked for the big one -  our national broadcasting company, yet  you all do lots of voluntary work with  Co-op Radio. Why? What pulls you back  here ?  Mickey: Loyalty to the station and loyalty to the idea of community radio. I'm  amazed how much can be done with so few  paid staff and so many volunteers. I get  really frustrated with Co-op Radio at  times when things don't change fast  enough, but then I think of the vision  that people had ten years ago.  Connie: I don't see how I could ever live  without Co-op Radio because it's the one  consistent thing in my radio life. I have  freedom here, freedom of movement, thought,  programming...more than I could have on  commercial radio. I can control that one  hour a week (of my show). I can play music  and say things that would probably have  repercussions if I said them on commercial  radio or CBC. I can play an album from  Olivia records and talk about the commitments these women have to gay rights; I  can play an album by a black woman and  talk freely about her involvement in  civil rights - whereas on CBC there is_  a way you can say these things, but so  subtly that the point is often missed.  Victoria:  When I came to Co-op two years  ago from Ontario, I was more or less checking the market and finding out what I could  do in radio. Once I got here I found out  that this could be the beginning of an  entirely new broadcasting system in Canada.  Mickey spoke of vision - that's the vision  that really excites me - it's what Co-op  Radio is now.  C:     In commercial radio things don't change  at all. It's a tired old fact, but several  years ago I took a tour of the majority of  radio stations in BC and there were more  women at Co-op in powerful creative positions than I found at all the commercial  stations put together. It's going to be  a long time before commercial radio makes  those changes - a long time before archaic  rules are dropped whereby we can't hear  more than two female vocalists in a row.  Things do change - but only as fast as a.  DJ or music producer wants it to change....  One person can do as much as she can, but  it takes more than one person. At Co-op  Radio there are hundreds of us.  Don't you find it frustrating here working  without proper equipment, for no money, all  the time?  V:  Yes, I'm used to working with the equipment now - just as lots of actors are still  actors even when they don't have a stage,  I'm a broadcaster all the time and I want  a place to actually do my craft. Whether I  get paid or not only matters to a point.  CBC is now doing some of the same work in  audio art on Brave New Waves that we produced here at Co-op on New Sounds Gallery.  It's campus and community radio like us  who have helped pave the way and show CBC  that there is another way of doing things.  Of course, they're getting paid and we're  not.  M: I liked what you said about craft; it  is important. Here at Co-op the craft we're  doing is being a community activist. I have  some trouble at times differentiating be-  Women in  activist radio  tween being a community activist and being  a journalist.  C:     Although automatically I would probably  consider myself an activist I also see my  role as being a historian. Co-op, as a  community station, is automatically an  activist medium because mainstream media  reflects the status quo; they reflect the  viewpoint of white middle class males...  as does the whole world.  I'm not crazy about the term  'alternate'  media.  I also think it needs some more ■  precise definition for this interview.  You  mentioned community radio - is that what  alternate media is to you?  M:  I think it's been a raging controversy  at the station, are we a community station  or are we a' left wing vehicle, and as far  as I know, I don't think there's been any  consensus on that.   ^&i§|!«  V:  No, there hasn't. I find Co-op Radio to  be wonderful and frustrating at the same  time because all philosophies meet here. I  consider Co-op Radio to be people's radio.  And that's our biggest political stand  that we. can make, by saying to the average  person in the community that we care about  what you say - we're going to give you  time to do what you want to do... But  there's a difference between being a voice  on the left and being a soapbox and once  you're a soapbox that's when you lose  credibility. We have some very good minds  down here, but every so often you get  somebody who doesn't know a lot about  journalism and they go on the air sounding  stupid. At CBC there are checks and  balances. Here we often don't have enough.  M: I work with a producer at CBC who says:  "This is good", "This is not so good".  I work at Co-op Radio and it's: "I'm really  glad you came down to give your time". We  don't have that critical eye.  Does objective journalism exist?  V: Like poets and philosophers we're just  trying to arrive at truth and you can  never arrive at truth by looking at one  side of the story. It's not up to us as  journalists to draw conclusions; as in art,  you don't present solutions as much as you  present problems and have people work out  solutions.  Ci I think you can arrive at truth a lot  faster when you're looking at it from the  left. Because that means that you've done  a lot of critical thinking and you're prepared to take a risk. That's closer to the  truth, if indeed there is. a truth.  M:  I've been asked about objective journalism at the CBC. I've been told: "It's  really important to be objective here at  CBC!  Do you really think that in doing  this story you can be objective?" Fortunately, 'in the particular case I'm  thinking of, I was able to come up with  the name of somebody I was impressed with  to interview who wasn't necessarily 'on  the left', so it was okay.  But at times you really have to question  the whole idea of what's objective. After  the women's debate on CBC TV we saw Barbara, Frum grill the organizer from the  National Action Committe on the Status of  Women regarding the reason for that kind  of debate and wasn't it really a setup for  the NDP? You have to question that kind of  objectivity. I really found her quite offensive.  C:    Often the greatest criticism I hear  about Co-op Radio, about Kinesis,  about any  media which deal with human rights, is  that they have a narrow focus. And that  just makes me laugh, that to be concerned  with human values is to be called narrow.  That makes no sense. On the other hand, to  project an image that reflects only the  view of one little aspect of society as is  quite often the case on commercial airwaves, now that's narrow.  M: Where you run into problems in public  affairs shows generally is when work has  already been done on a particular issue.  Do we really want to "say again how Northeast Coal is screwing the taxpayers? How  many times can we say that in different  ways? So we drop it while it's still an  issue. For example, in women's issues, if  women aren»'t trendy or in or whatever then  it's tough to get air time. A reporter has  to think of a 'new angle'.  V:  I think there are certain subjects that  are highly relevant to the social group  I belong to that would also be to the rest  of the world ±f some editor or producer  would only give them a chance. But I've  gone to them with stories and heard them  say: "Well it's just not awfully sexy" and  that's a quote.  C:     I heard that term 'sexy' applied to  lots of stories during my time at CBC. And  although intellectually I wasn't sure what  it meant, some part of me just knew what  they were after.  V: I'm really at odds with the school of  journalism that believes that we have to  be totally impartial to everything in our  lives. I don't think as journalists that  anybody can ask us to do that or that that  means better coverage.  C:    Yeah, if you don't know what the issues  are, how can you investigate them? How can  a person who is not familiar with the statistics of child abuse, go out and do a  story on child abuse? I see rape stories,  incest stories, battering stories on TV  and radio. They aren't investigative  pieces. They aren't, presenting both sides  - the side of the woman or the child, and  they aren't doing that because they don't  know the issues. Basically, I'm saying  that objective journalism doesn't exist.  Have you ever been asked to research or  report on anything that offends you, for  example that's racist or sexist?  V: The biggest thing was an offence to my  artistic sensibilities. I used to work on  a show with someone who would find the  worst arrangement of every piece of music  he could find - I suppose being a music  broadcaster that's the kind of thing that  offends - once he took a beautiful Brahms  continued page 12 10 Kinesis November '84  WORKING IN THE MEDIA  by Judy Bazan  To a newspaperman  (sic) a human being is  an item with the skin wrapped around it.  - Fred Allen  1894 -  1956  The adjectives attributed to journalists  are usually negative, somewhat stereotyped,  and often definitely male-oriented: competitive, unscrupulous, tenacious, trench-  coated, aggressive, chain-smoking, heartless, sensationalist,- blood-sucking, etc.  In the movie 'Absence of Malice' Sally  Fields played an ambitious insensitive  reporter who was more interested in obtaining front page bylines than in the  possible after effects on the people involved. Fortunately, not all women reporters are like her.  "The values associated with the news  business - aggression, competition, and  getting the news at whatever cost - are  values not usually associated with women,"  says Elizabeth Godley, a reporter for The  Sun.  "Women are brought up to cooperate, which  is not valued in the media. It can be a  real wrench for women. I think that's why  more women don't rise to the top of the  business. At some point, you realize you  don't have the killer instinct."  Sarah Green (a Vancouver reporter who did  not want her name revealed) agrees. "I  don't like the macho ethic in journalism.  I'm continually surprised that there are  people who still believe in it. I don't  think women generally have that mentality."  These sentiments should come as little surprise. Until recently, few women became  reporters. Those who did were usually  relegated to the "women's pages," limited  to covering "unimportant soft news"  (recipes, fashion, and society news) while  men tackled the "hard" news.  Today more women are opting for a career  in journalism. Says Gerald Porter, coordinator of the journalism program at  Langara, "in the last four or five years,  the number of women applying to the program  is going up. This year is the first time  since I've been here that it's just about  50-50, with maybe one or two more women  than men.-"  "Still there are few women in the upper  echelons, which has its predictable  effects.  "To have' credibility in this profession,  you have to to some extent play by men's  rules, being one of the boys," says Nancy  Knickerbocker, a Sun  reporter. "Gradually  a younger generation of women are approaching their work from a female  consciousness, but it'.s a slow process.  You do your bit every day, and pick your  fights."  Obviously, it would help if more women  held positions of power.  "The classic response is that women don't  apply for higher positions," says Green.  "I don't apply not because I'm not capable  but because I don't want to play the games.  On the other hand, someone has to be the  token woman and pave the way for others."  Yet there is no reason why women can't match  or surpass their male peers or why women  should not compete for positions of  authority.  "I find by and large, women do as well if  not better than men," says Porter. "They  work harder, and they are also better with  details. Maybe, they still think they have  to prove themselves."  Porter noticed additional contrasts between  the two sexes: "I think women make better  journalists in a stressful humanitarian  situation. I don't know if it's cultural  training or what. But women tend to be more  empathetic in a stress situation, so they  Whafsanice  girl like you      |  doing in journalism?  get more human story. I think it's a skill  that's been lacking for a long time."  Porter says he finds that many of his female  students are timid about asking pointed  questions - in other words, being outspoken  or assertive. He tries to help these women  by using role-playing techniques for asking  questions in a certain way.  fv'B^t'give them a few years and they toughen  up. Some of the best city hall reporters are  women," he added.  Knickerbocker, on the other hand, perceived '  women's "empathetic natures" as a bit of a  drawback.  "One of the worst parts of the job is talking to grieving relatives. But younger  women reporters get them more often because  we're more sensitive and people feel less  intimidated. As a result, women tend to get  the sick and grieving, and men'tend to get  cop shops, labor and hard politics."  The values associated with the  news business-aggression,  competition, and getting the news  at whatever cost-are values not  usually associated with women.  Also because of our gender-based upbringing,  Knickerbocker says she has special problems  when dealing with hierarchical institutions  such as the police because girls are not  brought up to know and understand the  accompanying titles. (For example the difference between a sergeant and a staff-  sergeant). This puts women at a definite  disadvantage, making them appear and feel  ignorant through no fault of their own.  Like in any other profession, reasons for  becoming a news writer vary among individuals.  Shelley Fralic, assistant editor for the You  section of The Sun,  was a single parent  when she applied to Langara's program. "I  did not have a great desire to be a writer.  I applied and got in. I was- a mature student, 26 at the time, which a lot of people  were. I had a kid and had worked for five  years. A lot of us were at a cross roads."  Before enrolling in Langara's program,  Godley was a legal secretary who wanted more  "It was a very irrational decision to go  to Langara," admits Godley. "I was 34 at  the time, and knew I could write, so I  took the leap. My thing about being a reporter is using it as a forum to inform  the public."  Knickerbocker took another route. Like  Godley and Fralic she took journalism at  Langara, but before that, she completed an  honors degree in English at UBC and worked  as an ESL instructor at King Edward Campus.  "I tried working on community papers, but  all the students from Langara were getting  the jobs. I was 23 when I got into the  program."  . Sue Balcon, 33, is currently taking the 'ñ†  journalism certificate program at Langara.  (The diploma program is two years long  while the accelerated certificate program  is half as long.)  "Years ago, in high school, I wanted to  write. In school we had a work experience  program. I worked for the Ottawa Citizen  and loved it. Later, I worked for the  Richmond Review  as a free-lancer."  Along the way, Balcon married, had two  ' children, and took the academic prerequisites for the course.  "As a mature student, I'm very motivated.  But if I had a message for young women it  would be that it's really hard to go back  and pick up. The last three to four years  I've been working towards this."  Carol Adams, 22, is also in the same accelerated program.  "I decided to get into journalism when I  was 21. I did a BA in English at UBC and  just graduated in April. It was really a  case of oh my God what will I do? I wanted  specific job skills, not an MA."  Despite the disadvantages mentioned and  others (such as the awkward hours), none  of these writers would trade jobs with  anyone else.  -'^^fe  "I get access to people I wouldn't usually  meet," says Knickerbocker. "I've met sbme  really extraordinary people."  Says Fralic, "I love it. It's a cliche to  say, but I do. It's a great Job and the  people are great, too. One of the advantages of journalism is that there are so  many tangents to try: PR or the different  media (print, broadcast and radio). You  can carry your experience." November *84 Kinesis 11  WORKING IN THE MEDIA  by Kandace Kerr  This is the first part of a two part article  on early Canadian women journalists. In the  second part Kandace Kerr writes about Eastern Canadian and black women in journalism.  The links between activism and writing are  a main feature of women's journalistic activity at the turn of the century. Working  class organizers, suffragettes and trade  unionists used the power of the press to  reach their audiences and alert readers to  a variety of causes.  Like tiany other women's professions at the  turn of the century, journalism became a  socially acceptable way for women to speak  and write their minds at a time when they  were supposed to act much like children -  to be seen but not heard.  Most women entered journalism^through a  well-travelled route. Coming mainly from  the educated middle class, these women first  entered the paid labour force as teachers.  Some women, like Victoria's Agnes Deans  Cameron, took to journalism as a second  career once the illusions of teaching had  faded. For others, like Mary Shadd and Toronto dressmaker Flora Macdonald Denison,  writing and publishing were political  actions. And still other women saw journalism as a job.  No matter what the reason for entering the  profession, women were usually treated in  much the same manner as women on the 'outside' were treated. Like teaching, nursing  and other professions that women entered  in the, late 1800's, journalism became  feminized.  Feminization entailed the reproduction of  the social order on the job, in terms of  the sex roles and values accorded to women.  While women were employed as writers, it  was men who continued to hold the high  status positions such as editors, publishers and 'ace' reporters. Women were assigned to cover what became known as  'women's' stories, or to producing items  for the women's pages. They wrote society  notes, fashion pages and covered what were  (and, to some extent, are still today) considered women's issues: those connected  with the traditional caring and nurturing  roles, such as education, child care, child  labour and social issues. Liberation wasn't  about to be offered at the composing end  of a typewriter.  Helena Gutteridge was a British suffragette  who, with a number of other suffragettes,  came to British Columbia in 1911. She became actively involved in the BC suffrage  movement on her arrival here, organizing  the BC Suffrage League. Gutteridge was also  involved in the trade union movement, helping to organize women laundry and garment  workers, and working as the secretary of  the Vancouver Trades and Labour Council. In  1914 she became the first woman to sit on  the executive, and subsequently held the  positions of recording secretary, statistician, business agent, vice-chair and  trustee.  Gutteridge also realized the power of the  press. She was the federal Labour Gazette's  BC correspondent on women's labour issues  from 1913 to 1921, during which time she  studied the cost of living for the federal  labour department. Gutteridge was also a  writer for The Federationist, the paper of  the BC Federation of Labour. In 1913, the  Fed  endorsed women's suffrage. The next  year, The Federationist  published a weekly  suffrage page edited by Helena Gutteridge.  The column ran until 1915, and featured  Gutteridge's views on suffrage, reports of  visits and lectures of visiting suffragettes  and suffrage stories from around the world.  In 1913 she wrote:  ...the need of political power for working women is greater than that of any  other class  (because) only when she is  able to influence industrial legislation  will she cease to be exploited and forced  Early  feminist  journalists  "Tbe WonjaO'y Caus« is A\an'*"  December, 1912  Price 5c.   When Rea<J, Please H&o4 to a Frieod  into starvation and shame....The  value of the ballot is one of the strongest arguments in favour of votes for  women....  The B C Federationist was not the only place  where women's suffrage found a journalistic  home. The daily press regularly carried reports of suffrage meetings and lectures by  guest speakers, although the reports tended  to concentrate more on the unruly aspects of  the visits and meetings and less on the content of the speeches.  The Political Equality League was a province  wide suffrage organization. Its publication.  The Champion, stated the purpose of the  P.E.L. in its first issue:  We stand to emphasize the fact that  causes of individual cases of injustice can only be satisfactorily and  finally dealt with by legislation  in which women have a direct share.  The Champion was an organizing tool, carrying news from regional suffrage organizers  throughout the province. The paper also  carried reports from suffrage movements  around the world, with constant reference  to Australia, England, Sweden and the  United States. Articles from the British  suffrage publication Votes for Women were  regularly reprinted, giving an indication  of the largely middle class nature of the  BC women's movement.  Votes for Women was the publication of the  mainstream British suffrage movement: The  Suffragette  was published by the militants.  The Champion was useful more than anything  else as an organizing tool in a large and  politically diverse province. Women could  keep in touch, read about organizing in  their own and other areas of BC, and keep  up with the international movements. It  was also made of getting information out  to the non-converted. The editors of The  Champion,  Dorothy Davis and Maria Grant,  persuaded Canadian Pacific Railway to  take 650 copies of the magazine to sell  on the train that travelled throughout the  provinceI  While suffrage remained the rallying cry  of the province's middle class,-The Champion  flourished. It provided organizing  information, analysis and a political  reason for living. It was, for many women,  the fuel for the suffrage fires.  It is the intention of the women to  prove to the government that the people  of British Columbia are very much in  earnest in their request, and it is  confidently asserted, by some of the  leaders in this movement that the  government are sufficiently broad-  minded to grant the vote to women as  soon as they show that a large  number demand it.  The Champion was available for 5 cents a  copy. The cover advised purchasers to  read, and then pass on to a friend. The  paper was like a smalltown newspaper,  filled with news, messages, advertisements  appealing to the 'New Women' for everything from stocks and bonds to cars, and  tips on how to attract new women to the  suffrage cause.  In Vancouver, the mainstream press was  'taken over' by local women's groups for  a special fundraising issue of the Vancouver Sun.  Put together by over 15 local  women's organizations, the two-section  women's issue was to help raise funds and  awareness for the then-in-the-planning  stage Vancouver Women's Building (which  was built at Thurlow and Robson Streets,  and is now the site of a socially useful  parking lot).  From The Sun,  Wednesday, March 19, 1913:  To Our Public  From the Vancouver Women's Edition,  Our Women's Edition marks a step forward in the great and growing part  that women are playing in civic life....  Our success may not be reckoned all-  together for money, for added to that  is the tangible gain that comes to all  who work for the common good...  The two sections contain reports from a  number of women's groups, both social and  political. Everyone from the Pioneer Political Equality League, a suffrage organization, to music and dancing clubs, wrote  short reports of what the organizations  did and who they helped. Photographs of  prominent society and political women  accompanied each article.  In the second section of the issue there  were a number of 'self-help' articles, including a long article on poultry farming  in the Fraser Valley for women, an occupation that a number of political women  took up in the 1920's, including Helena  Gutteridge. Advertising was sold to pay  for the costs of publication, and the final  product was as woman-controlled as was possible in the constraints of male-defined  journalism.  While women made short and often dead-end  inroads into the world of journalism, coining stereotypes like 'girl reporter' and  'sob-sister', political activists discovered  early the power of the printed word. Using  papers that already existed, or setting up  their own publications, activists recognized that writing and journalism could be  as important a political action as organizing, demonstrating or speaking.  A bibliography will appear in the next  issue. 12 Kinesis November '84  WORKING IN THE MEDIA  Journalists from page 9  melody and did all kinds of horrible things  to it. I wanted to take the record and  smash it. Also, pornography in the workplace, like playboy pinups, has offended  me, but nothing in programming so far.  C_:  One time a well-known  booked as a guest on the CBC show. The  secret side of his life is that he'd once  done a layout for Hustler  of his secret  sexual fantasies. I felt that this should  be talked about in the interview. My point  was not that this man is a pornographer  and that therefore we should not interview  him, but that yes, he is a well-known musician and pornographer and an interview  cannot go by without that side of the story  coming up. The- interview was done but it  didn't reveal that side of him. By rights  it was someone else's interview. Had I got  that interview to write I would have definitely found a way to ask that question.  Even though that was someone else's story  idea I did feel a certain obligation to  make that information public. However, I  did not have the power to make that interviewer write that question down.  I can give some positive examples of how  someone can bring their political knowledge  into a story. I had to write an interview  for Kirk Douglas, an actor, but the other  side of him was that he was responsible  for breaking (Senator) McCarthy's blacklist in Hollywood. He's also very proud of  his son's involvement in the anti-nuclear  movement. That makes a good story. It involves politics and entertainment. It makes  me feel like my work has integrity.  Victoria, what was it like being the only  woman among Z7 males?  V: I thought the other techs I worked with  were great. But it was my job to dub cas-  ettes to reel-to-reel for the newspeople.  So as I'm sitting there in the control  room dubbing something,in they walk. Their  reaction is 'where's the tech?'. I'm sitting at the machine and they want to know  'where's the tech ?' !  I was in another situation that was also  blatantly sexist, at a TV station back  east. When I was hired they asked which  departments I wanted to work in then put  me in the one I said I.didn't want to do. .  A man was hired at the same time with similar experience and he was put in audio  which he and I were both qualified for.  The way I look at it he got the job he was  more likely to succeed at. They put me in  the middle of a hotbed of union activity.  I had a grievance filed against me the  second day I was there. It was suggested  that I got the job because I was a friend  of the station manager's daughter, when I  didn't even know he had a daughter. After  a horrible few months, on the 89th day -  the last day of my probation - they said:  "Sorry, you're finished". They kept the  other guy whom they had set up to succeed  and threw me out.  Some male producers came to me afterwards  and said that it wouldn't have happened if  I hadn't been a woman. Someone else in the  same department told me they didn't want  women there because it was men's territory.  Q:  I have had some similar very bad encounters with two male techs - rubbing up  against me, asking why my nipples were  never erect, asking if we could take  showers together...incredible sexual harassment, to the point that everyone a-  round saw it. Unfortunately, it was viewed  as sexual attraction toward me, not as  sexual harassment. Therefore jealousies  developed...and even though I explained  that this was sexual harassment and we  really"had to find some way to fight it, I  was viewed as the sexual provocateur who  had brought it on myself. Standard story...  I believed that CBC was the last bastion  CFRO  Women meet  by Sharon Knapp  A typical evening at Co-op Radio, Vancouver's  community owned radio station... It's  your night to broadcast and it's one  hour to air time and you have a tape to  edit. You aren't likely to strike up a conversation with the woman at the TC 105 next  to you. Chances are, she's probably busily  flaying her tape with a razor blade too.  Such working conditions do not encourage a  great deal of self-criticism either. All too  often, a programmer isn't concerned with  what she's doing with the material so much  as trying to meet the deadline.  Not only are women at Co-op Radio isolated  from other feminists who work in print or  video who are covering the same issues, they  are also isolated from each other. Because  shows occupy the same time slot week after  week, the typical volunteer will probably  never meet someone who broadcasts on a  different evening, even if they do very similar types of programming.  A new Co-op Radio Women's Caucus aims to  change all that, by providing women with  the opportunity to discuss the practical  problems of handling information in the  alternative media. It gives women volunteers  a chance to convince themselves that they  are doing serious feminist work, and, by  learning how to handle their material responsibility, to enhance their credibility and  accountability to the larger women's movement. As a first step, the caucus is co-  sponsoring (with Kinesis')  an open forum for  feminist journalists in radio, video and  print on November 25th.  Kinesis  spoke with Punam Khosla, the staff  person responsible for initiating the caucus.  Sharon Knapp is a Co-op Radio volunteer, as  well as a Kinesis  editorial group member.  I think a lot of women at the first meeting  of the caucus were wondering:   "Am I enough  of a feminist to belong here? What do I  have in common with all these other women?"  Punam Khosla at Co-op Radio.  Punam:  I think we can have a basic common  unity, but beyond that the likelihood is we  don't agree. I think that will be a real  asset in the caucus. I'm from an East Indian  background. I'm an immigrant and I'm a woman  from a middleclass background. The likelihood is I'm going to have a very different .  perspective from the woman sitting across  from me who's from a white, working class  Canadian background. That is a strength in  the movement. And when we fall into the  single line politic, we never see our differences as strengths.  You mean we shouldn't preach as if there  was a single line of feminism.  P: Right. There is no single issue that I  can think of right now that everyone can  agree on the analysis, the strategy and the  tactics. It's not a bad disagreement, either  its a dynamic disagreement. Those kinds  of debates often have something really solid beneath them, and the only way they're  going to be resolved is to keep on working  it out in the open. When we just do advocacy or hypercritical journalism, we're play-  int to the idea that there is a single line.  As a feminist journalist, it's my responsibility to look at what is being said and  present it as a debate. That's the only way  not to become divisive in the movement.  Let's talk about responsible criticism.  Responsible criticism is not simply a matter  of having more in-depth conversations- it's  also a matter of presenting the debates  that do exist in the community. When we  continued page 17  of liberalism in Canada - a place to work  and be yourself. Although I did meet a good  many people who shared my view, I learned  quickly that it's a matter of environment.  It has very little to do with talent or  your commitment to that program. If you  represent something that's foreign or  threatening, represent a spirit that's not  going to be moulded into a corporate person - no matter how friendly you are -  it's just not going to work.  Is it really vicious there at CBC? Is there  a lot of jostling for career positions?  I think so. There are few positions you can  m'ove into, and a lot of people trying to  move into those directions. It generates  a lot of gossip. Unfortunately, gossip is  power.  What kind of discrimination occurs'regarding who covers certain assignments? Are  men assigned the hard news stories while  women are sent out on what the media regards as human interest stories?  M: Sometimes I think we denigrate some of  the human interest material, like a daycare story...some of those things need to  be covered by someone who is as hard-nosed  on the subject as anyone else. We look at  those as lighter subjects when they're not.  Sometimes as a journalist those are the  topics that interest me...but I'm also  interested in a more political arena, too.  I guess my point is that as long as the  media regard certain stories that women  cover as lightweight,  it is difficult for  a woman to develop a career in commercial  journalism.  Pamela Martin didn't make it  covering daycare stories.  M: It's the whole thing of cutting your  teeth. You have to prove you can do political analysis and reports as well as everything else. It's a myth that women can't  ask tough enough questions.  C}     It gets into what is feminist journalism. I think that unless you have someone  with some kind of analysis covering those  stories you're going to continually perpetuate the damage being done. Take a story  about juvenile prostitution - a good story  - that lets people know that 99% of those  kids on the street have been abused, usually by a male member of the family. Until  everyone is giving that message in the  story, over and over, the problem is not  going to change. And part of being a journalist is changing things.  So you're saying that it's not good enough  for a woman journalist to cover a story  that concerns us,  it should be a feminist  journalist? continued page 16  A WORKSHOP FOR FEMINIST JOURNALISTS  If you know that women's work  in the media extends beyond  literature and poetry  Come to Vancouver Status of Women (VSW)  400 A West 5th Ave. (at Yukon)  on SUNDAY, November25th, 1:30 Pm  For more information call:  873-5925 and 684-8494  Co-sponsored by Kinesis and  Co-op Radio Women's Caucus November *84 Kinesis 13  3unnER     1984  by Michele Wollstonecroft  WomanSpirit  magazine stopped production  this past summer. After 10 years and forty  Issues, Jean Mountaingrove, the "mother"  of WomanSpirit  and Ruth Mountaingrove (who  calls herself the "midwife" of WomanSpirit)  have chosen to follow other directions in  their lives. (But good news, readers! Back  issues are available.) This summer I interviewed Jean and Ruth at Rootworks, Sunny  Valley, Oregon, where WomanSpirit  has been  produced for the past few years.  WomanSpirit,  devoted to feminist spirituality, was produced quarterly from the fall  of 1974 to the summer of 1984. The magazine began with the energy of feminism of  the early 1970's.  We are feeling stirrings inside us  that tell us that what we are making  is nothing less than a new culture...  As we continue to tear down the institutions and relationships that  oppress us, we are also building,  making,  creating.  Because that process  of taking and leaving, making a   new  culture is so deep, profound, and all-  inclusive we are calling it spiritual.  (Volume 1,   #1)  The magazine was produced rurally and on  minimal funds. "A good idea brings energy",  Jean said, noting that the magazine lived  and grew without advertising, "we owe our  success to the Women's Movement. Women's  bookstores stocked WomanSpirit,  women  learned about it by word-of-mouth and other  publications began to note it in their  bibliographies."  WORKING IN THE MEDIA  Farewell to  Womanspirit  Reading Womanspirit is like talking  with an older sister. The articles are  timeless. I read it now and I see new  things.   -Jean Mountaingrove  "With the beginning of WomanSpirit  a new  form-of magazine was born. It sought to  be accessible to all women as writers and  readers; we did not go after "big names"  and sought diverse opinions about feminist  spirituality. There was no one correct line.  We tried to keep the cost down so that the  magazine was affordable to all women."  WomanSpirit  did invent a new form. Women  from all over the world contributed to the  pages of this magazine. The content includes  articles that are historical, personal,  about rituals, book reviews, short stories,  music, poetry, and letters.  We wanted diversity: several views on  a subject.  No pro vs.  con, not dualism  but inclusiveness.  We wanted to stay  tuned to the cycle of changes in nature  and to foster our love for our mother  earth.   We wanted to create a womanspace  for womanexperience.  Not violence and  hatred. Anger, YES. Rage,  even, but hope,  action and support for moving on through  the anger.  Not sexuality, but love and  sisterhood: love of women,  of children,  the living creatures and plants who  share this earth with us. Always we  tried to select what would help us think   '  and feel and act clearly - what Would  empower us.  (Jean Mountaingrove,  Summer,  1984 #40)  Winter Solstice, #34 includes writings by  women about rape and incest. At the same  time there are articles about healing, reclaiming power, exploring the darkness  within oneself. I find the presence of all  this content in the same issue, one page  following another, to be extraordinarily  well-placed. While most contemporary magazines will take incest and rape as "issues"  and talk about them and then leave us with  it, WomanSpirit  is a place for disclosure,  revealing, expression, and sharing, and then,  at the same time, for healing, taking back  one's own power.  Some of the articles I have enjoyed the most  are those about history, ancient places,  ritual and mythology. These articles give  one a sense of women's power re-emerging  from the past and re-asserting itself in  new ways all over the world. "Himiko" by  Shrine River from Japan, is about a shaman-  ess/oracle who ruled Japan at some time  between 300 BC to 300AD. (#13, fall 1977).  In the Winter Solstice issue, 1982, Grace  Hardgrove writes a poem expressing her  feelings about a ritual that she participated in with 30 other women at the Cave  of the Seven Sleepers, a site that is  believed to mark the original Amazon-  founded site of Epheses, Turkey. In the  Solstice, 1984 issue, Janet Bergman Christ  writes about th$ ongoing summer rites of  Demeter and Persephone that take place at  Eleusis, Greece.,  In the Spring 1984 issue, is an article by  Luisa Francia of Munich, West Germany, who  writes about spending time in a Neolithic  temple on the island of Malta. This article is made up of 'NOTES' presumably  taken from a journal; these notes include  a description of the temple, Francia's   ,  thoughts while being in the temple and of  a night she spent in the temple, feeling  the energy there and moving with it.  These articles are good reading as they  include historical and mythological information about their geographical sites and  talk about how women are finding meaning  in these sites today.  I also particularly enjoyed Issue #32  (June 1982) that focuses on art. The cover  is a "quilt" made up of the covers of the  previous 31 issues. The inside of the back  cover is a woodcut print of "Three Spinners" by M. Loren Washburn. Also in this  issue is a plan for a Ritual Herb Garden,  by Jennifer Weston.  The graphics and photographs of Woman-  Spirit  are remarkably original, diverse  and numerous. The images are fresh and  personal pictures of women, symbols, diagrams and illustrations. The graphics and  photographs vary in size and style so that  as one turns from page to page there is  one visual treat after another.  I enjoyed the inclusion of Merlin Stone's  "ADA" dating system (After the Development  of Agriculture) on the index page of the  later issues. This system of dating, which  now puts us in the year 9984, gives us a  sense of continuity from times before  patriarchy.  Volume #13 includes an index to the first  12 issues (3 volumes). Another index is due  out soon that will give us an index to all  40 issues (10 volumes).  Readers  who  are  terested in obtain  ing  back is.  is  can.  Lte to WomanSpirit  ,  2000 M£%  Mountain  Trail,.ifolf Creek  HtM  Oregon,  U  S  mS$  -|.?*A7^^^^ LESBIAN JOURNALS-  The Grand Old Crones  by Barbara Herringer  As co-founder and former editor of Vancouver's The Radical Reviewer,  I remember the  excitement of seeing our first and subsequent issues hot' off the press. Somehow  the long hours of soliciting and reading  manuscripts, reviewing, writing and finally  paste up melted away when I held the paper  in my hands. I still feel that excitement  when I pick up a lesbian journal from  Ariel Books or the Vancouver Women's Bookstore. I may not have produced it, but  there is a strong sense of community nonetheless: I am a reader and, occasionally,  a contributor.  Lesbian periodicals are volatile and tem-  pestestuous. Whether they exist for one  . issue or twenty they are a political  mixed bag of passionate and articulate  points of view described through poetry,  theory, fiction, drama, narrative, journal  work, dialogues, interviews, reviews, experimental language and form from a myriad  of voices.  The most dynamic journals seem to be those  which have shifted from the idea of "we're  lesbians and we're all in this together"  to the radical but obvious, "yes, we're  lesbians but there are important differences among us that need addressing".  During the 1980s, in journals such as  Sinister Wisdom,Conditions  and the newer  Common Lives/Lesbian Lives,  the issues of  race, class and sexuality - to mention a  few - have burst out of the closet in a  furor of creative debate and artistry.  Lesbians 'are  everywhere.  The transition from commonality of our  experience to expressions of our diversity  is evident in the make-up of the collectives who work long hours for wages and  then attempt to find time for families and  partners while also producing the journals  we love to read.  Feminary,  for instance, began in 1969 as  the Female Liberation Newsletter of Durham-  Chapel Hill in North Carolina and was renamed Feminary  in 1974 from a wonderful  passage in Monique Wittig's Les Guerilleres :  "The women are seen to have in their hands  small books which they say are feminaries...  in one of them someone has written an inscription which they whisper in each  other's ears and which provokes full-  throated laughter."  From 1974 to 1983 the journal was a magazine emphasizing the Southern voice of  lesbians, then it seemed that Feminary  would have to fold. In the fall of 1983  proposals for transfer of the magazine  were solicited by the North Carolina collective and the new San Francisco-based  collective released its first issue this  October. The new collective is as diverse  as the contents of the journal itself:  a Brazilian woman, a Chinese American  a Jewish woman and a woman who descril  herself as a middle-class WASP. The  state that they are committed to using  their diversity to strengthen the journal  and describe Feminary  as a national maga-  1th an international perspective,  a magazine of lesbian-feminist politics,  passion and hope."  Sinister Wisdom  and Conditions  could almost be called the grand old crones of  lesbian journals - both have been out since  the late 1970s. There are sometimes long  between issues because of financial  problems and personnal changes but it is  always worth the wait. Conditions  describes  itself as a "feminist magazine of writing  by women with an emphasis on writing by  lesbians." Its collective is as diverse  as Feminary*s  and has expanded and changed  since Conditions One  emerged in 1976.  Sinister Wisdom  is edited by two women -  the third set of editors since its first  issue eight years ago.  As far as I know, Sinister Wisdom  and  Conditions  are the first lesbian journals  to produce special issues. Conditions Five  was the groundbreaking Black Women's issue,  while in 1983 Beth Brant, a native American,  guest-edited the North American Indian  Women's issue, "A Gathering of Spirit" as  issue 22/23 of Sinister Wisdom  In a radical break in format Sinister Wisdom's  latest issue presents the writing of  Common Lives  LESBIAN LIVES  a lesbian quarterly .  one woman, an American trauma nurse who  kept a detailed journal of the time she  spent in Beirut' during the Israel invasion  of 1982. In each issue of both these journals, the list of contributors testifies  to the commitment the collectives have in  publishing the work of many lesbian  voices - third world women, women of  colour, women of all classes, ages,  abilities and geographies.  One' of the youngest and most courageous  lesbian journals came out in 1981. Common  Lives/Lesbian -Lives  is published in Iowa  City by an ever-shifting yet dedicated  collective. In its first editorial the  collective made it clear what its focus  would be: "Common Lives/Lesbian Lives is  committed to reflecting the diversity  among us by actively soliciting and printing in each issue the work and ideas of  lesbians of color, fat lesbians, lesbians  over fifty and under twenty years old,  physically challenged lesbians, poor and  working class lesbians and lesbians of  varying cultural backgrounds. CL/LL feels  a strong responsibility to insure access \  to women whose lives have traditionally  been denied visibility and to encourage  lesbians who have never thought before of  publishing to do so." The journal has  lived up to that first editorial in each  of the twelve issues it has produced so  far and in 1983, the Gay Press Association  named it the winner of their award for  Outstanding Achievement by a lesbian  publication.  Unfortunately, as Wendy Frost pointed out  in her review of Lesbiantics,  Fireweed  Issue 13 (reviewed in issue 7/8 of The  Radical Reviewer),   "Within the feminist  press in Canada, there has been no continuous lesbian voice. There are no Canadian counterparts to such American journals  as Sinister Wisdom  and Conditions...no one  publication that speaks to the experience  of the Canadian lesbian."  There is no room in this brief article for  a discussion of the state of feminist  publishing in Canada, let alone the lack  of lesbian journals. Until one of us wins  the lottery or funding is more readily  available - which is the wildest fantasy?-  Common Lives Lesbian Lives-  feels a strong responsibility to _  insure access to women whose  lives have traditionally been  denied visibility.  our diversity as Canadian lesbians will  continue to make itself known in our communities, around kitchen tables, in the  pages of feminist journal's such as Fire-  Weed  and Room of One 's Own  or in the pages  of lesbian journals being produced in the 'Ģ  United States.  There are periodicals and newletters I  haven't mentioned in detail because of lack  of space. Others you may find at our local  women's bookstores are: Lesbian Connection;  Lesbian Insighter/Insider/Inciter;  Big  Apple Dyke News(B.A.T).  News); Ache,  a  Black lesbian jornal; Focus;  Issue 10 of  Connexions  entitled "Global Lesbianism";  Flagrant  from Vancouver Island; and from .  Terrace, B.C., The Open Door,  Rural Lesbian  Newsletter. Lesbians who are aware of other  journals, let the bookstores know.  Books by and about lesbians particularly  those published by small presses are often  reviewed in the Women's Review of Books,  New Women's Times Feminist Review, Broadside,  Kinesis  and within the pages of  most feminist and lesbian feminist  journals.  Throughout the 1950s The Ladder was the  only publication that discussed and reviewed lesbian fiction and poetry first  as a mimeographed newsletter, then as a  magazine. It existed for sixteen years.  We have come a long way, but there's a  great deal .of territory left to cover and  many voices yet to be heard. November ,%4 Kinesis IS  WORKING IN THE MEDIA        . __ YVV^I\JVil^VT  111  Outwrite  30p  i your collective  women's newspaper-  by Punam Khosla  When Canadian feminists look for news from  the English Women's movement - we most  regularly reach for a copy of Spare Rib...  a magazine that could easily be mistaken  - at least on this side of the Atlantic -  as the only overseas voice of English feminists.  Last year Spare Rib  carried a debate on  racism - almost implying that it's a recent development. In reality black women  have been organizing autonomously in  Britain for a number of years, and challenging the ethnocentrism of white feminists for just about as long, only not  bothering to do so in the pages of Spare  Rib.  London has many more black women's  centres than I had time to visit, and an  anti-racism movement that continues to  plug away in the face of Thatcherian  policies.  Black English feminists look to Outwrite  for their information - a monthly newspaper focusing on black women's concerns.  It should be noted here that the term  black, by common agreement, refers to all  women of non-white or third world origin,  the largest groupings in London being  Asian . and Afro-Caribbean women.  I spoke with two members of the Outwrite  collective at their office in East London  ...Shaila and Lilianne are two of the  eight full-time people on the paper, court  esy of a recent grant from the Greater  London Council. I started out by asking  them about the history of Outwrite.  Lilianne:  The paper started publishing  three years ago, but the idea was there  five years ago. Four of us, three black  women and one white woman, got together  to think about the possibility of having  a black/third world women'.s paper'in this  country, because the news that was in the  feminist media was extremely scant when  it came to black women's lives and politics, both in this country and in the  third world.  an on the collective,  aterial and we edit  edited by a white \  So we write our own i  our own work as well.  What was the idea of who you wanted to  reach with this newspaper?  L:     It was mainly black and third world  women in this country that we wanted to  reach, but obviously this would be a very  small readership because black people are  only a small percent of the population in  this country...if you think about it in  these terms...So these would be the women  that the paper was written for and addressed to. Apart from that we were still  thinking about white working class women,  white women in general. The women's movement came into account but was not a priority, although right from the beginning  we saw it as a feminist paper and the collective was a feminist collective. Now our  interpretations of feminism may have differed but we agreed on a certain consensus;  for liberation of women and for liberation  of women internationally and worldwide.  S^:  I suppose you could say we see it as  a tool whereby people can be politicized  as well as take up campaigns from, from  things they've seen reported in the paper.  - For me I think it has played a great role  in politicizing sections of the white  women's movement, the black liberation  movement.  You see, you have a situation where the  black press mostly ignores women, the  white press ignores blacks, so what we  were trying to do was fill in that big  gap that had been caused by the invisibility on all sides. So as Lilianne said,  that was our primary audience ^^^^'  important aims, because we are internationalist and we do believe that feminism  has to be internationalist, therefore by  definition has to be anti-racist and anti-  imperialist, given all the struggles in  so many other countries.  Are all the women 'ñ†  black?^  S_:     No, it's a collective of fifteen,  five white women and ten black women, from  a variety of backgrounds... some are black  British, I'm from India, a member from  Chile, one from Iran. Lilianne is from  Lebanon.  So you said that white women don't write  articles about black women and don't edit  articles by black women.  S^: They try...it's not that they don't...  they do and they even submit them, but we  reject them...  So what do the five white women on your  collective do?  S_:    Well there are other struggles being  covered in the paper as well, for example  the miners' dispute...for about three issues we've been carrying reports about  what women are doing in those struggles,  and we've carried several articles that  are important to black and white wpmen  in this country...  Do you have fairly good contact- with woman's groups in third world countries?  We still have very direct and ongoing  contact with women's groups from our home  countries, that's quite a big source of  news...but it's something we could always  be developing at a much, much faster rate  than movements in western countries. I  think that is quite apparent, that a lot  more grassroots activity is going on,  much more campaigning is going oh, whereas  from what I can see in western countries  things seem to be at a sort of lull or  have gone into very particular kinds of  organizing like women's refugees or pornography etc. Some of the news we get from  some third world countries, they're having  much more on the streets demonstrations,  much more cotifrontationist agitations and  so on, and we're seeing less of those  Was there ever any discussion about setting up a section within  Spare Rib that  | was already an established feminist  women's paper or was that'never considered?  Shaila:  Well Spare Rib  might have had  that discussion, but no, we wanted some- "  thing completely separate. As Lilianne  said there wasn't actually a newspaper.  Spare Rib  is doing something else, it  has long feature stories and so on, and  we also wanted something which, if it  was going to be about third world and  black women, it was also going to be produced by third world and black women. That  was definitely a point of departure, because where Spare Rib  did have the occasional story or news report, it was a white  women'.si collective and it's been like that  for about ten years. One thing we were  very insistent on was that the composition  of the collective was going to reflect the  content and the other way around. That we  were going to control our own news and  spread our own news rather than someone  do it on our behalf.  L:  One of our policies at the very beginning, which is still a very important  policy that we stand by, is that only  black women write about other black women  and no black women's writing should be  You have a situation  where the black press  mostly ignores women,  the white press ignores  blacks, so what we  were trying to do was  fill in that big gap.  wider than that, there are lots of black  male activists in solidarity movements,  there are working class activists etc....  and I think a lot of them will find something in the paper that is relevant to  their struggles as well.  So what is the editorial policy of the  paper...What's your basis of unity?  L:  It's a mouthful...it defines itself  as an anti-imperialist, internationalist,  anti-racist, anti-zionist, anti-heterosex-  ist - i.e. pro-lesbian - paper, and that  was a conscious step on the part of the  collective.  !S!;  And also to make the links between  women's situations world-wide, as well as  show the differences, that was one of the  here,  our c  So we're always trying to enlarge  >ntacts and develop them.  How, are you distributed here?  By subscription, by direct sales, and by  an alternative distributor who takes it to  the various alternative bookshops. It's  something we have to develop...but we've  said we won't make any compromises. For  example let's take Spare Rib.  It is distributed by a commercial distributor who also  distributes pornography, now we are not prepared to be handled by anybody who distributes pornography, and if we go through  this in a very principled way, we find  that we do not have an outlet, because  either they don't want us or we don't want  them.  This is part 1 of a two part interview.  In  the next issue,  Lilianne,  Shaila and Punam  discuss the issues facing Black English  women. 16 Kinesis November *84   Journalists from page 12  C: Absolutely. Unfortunately a woman who  considered herself a feminist journalist  would be viewed as someone who had too  narrow a focus.... Until a feminist perspective is seen as a human perspective  it's always going to be the last story on  the list.  V: There's always this idea that we have  to adapt to what the structure is now.  There are a lot of things I disagree with  in the structure. One of our roles should  be to adapt the system to the way we look  at it, instead of adapting ourselves to the  system, there are a lot of processes in the  workplaces that don't serve humanity very  well, so I try not to buckle under to those  things that seem stupid. It doesn't make  life easy for me.  M: Women in the media are breaking some  new groundj especially in certain roles  like technical and so on. I guess it's  tough but it's about maintaining your own  integrity and dignity, but it's also doing  what you like to do and making some way for  you to get around in the structure. Sometimes you have to make compromises and I  don't think that's necessarily a bad thing.  C: But I think it's only feminist women  who are being asked to compromise. Everyone makes compromises when they go Into a  career, but we're being asked to keep our  mouths shut and not rock the boat.  OUR ANNUAL  BOOKSALE  10% TO 80% OFF  NOV22-24 (THURSDAY-SATURDAY)  SPARTACUS BOOKS  UPSTAIRS, 311 WEST HASTINGS ST.  INA DENNEKAMP  Piano Tuning and Repairs  854 East 12th Avenue  Vancouver, B.C. V5T2J 3  876-9698  ill  SUE HARRIS, 1   w  COPE PARKS BOARD CANDIDATE  • feminist activist  • contributor to Kinesis  • Board member of Riley Park Community Association  • community organizer  SUE & COPE CANDIDATES WILL  • ensure women's recreational and park needs are  raised at the Board  • ensure community participation with and at the Board  • develop new programming to meet the needs  of families  • reduce user fees at the pools, rinks and community  centres  • maintain free user times at recreational facilities  • restore cuts in maintenance at parks, playgrounds  and recreational facilities  • end further commercialization of Stanley Park  • ensure a free zoo  ON SATURDAY, NOVEMBER 17,1984  vote SUE HARRIS  &THE ENTIRE COPESLATE  (Not on the Voters' List? Call 873-7681.)  WORKING IN THE MEDIA  The media is  manipulating art  Selfish:      the state of loving oneself and  therefore committed to growth.  Entails the desire to reach and  then extend one's potential.  Artist:       an effective communicator  Criticism: responsible,  considered and  honest appraisal; either positive  or negative; that is backed up  by reason.  Inherent in tjtis  definition is the understanding  that criticism is synonymous  with personal opinion.  First I started to think about art critics,  and then art criticism, and finally, criticism in general. But I began to realize  that the origin of what I want to discuss  is the treatment of the visual arts in the  media. Tackling the situation from what I  see as the source seemed to make more sense,  especially in the light of my discussion of  Georgiana Chappell's sculptural installation, in this same issue.  Both Chappell and I hold the view that  creativity is political, that to express  oneseli through any given art form is an  act of revolution. I believe this is so because of what it entails. In order to be an  artist, one must feel that one has something  of importance to say. It is perhaps the  ultimate selfish act in a world where, I  believe, we are neither encouraged nor  trained to love ourselves. In my view,  making art equals striving for personal  Following this premise, an interesting byproduct of making art seems to occur.  Because artists are spending their time,  energy and money in the pursuit of self-  expression, it follows that they are constantly defining and re-defining their  view of the world. And since most art is  made individually, artists tend to carry  that behavior over into other areas. As a  result, they may be less susceptible to  society's propaganda. If someone spends  most of their time thinking by and for  themselves, they are less likely to adopt  viewpoints, ethical standards or political  perspectives just because they are the  prevailing attitudes espoused by the rest  of society. That is not to say that every  artist (visual or otherwise) holds an  alternative viewpoint or leads an alternative lifestyle. But the fact is that  95% of artists, earn a living below the  poverty level.  Bring in society. Art, that is the visual  arts, are not generally seen as playing an  important role in society. They have been  relegated to a federal government ghetto  and isolated in the context of galleries.  Art is usually considered essential only  to those involved in some way with art (ie.  artists, curators, critics, gallery owners,  etc.).  This is reflected very strongly in all  forms of the media. In newspapers, the  visual arts are rarely discussed except in  terms of reviews. Art is not seen as being  newsworthy. When an item about art does  appear, it is primarily in conjunction  with a stolen object or a 'famous' artist  dying. There is neither an attempt to  recognize nor an understanding that art  is essential to our society.  This attitude of ignoring the visual arts  (while sports coverage is prominent and  indeed, has its own section of the newspaper, spots on both radio and television,  etc.) is carried over into other areas.  "Arts" programming on radio and television  usually deals with poetry, music, dance or  theatre. Those four are considered to be  'culture'. While I am not denying their  importance, the idea has risen that the  visual arts are' difficult to translate  into both the printed word and the audio.  I believe that because of the inherent  power of the visuals and their ability to  convince (look at any piece of advertising),  art has been put in an inferior position in  an attempt to dis-empower it. It is more  difficult and sometimes impossible to control the way in which our minds react to  -visuals. They can have a subtle, far-  reaching effect on us (one-picture-is-worth-  a-thousand-words type of sentiment). The  very nature of seeing, as has been proven  by the bombardment of visual information  which we experience every day, makes it  something to be controlled and manipulated.  How is this done?  First and foremost, isolation and intimidation. If art is seen as something which  is not essential and further,"above our  Creativity is political; to express  oneself through any given art form  is an act of revolution.... In order  to be an artist, one must feel that  one has something important to say.  heads", it has been effectively rendered  powerless. If it is written about only in  terms of jargon-y analysis, most people  will not be interested. If it is closeted  away in buildings called galleries and  museums, most people feel that they do  not have easy access to the work. If the  image of an artist ranges from someone who  is eccentic, wears a beret, makes art that  any child could do, works in a manner  deemed 'unreadable', sells work and therefore makes a lot of money, or doesn't sell,  her work, the public-at-large tends to feel  justified in slotting artists as a group  of people who are wasting their time and  eating up precious government funds.  Art skills are being incorporated all the  time into advertising, religion, political  activities (both alternative and mainstream), business, sports and even the media  itself. But they are used as tools or means  to an end rather than entities in themselves. It is rare to enter a house or  building where art is not visible. However,  it is the attitude and purpose that differs.  In much the same way that the media portrays feminism (usually crazy women who are  child-killers because of pro-abortion stances or who hate men because they are lesbians), so too the media has perverted the  visual arts.  If we want social change and if we want  personal freedom, we must be aware of the  media's attempts to manipulate and negate  the visual arts. If we are dissatisfied  with the position of women in the media, let  us be aware of the connections between the  visual arts and feminism and let us work  to change both. November *84 Kinesis 17  WORKING IN THE MEDIA  The Emily  Women publish in academia  by Nora Ready andJudy Andres  "These women crying in my head  walk alone uncomforted:  the Emilys,   these three  cry to be set free  —  and others whom I will not name  each different,, each the same.  -Dorothy Livesay  Emily Bronte, Emily Dickinson, Emily Carr,  Emily Murphy, Emily Pankhurst. The Emily  is a monthly student newspaper at the  University of Victoria, going into its  third year of publication. It came about  as a result of a women's centre collective  meeting in September 1982. It was first  proposed as a newsletter, but the idea  grew. It was decided that there was a  large enough community interested in  feminism to support a newspaper.  For the first issue, it was difficult to  find writers. No one was sure what a feminist perspective on events was. Megan  Daviest.one of the original organizers, remembers sitting in the women's centre the  night before the first deadline, waiting  for promised copy, in vain. The first  Emily  did come out on October 28, 1982.  Sexism and the media was the leading front  page article. Other articles were about  militarism, pornography, the pill, and  rape.  Most of the writers hadn't written news-  stories before, and in some cases it  showed. There was an awkwardness to the  style, and an academic rather than a journalistic approach to the writing. Perhaps ■  this points to the amateur nature of the  fledgling Emily.  The basis for its production was not efficiency and a polished  product. Essentially the collective felt  the need to reach out to more women on  campus. The Emily  was the means chosen  to open more lines of communication.  Since the first edition, about 100 women  have been involved in The Emily.  The first  year, some men were involved in writing  and production. The policy has changed since  that first year: men no longer write nor  ■participate in the production of The Emily.  We see our focus as providing support and  empowerment to women and women's creativity. The Emily  is an educational tool providing an outlet for women's expression in  an environment that is often hostile, unrepresentative and unyielding.  The Emily  runs on a collective basis. Decisions as to stories, editorials, format,  etc. "come about from collective meetings.  The Emily  does not want to be merely a  product. It aims to include the process of  producing a newspaper along with the goals  of the articles that are written. It  attempts to make the production process a  co-operative one, incorporating feminist  ideals in production as much as possible.  As a collective we strive to create an  atmosphere that is not alien to women, encouraging input from women of diverse  backgrounds, and experimentation of feminist expression.  Reactions to The Emily  have not always been  very supportive. The strongest reaction is  'why don't men write?' instead of 'what isi  The Emily    saying?' For this The Emily  has  been labelled by some vocalists as man-  hating, yet few issues ever mention men  directly. We have had to fight for funding  from the student government, which took up  a lot of energy last year in collecting  letters and signed petitions of support.  Funding has not been secured for this  year as of yet.  Although The Emily has a predominantly  university readership, we accept articles  from the community as well and encourage  dialogue between the university and the  community. For more information, write:  The Emily, University of Victoria, P.O.  Box 1799, Victoria, B.C. V8N 2Y2. Subscriptions are $5/year.  Big Mama Rag  stops publishing  After 11 years of feminist journalism, Big  Mama Rag,  a newspaper from Denver, Colorado,  has stopped publishing. The last issue  came out in April of this year.  In a notice sent to subscribers and supporters, BMR cited personal and political  differences within the collective as the  reason they could no longer continue the  project of the publication. They hope that  another group of women will continue BMR,  but say that nothing concrete has developed yet.  Women needing subscription money returned  to them can write the paper at 1724 Gay-  lord Street, Denver, Colo., USA 80206.  // you're getting too much news  and too little information,  our Public A ffairs programmes  offer a real alternative  The Rational Mon - Fri 7 - 7:30 pm  daily news and analysis from the left  Nightwatch Wed7:30 -8 pm  in-depth look at the issues  Union Made Wed 8:30 - 9:30 pm  by labour for labour  R edeye Sat 9 am - noon  music, arts and news analysis  CO-OP RADIO  Womanvision Mon 7:30 - 8:30 pm  feminist current affairs & arts  Coming Out Thurs 7:30 - 8:30 pm  gay and lesbian perspectives  The Lesbian ShOWThurs 8:30-9:30 pm  B. C. 's only lesbian radio  America Latina al Dia Satnoon-1 pm  Latin American news and music  \©%SJ [MM  Call us for a free programme guide 684-8494  1SiE Emily  HERizons  goes national  A new Canadian feminist magazine hit the  Vancouver newsstands this fall, when HERizons,   a Winnipeg based magazine, went  national. The publication began national  distribution, and has also established  regional editors for the Western region,  the Eastern region, and for Francophones.  The move from regional to national distribution was made with the help of a LEAP  grant from the Liberal government.  HERizons  is a monthly magazine, publishing  ten issues per year. Recent issues have  featured articles on childbirth, punk women, housing, battering, and an extensive  preview of the federal election. A portion  of the articles are always in French.  Reviews and interviews are regular features  as are columns on such things as finances,  and a section for news shorts. An upcoming  issue will focus on younger women. Format  is glossy and full colour.  In an interview with the Vancouver Sun,  Debbie Holmberg-Schwartz, one of HERizons'  editors, said, "It's long overdue. The U.S.  has had Ms. and other magazines to address  their concerns, and Canadian women are happy that we finally have something."  Other Canadian feminist publications, such  as Kinesis  and Broadside,  have long had  national distribution and content, but  have a different format from HERizons  and  Ms.  Subscriptions to HERizons  are $15/year.  They can be reached at 200 - 478 River  Ave., Winnipeg, Manitoba, R3L 0C8. (204)  477-1730.  CFRO from page 12  ignore the debate, we're just doing what the  mainstream media does: they black out the  areas they don't want to talk about, and it  just doesn't exist.  ' coming out at the  What do you want to ,  forum?  P: What I want to know is how everyone  else deals with what I consider to be the  almost overwhelming responsibility to handle the information responsibly. Let's get  everyone to address it from the point of  view of their own work. How do you define  what's important and how do you do justice  to the reason why you went there in the  first place ? These are things we don't of--  ten share with each other. We have to break  down the competition and the old idea that  you have to "make it", that you have to  prove yourself as an individual. It's completely contrary to the principle of what  we're trying to accomplish in the alternative media. We want to contribute to something larger, not simply do something that  contributes to our personal status. 18 Kinesis November TM  ARTS  Feminist soap opera imitates life  by Mary Schendlinger  Henna Haywood is the author of Flux., a  feminist radio soap opera released last  month. Mary Schendlinger interviewed her  for Kinesis.  I'm not sure how old you are, so I'll have  to ask you, what were the soap operas that  influenced your writing? Are we talking  'The Young and the Restless' or are we  talking   'Ma Perkins '?  It was 'General Hospital,' an American TV  daytime show. When I was in high school my  mum and I would watch it together. She  never admitted to anyone else that she  watched it, because literate suburban housewives weren't supposed to like that stuff,  and we certainly made fun of it. But, boy,  did we hang on the edge of our seats to see  what would happen next.  Is that when you got the idea for  Flux?  Nope. From there I went off and started my  own family, and when I was nursing my first  baby, I got into 'All My Children,' because  that's what was on TV during the noon  feeding. 'All My Children' was created by  Agnes Nixon -  No relation to ?  Not unless she's a black sheep. 'All My  Children' was designed to have all the  usual elements - love, marriage, divorce,  adultery, various kinds of misery and  ecstasy, mostly having to.do with relationships. But the show also had content about  social issues. Vietnam was one of the first  they tackled but they also tried teenage  drug abuse and wife battering and a host of  other concerns, issues that so-called  sophisticated night-time TV wouldn't touch.  And?  And lo and behold, the networks had to reassess their image of the insulated, bovine  housewife who only watched these things for  the vicarious romance.  And is that what got you started?  I didn't consciously start thinking about  Flux until about 1979 or 1980, some fifteen  years after my first taste of the soaps.  For years I'd been keeping a journal, in  which all the complexities of everyone  around me were recorded, and I was still  watching 'All My Children' when I was sick  at home, and I was still taking crap from  my upwardly mobile acquaintances. Honestly,  it was more scary to tell people I watched  soap operas than to tell them I was sleeping with women.  •■ drama isn 't exactly  BECKWOMANT5 $  STORE fRDNT ART 5TUDIA -GlfT 5WV  3»1 a CARDS + CRAFTS   I  S85?£,*C ELK ttEftflMk #/D. +fc&c  Helium Sallodms  LAT&A l£W£LLEfty-£ARlN&54A*riy  WOhAErV*   5//V\&oL :f£Wfi.LEftf ^'(mTM  fREE LANCE  Aft*  WofcK-     ,  ANVrHlNl/ MAPg IN CLAy-£\fett/outC MTKEft  - VANCOUVER -  WOMEN'S BOOKSTORE  Open 11 a.m. to 5 p.m. Monday through Saturday  10% off on books on the third Wednesday of every month.  Mail orders welcome.  315 Cambie Street  Vancouver, B.C.  V6B 2N4 Ph: 684-0523  Mon-Sat 11:00-5:30  But really,  daytii  feminist.  It is and it isn't. Daytime drama deals  specifically with women's concerns: relationships, the emotional life, domestic  politics. There's no other genre of TV  show that takes these things seriously.  But even when the premise and the context  were OK, some of the other things weren't.  Such as....  The relentless hecerosexuality, the distress of any character who wasn't established in a nuclear family, the conspicuous  absence of anyone other than well-dressed,  well-coiffed, middle class people in nice  houses. And the disturbing and subtle  message that some women were good and some  were bad..;.  Let me guess.  The good ones stayed at home  and the bad ones worked outside the home.  Worse! Even in the seventies.' A good woman  wanted children and often couldn't have  Daytime drama deals specifically  with women's concerns:  relationships, the emotional life,  domestic politics. There's no other  genre of TV show that takes these  things seriously.   them; a bad one arranged Caribbean abortions. A good one cried when she was  upset and a bad one threw teacups. Stuff  like that.  Which brings us to  Flux.  Yeah. It's irritating to turn on the TV,  settle down in front of a soap - which is,  as I said, essentially a women's form -  and to find out that you still have to  struggle to relate it to your own life.  So I decided to take the form of the  continuing drama, which fascinates me and  lots of ther people, and make it so it  was about me and my life. Flux  is about a  bunch of feminist women and kids trying  to live communally and do their work and  fall in and out of love and come out to  their mothers and so on.  Any special reason why you chose radio  instead of TV for  Flux?  Sure. Video is expensive and time-consuming,  and if there's anything women don't have,  it's money and time.  How long did it take you to write it?  I was working full time back then, and I  lived with my children half the time, but  somehow I churned it out in about a year.  And then you took it to the East End  Kitchen Theatre.  Not exactly. Flux didn't spring from my  hand fully formed. In fact there were  about five women around me who slaved over  each episode as I wrote it. P.T. Saint,  who produced it, followed me around with  a red pen during the writing, saying  things like, "You have a whole page here  with no sound effects," and "The 5-page  scene you just spent three weeks writing  has to go." And then there was Nora, and  Saeko....  OK, Henna,  this ■  So really, the casting and the production  ideas were happening simultaneously with  the writing.  It must have been quite a relief to turn  it over to the cast.  Au contraire. When the cast got hold of  it I had to rewrite it again. For  Jennifer's take on the character Fran had  so much more clarity and integrity than  I'd written in, that I had to change a  lot of her lines. Time and again while  we were taping, one of the cast people  would say, "But this character wouldn't  say that." I hope I never have to work  alone again, on any writing project. It's  so limited. The characters I'd written  gained six new dimensions in the hands of  the cast members.  So you Were surprised.  Sometimes unpleasantly. For example, the  character Maggie, who works real hard and  mothers everyone and complains a lot, and  for whom I myself was the inspiration,  turned out to be an incredible nuisance to  everyone else in the house. This is going  to sound really stupid, but I learned a  lot about myself through Viki's handling  of that character.  Would you say,  then,  that  Flux is pretty  faithful autobiography?  No way! Do I need a libel suit? My oldest  daughter sends me these knowing little  winks sometimes. She says, "Jana is really  me, right mum?" But the only place I record nothing-but-the-truth is in my  journal. It's fair to say that each  character was originally based on two or  three people I know, with embellishments,  and that's as far as I'll go. That's as  far as any serious writer ought to go.  't the Academy Awards.  Will you be working with the East End  Kitchen Theatre again?  I doubt it. Some of the people in that  group aren't speaking to each other right  now.  Just like -  A soap opera. Yeah. Just think about how  often you say that about life, and how  disparaging you sound when you say it.  The fact is, life isn't imitating art here.  When I wrote Flux  I wasn't just responding  to people's enjoyment of the form. I was  saying something about the way life really  is. Life is  a soap opera, and why not have  a little fun with that?  The first 30'minutes of Flux can be heard  on The Lesbian Show,  CFRO Radio,  on  Thursday nights in November.  Flux is  available in its entirety from women's  bookstores,  or from Flux, P.O. Box 46160,  Station G,  Vancouver,  B.C.  V6R 4G5. ARTS  Sculptural installation by Georgiana Chappell; wood, steel, paint, incandescent bulbs, glass, 35' by 35' (1982-83).  Sculptor Georgiana Chappell  If there's no dancing  at the revolution  don't invite me  by Jill Pollack  In the early 1900's, Emma Goldman, defending the need for aesthetics and beauty to  'Ģbe included in any movement for social  change, said, "If I can't dance, I don't  want to be part of your revolution." In  1980, Vancouver Rape Relief quoted Goldman  in a poster for a benefit dance. Countless  others have incorporated the anarchist's  words into their political ideology.  Vancouver artist Georgiana Chappell has  taken the essence of Goldman's quote and  transposed it into a work of art, If  there 's no dancing at the revolution,  don't invite  me(1982-3). Enclosed within  a defined physical space, this is an  installation comprised of steel cut-out  silhouettes of people dancing bordered by  four wooden 'walls'. Each of the wooden  . structures holds a window. Each window  contains a back-lit printed scene which  depicts various times of the day (a sunset, etc.). The lighting is tightly controlled and the area is dark; the only  light source is the painted scenarios. The  steel figures are life-size or larger  and placed in a seemingly random configuration.  Reality intermingled with illusion.  Because of the dim lighting, when one  enters the space, it is not readily apparent who is alive and what is a sculpture. This alteration in perception is  furthered by Chappell's skillful use of  the qualities of light and shadow. All of  the steel pieces have floor-bound steel  shadows, which double as stands. The use  of 'visual trickery' is effective in augmenting the viewer's sense of disorientation and is heightened by the suspended  animation of the figures. It is a silent  installation, yet the 'people' are moving  as if to music. Unnaturally-lit areas  break up the darkness and the viewer is  faced with an alternate reality in which  they exist, if only temporarily.  Displacement.  As with other installations, Chappell has  devised a situation where the viewer participates with the work; walks through,  around and intermingles with her art -  in a sense, becomes a part of the installation at the same time as observing it.  This leads the viewer's mind to the point  where the conscious and the subconscious  merge and a dreamlike state sets in. Because this tends to be an infrequent occurrence in most people's lives, one can  become vulnerable and therefore more receptive to experience Chappell's art on  many levels.  Memory interplays with actuality.  The longer you spend in the installation,  the more your senses fool you. The light  softens, often smell and sound seem to  prevail, the air thickens. One's physical  body reacts with the physicalness of the  work. One's non-rational mind is affected  by the discrepancies one experiences. One's  intellect struggles to regain dominance.  It is easy to become involved with Chap-  pell's art and easy to be entranced.  Slowly, details held within the installation begin to emerge - the steel figures  are etched; the painted scenarios are  caricature-like, not views trom a window  but part of the window themselves. In other  words, one begins to consciously stock-take  and analyze. There is a movement (as Cheryl  Sourkes aptly describes it) from "the  gazing/dreamlike to the rational mode". Our  eyes become adjusted to the dim lighting  and are opened to the complexities of  Chappell's work.  The steel figures are shadow-portraits,  life-size renderings. They are almost two-  dimensional and each has a distinct 'flavour' . At the same time as expressing  enjoyment, they are slightly frenetic. The  silhouetted men and women have been captured in an impossible-to-hold pose which  is reminiscent of the children's game,  November 1J4 Kinesis 19  Statue (where one moves around until the  'it-person' says to stop. The object of  the game is to freeze for as long as  possible). Because of their stance, they  have all the makings of a caricature when  in fact they are-archetypal.  An interesting aspect of If there 's no  dancing at the revolution,  don't invite  me  is that the individual elements are not  static. There are multiple possibilities  for the installation. In Chappell's studio,  it is arranged in one way; in part due to  the size of the room and in part because  the artist has made certain decisions as  to composition and design. But the very  nature of a non-site-specific installation  encourages variation. To me, this is an  The longer you spend in the  installation, the more your  senses fool you.  important point to consider. Since Chappell  has taken care and shown such proficiency  in altering the environment (or negative  space) of this sculptural installation,  one tends to view it as a 'fait accompli'.  The fact that this is not necessarily so  augments the power of the work.  The artist's ability to depict the thin  line between illusion and reality is also  evident by the way in which she produced  the four wooden structures. Painted white,  they offset the darkened room and shadow-  figures. The back-lit, brightly painted  scenes form a counterpoint, to the sombre-  coloured steel pieces. While they act as  a reminder, they stand as a fictionaliza-  tion. Coupled with the gaps of empty space,  in which the walls of 'the room become the  physical connections between the wooden  structures, one feels that one is in an  enclosed space, but is really in an un-  enclosed-space-within-an-enclosed-space.  The whole is greater than the sum of the  parts.  When taking the title into account, it becomes evident that this installation not  only holds certain political implications -  because of words but is portraying a  powerful and poignant political philosophy.-  Chappell seems to be describing a complex  ideology in which creativity is an integral  part of any social change movement. One  which contends that all is not as it appears to be. She is pointing out the need  to explore, learn about and utilize all of  our minds and bodies. At the same time, her  installation encourages us to further our  awareness of and formulate our analyses  around personal interrelations versus  societal expectations. And perhaps most important of all to me, I feel that Chappell  is promoting the idea that we need time to  celebrate.  It is a credit to Georgiana Chappell's  skill as an artist that If there 's no  dancing at the revolution, don't invite  me  can perform all those functions so well  simultaneously.  Jill Pollack is a freelance curator and the  advertising manager of Kinesis. 20 Kinesis November ,S4  RUBYMUSIC  by Connie Smith  The road from the early women's coffee  houses in Vancouver to the stage at Madison  Square Garden is a long one. But that is  where Ferron will be at the end of this  year when New York's renowned club Folk  City celebrates its 25-year reunion. Ferron will share the light with, among  others, Peter, Paul and Mary, Bob Dylan,  Joan Baez and Judy Collins. This event,  which will be made into a feature-length  film, signifies Ferron's entrance into  folk music's hall of fame. If there ever  was a story of small-town-girl-makes-good,  this is the one.  Ferron -was born in 1952 in Toronto. But she  grew up in Richmond, B.C..She later described this Vancouver suburb as a place  where "couples bought homes and lived  within the safety of washed cars and paved  driveways, made plans for the rec room,  and looked forward to two weeks holiday  somewhere else."  Ferron's career began early. When she was  11, she started playing her mother's guitar. Three years later, after saving money  from mowing lawns, she bought her own. Inspired by the music of Kitty Wells, Hank  Williams and the Carter Family, Ferron  began composing. Within a year she had  written over a hundred songs - a feat which  can be considered even more remarkable  considering Ferron was the oldest of seven  children. Where she found the time and  privacy is anybody's guess.  Her situation was further complicated by  her family's economic situation. There was  rarely enough money to go around and when  Ferron was 15, she left school to go to  work. But her writing continued, fueled  by nothing more than her own desire. When  she was 19, she returned to school to get  her diploma. It was here that she was encouraged to pursue music by one of her  teachers.  Ferron's first performance was a women's  benefit concert in Vancouver in 1975. She  was 23 years old. Although she was shy  and rarely spoke between songs, her music  was soul food for the women's community.  She held down various jobs and became a  regular at coffee houses and benefits  around the city.  I remember those early days, sitting on  the floor in the Full Circle's latest location, singing along to "Luckie", "Bour^-  bon Street Vision", and letting Louise  bring me to my knees. It was, I suppose,  an ironic time for Ferron, for the songs  which she had written in the isolation of  her room - songs which were often painful  and questioning - had a reverse effect on  her audience. Her deeply personal musical  confessions unified our lonesome souls.  Ferron may have still felt misunderstood,  but we in her audience felt that finally  understood us.  In 1977 Ferron recorded her first album.  It was a simple two-track acoustic record  released on her own label, Lucy Records.  But it was a thing of beauty. Because of  financial restrictions, she was only able  to press 1,000 copies. The following year,  she released Ferron Backed-up  in much the  same manner. Both of these records are now  out-of-print collectors' items.  Although the excitement generated by the  release of her two albums guaranteed her  regular performance time, as an independent Ferron was in a very vulnerable position. She was without management, so she  was responsible for every aspect of her  career. This was an impossible task. She  was not familiar with the workings of the  music business and somewhere in the hustle,  IITTTrrrfl  Ferron and Gayle Scott  ^*»»  she had to find the time to write songs.  Rarely does a musician survive this period,  expecially a female musician with very  little money. Enter Gayle Scott.  Gayle Scott was born and raised in Hollywood. She had studied film and had worked  for several years in advertising, film,  and commercial production. She was also a  freelance photographer.  In 1978 Gayle was running her own commercial  production house in Vancouver. She was the  first woman on the commercial scene in this  city and she was making waves with her  own brand of 'feminist' policies. (Some of  those policies have now been unofficially  incorporated into several commercial houses  due to Gayie's influence.) When she first  saw Ferron perform, Gayle was convinced  that Ferron was a unique talent in need of  some very careful management.  When the two women became friends, Gayle  began making suggestions. She encouraged  Ferron to talk to her audience more. She  assembled a press kit. And she raised  $25,000 to take Ferron into the studio and  record her third album, Testimony.  By this time, it was clear that Gayle was  indeed carrying out the job description of  manager. Eventually, she gave up her production company to become Ferron's manager  and business partner. It was a perfect  match. And Testimony went over the top.  Testimony,  which included such soon to be  greatest hits as "Ain't Life a Brook" and  the title track, sold 17,000 copies in the  first year through mail order alone. In  1982 Testimony  was licensed for distribution in the United States and it made  several critics' Top Ten Lists. This album,  combined with Ferron's 1981 appearance at  the Michigan Women's Music Festival, made-  it possible for Gayle to organize several  U.S. tours. And, as they say, the rest is  history.  In the last two years, Ferron has performed  to packed houses on the campuses of dozens  of universities. She has sold out Harvard,  Oberlin, Smith and UCLA. She has played  every major folk club in Canada and the  United States. And she is a featured performer at every prestigious folk and  women's music festival on this continent.  Her song Testimony  has been covered by  Sweet Honey in the Rock, and by Ginni  Clemmens. Ronnie Gilbert sings Ferron songs  from the stage. And two of Ferron's works  are included in the soundtrack of a feature  film produced in West Germany.  Testimony  prompted Stephen Holden of the  New York-Times  to call Ferron "the most  powerful lyric voice to emerge, out of the  lesbian oriented post-folk genre known as  women's music." Other music critics were  equally impressed. Susan Wilson of the  Boston Globe  designated Ferron "a significant music voice of the 80's." Phillip El-  wood of the San Francisco Examiner  said  "She is, in the vernacular, nobody's fool,  and her songs hit many listeners very deep  indeed."  Debbie Aqua Birkev wrote in the Victory  Music Folk and Jazz Review,  "Ferron is  quite simply a phenomenon. Not only one of  the most powerful performers I have ever  seen on a Seattle stage, but also a completely unclassifiable musician." And  Ariel Swartley in The Boston Phoenix  said,  "I have seen a woman stand alone with a  guitar and a glass and a bottle of juice  on the stage of Dorchester's Strand Theatre,  which stretched around her like the Great  Plains while she, a boisterous, indulgent  pioneer, reaped us all like so much hay.  I have seen, in fact, in Ferron what I  would like that future of rock and roll  to be."  In 1983, Gayle began raising money for  a new album. This time $65,000 was collected from Ferron's concert audiences  and other supporters. Over $10,000 was  raised in advance sales. With Terry  Garthwaite as producer, Gayle and Ferron  went into the studio a second time. Shadows on a Dime  was released on February  20, 1984. Again the press was united in  its praise.  The Washington Post wrote, "Most of her  songs are addressed to a friend, stumped  by long distance love, failed love, aging,  death, or pessimism. With a courage too  rare in pop music, Ferron doesn't offer  her friends easy solutions for their  problems, but forces them to face up to  difficult reality."  Rolling Stone  crowned "this Canadian-born  lesbian...a culture hero." The magazine  gave Shadows on a Dime  a four star rating. Her concert at Harvard one month  after the release of Shadows  sparked Susan Wilson to write in The Bdston Globe,  "A women's music show, by the way, which  breached barriers of sex, sexual  preference and musical pigeonholing in  its audience, and which proved to be one  of the finest acoustic music events of  the year so far."  And from her home town, Tom Harrison wrote  in The Province  on the eve of Ferron's  week-long performance at the Vancouver  East Cultural Centre in September of this  year, "Rarely has a songwriter been placed  so respectfully in the role of humanist  messenger."  I give you these quotes as a way of showing  that Ferron is succeeding in reaching the  human being inside every woman and man.  Her strong poetic sense, her unique ability  to look at a situation from the backdoor,  and her unfaltering courage to sing about  her most intimate and private thoughts, has  shaken the foundation of music. There is  now a small crack. But it is big enough  for her to step through on to that stage  at Madison Square Garden, where with her  touch, women's music will become people's  music, which is what she wanted anyway.  On November 16, on Rubymusic (CFRO 102. 7  fm),  I will be rebroadcasting an interview  with Ferron and Gayle Scott which was originally recorded on Rubymusic September  21, 1984.  Then on November 30, Ferron and  Gayle will join me in the studio as co-  hosts,  bringing with them some of their  personal musical favorites and albums  they 've collected on their cross-country  tours. Rubymusic at 7:30 pm. November ,S4 Kinesis 21  Birth  Enhancement  Services  ... Pre/Post Natal Counselling...  Labour Support... Education...  Midwifery Services...  4Kk  EAST  END  &  ^s&  80 ©KS  80UC-WT j SOLD  ART  LITERATURE  HISTORY  CANADIANA  *5,5 WEST PENDER  VANCOUVER  PHONE 68I-7651-  Learning music live from people  by Marcia Meyer  Marcia Meyer spoke with Cathy Fink at the  Vancouver Folk Music Festival in July,  1984.  Cathy Fink, singer, songwriter, guitarist,  banjo and fiddle player was born in  Baltimore and now lives in a Maryland  suburb of Washington, D.C. called Takoma  Park. After living in Winnipeg, Manitoba  for five years with Duck Donald, coinciding with the first Winnipeg Folk Festival  ten years ago, she decided to move to  Takoma Park to be closer to the kind of  music she was playing. Somewhere where she  could, as she puts it, "have more access  to learning music live from- people."  Cathy writes some of her own music but  says "a lot of the music I do I didn't  write. I've written some stuff but it's  not my main thing. I use material that  I'm attracted to and if it's my own that's  fine. I use the same criteria on songs I  write that I use on other peoples' songs.  So I don't feel the urge that if I wrote  it I have to perform it, unless I think  it's really good. Since that's only a  handful of songs a year my repertoire has  to be made up of a lot of other stuff. A  lot of this is Appalachian in nature or  country music of one kind or another.  "Songwriting is usually spontaneous for  me. It's not one of those skills or  crafts I've really worked at. It either  comes to me or it doesn't. It's> important  to me that my words and music really work  well together. Sometimes words will inspire  a tune and sometimes the opposite happens.  I'm aware of what happens to a melody and  whether it works or not but I don't think  about things like harmonic structures. I  just think about chord progressions and  trying to make sure that whate.ver melody  I use is not duplicating something note  for note that I already know. That happens  a lot. You sit down and play a tune and  you realize - 'oh yeah; now I know what  that is' - so I watch out for that."  As for being inspired by musicians in the  past Cathy says, "I've been inspired by  an awful lot of people. You know, I can't  name one person. I can say that my  attraction to country music was largely  directed by my ex-partner Duck Donald who  died a few months ago. My inspiration  around a lot of the political and cultural  work I do is really almost everyone I  meet."  When asked if she ever changed her repertoire to suit an audience she replied,  "Definitely, I do that all the time. In a  general community concert I'll do a little  bit of everything. I'll really mix it up.  I'll do a few kids' songs, a few women's  songs, some folk songs and some old time  Appalachian fiddle and banjo tunes. For  a concert that is put on for a feminist  production company, I'm going to tailor  my concert a lot to that audience. I'll  still do bits and pieces of all those  other things, cause I think everybody  needs to be exposed to them, I'll do a few  women's songs that people haven't heard  before and I'll also do a lot of songs  from women in country music, to show a  little of the history behind what I do.  When I do something for a Freeze Campaign  obviously I'm going to do some anti-nuke  songs. I tailor things pretty carefully."  Cathy mentioned that she hadn't really  had any one teacher in the past. As she  says, "I come to a festival like this and  I hear a lot of people play and I pick up  things from folks by doing a lot of  listening."  Cathy teaches music informally as well as  doing music programs for schools and workshops for teachers. She has a workshop on  songs of working women that includes  slides from the National Archives of  working women in the 20's through the 50's,  which she will be updating by using some  of her own slides. With these she sings  a cross-section of British and American  music. With another workshop, called  "Women in Traditional.Country Music," she  uses slides of "a lot of the women who  really helped open the doors in country  music." She performs these women's songs  as well as playing some of the original  78 recordings of their music.  Cathy has done a fair amount of work helping groups hold benefit concerts. As she  says, "we have developed a package and kit  that shows people how they can pay for  (the musicians') services and still make  money in a benefit concert situation. So  it's kind of a real grass-roots-organization tool."  In the next while Cathy is planning a lot  of children's concerts to promote her new  children's album, "Grandma Slid Down the  Mountain."  Along with playing the banjo, guitar and  the fiddle, Cathy Fink also flays button  accordion,Appalachian dulcimer and a  variety of home made instruments that she  uses in her children's concerts. She  currently has four albums out and her  fifth is a children's album which is  available on the Rounder label. You may  obtain these albums through the Vancouver  Folk Music Festival office or by writing  to her label directly at: Community Music,  P.O. Box 5778, Takoma Park, MD 20912. 22 Kinesis November ^  GaDery  celebrates  tenth  birthday  by Emma Kivisild  This fall, the Vancouver women's community  celebrated the tenth birthday of the city's  only feminist gallery with an explosion of  creative activity that continues into November. Women in Focus, a film and video  production and distribution centre founded  a decade ago, played host to a veritable  panoply of events in September and October  - shows of painting and sculpture, poetry  readings, and three performance variety  nights that included dance, performance  art, jazz, rock and roll, storytelling,  folk music, comedy and radio. This month,  the gallery plans a weekend feminist film  fe  al.  It is rare, in Vancouver, to see so many  different types of women's expression together in one place. While feminist artists  are constantly active, and often build a  following within their own artistic communities - visual arts, music, movement -  we do not often stop and take stock of the  sum total of this feminist expression. In  this respect these events, especially the  performance evenings, filled a huge cultu-  al gap in the community.  particularly exciting to see new  ses. Each of the three evenings featured  individuals or groups who had not performed  before, as well as more familiar performers  doing new things. The audience - almost  entirely women each evening - was enthusiastic and supportive.  What is clear to me as I contemplate a  return to the regular routine- of choosing  between a dance performance in Kitsilano,  or a singer at the Van East, or a variety  of live entertainers that more often than  not are sexist, is that we need a women's  performance space. Even if it is only on  a rental basis, we need it.  The energy, warmth, and general level of  enthusiasm we saw at Women in Focus are  part of the reason I want this. I would  also like to see us respect our performers,  by finding them a place to stage their  work that does it justice. At Women in  Focus, dancers were in danger of tripping  over the front row. At any one time half  the audience could not see, because of  Lllars in the middle of the stage, lack  raised seating, and the odd shape of  room. While we should be grateful to  for providing us with space, we should  stop there.  ne acts stand out. The first night,  Dilled as an evening with pianist Carolyn  Bell, took the form of a cabaret, Ruby's  Hideaway, and was delightfully hosted by  the character Ruby, a masked marvel of an  aging belle, clowned by Jane Kalmakoff.  Women Without Money, a three-piece rock  band (Lisa Delvecchio on drums, Diane  Levings on guitar and Roseanne Johnson on  bass), surprised everyone with a premiere  performance that brought women out dancing  in whatever space they could find..  October 13, the evening was longer. A personal highlight was Wives' Tales Storytellers, made up of Melanie Ray and Nan  Gregory, who created powerful images with  only their voices and gestures. The stories were good ones, and ones we haven't  heard before, from such women as Toronto  lesbian feminist Suniti Namjoshi, and  local writer Nora Randall. Randall's  Coming Out Story, premiered at this event,  was right on.  Linda Walker and Beryl Clayton performed  some of Linda's songs. The two women's  voices blend well, and the songs were  musically appealing. The lyrics were not  nearly as strong, often, lapsing into predictability.  Pianist Judy Abrams and jazz vocalist Bonnie Ferguson were unfortunately the last  act, coming on stage well after 10 pm,  when the audience was a bit restless. Un- .  fortunate, because they were really quite  good, though Bonnie did sometimes ask her  voice to do things it couldn't quite  accomplish. '  On October 20, we saw the three most accomplished acts of the series. Mamasaga I  (Anne Beesack, Pamela Harris, Heather  Wells, and Louise), a performance art/  theatre group, presented a piece that explored women's lives from several points  of view. It opened with an indictment of  the housewife's lot, and moved from there  to mother/daughter relationships, pornography and sexual violence, and culminated  with a reclamation of female spirituality.  Though it is clear that parts of the piece  (still in progress) need work, I found it  very moving. The women combined elements  of ritual, theatre, and dance, and used  minimal props and costumes imaginitively.  Parts of the performance included a touch  of black humour: a bitingly delivered "In  the morning when the sun shines on the  little flowers, and the little birds..."  contrasted with a real woman's morning;  a truly 80's rap and breakdance on porn  and nuclear war. I found these the most  effective sections.  That evening we were treated to the next  installments of Flux,   a feminist soap  opera which began as part of the Women to  Woman II show. The women's lives are recognizable, and give us a much needed opportunity to both laugh at ourselves, and  take our personal lives seriously. Flux  will be aired on Co-op radio this month  (see interview with author Henna Haywood  this issue).  The final performance came from Aya, a  five woman a cappella group from Vancouver  (Micky McCune, Uschi Schnell, Patricia  'ñ† Donahue, Beryl Clayton, and Norma Jean  McLaren). Their voices are beautiful, and  they do interesting versions of other  women's songs. One can only look forward  to the time when they will perform original  material, and gain some more confidence on  stage.  It was clear, often from disclaimers at the  beginning of the piece, that much of what  we saw at Women in Focus was still in the  workshop stages. So, on 'the whole I enjoyed these evenings, but usually more in  the way I would-enjoy an amateur.night  than I would a series of professional  polished performances. I found it hard to  be critical of what was on stage, knowing  the performers were taking personal risks  performing for an audience composed'of the  people with whom they live and work. This  is also one of the few chances these women  will get to perform for an audience likely  to understand their message. In most cases  they are developing their work in a  cultural  For all these reasons we have an obligation to constructively criticize the work  presented. It is a real disservice to accept with uniform enthusiasm everything  our community creates. In doing so we  perpetuate the vacuum our artists work in  right now. At times, at Women in Focus, I  felt we were all so glad to be there that  we lost sight of this. Women in the audience who had specific criticisms to offer  performers, I urge you to voice them.  Beryl Clayton, Ann Daskal, Brenda Ingratta,  and Melanie Ray were responsible for organizing these variety nights, which appeared  with Persimmon Blackbridge and Sheila Gil-  hooly's.  'Still Sane'.  Mark November 16,17, 'and 18 on your calendar - these are the dates for "A Different  Face: A Multicultural Event of Films and  Video by Women" at Robson Square. Women  in Focus has spent nearly a year organizing  the weekend program which will bring together the diverse and often unacknowledged talents of local, national and  international women film and video artists.  What makes this event particularly important is that the work shown will be either  Vancouver or Canadian premieres of material  that may not be shown here again.  If you've been waiting to see a film like  Marleen Gorris' controversial A Question  of Silence,  now is your chance. This is an  absorbing psychological study of three womer  who kill a man and are subsequently brought  to trial. A Question of Silence  has been  Coming soon  film and video premieres  hailed by critics as an extraordinary  women's film.  The weekend program includes work by  international artists Marguerite Duras and  Chantal Akerman as well as local artists  Sara Diamond, Patrice Leung, and Josephine  Massarella.  Each evening will spotlight a feature film.  Friday night will showcase SFU's Patricia  Gruben with Low Visibility  fresh from  screening in Toronto and Montreal (Gruben  will be in attendance). Saturday night will  feature Sally Potter's The Gold Diggers,  produced by an all-women crew and starring  Julie Christie (Potter is coming from  England for the Western Canadian premiere  and will be doing workshops locally at SFU  and Cineworks)..Sunday night will feature  Ulrike Ottinger's surrealistic, experimental film, Freak Orlando.  Workshops are also scheduled as part of  the weekend to address the particular concerns of women film and video makers in  Quebec; native culture and media representation; and black American women in filmmaking. Featured participants include  Helen Doyle and Nicole Giguere from Video  Femmes (the French-speaking counterpart  to Women in Focus) and Iolande Rossignol;  and Michelle Parkerson and Sharon Larkin  from the U.S.  Ticket packages range from half-day to  weekend passes with reasonable rates. For  ticket information, or further details  about the event, contact Women in Focus  at 872-2250. ARTS  SlMlHL PUSS  by Deb Thomas  The Women Who Hate Me by Dorothy Allisi  Long Haul Press, Brooklyn, N.Y.,1983,  58 pages.  Adversity, it has been said, stimulates  the creative act. Perhaps this is why the  American South has turned out writers  like Eudora Welty, William Faulkner, Rita  Mae Brown and Minnie Bruce Pratt.  The American South also produced Dorothy  Allison. Born and raised in Greenville,  South Carolina, Dorothy moved to Brooklyn  in her adult years largely, it seems, to  find support for her feminism and lesbianism. Dorothy's southern roots have remained  strong, however, and weave a constant  thread through the poems in this collection. Part of these roots are her stormy  relationships with her mother, stepfather,  and sisters.  The collection progresses from Allison's  childhood to her adulthood, from the  South to the North, from the hardness and  hate to tenderness and love. In the  majority of the poems, Allison exercises  a rare restraint, portraying vividly her  difficult life without being maudlin,  asking for sympathy, or indulging in  revenge. Her eye is sharp, her pen  incisive.  She ties her relationships, her places,  heterosexuality and lesbianism together  in concise lines. The following are from  the title work, a long poem called "The  Women Who Hate Me".  My older sister tells me flatly  she don 't care who I take to my bed  what I do there.  Tells me finally  she sees no difference between  her husbands, my lovers.  Behind it all  we are too much the same to deny.  Do I forget all that?  Deny it all?  Pretend I an not  my mama's daughter  my sister's mirror.  Pretend I have not  at least as much lust  in my life as pain?  Allison is at her best when she is doing  just this, the cathartic act of bringing  it all together. In this particular poem,  she also lapses into revenge on the women  who, she feels, hate her:  ...But the women,  shallow-cheeked young girls the world  was made for  safe little girls who think nothing  of bravado  who never got over by playing it tough.  What do they know of my fear?  A second long poem, "Upcountry", chronicles  Allis's ambivalent relationship with her  younger sister. It, too, is uneven,  ranging from insight to revenge.  Of the twenty-four poems in the collection,  a little over half largely work. They are  well-edited, well-thought-out poems in  good rhythm and clear messages. The rest  left me wishing that such a promising  poet had given us a slim volume of her  best work rather than a fatter book of  mixed offerings.  "Liar" is an example of the latter, an  angry diatribe which leaves the reader  with no further illumination as to who  the liar is or what he/she has lied about,  therefore failing in its apparent intent  to expose the liar.  Of the former category, one of the best  examples is "To the Bone", a short poem  packed with perfect metaphor, delicious  rhythm and a clear, strong message:  That summer I talked to death  like an old friend, a husky' voice  whispering up from my cunt,  echoing  around my knees,   laughing.  That summer I did not go crazy  but I wore  very close  very close  ?i3".~iif       *¬∞ t^ bone.  Another excellent poem is "Reason Enough  to Love You", a tender tribute to real  love, the kind that survives strength and  weakness, outward pressures and internal  sorrows.  For these and others of Allison's best  work, the collection is well worth reading.  Lesbians especially will find emotions  expressed here that remind them of their  own painful moments. I did. j  Digging In  by Elizabeth Brewster, Oberon  Press, Canada, 1982, 97 pages.  i This is one of the two volumes which  reveals Brewster, says the book jacket,  "at the height of her powers". It is a  prodigious work, divided into three sections and packed with poems covering a  wide variety of topics, both personal and  political.  Brewster's common sense approach to matters  personal and political is refreshing. In  "It's Time I Became Political", she coolly  assesses the advantages of voting for this  or that party, this or that principle,  and concludes that:  In the end, I suppose as usual  I'll vote for the side  I think will probably lose  (I'm rather good at guessing)  and won 't tell anyone  because after all  What party wants to be supported  for reasons like mine?  In "The Advantages of Menopause," she  pens a wonderfully optimistic view of  life after menopause.' She is responding  particularly to a "gloomy poem about  menopause" written by "a girl of twenty-  five". I  When I was thirty,  a woman in her  seventies  said to me once,   'You'll b  how many years everything goes on  . as usual. '  November ft4 Kinesis 23  J thank her now, and hope  for a long old age of being  surprised by life.  Her plain verse, lacking in metaphor and  defined cadence, works particularly well  in "From the Other Shore", a moving  eulogy to a person one is tempted to  believe was once her mate. The visual  sense of the poem is especially beautiful,  In other poems, Brewster visits a  "legless lady" with a friend and  is surprised by this lady's  extraordinary spirit; compares the  writing of a poem to the making  of a pot of stew (quite deliciously,  I might add); and depicts the world  after a neutron bomb.   painting simple, vivid pictures full of  particular light and colour. The pain of  remembrance and acceptance is gently  rendered.  Does your spirit fly now  over the swelling  water,  the green  branches swaying in the wind?'  In which bird's body  do you disguise yourself  soaring into space?  In other poems, Brewster visits a  "legless lady" with a friend and is  surprised by this lady's extraordinary  spirit; compares the writing of a poem  to the making of a pot of stew (quite  deliciously, I might add), and depicts  the world after a neutron bomb. The  latter ends with a strangely gentle and  chilling verse:  Winter and summer come  snow and hail and rain,  but there is no seed time  the harvest is already in.  Elizabeth Brewster's interests are wide  ranging and her analysis generally  astute. This volume is wise, salty, and  well worth reading.  After all  do I not bitch too much  about life, which has offered in its time  Strawberries in woods,  and marigolds in the back garden  with the spicy smell  of their broken stems  and even some love?  Deb Thomas lives in the Kootenays, works  in a film library, and writes poetry and  reviews in her spare time. Review copies  of small press poetry can be sent to her  at R.R.#2, Bedford Road, Nelson, B.C. ,  NIL 5P5. This column appears quarterly in  Kinesis. 24 Kinesis November IM  LETTERS  Press Gang  backs SORWUC  Kinesis:  Press Gang Printers has decided to refuse  work from the Kwantlen College Student  Association and the Canadian Federation of  Students until such time as the labour  dispute between the Student Association  and the Service, Office, and Retail Workers  of Canada (SORWUC) Local 1 is settled to  the satisfaction of the union. (See Kinesis  October '84)  As a feminist, worker-controlled collective,  we at Press Gang fully support the right  of workers to unionize, to negotiate a  contract, and to be treated fairly by  management in such regard. The employees  of the Kwantlen College Student Association  have attempted to exercise these rights  and have found themselves being harrassed  by management, with the added anti-union  interference of the executive of the  Canadian Federation of Students. The  situation is particularly distressing to  us as these student bodies profess to  have progressive policies and politics.  We feel that, at this time, to accept  printing work from either organization  would be the equivalent of accepting "hot"  work.  When and if the labour dispute is settled  in a just manner, we would once again be  proud to print for, and politically support,  the Canadian Federation of Students and  the Kwantlen College Student Association.  The Press Gang Collective  Calgary women  support us  The following is one of the many supportive  letters VSW and Kinesis received during our  funding crisis in the spring of this year.  As we look back on that struggle from our  present position of diminished resources,  —but feeling more secure than we did last  spring—, it is clear that we could not  have survived without the emotional and  presents...  A CASUAL CLASSY JOINT  THAT BARSNONE  Dinner  Thur, Fri, Sat  6-11:30 pm  Lunch  Mon-Fri  11:30 am-2:30 pm  10% off any food purchase  when this coupon is  presented. Offer valid until  November 30,1984,  560 Davie St.  between Seymour & Richards  685-1808  The cafe is available for private functions.  financial support of the numerous groups  like the Calgary Health Collective, and  many individual women who volunteered both  their time and money. There is not room  here to print all these letters, or name,  each supporter, but we would like to take  this opportunity to thank everyone who  helped us keep going through very tough  Dear Sisters:  Pursuant to your recent appeal, we are  sending you a small contribution as an  expression of our support for the work of  VSW as well as an expression of our outrage  at the efforts of your government to shrug  its obligation to appropriate a share of  tax dollars towards work that assists in  improving the condition of women in B.C.  The work of VSW has surely come to serve  as a model for other women's groups in  this country. Perhaps precisely because  the Alberta government has never allotted  even a small part of our tax dollars  towards independent social action activities  amongst women, we feel the graveness of  the recent B.C. government actions.  The money we are sending comprises the  profits made on the sale of lunch at one of  our events last fall. It was a windfall for  us, which we would like to share with you  to help in ensuring the continued existence  of VSW and Kinesis.  We urge you to continue your efforts to be  able to continue to be an effective voice  for women in B.C. and in Canada, and trust  that with concerted effort on the part of  many women, there will soon be a time .  where justice will prevail once again.  Yours in sisterhood and solidarity,  Members of the Calgary Women's  Health Collective  Anti-nuke conference  misses point  Kinesis:  The following letter was sent to the  organizers of the Canadian Conference on  Nuclear War: The Search for Solutions,  held at the University of British Columbia,  October 19-21, 1984.  Dear Conference Planners,  We are writing in response to the brochure  for the "Canadian Conference on Nuclear  War: The Search for Solutions". We are  glad that a conference is taking place  BENEFIT FOR ABORTION RIGHTS  See the new NFB film  STORIES FROM NORTH AND SOUTH  New trials have begun for  Dr. Henry Morgentaler, Dr. Robert Scott,  Dr. Lesley Smoling, Nurse Lynn Crocker,  staff of the now-closed abortion clinics  in Winnipeg and Toronto.  Sunday, November 18 at 1:30 pm  Ridge Theatre  $5 donation ($3 unemployed)  sponsored by  Concerned Citizens for Choice on Abortion  For more information: 876-9920  and we appreciate the amount of time and  work that went into its planning. However,  we have several criticisms both about the  pamphlet and about the conference itself.  These criticisms are not meant to demean  the work you have done and are doing, but  are meant constructively and we hope that  you will be open to taking them as such.  First, we were angry and disappointed by  the pamphlet itself which appears to be a  flashy tourist brochure. The format appeals  primarily to those people who can afford  expensive vacations. The photos make the  conference seem less serious—more like a  weekend tourist trip than a serious event  and something that should be incorporated  into our daily lives.  In order to clarify more easily the rest  of our criticisms, we would like to explain  our analysis of nuclear weapons more  thoroughly.  We do not believe that we will rid ourselves of nuclear weapons without changing  a lot of the world, our thinking and  values. We must first or simultaneously  rid ourselves of the mentality that  creates the need for any weapons. The  "nuclear mentality" is the same as the  mindset that perpetuates racism, sexism,  agism, religionism, heterosexism, species-  ism, etc. We need to be aware of speaking  and thinking patterns that are oppressive,  to or exclude one or more groups of people  —women, native people, gays, people of  color, etc. Nuclear weapons are the ultimate expression of the oppressor/oppressed  mentality. They are also an integral part  of the US and USSR's "national security"  —that is, the protection by any means  deemed necessary of "their" third world  "cheap labor" countries; and by extension,  nuclear weapons are an integral part of  the "developed" countries' "way of life".  Given this analysis, we become extremely  frustrated when issues other than nuclear  weapons are not addressed. We have heard  in the past that by focussing only on  nuclear weapons we will reach the widest  number of people. That may or may not be  true, but once people are reached they  need to be educated and radicalized to  make the necessary changes in their lives.  Every man who lets a sexist joke go by  unchallenged is a protector of rapists;  every white person who lets a racist  comment go unchallenged helps perpetuate  racial divisions; every person who lets  the corporations go unchallenged contributes to institutionalized violence and  nuclear war.  We question the conference taking place at  U.B.C., the home of TRIUMF, a nuclear  physics experimental station. The entire  nuclear industry is inter-related and we  do not believe that it is possible to  separate so-called positive uses of the  technology from the so-called negative  ones.  continued next page  pFftEE OUffOUOTB t=OMU  yp Lf cafe jalbi)  epeY\:       Hon -Tty« -mfi. \\a^  r Fri   Sett    *—*•%},*  *un <Sf* »itpm  Witq ft- "VJ*WJ. 6c>vj «a *Ht*r*»fi. November TM Kinesis 25  LETTERS  continued from previous page  In the same vein, we question the integrity  of asking Mike Harcourt to open the conference with an address entitled "Welcome  to Vancouver, a Nuclear Weapons Free Zone".  Not only is U.B.C. not part of Vancouver,  but several times nuclear weapons-related  material has travelled through Vancouver.  Vancouver is not, in all honesty, a nuclear  weapons free zone.  We find the proposal for the entire conference sexist and elitist. The pictures  in the brochure itself are sexist—the  action photos are of men doing manly things:  while the only visible women (except for  the token native woman) are all with men  and relatively passive. Within the context  of the conference itself, there is a preponderance of male speakers. During the  planning stages of this conference several  women speakers were suggested during meetings (Ursula Franklin, Rosalie Bertell,  Mary Kalder, Joanna Macy, Kay McPherson,  etc.)  If you can't think of very many  renowned women speakers, have you ever  wondered why not?  We also find this conference dangerously  elitist. Not only is the brochure designed  for the middle and upper class, white  person (we are tempted to say 'man'), but  the cost of the conference itself excludes  much of the "general public". We know of  very few people who could afford to pay  $60 for a weekend and we know of no unemployed or students or seniors who could  afford $30. We recognize that some bursaries are available, but how many? A more  equal fee schedule would have been "   hours pay" for the employed and free to  unemployed-(ie. a sliding scale).  The buffet dinner is supposedly a time for  "participants to meet informally". This  would include only the participants who  could afford $18 for one meal. Most of the  people we know have difficulty finding $18  for a week's food! They will obviously not  be at this exclusive dinner.  We further challenge some of the points  that you make in the introduction of the  brochure.  We do not believe that "the nuclear arms  race is the most pressing issue of our  time". It is a pressing issue, but it will  not be solved without eradicating the  underlying issues that cause it to exist.  Nuclear war is a white, middle class fear  —the rest of the world lives in daily  terror of the roots of the nuclear arms  race—starvation and injustice caused by  oppression in every form.  "The risk of nuclear war grows" not simply  because of "rising international tensions"  but because of the corporate and private  greed that causes increased international  tension—let's get back to the roots of  the problem! If it were not for the massive  exploitation by corporations seeking to  make more money and keeping the wealthy  wealthy, international tensions would not  be great.  We quiver at the thought of "experts...  present(ing) a detailed analysis of the  problems and a creative search for solutions". Giving our power over to experts  has brought us to where we are! We are all  "experts" and we need to learn to take that  responsibility rather than to hand our  authority over to others.  The workshops on Sunday afternoon are all  directed at so-called professional groups.  There are no workshops for the "general  public" that are supposedly invited according to the fee schedule (unless by "general  public" you mean "other professional  groups"). The workshop for educators  focusses on presenting the "issue" of  nuclear war in the classroom. Nuclear war  should not be presented as an "issue" to  students; the focus should be on helping  them to examine their values and change  their way of thinking.  We deplore your use of C.P. Air as the  "'Official Air Carrier' to this Conference".  C.P. Air is connected, through board of  director interlocks, to IBM Canada, Ford  Motors (both defense contractors) and to  Kerr Addison Mines, which owns the Agnew  Lake uranium mine in Ontario. C.P. Air is  owned by C.P. Ltd. which has board interlocks with Westinghouse Canada, General  Motors, IBM Canada and Philips Canada (all  defense contractors) as well as to Inco  which explores for uranium.  C.P. Ltd. also  owns C.P. Enterprises which is a partial  owner of Cominco (involved in uranium  exploration) and AMCA International which  owns a company that produces pressed steel  tanks for the US military. C.P. Ltd. is  11% owned by the Power Corporation of  Canada which is connected (again through  board interlocks) to Inco, Fraser Inc.  (a shareholder in Kerr Addison), DeHavil-  land Aircraft (a defense contractor), and  Suncor which explores for uranium.  We find it appalling that you are supporting such a corporation and suggesting that  others support it. By using C.P. Air you  are condoning institutionalized violence,  the mining of the uranium necessary for  nuclear weapons, and, in fact, nuclear  war.  It is often very hard to look at how we  perpetuate the nuclear arms race in our  daily lives, but we need to educate and  radicalize ourselves and others to see  this connection. To create a world where  nothing is faced with extinction, we need  to build a world where no group exploits  or dominates another. If this is our end,  it must also be our means. We can stop the  nuclear arms race only by challenging the  oppressor/oppressed mentality and by  withdrawing our support from the institutions that perpetuate it—from sexist or  racist jokes to corporate genocide.  We are glad that you have been open to  'these criticisms and hope that you find  them useful in the planning of your next  conference.  Sincerely,  Marrianne Van Loon  Beryl Clayton  Carolynn Jones  Marion Grove  Ann Travers  Fatima Correia  Jeanette Van Loon  Patricia Donahue  Emma Kivisild  Jeanne Shaw  Linda Walker  P.enee Friedman  BULLETIN BOARD  EVENTS  IN CONJUNCTION WITH THE FIREHALL THEATRE'S  production of "Extremities" - a play  about Rape (running at the treatre  throughout November) the Firehall  theatre presents a series of Forums on  sexual assault: Sun, Nov 4 at 2:30 pm,  "Who's to Blame?". Members of the municipal government discuss civic responsibility and safety on the streets, safety  in our homes; Sun Nov 11 at 2:30 pm,  "Why Men Rape". Screening of the controversial NFB film and discussion with a  local resource person; Sun Nov 18 at  2:30 pm, "Justice for Whom?". A glimpse  at the legal and social ramifications.  Guest panelists: a constable from the  Van. Police Dept., a defense lawyer, a  prosecuting lawyer (Crown Counsel) and  a representative from Women Against  Violence Against Women (WAVAW). For  further information call 255-2834  evenings.  VANCOUVER LESBIAN CONNECTION DANCE, Nov.30,  8 p.m. - 1 a.m. Theme: 10th anniversary  of BCFW; Heidi Archibald will perform at  8:30; wheelchair access, childcare off-  site; tickets $4 - $6 at Women's Bookstore/Octopus East/ Little Sister's.  Capri Hall, 3925 Fraser.  JUDY CHICAGO'S THE BIRTH PROJECT. Since  1982, Vancouver artist Ann Gibson has  been working as a volunteer and stitcher  with Judy Chicago's new body of work  which images that most central of female  experience, birth. The work is comprised  of 80 separate pieces of needle-work,  ranging in size from 5" x 91/2" to 20'  x 8'. Judy Chicago chose stitchery as an  appropriate medium for these art-works  because, like birth, it has been traditionally woman's domain, and thus has  won little attention in the world of  western art. Ann Gibson has prepared a  slide presentation, called "The Birth  Project: a stitcher's perspective," illustrating why and how the project was  conceived, nurtured and finally delivered.  To inquire about sponsoring a presentation, please call (606)687-8471.  KINESIS  INVITES YOU to our annual open  house, Nov 10 from 2 - 5 at VSW, 400A  W 5th. Call 873-5925 for more info. Be  there or be square.  THE LITTLE MOUNTAIN NEIGHBOURHOOD HOUSE  SOCIETY presents a Community Youth Panel  on Teen Prostitution at 3981 Main Street  on Monday, Nov 15 from 7 - 9 pm. The  panel is youth oriented with an educational focus, sponsored by Little Mountain Neighbourhood House. For more information call Carol or Lynn at 879-7104.  WOMEN AND WORDS: THE ANTHOLOGY  LES FEMMES ET LES MOTS: UNE ANTHOLOGIE  AH of it is 'real life', all of It is from the heart, all of it Is accessible. ... Reading it, I thought, well we 're still singing the blues all  right, but there's so much less explaining now jand so much more  telling. There is some very inspired writing in this collection.  Mary Schendlinger, Room of One's Own  Available at your local bookstore or order direct from:  Harbour Publishing  Box 219,  Madeira Park, B.C.  VON 2H0  $10.95  UPRISING  DREADS  BAKERY  Vancouver's Best  Wholegrain Breads  1697 VENABLES ST.  VANCOUVER, BC  V5L2H1 (604)254-5635 26 Kinesis November ^4  BULLETIN BOARD  THE NEXT KINESIS STORY MEETING is Nov. 7  at 7:30 at 400A W 5th (873-5925). Drop  by if you're interested in writing for  the paper.  SHIRLEY KIEL, SASKATCHEWAN PAINTER, will be  at Cafe Babe for booksigning and conversation on Saturday, November 10, at 9  pm. Her work is on exhibit at the cafe  this month. Kiel won first prize in a  major competition this spring at the  North American Bell Association. She  combines her writing and painting talents in her book Affaire de Coeur,  which has a limited edition cover print.  The book is also on sale at Cafe Babe,  560 Davie Street, 685-1808.  WOMEN IN FOCUS presents "A Different Face"  a multicultural event of films & video  by women at Robson Square Media Centre,  800 Hornby St., Vancouver, Nov. 16 - 18.  Weekend pass, $25; day pass, $15; 1/2  day pass, $8. Phone: (604)872-2250 or  872-4332 for more information.  PHOTOPERSPECTIVES 84, a national, juried  photography exhibition. Focusing on new  approaches in contemporary photography  and selected by guest jurors Jim Breukel-  man, Martha Langford, and Robert Minden,  the exhibition consists of over 100  works by 22 photographers from across the  country, including local women Michele  Wollstonecroft, Kiku Hawkes and Paula  Levine. Opening reception November 9,  7:30 - 10 pm. No-host bar. Continues  to December 2.  ROBIN FLOWER, November 11, 8pm at the Vancouver East Cultural Center. $8. CONNIE  KALDOR is celebrating the fall release  of Moonlight Grocery, with a series of  performances at the Vancouver East Cultural Centre, December 5 - 8, 8:30 pm.  Wed & Thurs, $8/Fri & Sat, $9.  STEPPING OUT OF LINE: A Workbook (  Les  bianism and Feminism is now available.  Join the authors and the publishers at  a celebration party. Saturday, Nov. 10,  7:30 - 10:30 pm at Press Gang, 603 Powell  St., Vancouver. All Women and Children  are welcome. Call 253-2537 for more  information.  THE WESTERN FRONT'S contribution to Art  City 84, November's month-long , city-  wide celebration of Vancouver's artis-  Women and Trade Unions  More a*\d wtort wonafcw cue hnxdt lvvocw mfevwfcuns now, and 4v\d -foois of-  4fOLTlfe UMltrw afjr\v«ttfe«i i<> reflfccHv) WOrA.ew'S pOnH<Upd.TWJVV   V.M-R.E.u.  \*> r%pov\dtM4 -tetVus neio €MO>Ka^is.   V.M.R.G.U.'S Women's Fbriwv\. k a  worwfcw - 6Wla aiovup rAefctvHq -to adArtss i's£U*$, ru ptoitauiAr ccmslam, to  wowvfcvv. *. etyMEL pity;  sexuAL koj-ASSwJi4>ui jj potrCw-WL i $i«vUu leave.  tic production is threefold: music -  the organization of musicicity, Nov 22  - Dec 1, a festival presenting concerts  by Vancouver's most distinct composers  and musicians; exhibition - In the gallery, opening Oct 30, "Rattles" by  Carole Itter, a series of eight-foot  assemblages, some of which function  as musical instruments; film - On Nov  9 at 8 pm there will be a screening of  recent experimental films by Vancouver  artists/film makers. Organized by Maria  Insell. For more information, contact  Western Front, 303 E 8th Ave., Vancouver, B.C., V5T 1S1. Phone (604)876-9343.  THE WAREHOUSE SHOW. On November 3, 1984  from 7-11 pm, the Warehouse Show will  open its doors to the public and inside  will be work by more than 200 local  visual artists as well as specially-  scheduled concerts, performance art  extravaganzas, video tapes and films as  well as panel discussions and lectures.  Film nights will be made up of new work  submitted to the Warehouse Show as well  as some new films from Canadian Filmmakers Distribution West. Opening Nov .  3, 7 - 11 pm. Hours: 12 - 8pm/Wed - Sun  Nov 3 - 30, 522 Beatty St., 732-6783.  BENEFIT FOR INTERNATIONAL WOMEN'S DAY 1985  True Confessions II, Expose by Women from  Vancouver Women's Community. Friday Nov.  23, 8pm - 12 pm, VMREU Lounge, 545 W 10th  Ave. $5.00 employed, $3.00 unemployed,  childcare arrangements available - Onni,  324-5458.      ^Nljp  WORKSHOPS AND COURSES  THE OVULATION METHOD of birth control is  being taught by the Vancouver Women's  Health Collective. All classes include  materials and unlimited individual follow-  up. Fee is $22 per woman or couple.  Classes can be woman-only on request. To  pre-register, phone Barbara at 253-6725  (after 5 pm) or Carol-Anne at 254-9759.  .Vancouver Municipal and Regional Employees Union  TRADE UNIONS & FEMINISM HAVE A LOT TO OFFER EACH OTHER  \*&  Ariel, Octopus East and West,  s Bookstore.  UBC CENTRE FOR CONTINUING EDUCATION presents a seminar on the Charter of Rights  and Freedoms: Impact on Public Administration, November 23 and 24, 1984 at  the Hotel Georgia. For further information contact: Phil Moir or Susan Te-  jada, Conference, Meeting and Project  Services, Centre for Continuing Education, UBC, 5997 Iona Drive, The UBC  Campus, Vancouver, B.C. V6T 2A4. Phone:  222-5225, 5221, 2181.  WOMEN IN KARATE. Fitness plus self-confidence, stress release, self defence,  skill development. Where & when: Vancouver General Hospital Residence Ballroom, 2851 Heather St. (off West 12th  between Cambie & Oak) Mondays & Wednesdays, 7:00 pm - 9:00 pm. Fee: $30/month  (+nominal annual dues). Instructor:  Dulce T. Oikawa, 2nd degree (ho) black  belt Shotokan,-ryu style karate. For  further information (after 6:00 pm and  weekends) telephone 874-1595.  ART FOR CHILDREN, an opportunity for children aged 4 to 12 to explore the visual  arts through a variety of media. Zoe  Lambert and Rae Gabriel are women artists  who have experience working with children  in the arts. Saturdays from 1-5 pm,  November 24 to December 22. For more  information, call 254-8863.  SOUTH SURREY/WHITE ROCK WOMEN'S PLACE is  offering the following courses: Exploring  Women's Dependency: A Discussion, Nov*  7, 7:00 - 9:00 pm, $10. Separation and November '84 Kinesis 27  BULLETIN BOARD  Divorce, Part 1, Legal. Family law discussion, Nov. 13, 7:30 - 9:30 pm, $5.  Separation and Divorce, Part 2, Talking  to our Children. Nov. 20, 7:30 - 9:30,  $5. Separation and Divorce, Part 3, E-  motional Adjustments, Nov. 27, 7:30 pm,  $5. For more information on these workshops, please call 536-9611.  GROUPS  VSW NEEDS YOU I The Vancouver Status of  Women needs women to help organize our  annual December Party! This year's extravaganza is on a Solstice theme. Some  work has been done, but we still need  help doing decorations, food, and publicity. Call now and- sign up for the committee of your choice! VSW 873-1427  WORKING CLASS WOMEN interested in meeting  to talk about living in a middle class  society (from a feminist viewpoint). All  ages welcome, Victoria, Tuesday Nov 13,  7:30 pm. Call Emma Joy at 478-8709 for  details.  TEEN MOTHERS can join a group every Monday  from noon to 1:30 pm to discuss parenting,  childcare, and meet other moms their age.  Little Mountain Neighbourhood House 3891  Main Street offers this program which  includes lunch, childcare, outings, speakers and information on low-cost resources  in Vancouver. For more information call  Sheena at 879-7104.  MOMS AND TOTS is a program held Tuesdays  and Thursdays from 10 am - noon at Little  Mountain Neighborhood House, 3981 Main  Street. Childcare provided includes arts,  crafts and singalongs. Outings and guest  speakers for the parents.  PACIFIC POSTPARTUM SUPPORT SOCIETY (formerly Post Partum Counselling) comes to  Family Place. We offer a service to  women who are experiencing post partum  depression. The program involves telephone counselling and a once a week support group. Contact Penny Handford, Tuesdays, Wednesdays, and Thursdays at Family Place, 731-2719 or after hours at  736-5714(Answering Service).  BATTERED WOMEN'S SUPPORT GROUP. A weekly  confidential support group for women who  are presently in or have been in abusive  or violent relationships. Child care and  transportation costs paid if needed. For  further information call Battered Women's  Support Service in Vancouver at 736-1574  or call locally 536-9611. Date: Ongoing  -session. No fee. This group is sponsored  by the Surrey/White Rock Women's Place.  SUBMISSIONS  PHOTOGRAPHERS take note'. Kinesis  needs  you. We can pay for film and developing.  Please contact Emma for more information  at 873-5925.  CALL FOR ENTRIES - WOMEN ARTISTS. Battered  Women's Support Services is planning  their second annual exhibit of visual  arts by women. This year's show will be  2 consecutive 2-week shows, at (n)on  Commercial Gallery, and at a restaurant,  location to be announced later. Part of  the proceeds of sales goes to B.W.S.S.  Women wishing to participate, contact:  Rae Gabriel, 734-1574 (B.W.S.S. office)  or Kati Campbell, 251-6007 ((n) on  Commercial Gallery). After 6 pm, leave  message 879-3668, or call home 874-9895.  Or, write 3532 Commercial St., Vancouver,  B.C. Work should deal with the conditional realities of women's lives and be  reasonably priced. Deadline: Nov. 10th,  '84, but the organizers would appreciate  being contacted as soon as possible.  Work and/or documentation to be viewed  at 3532 Commercial Street (phone 879-3668)  Sat., Nov 19th, noon to 8 pm. Part of  Art-City '84.  I AM COLLECTING SLIDES of the art and  altars of contemporary women who are  working in Goddess-ralated and other  enabling/empowering imagery for possible  inclusion in an upcoming Studio D,  National Film Board film on the roots of  religion. Please send no more than 20  slides, including descriptions, media,  motivation and anything else you want  to say about your' work. I am interested  in all media, including women's traditional arts. Deadline - December 31st,  1984. Sasha Mclnnes, 237A Dundas St.,  London, Ontario, N6A 1H1, tel (519) 438-  5307, 672-2832.  MISCELLANEOUS  NEW TITLES THIS MONTH at the Women's Bookstore: The Godmothers,  by Sandi Hall, a  sci-fi tale of lesbian feminist pacifism,  $10.50; Stepping Out of Line: A Workbook  on Lesbianism and Feminism,  by Nym Hughes.  Yvonne Johnson, and Yvette Perrault,  $12.95; Small Expectations:  Society's  Betrayal of Older Women, ' by Leah Coehn  $19.95; Stormy Weather:  The Music and  lives of a century of Jazz Women,  by  Linda Dahl, $17.95. Women's Bookstore,  315 Cambie St, Vancouver, 684-0523.  OCTOPUS  INEXPENSIVE QUALITY BOOKS  HARD TO GET ART, SOCIAL &  LITERARY MAGAZINES  & JOURNALS  2250W.4TH 732-6721  1146 COMMERCIAL      2530913  rieut    (Ootw/  is accepting applications  for new membership.  Bachelor and a half and  one-bedroom suites  now available. Please  apply in writing to the  Membership Committee.  12 West 10th Avenue, Vancouver B.C. V5Y 1R6  rac  nO  nc  CR  Be  "B  an  ffF  cnrE  Bc  D°B  lj  EEC  CB  FINAL REPORT OF THE WOMEN'S SELF-HELP AND  ADVOCACY NETWORK. This publication summarizes a three-year demonstration project sponsored by the North Island  Women's Services Society of Courtenay,  BC. Final Report (no char-ge), Women's  Self-Help Kit ($25.00). Order from: North  Island Women's Services Society, Box 3292,  Courtenay, BC, V9N 5N4.  FOOD BY ARTISTS ! Your chance to eat a  piece of art, look at a piece of food, or  both. And support VSW at the same time !  Buy your raffle tickets now. Draw December 7, at the VSW Benefit.  Not Just Pin Money: Selected Essays on the  History of Women's Work in British Columbia  is available now for $12,00 from  Camosun College. Send $13 (to cover  postage) to: Not Just Pin Money, Camosun  College, 3100 Foul Bay Rd., Victoria,  B.C., V8P 4X8.  THE LATEST VERSION of the B.C. Guide to the  Women's Movement is available from Vancouver Status of Women. If you are listed  in the Guide and have not received a  copy, please contact VSW at 873-1427.  Copies are available to any group or  individual at a cost of $3.00. New  listings or corrections for the next  up-date can be sent to: Vancouver Status  of Women, 400A W. 5th Ave., Vancouver,  B.C. V5Y 1J8.  CLASSIFIED  TWO FEMINISTS looking for a third to share  an east end villa, now. 251-7950, Renee.  CAR REPAIR: All makes, low rates. Winterize  now. Adrienne 873-5016.  LESBIAN FEMINIST looking for same to share  a house near Charles & Victoria. Back  yard with fruit trees, spare rooms. Rent  $287.50 includes utilities. Available  now. Call Marilyn at 253-1224.  CHILDCARE: 13 year old girl will babysit.  Van East preferably. Took teen childcare course. Some experience. Lucy.  876-8446. '%J^t''  I AM INTERESTED IN CO-OP RENTAL of a cabin  or retreat (women only) within reasonable access to Vancouver. If anyone has  information on. a place or is interested  in being involved when I locate one,  contact Jackie at 873-8511.  CAFE BABE. In honor of the 2nd anniversary,  'Babe' sweatshirts will be 25% off regular price. Any entertainers wishing to  participate in our celebration, or for  information on specific events, call  685-1808.  ISflPOR/TS  CO-OP      «.   t   J   T   11   U   l   (1    N.   T  1 Eggs Benedict at Brunch  Delicious Beef, Veggie and  Fish Burgers  Caesar & Seafood Salads  Fresh B.C. Salmon  Children's Menu  Vegetarian Selections  Christmas office parties and  catering available.  GRANVILLE ISLAND   681-8816 mm  ARE YOU ABOUT TO EXPIRE?  Look at the bottom right hand  corner of your mailing label  to read the montn  year of expiry.  JANE PENWOMAN  303  Feminist Re  Vancouver  VIA 2G7 /5*1134 .  If this is you, it's time to renew. Because we converted to a  computerized mailing list recently, we redesigned our  subscription renewal process. By putting your expiry date on  your address label as in the example above, we want you to be  more responsible for your subscription's long life. Unlike larger,  glossier magazines we don't have the dollars or the staff to send  you separate renewal notices every month. Please check your  label right now before you expirel  mm  Published 10 times a year  Jpy Vancouver Status of Women  400A West 5th Ave., Vancouver, B.C. V5Y 1J8   j«§f;||  D VSW membership • Includes Kinesis subscription •  $23 (or what you can afford)  D Kinesis subscription only-$15  Destitutions-$40  D Sustalners-$75  □ NEW        □   RENEWAL  □ GIFT SUBSCRIPTION FOR A FRIEND  Namn  _ ,     ,.   ,  Add res s_ ii        ,,.   ,  Phone   _ Amount Enclosed.

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