Kinesis

Kinesis Jul 1, 1984

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 i m  WMMM  •'"•:T^K;'the Shame the Johns  vigilante campaign directed  at forcing prostitutes from  their neighbourhood has been  gettttig a lot of attention. West  Ender Rosemarie Rupps gives  the feminist perspective.  5 The Labour pages feature  two complementary perspectives On the recent CLC convention in Montreal.  6 ,|Patty Gibson and Punam  Khosla journey to Oakalla prison to ask Ann Hansen the  questions that never got  fU^J/IU^t4$t" B4-  18 the Slits, The Raincoats  and the Belle Stars... Who  are they and what do they do?  Know more about them by  turning to Connie Smith's Beginner's Guide to New Music.  24 Music has it all over talk.  At least that's the message  from singer, songwriter Pat  Davitt as she writes about  making music to fight by.  26 Local artist Cheryl  Sourkes' photography exhibition receives the recognition  her work deserves in a review  by Jill Pollack.  ^pcred cuts won't stop us!  fi KMMMS  i|$E VANCOUVER STATUS OF WOMEN  WeVe both alive and kicking  JS&d, subscribe, join, support  women's news and views  I  Published 10 tlnrtos a year  by Vancouver Status,of,Women  ippOA West 5th Ave,, Vancouver, B.C. V$gwj?)''.  lll|plitW members!!® - }no(udfS:,'&jhesis subscription  'J^T$20 (o/ wftart 'you can affjoiiF%  »?Kinesis sufcSGriptlon>0riIy «!$% -  ^tonatltutJons - $40  Jp^ustainers - $75  BKy^ IE: —-   j||&«ss_ ,;«. ■   Sine   PPPWPlrvelosed _l  O  Is  (0 3  SO  ><  m  Mm  < o  • Si  1  S3  w  Classical  saSM  m  also this issue:  Photography  insen ?i^3r|ftitta|^l^dv. v"!  ^^^^gL^o%er,.  ^^^W.- trials of the Lower Mainland indi-  |S!^^ft known as the Vancouver Five came to  a^rt?tl1;"vtil 4une when each of the five  pleaded guilty to charges ranging from  possession of weapons to bombings at the  Litton Systems plant in Ontario,  the  Cheek^e-Dunsmuir nuclear substation,  and  three Red Hot Video pornography stores.  ||§||||||ve' s case has been the target of     -  ^^Rpolitical attention, due to the  nature of the charges,  the nationwide  ^riJsHRby media*, .that followed their arrest  (see"-Kinesis February '83>,  and the extensive, ■|j§opth3.sti£ai:e*IT and frequently |1||§|1||1  gaily ^t^la'ed'^,'U^wei.llance evidence" fcjsnaf> *  was allowed in c&urlh^*''  MoreontheFiVe  Interview witfi j&ftrt %)%>< B;-1{  B^s£ma.s.1t >Aen Jfensfen,, Gerry Hannknj,^.';!  §1^ja&V%'' XtiAjiteist. Tj|ylor,, wirta^  ^-it^mselv^^DirJect'!^tc6f6n, were.•;  tit^^ta0-^tai&r^Z^i^^^>y police  fibers posing- as highway flagpersons on  tffe S^tamiltbl&lighway. T^ey jire?e.;fodxcted  ^Bl^^^^^^^^^^p^^wt charges y $§mEssm  thfe*'£&$fc£' otv^fe"£irst'*Qf tnese' induct- _*"-  ^p||p^^fflg*in Septeal|l|||i>r' last year.  M^M& entered i^^feguilty plea ifC'Vang -->..  |B; i^£^-^eixtSanped.'i'jt:o 20 years in prison  ?<&£* dftarijes* 'trta^'^lncluded the Litton  ^^g^K^^&is appealing her sentence.  Hatutah received 10 years.- on related charges  ^^^^^^^^^Uatcing - .M^k-t came in early  Jiiiie«."'f.ollowed by Stewart's and Taylor's.  Stewart will be in j aiX*#j||||6 years,  Taylor for 22. Taylor was convicted with  Hansen on conspiracy to-rob a Brin^^^^^  guard and other charges, and-;^^»;"-faces  trial in Ontario on the-Litton charges.  B^tfjh-jHansen and Taylor, well respected  activists in Vancouver's alternative community, presented political statements  ttXjtfae, court outlining their reasons for  taking action when and how they did.  Hansen's statement was supplemented by  the testimony of women and men organizing  legal protest around the issues Direct  Action worked on, making her sentencing  the major political focus of the trial.  Fifty people attended a rally preceding  the .-/court proceedings, and in the courtroom Ken Hancock spoke on the campaign  against Litton; Carl Rising-Moore on the  Cheekye Dunsmuir substation; anti-porn acti-  vist Pam Blackstone on the work against  Red Hot Video; and Nilak Butler on native  rights. Butler and Ed Progar also spoke as  character witnesses for ton* .  All of the testimony addressed the frustration activists have sensed in working  legally. Blackstone pointed to the justice  system's.persistent inaction on Red Hot  Video, and the farce that was Red Hot's  triaL when the case finally came to court.  continued on p. 4  Wamm  photo by Kim Irving  by Rosemarie Rupps  On June 21, hookers in Vancouver's residential West End voluntarily moved enmasse into  a commercial and retail area east of Bur-  rard Street. For years an uneasy situation  has existed between West End apartment  residents and hookers, many of them juveniles.  who gradually filtered into nearby residential streets from Davie Street, a strip  of restaurants and bars. As relations deteriorated, hookers felt themselves blamed  for many of the problems of any high-density neighbourhood, and residents felt all  levels of government were unresponsive  to the:  The move out of the West End comes as the  culmination of a war on prostitution,  which involved a local citizen's neighbourhood patrol, "Shame the Johns"(STJ), and  an attempt by the Attorney General to  ban hookers from the West End by a court  injunction.  Provincial Attorney General Brian Smith  announced May 29th that he was making an  application to the court to grant a civil  injunction to stop "activities on the  streets of the West End which amount to  a public nuisance," by naming 30 defendants  in a writ. A further clause citing "persons unknown" allows the court to add  other names at a later date - on the list  could be anyone the police or courts may  wish to harass.  Lawyers, acting for some of the prostitutes, have argued that prostitution itself is not illegal, that authorities have  allowed existing laws to be "flagrantly  abused", and that the Attorney General is  trying to use the injunction to invade  federal jurisdiction.  Alliance for the Safety of Prostitutes  (ASP) spokespersons, Sally De Quadros  and Marie Arrington were alarmed about the  implications of this injunction. "This  could be devastating for hookers," said  Marie. She went on to explain that those  named can be charged with contempt of  court at anytime for violating the writ,  should the injunction go through, by  simply being a 'public nuisance'." This  could include such activities as working  the street, creating noise or loitering.  Injunction  on hookers  The discretionary powers allowed in the  writ permit a maximum 2 years imprisonment or $2,000 fine for violation of the  injunction. In effect, this means that  those named in the injunction must stay  entirely out of the West End, the area  specified in the injunction, whether they  live there, work there, want to shop  there, or visit friends.  Sally sees frightening consequences. "It  will drive hookers underground and make  them more vulnerable to violence," she  said. It holds women more strongly In  the prostitution trap because, by publicly naming them, it is almost impossible  for them to get other jobs. Women also  risk losing their children, being cut off  welfare and U.I. and losing their housing.  Sally pointed out that, "Hookers are  also residents of the West End, and this  injunction is trying to throw them out  of their homes. Where are they to go?  continued on p. 3  Women fired for unionizing  by Nichola Martin  Until recently, 11 women were picketing  Hoss Farms in Langley over their dismissal  for trying to form a union. On Sunday May  27, just hours before the Canadian Farmworkers Union applied to the Labour Relations Board for the right to represent  Uppal's 16 employees, 5 of the women were  fired. Six more women were fired the next  day for their union involvement. The union  immediately filed unfair labour practice  complaints against Uppal.  The reasons for unionization at Hoss Farms  are many. Conditions at this and many other  farms in the Fraser Valley are intolerable:  up to 15-hour days with no overtime, no  toilet facilities,md pay at piece rates  amounting to $2-$3 per hour. The women at  Hoss Farms had had enough. They phoned the  union.  After three days of picketing at Hoss Farms  the union extended its efforts to the Fraser Valley Mushroom Grower's Co-operative  plant in Langley, which processes and packages mushrooms. The Grower's Co-op has  assisted Uppal with legal consultants and  an immediate supply of scab labour for his  farm. The union's secondary picket was  honoured by Co-op employees, members of the  Retail aid Wholesale Workers Union, and the  plant shut down. But the Co-op immediately  applied for an injunction against the  pickets.  The Labour Relations Board moved quickly.  On Monday, June 4, it ruled that the secondary pickets were illegal. Meanwhile the  farmworkers were still out of work, waiting  for the Board to approve the union's application for certification and for an investigation into its unfair labour practices  complaint. The Co-op's complaint was urgent,  the women's case was not.  This dispute occured in the middle of the  Socred government's campaign to amend the I  B.C. Labour Code (see Kinesis  June '83). The  new amendments outlaw political strikes  and secondary picketing. Tactics that the  CFU has used in the past, for example the  strike against Country Farms and the secondary picket at Naam Restaurant in Vancouver,  are now illegal.  It seems the new Labour Code may be enforced  at Hoss Farms, even though the union applied  for certification before June 8, when the  code came into effect. It is obvious that  the revised legislation, which also affects  certification, will frustrate the aims of  the women at Hoss, who joined the union  to gain some control over their working  conditions.  In the end the union had to trade off the  worker's right to picket their workplace  for an earlier hearing date from the LRB.  On June 14, picketting was discontinued,  June 21 GFU began its hearing, and at press  time the case was still before the LRB. 2 Kinesis   July/Augusts  MOVEMENT MATTERS  Media Watch acts on ad  by Tova Wagman  Sometimes it's not enough to wait for the  Advertising Advisory Board to take action  against an offensive ad. In June, the  Media Watch staff got together to discuss  how we would remove the Sergio Valente/  Thrifty's ad that was on every bus in the  Lower Mainland, and succeeded.  We started making phone calls and writing  out complaint forms right away. The chain  of events went like this: I called Metro  Transit and asked who was responsible for  ads on the bus. I was told to call Trans-  ad where I spoke with accounts executive  John Marshall. I informed him of the ads'  message - 'violence against women'. He  told me to write a letter to Metro Transit.  I replied that this was serious and I  wanted something done right away. He said  he would speak with the managing director  from Calgary who (it just so happened)  would be in Vancouver tomorrow. This managing director is responsible for selling  ads on buses but the Transit Authority  has final responsibility. I told Mr.  Marshall to call me back.  Then Lucy Alderson got on the phone to  B.C. Transit and asked to speak with  Larry Ward, Assistant General Manager.  She was told to write a letter, but insisted that that was not acceptable. After four tries she got through, told him  she was calling from Media Watch and had  just received six complaints concerning  the ad. Lucy explained the dangers of  using such an ad particularly on a public  KINESIS is published ten times a year  by Vancouver Status of Women. Its  objectives are to enhance understanding about the changing position  of women in society and work actively  towards achieving social change.  VIEWS EXPRESSED IN KINESIS are  those of the writer and do not necessarily reflect VSW policy. All unsigned  material is the responsibility of the  Kinesis editorial group.  CORRESPONDENCE: Kinesis, Vancouver Status of Women, 400 A West  5th Ave., Vancouver, B.C. V5Y 1J8.  MEMBERSHIP in Vancouver Status of  Women is $20/year (or what you can  afford), this includes a subscription  to Kinesis. Individual subscriptions  to Kinesis are $13/year.  SUBMISSIONS are welcome. We reserve the right to edit, and submission  does not guarantee publication.  WORKERS THIS ISSUE: Libby Barlow, Jan  DeGrass, Vicky Donaldson, Cole Dudley,  Shari Dunnet, Michele Edwards, Dorothy  Elias, Anne Grace, Linda Grant, Nicky  Hood, Judy Hopkins, Punam Khosla,  Emma Kivisild, Suzanne Kredentser, Cat  L'Hirondelle, Claudia MacDonald, Evie  Mandel, Susan Mcllroy, Rosemarie Rupps,  Cy-Thea Sand, Terri Roberton, Judy Rose,  Joey Schibild, Ivy Scott, Lily Shinde, Pam  Swanigan, Swee Sim Tan, Valerie van  Cleef, Lindsay Whalen and Michele Woll-  stonecroft.  Typesetting and camera work by  Baseline type & Graphics Cooperative.  KINESIS is a member of the Canadian  Periodical Publishers Association.  transit system. Larry agreed to look into  the matter and said he would seek a copy  of the ad immediately. Lucy then called  Thrifty's and asked them why they were using such an ad. In the course of the conversation she got the name of the ad  agency in Toronto (Saffe, Kravitz, and  Friedman), who took the photo for the ad.  Susan Cook, Accounts Executive, was surprised that the ad offended anyone. She  said it was a "mood shot" and the phrase  on the ad "Change into" is a catch phrase  only. Lucy told her we'd asked the transit  commission to remove the ad. Susan said  that would be expensive as they had booked space on all buses in Vancouver until  the end of July. As well, a similar ad  was running in Toronto.  The next morning, we received a phone  call from Larry Ward of B.C. Transit. He  said they would be removing the ads starting that day (Friday), and they would be  off all buses by Monday. Lucy called  Susan a few days later to ask if the Toronto ad was still running and, if so,  when it would be off. Apparently the  other ad. did not contain the same mes  sages of violence. Susan was noticeably  upset at the situation in B.C. and was  not sure what they were going to do.  Media Watch offered their services in explaining the Advertising Advisory Board's  guidelines on sex-role-stereotyping.  All this fuss for one little ad? One  little ad that shows a woman lying on  sand with her rear end raised, covered  with a man's hand. His other hand:  clenched into a fist, pointed at her;  his face: angry, watching her. Her face:  unconcerned, looking at the camera.  "Change Into" the script reads. Change  into what? A bully? A cool macho, angry  man with your fist clenched ready to  strike a woman?  Certainly they're not advertising clothes.  With all the twisted body postures, fists  and clenched jaws is it really the  clothes they want us to buy? Or do they  want us to buy a violent, brutal image?  This ad is not accurate in its portrayal  of women. We are told by ads like this  that we want to be violated, and that  violation is acceptable. From now until  the ad space is re-sold, you can see a  white space on the buses where an ad  used to be. This space is reserved for  us to rest our eyes and allow our imaginations to run and create pictures. Pictures where women are given the decency  and respect we deserve.  W.I.T. looks back  There were women at the annual general  meeting of Women In Trades that had  attended or taken part in the women in  non-traditional work workshop in 1979. For  those members who were newer to the association it was fascinating to listen as  these women spoke of how the association  was formed.  In 1979 as part of a weekend on women and  work there was a workshop on women in non-  traditional work. It was an original experience for the tradespeople in the room.  As women spoke of being a shipwright, a  welder or a truck driver they realized  that although they might be solitary in  their trade, they in fact were not alone  in their struggle to work in a man's world.  It was the general consensus that a meeting should be called just for tradeswoman.  Every woman has  the right, in fact as  well as in principle,  to a full and equal  place in society.  Icoolition |  That was the beginning. From that time  to the present Women In Trades has offered  to women a place where women never have  to explain why they want to do tradeswork,  and a place of mutual support and common  For tradeswomen the issues, the barriers  and the concerns have not changed significantly in the last five years. Women are  still being sexually harassed, and still  running into counsellors, vocational  instructors and employers trying to keep  women out. Yet women like Janet Lane,  avionics mechanic, and Kate Braid, carpenter, who have achieved journeywomen status  state that "it does get easier and you do  get accepted."  The association is currently involved in  expanding its outreach to community colleges, highschools, and community groups  in an effort to provide women of all ages  with an overview, of the work options  available to them.  Women In Trades has a highly committed  membership which donates much personal  time to attending meetings, presenting  themselves as speakers and role models,  and writing briefs.  Women In Trades is a strong group whose  voice is slowly and gradually being heard.  It is the voice of support for the few  who now work in the trades and the voice  of advocacy for more and more women to  consider this kind of work option.  Women In Trades Groups in B.C.:  Vancouver Women In Trades, 400A W. 5th Ave.,  Vancouver, B.C. V5Y U8/Powell River Women  In Trades, 11A 7050 Glacier Street, Powell  River, B.C. V8A lR5/Women In Trades Kooten-  ar Council, Box 3651, Castlegar, B.C.  VIN 3W3.  press gang  press gang • press gang • press  gang • press gang • press gang  press gang • press gang • press  gang    • press gang   • press gang  603 Powell St.  253-1224 July/August "84   Kinesis 3  ACROSS B.C.  Porn catalogue stopped  Feminist pressure convinced a Lower Mainland  press not to proceed with a contract to  design and print a catalogue of pornographic  videos.  When a female camera operator at Cancom  Media Consultants, Ltd. informed local  women's groups that her bosses were intending to begin work on Red Hot Video's newest  catalogue, concerned women began calling  the company. After one day of phone calls  every, five minutes, Cancom decided not to  do the catalogue.  Cancom has done two similar projects for  Red Hot Video in the past two years, but  under different management. On both  occasions, women who had to work on the catalogue objected, but were told to do the  work or lose their jobs to someone who  would.  This time, two women expressed their concern  as soon as they were informed they would be  doing the Red Hot Video work, and attempted  to discuss their reasons with the management,  Their bosses' response was that if Cancom  didn't print it someone would, though they  were afraid of reprisals connected to the  women's movement - especially that their  insurance would go up because they were likely to be firebombed (!)  They decided to print the catalogue anonymously, and went so far as to tell the  women that this would be the last time  they would print one of Red Hot's publications .  One of the camera operators felt that the  compromise was not good enough, and called  women's centres throughout the Lower Mainland. Calls began first thing the next  morning, (the day work was scheduled to  begin), and didn't let up until the  afternoon, when Cancom finally capitulated  and cancelled the deal with Red Hot.  Hookers continued from p. 1  If the injunction is successful in the  West End, then it will be used in other  parts of Vancouver, and other parts of  Canada. This is just the testing ground."  In an effort to stop this legal intimidation, hookers have been organizing. In  an interview on CBC radio, lawyer Ray  Chouinard, defending some of the people  named in the injunction, talked about a  meeting of the West End prostitutes. About  60 hookers decided by consensus to move  to the east side of Burrard, out of the  area named in the injunction. They plan  to stay out of the West End indefinitely. .  Sally confirmed, "Yes, the hookers are  moving out, but it is not a capitulation,  we are not being intimidated by Shame the  Johns, or Brian Smith. It is a gesture of  goodwill, to show that we can be negotiated  with."  This injunction is only the latest event  in a history of harassment against hookers  in the West End.  For three months, STJ, a West End citizens'  vigilante group, had been conducting walks  through the neighbourhood to protest the  presence of prostitutes. The major tactic  of STJ has been to gather on the streets  in groups of 15 to 20 and stand near the  prostitutes to intimidate "Johns" or customers from stopping.  According to STJ organizer, Don Odegaard,  they had been conducting an average of two  half-hour walks a day, had been noting car  license plates, and had threatened to make  public the names of suspected Johns. The  next step in their campaign was to be a  group visit to the homes of repeat offenders, though ASP believes they did not  follow through on this action.  Possibly another outcome of STJ's campaign  has been to sensitize the media and public  to the problem and create an appropriate  climate for the A.G.'s injunction.  According to Sally and Marie, the actions  of STJ have not always been peaceful. They  have compiled a list of violent acts by  talking to hookers - STJ have physically  pulled women out of cars, they have punched  hookers, they have thrown bags of dye at  passing cars. Police have refused to lay  charges even when there have been witnesses.  No one doubts that the West End has many  problems: traffic congestion, noise, littering, and verbal harassment of area  residents, particularly women. Some residents - those involved in STJ, and those  willing to sign an affidavit for the A.G.,  see the presence of prostitutes on the  streets as the source of all problems.  Sally De Quadros denies these accusations.  Women fight law  Vancouver feminists concerned about a City  by-law that proposes to ban the sale of all  sexually graphic material (see Kinesis  June  84) have been meeting to discuss possible  alternatives to the legislation.     ,  At press time the group had developed an  adaptation of an ordinance passed in Minneapolis.  It attempts to define pornography in terms  of misogynist images, and restricts its  sale, production, and display. They say the  Vancouver by-law legitimises the sale of  porn as long as it is not prominently displayed or sold to minors.  They hope to present their proposal to City  Council at a public hearing preceding the  second round of Council debate on the by-law  Council will be meeting again to look at  'Ģthe legislation, even though it was passed  in May, because letters sent to all commercial retailers in the city were immediately  criticized on the vagueness of their definition of "sexually graphic." The by-law is  being re-worked in the City's Legal Services  Department.        .   "The physical set up of the West End, with  its high density housing, nocturnal businesses, many drinking establishments, and  inadequate parking provisions, all contribute to traffic problems."  The complaints of residents about noise and  disturbances are legitimate. However there  is some evidence that existing bylaws are  riot being enforced. Sally explains, "Noise -  bylaws are enforced elsewhere in the city.  Complaints about noise are dealt with by  the police within 10 minutes. This could be  done in the West End also," she said. "A  sympathetic policeman told us that they  are deliberately ignoring complaints. They  hope to see the situation escalating until  the federal government intervenes. What the  police want are tough laws designed to  keep hookers in line. Then they can keep  all women in line."  As VSW pointed out in its brief to the  Fraser Commission on Prostitution, women  are harassed on the street everywhere, not  just in the West End, and everywhere, it  is men, not hookers who are responsible  for this harassment.  And how effective are the STJ? The hookers  have voluntarily left the West End. However,  STJ have given the A.G. the ammunition he  needs to proceed with his action. Sally  says that such confrontational groups make  life on the street even more dangerous for  women, because "it gives others ideas  about verbally and physically attacking  VSW  survives!  The struggle continues. While a federal  grant for $63,500 saved the Vancouver Status  of Women from extinction, the organization  remains grossly underfunded.  The grant,xwhich was confirmed in June by the  Ministry of the Secretary of State, Women's  Programs, represents only slightly more than  half the amount asked for as a minimum in  VSW's funding application. It will be retroactive to the beginning of June, and cover  a ten-month period, paying for three salaries  rent, supplies, and most office expenses.  $22,000 from the City of Vancouver will supplement the Secretary of State money, and the  combined funds will enable VSW to keep four  women on staff. One position vacated in February will not be re-filled, and the organization has had to lay off another staff  member. A full-time paid staff member for  Kinesis  will be hired in July. The Kinesis  position has been vacant since the beginning  of March due to lack of funds.  At the Annual General Meeting on June 28,  staff and volunteers paid special tribute  with bread and roses to the outgoing Board  of Directors, who endured the unprecedented  workload and stress of VSW's most serious  funding crisis ever.  Two '83-'84 Board members who have put years  of volunteer service and dedication into the  organization will be leaving the Board this  year. Jan Berry has been active at VSW since  1974, working on the finance committee, the  Board (as Treasurer), and Kinesis.  JB was  responsible for Bulletin Board, in-town distribution, mailout, and out-of-town bookstore distribution for many years. Her  moral, and gastronomic (.'), support have  been invaluable.  Nancy Keough has served as VSW's B.C. Federation of Women representative for three  years, since attending her first BCFW convention on behalf of VSW in 1981. She has  been a member of the Board for two years.  Nancy and JB were given special recognition  at the meeting.  The '84^'85 Board was elected: Jean Bennett,  Patty Gibson, Barbara Findlay, Gail Meredith,  Susan O'Donnell, Vicky Donaldson, and Susan  Higginbotham. Congratulations !  Reports from the various groups and committees active in VSW were an important morale  booster at the AGM. They served to reaffirm  that the organization has managed to achieve  many of its goals in the past year, breaking  ground on a variety of issues, including pornography, prostitution, and pensions, and  maintaining a high level of service despite  serious financial difficulties. It is clear  that VSW has managed to survive.  hookers."  The real solution to forcing women into  prostitution may be a major societal  overhaul offering all women viable economic  options and challenging the role of women  as sexual commodities. Meanwhile, an intermediate step would be the decriminalization  of prostitution (see Kinesis  May '83).  Sympathetic individuals can help now.  Prostitutes named on the A.G.'s injunction  are retaining lawyers to challenge it.  Letters of support and financial contributions to the defense fund are crucial.  Donations may be sent to: Tony Serka for  Hooker's Defense Fund, Alliance for the  Safety of Prostitutes, MPO Box 2288,  Vancouver, V6B 3W5.  Letters of support, addressed to whom it  may concern, may also be mailed to ASP at  the above address.  Rosemarie Rupps is a West End resident',,  former VSW board member, part of the  Kinesis working group. 4 Kinesis   July/August *84  ACROSS CANADA  Students  protest DES  graphic by Terry Koberton  TORONTO  - Members of the Ryerson Polytech-  nical Institute's Women's Centre are learning to pronounce diethylstilbestrol (DES)  without stumbling. They are also learning  how to use "guerilla tactics." That's what  the Ryerson administration is calling their  efforts to stop campus doctor from pres-  scribing DES as a morning-after pill.  DES is the drug that was widely used between 1941 and 1971 to ineffectively pre-  mis-carriages. DES caused various medical  problems for some of the children whose  mothers took the drug. Its use during pregnancy was banned in 1971.  Toronto's birth control clinics do not use  DES because of it's side effects.The federal  government's Health Protection Branch has  warned physicians against prescribing the  drug as a morning-after pill.  But Ryerson's Dr. Donald Barr likes to use  DES. His reasons were broadcast by CBC on  April 4. "I have another little quirk.  Most women who take it are quite nauseated  on it, in fact, some go to vomiting. That,  to me, helps drive the lesson home that responsible contraception is preferable to an  easy morning after." Similar comments have  been made to the campus media.  The Women's Centre has registered a complaint with the Ontario College of Physicians and Surgeons, which is currently  circulating petitions and has met with the  Ryerson administration about DES. The women  have won a small victory. Dr.. Barr will not  prescribe any morning-after pills until he  conducts a review of the medical research.  Ryerson women will now be referred to city  birth control clinics. The Ryerson women  thought that Dr. Barr might have read the  research before prescribing DES.  "But the fight is far from over,"  say the  Ryerson Women's Centre Collective. "Br.  Barr's attitudes are judgemental, moralisti  and unacceptable. These attitudes drive the  lesson home that women at Ryerson do not  receive adequate health care."  The collective needs help with this issue:  Address Complaints to the College of Physicians and Surgeons of Ontario, 80 College  Street, Toronto M5G 2E2. And send a copy to:  The Ryerson's Women's Centre, c/o SURPI,  380 Victoria Street, Toronto MRB 1W7.  For more information on this issue contact  Women's Issues director Kelle Dunlop at  597-0723.  Vancouver Five  continued from p. 1  The pornography outlet was convicted on  three counts, but only fined $300.  Butler presented information on the condition of native people in Canada, and  stated that it was not Ann who was the  terrorist, Jsut the Canadian government.  Carl Rising-Moore, a member of the Cheekye-  Dunsmuir Alliance, gave a detailed history  of the years of futile community protest  against the line and substation. Concerned  citizens began by lobbying and writing letters, and were forced to escalate their actions to include pulling up surveyors'  stakes, and civil disobedience to block  bulldozers attempting to enter the site.  He also outlined the effects the project,  which is going ahead, will have on the people and the environment of the area.  In talking of his experience working  against Litton and the cruise missile,  Ken Hancock raised questions about the  legality of the cruise testing agreement  (it should have been a treaty), and spoke  of the United States' historic willingness  to use nuclear weapons. He emphasized that  the peace movement is not discredited by  the actions of Direct Action, but rather  by those who do not do enough to prevent  nuclear war.  At the end of his questioning, Hancock  suggested Judge Samuel Toy imagine himself  in Nazi Germany, trying someone acting  against the Nazis, and said,ilIou have a  chance to say no,  to indict the real  criminals."  Toy continued to take notes,  and did not raise his head.  The Crown's presentation prior to sentencing stressed their opinion that Ann was  the ideological leader of the group, and  her disregard for other human life; the  latter because the prosecution had taken  the liberty to assume that she was prepared to shoot to kill. Their recommended  sentence was life, and they also asked  that the sentence be exemplary, a deterrent  Stan Guenther, Ann's lawyer, gave the  judge two alternatives: to "serve her up  as a scapegoat, and submit her to a slow  death in the prisbgEsystem," or "refuse to  perpetuate a society which eats its young."  He brought up the precedent of two members  of the FLQ who were sentenced to two years  for the kidnap of a diplomat, and recommended that the sentence be a light one.  Hansen was nonetheless sentenced to life  imprisonment, which in Canada makes her  first eligible for parole seven years after  her arrest.  Ann and Julie will serve their sentences  at Kingston Penitentiary in Ontario. At  press time Julie had already been transferred, but Ann was still at Oakalla.  Support for the Five has been widespread,  with support groups active in Vancouver,  Toronto, Ottawa, Montreal, San Francisco,  New York, Philadelphia, London (England) and  elsewhere.  The. families of the defendants have been instrumental throughout the past seventeen  months. Doug Stewart's mother participated  in organizing support, and both Ann's and  Julie's mothers testified on their behalf.  Many of the parents also put up their property at the unsuccessful bail hearings last  year.  Supporters in Vancouver and Toronto have  suffered police harassment.  Though the trial may be over, events  surrounding it continue. Senior Crown Prosecutor Jim Jardine said in an article in  The Sun  on June 27th that he knows others  were involved at B.C. Hydro and Red Hot Video.  Support for the Five is crucial now, as they  wil be separated from each other to serve  their sentences. Write them at the following addresses:  Ann Hansen and Julie Belmas: Prison for Women, P.O. Box 515, Kingston, Ont., K7L 4W7  Gerry Hannah: Matsqui Prison, Box 4000, Ab-  bottsford, B.C.  Brent Taylor and Doug Stewart: c/o the  Free the Five Defense Group, Box 48296, Ben-  tall Station, Vancouver, B.C. V7X 1A1.  Senate  stops native bill  by Pam Swanigan  Amendments to discriminatory sections of  the Indian Act were blocked by the Senate  this week, before their passage through  Parliament. After years of native and .  feminist lobbying,parliament was to make  changes to clause 12 (lb) which strips a  native woman of her status upon marriage  to a non-native man.  The proposed legislation, Bill C-47, stated  that no one shall lose or gain native status by marriage. Women who have lost their  status due to the discriminatory clause  would now be able to apply to regain status  By criteria as yet unspecified, women who  applied to regain their status would be  accepted first onto a federal "General List'  and then onto a local "Band List", with  the final decision on reinstatement being  left to the band councils. The Bill implies  that non-native women who marry native men  will no longer acquire Indian status,  although there is speculation that non-  native husbands will be granted the same  reserve residency rights that non-native  wives have historically had.  It is the bureaucratic procedure of the  application which has drawn the most unified criticism from native groups. Bill  Lightbown of the United Native Nations  says, "the right of all aboriginal people !  in this country is a right by.inheritance  based on their blood," and he predicts the  government will be "very surprised" at  the number of women who will refuse to  apply for reinstatement until the procedure becomes automatic and non-exclusive.  The further trick of passing the job of  discrimination to the band level does  nothing to minimize the government's control  over Indian identity, Lightbown feels.  Ardyth Cooper of the Professional Native  Women's Association points out that the  procedure would also immensely burden  the band level of government whose resources  are relatively limited. Cooper is also concerned that the "Band List" might become  just another name for "non-status" perpetuating the. distinction which it claims to  eliminate. There was not enough consultation of native women and non-status groups  on the bill, she says. "It was a case of  the government asking those on the inside  whether the outsiders should be let in."  Unlike Lightbown, however, Cooper feels  that native women will be relieved to have  equality sooner than later.  While not.doubting that Indian leaders would  make equality a priority in any future  self-government, Cooper feels that inherent chauvinism in the band might complicate  the issue. As an example, she points out  that non-native wives have been living on  reserves since the Indian Act was first  passed, but the idea of non-native men  given the same rights has caused an immense  flurry of protest'among native men, even  to the point of lobbying against the bill.  Cooper's major concern is that the provision  of reapplication only extends to the first  generation, which may cause legal rifts  within families.  Lawyer Louise Mandel explains that the  legislation was being proposed because  clause 12 (lb) was made illegal by the new  Canadian Charter of Rights equality clause.  The bill would also amend sections of the  Indian Act distinguishing between legitimate and illegitimate children, and would  allow native children to register as members of either their mother's band or  their father's, where previously they and  their mothers were automatically members  of their father's band.  At press time there is only speculation as what might happen to the ill-  fated bill in the immediate future. July/August "84   Kinesis 5  CLC CONVENTION  Women's issues  by Susan Mullan and Lou Nelson  The. Canadian Labour Congress  (CLC) held its 15th biannual  convention from May 28-June 1,  1984 in Montreal. There were  more than 2100 delegates and a  significant number were women.  The convention ran for five  days and delegates could  easily put in 15 hour days, in  caucuses, lobbying, and other  types of meetings. For five  dollars you could buy a guest  pass and watch the activities.  It required an additional  forty-five dollars to get the  reports and resolutions package, which would have made  things more comprehensible.  There were certain things of  particular interest for women:  the types of policies passed  that would/could directly  effect the women in the CLC;  and the role played by women  at this convention, particular-,  ly in the Women's Caucus and  the Action Caucus and on the  convention floor.  CLC POLICY AND WOMEN  This was an important convention for women in that the  report from the Women's Committee of the CLC focussed on an  affirmative action programme  which, if used by the member  unions, could have important  implications for union women.  The programme identified areas  where unions should focus  their efforts in gaining advances for their women members..  Three areas were highlighted:  the job training programmes;  the apprenticeship programmes;  and contract clauses.  The report also recognized  the need to educate employment  counsellors so that women  would not be streamlined into  job ghettos. Bargaining strategies were included in a 21  point programme which included  such issues as childcare,  equalization of base rates,  flexihours, etc., which would  facilitate the inclusion of  women into the workplace and  into the activities of the  union.  The Women's Committee's report  paid a lot of attention to the  need to educate union members,  especially the elected officials and the staffers who are  instrumental in so much of the  negotiation process and the  day-to-day union operations.  The report emphasized the need  for education programmes and  schools, at all levels, to  sensitize members to the needs  and demands of women so that  women's demands are not the  first ones to be dropped at  the bargaining table.  The report also identified the  need to combat those structures  within the unions which prevent women from participating  equally at all levels of the  union. It proposed that the  CLC increase the number of  women executive members and  that an analysis be done to  determine the status of women  in the CLC and pinpoint more  clearly the barriers women  face. The report suggested that  women staff be hired to deal  specifically with women's  issues and nothing else.  The affirmative action programme gives women within the  CLC something upon which to  base their demands when they  next raise them in their  union meetings. However, the  programme is only a guideline  and member unions are not  obligated to do anything with  it. In fact, the only concrete  action taken at the convention  was the constitutional change  which saw six new vice presidential positions established  for women.  A very frustrating aspect of  the convention was the severe  time restrictions placed on  the debate of the affirmative  action report. The Women's  Caucus had stacked the micro  phones ensuring that women  would control the debate, but  after only eight speakers the  question was called. This in  itself is acceptable but there  had been no critical analysis  provided regarding implementation, accountability, and the  restrictions of an affirmative  action programme. Thus, even  though the report and the subsequent constitutional amendment passed unanimously, one  felt that the issues had not  been given adequate attention  by the delegates.  The CLC also adopted a strong  position around a shorter work  week. This combined with the  affirmative action programme  continued on p. 8  m  n%-  \Ti  K&  Not a turning point  by Marion Pollack  The Montreal Centre in which  the 1984 Canadian Labour Congress (CLC) Convention was  held looks surprisingly like  a high tech cave. In a sense,  the structure mirrors the  essential dilemma of that section of the labour movement.  Should it move away from the  old methods of working which  have failed to bring the labour movement into the eighties?  Should it just adopt more  flash and "new methods"? Or  should it develop a genuine  fightback programme? The five  days in Montreal showed us a  trade union central that by  and large is reluctant to  One of the most significant  debates centred around a new  economic policy. One problem  with the CLC programme is  that while it accurately pinpointed the problem, it failed to provide a way out. For  the first time in over 10  years the CLC delegates overwhelmingly rejected this platform. Finally, the CLC was  forced to bring in a new programme centring around the  fight for shorter working time  with no loss in pay, opposition to concessions (givebacks),  retention of Medicare, and  support for the NDP.  In fact, one of the key issues  of the convention was reduced  working time with no loss in  pay. It's probably the issue  of the '80's, but for six  years the CLC has had positions  favouring the shorter work  week and never acted on them.  In 1982, CLC President Dennis  McDermott publicly spoke  against it. This year the CLC  acknowledged that shorter  working time is the only way  in which jobs can both be protected from technological  change and have a hope of becoming accessible to the unem  ployed. For women it also begins to open up the possibility of a more equitable sharing of housework.  Affirmative action was another  major focus of the Convention.  A programme was adopted calling for the CLC to fight for  affirmative action on both the  legislative and collective,  bargaining fronts. Included in  the latter are: equalization  of base rates, protection  from sexual harassment, childcare subsidies and/or workplace daycare, pro-rated benefits for part-timers, and  broadening the seniority base  for workers. The resolution  also committed the CLC to  carry out an education programme on affirmative action,  and again urged all affiliates  to develop women's committees.  This policy paper passed.  The second aspect of the CLC's  affirmative action programme  was a constitutional change  allowing for the addition of  six women vice-presidents.  This resolution, engineered  by the CLC women's committee,  recognizes that women are excluded from the power structure in the union movement.  Even though it required a  two-thirds majority in order  to be implemented, it passed.  Clearly this resolution is a  victory. It's a testament to  both the organizational and  political skills of women. It  gives women unionists a sense  that they have the right to  question the male domination  of their unions. However,  there is no accountability  forum for these newly elected  women VP's. They are neither  chosen by the women's caucus  nor responsible to the women's  caucus or biannual CLC women's  conferences. This reality  raises the uneasy spectre that  we may just have elected six  more bureaucrats.  A resolution was passed that  threatens to withhold financial support from voluntary  agencies and charitable organizations if they persist in  contracting out jobs performed  by public sector employees.  This decision reflects the  essential weakness of the CLC.  Instead of embarking on a  massive campaign against privatization aimed at governments,  the CLC chooses to  avoid the issue by threatening  voluntary organizations. It  fails to address the major  question that if there is no  fightback against governments  who privatize, this resolution  will only result in much needed services going down the  tube.  The leadership didn't allow  certain resolutions to come  to the floor, for example, the  CLC's participation in the  Labour Productivity Centre  where CLC reps meet with big  business reps to discuss the  state of the economy'. Many  people feel that the CLC should  be organizing the unemployed  and fighting for shorter work  weeks instead of meeting with  employers, but the issue was  not allowed to be debated.  The issue of affiliation didn't  come to the floor. Currently  a number of organizations,  including the Hospital Employ  ees Union, have applications  in to join the CLC. However,  many unions oppose this because  they want to maintain their  "jurisdiction". B.C. Federation of Labour President Art  Kube urged us to be "sensitive1  on the matter. In opposition  to Kube many people were arguing let the unions who want  to join, in, and then work out  the problems. This issue wasn't  resolved.  Jean-Claude Parrot, President  of the Canadian Union of Postal  Workers, was defeated in his  attempt to retain his seat  on the CLC executive council.  The result was not a rejection  of a fightback programme, but  rather a clear indication  that when it comes to arm-  twisting, McDermott is a pro.  Joy Ohorkelson, a fisherwoman  from Prince Rupert, ran against  Jack Munroe for the position  of executive VP. Her programme  was a fightback one, and contrasted with Munroe's activities in Kelowna, and his statements on the pulp workers. She  received 45% of the vote.  The 1984 CLC convention did not  mark a turning point for  labour. However, if we unite  together and fight around both  shorter working time and affirmative action, we may still  be able to develop an effective  rank and file movement.  The CLC is calling for a boycott of the Canada Trust Company. This is to support a  group of Cambridge, Ontario  women who have been on strike  against this company since  March. If you or your organization has money in this company,  please withdraw it.  Marion Pollack is a member of  the Canadian Union of Postal 6 Kinesis   July/August'84  VANCOUVER FIVE  by Punam Khosla and Patty Gibson  The trial and recent sentencing of two  Lower Mainland feminists - Julie Belmas  and Ann Hansen - has not gone down without a significant level of support from  Vancouver's feminist community. Much of  that support was for the Red Hot Video  actions carried out in November of '82 by  the Wimmins Fire Brigade.  The illegal nature of the actions was a  source of debate amongst some women working against pornography, but most under-  stood that the feminist community in some  way benefitted from them.  In the year and a half since their arrest,  Ann and Julie have been through endless  court proceedings, lawyers sessions and  media speculation. Vancouver's political  community has been abuzz with questions  unable to be answered within the circumstances surrounding the trials. Patty  Gibson and Punam Khosla visited Ann Hansen  xin Okalla  In retrospect,  are you frustrated at not  having been able to make a unified politi-  )cal statement right at the time of your  arrest?  No, not frustrated. We couldn't have  because everyone was in a slightly  unique situation. There were so many  charges. Some people were innocent on  a legal level and others weren't.  You always have to weigh whether it's  worth it to take a total non-collaborationist stand with the legal system.  .There's no point in just laying down and  dying. You don't owe it to anyone to be  punished for things you don't necessarily  believe were wrong. If you can avoid  being in prison by going through the  Nlegal system then I think you should.  You're more useful out there than in  prison.  On the other hand, if the odds of actually  gaining anything by going through the  legal system are very small then I  think sacrificing your political integrity by going through it is a very degrading and depoliticizing process. There's  not a simple answer as to how to deal  with the legal system. Every situation  is different.  Some sections of the political community  have stayed distant and fairly critical  of your case.  Criticism seems to centre  on the isolated nature of the actions  and their apparent disregard for the  needs of the broader based movements.  How do you respond to that?  We never had an attitude of total disregard towards the building of the movement. The way we saw it, you don't just  suddenly end up one day with a militant  movement without any kind of militant  activity beforehand. We didn't see ourselves operating in opposition to the  legal movement, and we did consider it  when we carried out our actions. In our  minds the only way this system will change  if it does, is through the development  of a very strong resistance movement. But  it has to have some militant aspects to  it, and that just doesn't suddenly happen.  There is a dialectic that goes on in any  society, in any country, that involves  people acting, people talking, a variety  of actions going on out of which things  evolve...But I don't think people can  say, "We're not going to do anything  illegal until the masses do." What are  we going to do? Wait for headlines someday that say that 300,000 workers are  tearing apart B.C. Hydro...like suddenly,  in a vacuum, 300,000 people are going  to run out and start tearing apart megaprojects? I think that's a very unrealistic assessment of how movements, or how  history develops.  ...I don't think what we did was necessarily perfect and if I was going to  Interview  with Ann  criticize what we did I would say that if  people are going to do illegal actions  they should do things that don't necessarily involve the use of explosives or  weapons because either of those two things  involve consequences that mean you are  either going to go to prison or get killed.  And at this point I think its harder for  people to comprehend really heavy actions.  How did you come to the decision to pick  the targets you picked?  Well, we did take into consideration the  legal movement. We didn't just wildly go  out and blow up things randomly. We had a  political analysis that included a lot of  issues.  The first action, Cheekye-Dunsmuir, was  chosen because we saw that in Canada the  whole trend toward mega-projects and resource extraction was going to be the  economic trend for the future and would become one of the real bulwarks of our economy. We chose Cheekye-Dunsmuir for a lot of  reasons. For one thing it was a project  where the legal struggle had failed and  was no longer going to be effective. The  same was true for Litton and Red Hot  Video.  In all three cases the people involved  did analyze the effectiveness of the legal  struggle and whether or not an action would  interfere with it. We wouldn't have done  an illegal action if there was still an  active legal struggle that could have been  effective.  The Red Hot Video action received a response  in the community that neither the Litton  nor the B.C.   Hydro actions received.   Why do  you think that was? Do you make a distinction between the Red Hot Video(RHV) action  and the other two actions?  First of all, the RHV action was not carried  out by all five of us. Regardless of what  they say, it was  a women's action and there  were only women involved in it.  I think it was more successful because, for  one thing, the issue of pornography is more  understood by the women's community than  Cheekye-Dunsmuir, mega-projects, or industrial development in B.C. is understood by  people in general. The women's community  has a higher consciousness of their oppression and of what pornography means to them.  There is a very strong feminist community  in B.C. that can support and understand  things like that.  I also think the use of firebombing as a  technique is more easily understood because  the average person can identify with being  able to do that. It didn't involve the stealing of explosives and knowing how to deal  with them. And I think that people feel  less threatened by firebombings than they  do explosives and having to make a commitment to going underground or having weapons.  Where does your particular choice of tactics  fit into the building of a broader based  political consciousness?  I think there are a variety of ways for  people to deal with these things. I still  think sabotage is a valid form of protest,  but at this point in history people are not  prepared to do that... 'Ģ  There isn't just one particular strategy or  tactic that is valid and all the rest aren't  I do, however, draw the line myself at trying to interact with government or business  forces. I don't see that petitioning, or  being involved in government parties, or  lobbying the government, or having discussions with business leaders in private is  going to come to anything. Once people realize this, they can develop politics that  are extraparliamentary.  There's quite a spectrum of political tactics- and strategies that are, as far as I'm  concerned, valid and supportable, whether  a person is involved in them or not...I  think the strength of the movement is in  overall support within the community of  different kinds of tactics and strategies.  Within that unity there can still be debate  and criticism which is what produces growth  and change.  Your heaviest sentence was not given for  your inveolvment in the Litton,  B.C.  Hydro  or RHV bombings.  You received a life sentence for a crime you had not committed -  the plan to. murder a Brinks guard.   Was  that decision settled in your own mind?  I don't think you ever settle a decision  like that in your own mind.Obviously,any-y-  one who is involved in a robbery of an  armed guard has to be prepared to shoot,  otherwise they will be killed. The planning  of that robbery was very very extensive  to try and ensure as much as was reasonably  possible that there would not be any shooting. I still believe there wouldn't have  been.  Do you think that was understood by the  judge and jury?  I think the judge understood it but refused  to recognize it officially, because he  wanted to be able to justify giving us a  lot of time. There is no way he couldn't  have picked that up because he must have  heard it (on the tapes)...There were about  five hours solid of just us going over and  over the hold-up scene itself, which we  went over many, many nights, over and over  and over handcuffing the guard. Handcuffing  a live guard obviously. The judge isn't  that stupid not to have picked up that  those scenes were being rehearsed tn that  extent so the guard wouldn't be killed.  Those scenes were never dealing with' a  dead guard, we were always dealing with a  live guard. But I think in order to justify  the sentences he gave us all he had to make  it sound like we were planning to out and  out kill the guy...which we weren't.  People have said that the kind of actions  you took increased the amount of heat on  the political community.  How much responsibility do you accept for that?  Obviously, what we did resulted in increased  repression. We were responsible for it to  a certain degree. The way you phrase it  isn't necessarily right, it doesn't bring  out the real nature of repression. Repression was there way before any of us did  anything. I think that throughout the whole  western world all the tools of repression -  rubber bullets, bugging devices, methods of  surveillance - are all shared from one  country to the next. When it's used and  which community it's used on depends on  what's happening. If people are relatively  obedient and are simply stating that they  don't like the way things are and are not  acting on that in any serious way, there's July/August '84   Kinesis  no need for them to use repression. I think  they're smart enough to realize there's no  point in shooting people who are peacefully  demonstrating. Once there are riots that are  threatening the order then you find rubber  bullets and water cannons being used.  They did use us to justify more repression,  particularly on the anarchist and the feminist communities, but I'm sure there has  been a fair amount of information gathering  and surveillance used on other groups, like  the labour movement. I think they probably  have more extensive files on labour people  than they have on either the anarchist or  the feminist communities because there's  been a more ongoing, long-term struggle  within the labour movement than there has  been within the more marginalized communities historically.  ...One useful aspect of the voir dire and  the Brinks trial was that a lot of modern  day police methods were exposed. The only  problem is that I think people can overreact to it and assume that the kind of surveillance, both electronic and physical,  that was put on us will be used against  anyone who just expresses radical ideas.  Do you think you have been misunderstood by  the broader left-community?  We didn't have time to communicate our ideas  because we were arrested so soon. Once we  were arrested we got into this horrible  problem of being gagged because we had  taken a legal route. You can't go through  a legal trial and admit that you did  what you did, and you can't really talk  about it because what you say may jeopardize other people's chances of being  acquitted. We were essentially gagged up  until the time that we decided to plead  guilty.  Now that we can talk we are doing interviews to try and reach people. It's not  good for us, at all, to be doing any  interviews. Not even this interview is  in my best interest. We'll be writing  more. People's ideas are in a constant  state of change and evolution and we  don't even necessarily agree with every  little thing we wrote or said before we  were busted. So we'll write about why we  did the actions and a critique of our  methods, sometime in the next year, dy|pf|l|  Was it ever possible for you to make a  clear decision as to whether to go with  a strict legal defence or a political  one?  It was never totally clear, because of  the number of charges against us. There  were 21 charges against each individual,  more than 100 charges in total, and five  different people were involved. Some  people were innocent of some very serious  charges. What we tried to do was participate in the legal system and bring out  our politics as much as possible, within  those limitations. But it's very very  difficult. Your lawyers are constantly  telling you never to make one single  political statement. When you want  political questioning to be carried out  in the courtroom, the lawyers are reluctant because it jeopardizes their professional image in front of the judge and  continued next page  m  Trial by media #2  by Jan De Grass  (Jan Degrass is a freelance writer,  Kinesis  editorial member,  and print media devotee.)  Seen in the window of a Vancouver bookstore:  the word "terrorist" dripping in newsprint  blood, clipped neatly from a Sun  front  page headline reading "Julie, 21, TERRORIST",  and attached instead to the smiling face  of Ronald Reagan who is featured on the  first page of our national newspaper.  Had the Sun's  front page headline read  "Ronnie, 73, TERRORIST* we would scarcely  have been as shocked.  The decision to ban media coverage during  the trials was made in the interests of a  fair hearing for the accused. At a pre*-  trial hearing during which the media ban  issue was discussed, a U.S. psychologist  Dr. Jay Schulman, told the court that his  studies showed that 59% of New Westminster  residents had formed an opinion of guilt  based on what they had heard or read about  the case: "Words like 'extremist' were  attributions and labels, buzzwords if you  like," he said, "that have for most people  a negative emotional impact."  A Sun  May 24th article captioned, "Jailed  Couple Traded Punk Rock for Terror",  parades a bevy of buzzwords and labels.  The seven-word headline manages to encompass  no less than four strong words - words that  elicit powerful emotional reactions:  "Jailed" - (why not 'sentenced' or 'convicted'?), "Punk" and "Rock" (convey images  of rebellious acts, strident youth, loud  noises - Why not the word 'music'?), and  "terror" (conveys images of fear and  violence. Why not 'political action'?).  The article is bylined Jes Odam and Terry  Glavin. The co-authors exhibit skill with  the journalistic techniques of innuendo  and baseless speculation. The first sentence runs: "The anger of punk rock was  not enough for Julie Belmas." How does the  reporter know this? Did Julie tell him?  Didn't she and Hannah ever play any other  kinds of music? "Was not enough" - the  words imply greed or thirst. Is she  insatiable?  "So she laid down her guitar, picked up  a gun" - haven't we heard this hackneyed  phrase on last night's B-western? "And  . started reading books with titles such  as How Terrorist Kill." No doubt she also  read Joy of Cooking  and Easy Ways to  Compost Your Garden...but these weren't  mentioned.  The object, of course, is to discredit  not only Julie, but the forces that supposedly shaped the "urban guerilla soldier1,'  lest readers be enticed to similar acts.  "From helping organize benefit concerts  by punk bands, she went into a magazine  calling for radical activism, the feminist  movement and El Salvador protests." One  implied result of her contact with the  feminist movement is revealed in a later  paragraph: "...Belmas filed a grievance  against her supervisor on the road crew,  charging him with sexual harassment. The  man later committed suicide."  The juxtaposition of the two points implies  that one is cause and the other effect -  surely faulty logic by any philosopher's  definition, and condescending to the Sun  reader's intelligence. The editorial style  used in this article: the monosyllabic  catch words and phrases, the sensationalized  revelationsjare more typical of the morning  paper The Province.  For evidence, turn to  coverage of the Five by Province  reporter  Bonni Raines Kettner. The opening sentence  of her June 8th article: "Ann Brit Hansen  was armed and ready to kill in cold blood  to get her hands on $40,000.", should  leave no doubts as to the editorial thrust  of the article.  Between the Lines,  a book on how to detect  bias and propaganda in the news and everyday life (Eleanor MacLean, Black Rose Books)  offers a practical check list for monitoring  the print media's coverage of such important  events as the trials of the Five. What is  the angle of the story?, it asks. What is  the percentage of straight factual reports  in the news item? What part of the article  is opinion, either the reporter's or the  person quoted? Where is the point of view  or bias of the reporter? How should we  examine the piece for character slurs or  reverential treatment?  Looking at the June 9th Sun  4-page feature  on the Five in light of these questions  proved interesting. The front page story  by Robert Sarti avoids innuendo and relies  heavily on Julie's own quotes. The 'angle',  right up front in the first two paragraphs,  where it should be, points up her resistance  and commitment to her ideals: "She is more  firmly convinced than ever that strong political action is necessary to head off war,  environmental devastation and injustice."  So far so good, for an article that starts  off under the blood-drenched 'Terrorist'  graphic. I  A page 11 story about the injured  survivors of the Litton blast does not  display similar favourable treatment.  The headline, set in larger type than any  J  other head on the page, states baldly  "The Victims." Following a description of  the Litton blast, survivor James Taylor is  quoted as saying: "He harbours no bitterness toward those convicted. They did  something they believed in." This quote -  certainly interesting - is not used in the  'call out' (a subhead or quote set in bold  type often used to draw attention to a  point). Instead the callout features another victim's quote. According to him the  j  bombers were "a bunch of idiots " and*he's  glad they got severe penalties."  To underscore this point, page 11 also  features an eye-catching grey-screened  box headed "Acts of a Criminal". Here the  pronouncements of Judge Martin Toy are  recorded for posterity, including his most  damning prophecy: that if the Brinks  guard had  attempted to draw his gun, the  three convicted Would have shot at point  blank range. This speculation,   that has  added years to both Belmas' and Hansen's  sentences, has been enshrined in centre  page, but its ramifications have not been  analyzed as one would expect from good  journalism.  The words of Judge Toy are again used to  open and close a Maclean's  article by Tom  Hawthorn describing the courtroom scene  at Ann Hansen's sentencing. The journalist  guides the reader through an article which  mingles factual reporting with selective  impressions. We learn that the B.C. Supreme  Court Judge's voice was breaking as he  pronounced Hansen "a menace" and "a real'Ģ  threat to our Canadian way of life."  In the 400 word article Hansen is referred  to twice as "defiant" and once as "proud".  This comes after describing her as looking  "tired and drawn" just four days earlier.  The intended portrait is one of a rejuvenated and unrepentant sinner who need be  continued on p.~12 8 Kinesis   July/August'84  VANCOUVER FIVE  Hansen interview continued from p. i  prosecutor to be asking political questions that the court sees as irrelevant.  And it takes a hell of a lot of energy  to get your lawyer to do even that.  On top of it all, we only had two hours  a week to talk about a hundred charges  and a million little complex issues. If  we had been out on bail it would have  been totally different...The set of circumstances made it impossible, even if  I personally wanted to decide not to  collaborate with the legal route. I  couldn't just think of myself, and I don't  think it would have helped the movement  in any way for any of us to do that. You  have to understand how complicated our  situation was to know how difficult it  was to develop a trial stretegy that was  unified...  ...Pleading innocent isn't any more honourable than pleading guilty, when neither  plea is valid and when you don't think  you've really committed a crime. On one  hand, you feel hypocritical pleading  innocent. It's like saying, "I wouldn't  do that...somebody else must have done  it," when you did it. And then at the  same time you feel hypocritical for pleading guilty because you don't feel guilty  of anything. And you don't feel you  should be punished for it. It's a very  hard position to be in when there is  absolutely no harmony between your values  and your perspectives as a whole and the  perspectives and values of the legal  system.  Given all that's happened and the position  you're now in, how are you seeing this  ' ase in your life?  We're all going to be in federal penitentiaries and we'll just continue living.  The prison becomes your community and  your life and most of us will learn some  skills or do academic study and be involv-  ed with the other people in prison.  How's prison life been so far here in  Oakalla?  Really really good. The other women are  really fine. They understand our struggle  pretty much on a gut level. Most of the  people in here don't have an academic or  theoretical political understanding, but  I'd say that most of them have a much  quicker heartfelt understanding of politics than many people I used to know on  the outside...and it's more real, in a  sense. Once they understand their oppression then their anger and their opposition to it is much more sincere. Most of  these people have actually lived out  their oppression.  About 75% of the people in here are  native people who have seen their families pushed off the reserve or driven  into alcoholism. When you talk about  something like the Indian struggle it is  very real to them. The white people who  are here are basically from very poor  backgrounds and have experienced sexism  in its most brutal forms. Every woman in  here I know understands that completely.  We get along well with other people here  and we learn a lot from them too. It's  a relationship of equality. The women in  here have a lot of things that they can  teach people who have only learned things  through books. I'm talking about the  women's prison actually'ñ†>  because things  are different for the men.  Are you looking forward to being transferred to Kingston?  I am definitely looking forward to being  Patty Gibson is the former editor of  KINESIS. Punam Khosla is a writer and  Co-op Radio broadcaster.  transferred. This is a remand centre.  A lot of the people here are just awaiting trial. In Oakalla there are virtually  no programmes whatsoever. There's no  skill development, you can't learn anything. There's no passes. There's no  interaction with the community. You can't  earn any money in here. There's no drug  treatment facilities. It's overpopulated.  You don't have any privacy. It's an extremely transient population. It's super  hard to settle down. If you make friends  with people they're usually gone in a  couple of months. It's not set up for long-  term imprisonment. I'm looking forward  to going to the pen because you can take  programmes, you can work toward getting  passes and you're doing time with other  women who are also doing longer lengths  of time so they have a different attitude.  Basically, it boils down to the fact  that you can do more with your life in  the federal penitentiary system than you  can in the provincial remand centres.  Is there anything you would like to say  to Kinesis readers about this whole experience you've been through?  We're all o.k. We're all fine. I don't  think any of us have been broken by this  in any way. We all feel fairly strong in  that. The hardest part is when people  only focus on the negative aspects of what  we did and all you feel is criticism from  every single community, when we feel  there were valid things that we did and  valid things that we tried to say politically. You get your strength from your  interaction with your own community and  when you don't get anything from it,  that's when you start feeling weak.  But in the end you get most of your  support from knowing that people are still  going on and they're not using this as  a reason or justification to stop struggling.  CLC Convention continued from p. 5  should be an encouraging sign  for women looking for a job.  If the unions are serious  about both of these programmes  of action, then women stand  to be the main beneficiaries.  The final policy/resolution  of concern to women that the  convention passed dealt with  pornography. They moved to  "support groups fighting  against pornography and oppression of women and children  in pornography and lobby to  have the Broadcast Act amended (to include women in the  list of groups protected in  broadcasting)." There was  very little debate on this  point, so it is not clear  what "support" means in concrete terms.  THE ROLE OF WOMEN  Women have made inroads into  the union hierarchy and this  was noticeable, both in the  Women's Caucus and on the  convention floor. When the  Women's Committee presented  their report to the Convention  these women controlled the  microphones. No rank and file  women spoke. The six speakers  in favour of the report were  union presidents, and vice  presidents of provincial and  national federations of labour.  The one surprise was Shirley  Carr, vice president of the  CLC, who had not supported  the report when it was brought  before the CLC executive council meeting just prior to the  Convention. (The two opposing  speakers were women who sounded remarkably like the Communist Party of Canada (Marxist-  Leninist) [(CPC)(ML)] with  their line that this tvpe of  policy only serves to divide  the working class.)  The women who spoke at caucus  meetings better represented  the different types of women  at the convention, as some  were rank and filers. They  discussed the report in concrete terms, raising issues  which women face every day;  childcare (there was none  organized for the convention);  the difficulties faced by  women in non-traditional work;  and endorsement of women candidates for CLC positions.  This final point developed in  an interesting manner. A woman from the Fishermen's  union (UFAWU) was running as  an independent candidate  against Jack Munro for a vice  presidential position. The  Women's Caucus chair ruled  that endorsement of this candidate was out of order. It  turned out that the Women's  Committee had organized an un-  publicized slate for the six  new vice president positions  for women. It seemed that only  establishment candidates  could get the endorsement of  the Women's Caucus.  Rank and file women in caucus  received little validation  from the chair. They were told  to raise the issues the next  day on the convention floor.  Howeveri next day the only  speakers were the women union  leaders. They spoke in the  abstract, of 'putting our  house in order' so that the  corporations and the governments could not criticize the  unions when the unions asked  them for affirmative action  programmes. But the specific  issues raised in caucus did  not get to the floor. What  better time to raise the issue  of childcare than when speaking in favour of an affirmative action programme?  The lack of women's participation in the Action Caucus  surprised me. This caucus is  an ad hoc left caucus, and is  supposedly progressive. The  one meeting I attended left  me cold. The steering committee was all male and they had  even arranged for a man to be  the liaison with the Women's  Caucus. More annoying was  George Hewison who twice made  an appeal to the caucus to  vote for the UFAWU delegate  who was running against Munro,  emphasizing the fact that she  was a woman. At one point he  asked her to stand up so the  delegates could see who she  was but made no attempt to  introduce her so that she  could explain why she  should  be support d and why she  was  running. 1 ,e stink of paternalism once again.  Talking with other delegates  I found that I was not the  only one who felt this way.  It certainly seems that the  Action Caucus has a long way  to go before women can participate as equals in this  'progressive' union caucus.  The Women's Caucus met Monday  afternoon and evening and Tuesday morning. The debate on the  Women's Committee Report took  place on Tuesday afternoon.  The election of the officers,  including the six new vice  president positions, took  place on Thursday. The total  amount of time the convention  spent on this report and the  constitutional change took  just over one and a half hours.  The Action Caucus met regularly  throughout the week of the  convention working on other  issues such as international  policy, social, political and  economic policy programmes and  the health and safety issues.  For whatever reason the Women's  Caucus did not do this.  CONCLUSION  The CLC convention can play  an important role in advancing the rights of working women  in Canada. The important thing  to keep in mind is that resolutions mean nothing unless the  rank and file within the  unions are involved in the  discussion and the decisionmaking process, and unless the  leadership promotes action on  these resolutions. There were  ,efforts made to change the  structures at the top while  the changes at the rank and  file were placed under study  and further investigation. The  most Immediate results were  to benefit those who already  had power or access to it  (i.e. the six vice presidential positions for women). It  will take work for rank and  file activists at the local  union level to make these  policies meaningful for all  working women.  Ex-Vancouver feminists Susan  Mullan and Lou Nelson recently  moved to Montreal. July/August *84   Kinesis 9  VANCOUVER FIVE  Statement to the court  A lesson re-learned  by Ann Hansen  When I look back on the past year and a  half, I realize that I have learned a  lesson. Not the kind of lesson that some  people would hope I had learned, but rather,  through direct life experience I have  re-learned what I once only understood  theoretically - that the courts have nothing to do with justice, and prison is where  they punish the victims of this society.  In Oakalla, where I have spent the past  16 months, I have found that 70% of the  prison population are Indian womyn, even  though Indian people make up only one per  cent of the total outside population. Everyone I have met in prison is poor. No one  owns cars, homes, land or anything. They  are there because they were forced to commit crimes to survive in a society that  has no place for them.  In the beginning, when I was first arrested  I was intimidated and surrounded by the  courts and prison. This fear provided the  basis for the belief that if I played the  legal game, I would get acquitted, or perhaps less time. But the past eight months  in court have sharpened my perceptions and  strengthened my political convictions so  I see that the legal game is rigged and  political prisoners are dealt a marked  deck.  From the beginning, in January '83, the  police illegally orchestrated press conferences that became the basis for nationwide news stories convicting us as terrorists, as dangerous, as psychotic criminals  without politics.  Theri~6uf'Ñ¢cKafges 1were"separat"ed~into four  indictments, of which the first was the  Brinks conspiracy, so that we would be  criminalized. This would make it harder  for people to understand us as political  people for our future trials.  During the voir dire,  it became obvious  through police testimony that the different police departments had committed illegal acts during their investigation. The  Security Service in all probability watched  the Wimmin's Fire Brigade (WFB) do the fire-  bombings, since Julie and I had been under  intensive 24-hour surveillance by the SS  for days prior to and during the day of  the firebombing.  The Co-ordinated Law Enforcement Unit(CLEU)  had committed illegal break-ins to plant  the bugs in our house and in Doug's apartment, among other illegal activities. Despite this, the judge permitted the wiretap evidence.  This taught me that there is one law for  the people and none for the police.  But the event during the court proceedings  that had the most politicizing effect on  me was Julie's sentencing. The judge ignored the fact that she had plea bargained,  and slapped her with the maximum prison  sentence suggested by the Crown - 20 years.  During the sentencing, the judge said that  this case is criminal, not political, yet  the 20 year sentence was justified as a  necessary social deterrent, which indicates  that the court is so threatened by the potential of social upheaval that it takes  a 20 year sentence to deter others. This  is political. It seems that the severity  of the prison sentence is in direct proportion to the perceived level of discontent in society.  In retrospect, in order to be honest to  my political principles, I should have  refused to collaborate in this legal sham  and instead simply stated my political  reasons for doing what I did.  Since I didn't then, I have the opportunity  to do so now. Over the last couple of days  we have heard witnesses who are activists  around the different issues. I think it has  become fairly obvious through their testimony that in each case they had exhausted  all the legitimate channels of social  protest,. It was because there was no legal  way to stop these crimes against humanity  and the earth that I felt I had to use  illegal actions to do so.  I didn't just feel that I should, I felt I  had a duty and responsibility to do everything in my power to stop these crimes. At  this dangerous point in human history, we  have a moral responsibility to stop the  arms race, violent pornography and the  destruction of the earth. This moral responsibility far over-rides any obligation  to adhere to man-made laws.  I felt I had a duty  and responsibility  to do everything in  my power to stop  the arms race,  violent pornography, and the  destruction of the  earth.  Even though I knew that a few militant  direct actions would not make the revolution or stop these projects, I believed  that it was necessary to begin the development of an"underground resistance movement  that was capable of sabotage and expropriation and could work free from police surveillance. The development of an effective  resistance movement is not an overnight  affair - it takes decades of evolution.  It has to start somewhere in small numbers  and whether or not it grows, and becomes  effective and successful, will depend upon  whether we make it happen.  I believe these direct actions of sabotage  complement the legal radical movement and  serve a purpose that it can't fulfill. Not  that the legal movement is ineffective,  because although their efforts often fail  to stop a project, their work will increase  people's consciousness. The important  thing is that the aboveground and underground support one another because our  strength lies( in unity and diversity.  Although I did do these three political  actions, they were not the result of the  culmination of a legal struggle around  the respective issues. In fact, the point  of an underground resistance movement is  to develop a strategic political analysis  and actions that are based on an understanding of the economics and politics of  the corporate state. Instead of reacting  to every issue that pops up, we carried  out actions that were based upon an analysis. This way, if an effective resistance  movement does develop, we can be subjects  who determine history instead of reacting  to every singularly obvious symptom of the  system's disease.  The politics of Direct Action saw the  inter-connectedness of militarism, sexism,  environmental destructon and imperialism.  We saw that all these problems are rooted  in the value system and way of thinking  called capitalism and patriarchy. These  values are passed on from one generation  to the next through the institutions of  this society.  The main value of this society can be  boiled down simply into one word - money.  All life on this earth is reduced to its  profit value by the capitalist economic  system. If some living being is of no  economic value in relation to the capitalist system then it is valueless. So the  Litton action, Cheekye-Dunsmuir action and  WFB action, at least for me, were not  issue oriented actions but were our resistance politics transformed into action.  Contrary to the theories of the police  and others, Direct Action and WFB were  two different groups. Of the five of us  charged with the Red Hot Video firebomb-  ings, only Julie and I did the firebomb-  ings. The WFB was not an ongoing underground group, it was simply a group of  womyn who came together for the purpose of  firebombing Red Hot Video because we felt  there was no other way for us to stop the  proliferation of violent pornography.  Direct Action carried out the Litton and  Cheekye-Dunsmuir actions. I do sincerely  regret that people were injured in the  Litton bombing. All precautions were taken  to prevent these injuries and an apology  to the people injured and an explanation  as to why it happened was released almost  immediately after the bombing.  I must also add that I criticize the Litton  action itself because it was wrong for  Direct Action to place a bomb near or in a  building that people were working in,  regardless of the number of precautions  taken to ensure that nobody got hurt. In  carrying out actions, revolutionaries  should never rely on the police or security  guards to clear out buildings and save  people's lives.  There is no excuse for these mistakes and  I will always live with the pain that I  am responsible for, but these mistakes  should never overshadow the incredible  amount of pain and suffering that Litton  contributes to everyday and the potential  for planetary extinction that the Cruise  missile embodies. Everyday, millions of  people are slowly starving to death because  so much money and human effort is diverted  into the international war industry. In  Canada, essential social services are cut  so that the government can pour more money  into the war industry and mega projects.  (For example, the federal government has  given Litton $26.4 million in subsidies to  build the guidance system of the Cruise).  I am called a terrorist - one who tries to  impose their will through force and intimidation - by the court and press. But I am  not a terrorist. I am a person who feels  a moral obligation to do all that is  humanly possible to prevent the destruction  of the earth. Businesses such as Litton,  B.C. Hydro and Red Hot Video are the real  terrorists. They are guilty of crimes  against humanity and the earth yet they  are free to carry on their illegal activities while those who resist and those who  are their victims remain in prison.  How do we, who have no armies, weapons,  power or money, stop these criminals before  they destroy the earth?  I believe if there is any hope for the  future, it lies in our struggle.  Ann Hansen presented this statement in .  court, prior to her sentencing,  on June 5. 10 Kinesis   July/August'84  peas:  Seneca Falls      .nam  reopens for summer  by Mary Martin  Two women walked across a muddy open  clearing to the black fence. Beyond the  fence a paved road ran off into the distance in either direction. One Woman bent  down to dig a small hole in the muddy  earth, and with help from the other,  planted a few vegetable seeds. By the time  a big green car shot past the spot where  they had planted the seeds, the women  had already begun to fade back into the  woods. The car stopped a quarter of a mile  down the road, but when it reversed to  investigate, the women were gone. This  was my first acquaintance with the Seneca  Falls Army Depot in Upstate New York. The  land on which we planted the vegetable  seeds is part of the year old Women's  Encampment for a Future of Peace and  Justice.  I visited the camp in early June before  its official opening, to share news from  women in Canada and to find out what has  been happening at the Encampment. The  Women's Encampment is a fifty acre farm  bordering the Seneca Falls depot. Women  purchased the farm last year, and since  then thousands of women have visited  "the land" (see Kinesis  Feb. '84) and  have staged various civil disobedience  actions including repeatedly going over  the depot fence. During the winter women  decided  to maintain  an  ongoing peace  camp, and are now planning events for the  July 14 re-opening.  The women chose Seneca Falls for many  reasons. The Depot is where nuclear weapons, or "explosive devices" as the military calls them, are stockpiled for airlift overseas. Herstqrically Seneca Falls  has equal importance; in 1590 the women of  the Hotinon Sionne Iroquois confederacy  met at Seneca to demand an end to war. In  the 19th century Seneca county was a  major station on the underground railroad;  Harriet Tubman's house used to stand near  the place where the depot is now situated.  And, in 1848 the first women's rights  convention demanded the vote and equal  participation for women in all areas of  life at Seneca Falls.  From the moment of our arrival it was  impossible to mistake where we were. The  barn is decorated with a giant mural of  women and webs, there is a board walk  offering wheelchair access to the outlying  camping fields, one of which is known as  Amazon Acres. On the road there is a huge  sign decorated with women of all colours,  and of course, there are women working  everywhere.  We were given a quick tour and then left  on our own for a while when we first arrived, while the women of the farm met and  worked frantically on the final details  of this summer's programme.  Later, in the evening, some of the women  explained to us how the camp was run.  Every morning at nine they hold work meetings to allocate the days chores, and every  night they have meetings to discuss  issues. The camp itself is run on a web  system, with different co-ordinators responsible for different areas, such as  security, maintenance, and food. Larger  direction for the camp comes from regional  meetings, which interested women and support groups attend. Various fundraising  groups from surrounding areas raise the  money for the camp. Last year fundraising  ^S^g^l^'-S^d^sful that.there was a $30,000  ''i-SU-r^LOg-'.atiS&e end.aof-jfctoja: summer. This  summer tB&Sinortgage is paid off, wiring  has been installed.':and's^l.'ans for a sewage  "sy^mjand a series of drinkijji^wells are  underway, although the .surplus' is long  gone and the camp is once again working  more or less hand to mouth.  Last year the camp was able to truck in  water and rent porta-janes to take care of  the basic needs of participants. This  year the town council has become much more  strict, and is requiring the camp to meet  the standards of a regular campground.  The strictness of the town council over  regulations does not mean that the town  itself is entirely opposed to the camp.  Interestingly, when the local paper interviewed residents about their feelings on  the camp, the men were negative and wanted  the camp to go away, while the women  ranged from being non-commital to being  openly supportive of the camp.  In addition to maintenance work and preparation for summer, camp women have also  been involved in many educational engagements, as well as several actions. They  walked from the depot gates to the town  of Seneca Falls this spring in a March  for "Peace With Justice" and "Jobs with  Peace" and also joined the Rochester  Women's Action for Peace  in the annual  Memorial Day Parade.  The summer programme has three.major "days  of focus." The first is July 16, two days  after the camp opens, which is the 39th  anniversary of the first atomic bomb ever  detonated. The second is Hiroshima Day,  August 6th, in solidarity with women  internationally. The final day is August  31st, labour day, and the theme is jobs  with peace and the conversion of the depot  to peaceful purposes. Throughout the  summer they also plan a series of theme  weekends including women's herstory, resistance, and empowerment. Civil disobedience workshops will be held every Monday  and Friday for those contemplating civil  disobedience, although camp organizers  advise women to prepare before arrival.  During our visit I spoke with some of the  women about why they had joined the peace  camp. Valerie Brower had just finished a  year at college and come to work at the  camp.  "I think it's about time women have an  opportunity to put the innate power we  have into action, a power which can be  used to attain peace," she said.  "I see this place as the principle force  that can achieve that action."  As Brower explained, the camp is not run  hierarchically. Everyone assumes responsibility whether or not they have had experience with a particular task, which makes  them aware of their own creativity and  abilities.  Valerie said that at first she was- always  asking other women how to do things, and  now she just goes out and does what needs  to be done. This, she 'said, is empowering.  If you are interested in supporting the  peace camp, or just want to find out more,  you can write to: Women's Encampment, 5440  Route 96, Rpmulus, New York, 14541, U.S.A.  News from  Cole Bay, Sask.  News from the Kipichisichanisik Women's  Peace Camp in Northern Saskatchewan presents a bleak picture of conditions in  the area.   , -  Recent events include: cruise testing,  (including the mysterious appearance of a  B52 flying over at 4:30 a.m. two days  after the "official" testing); multiple  spills of radioactive waste from the Key  Lake uranium mine; beginnings of construction of a new uranium mine - including plans to dynamite a large lake for  waste storage (which has been the home  and means of survival for a northern  native community); massive clearcutting  of the forests by pulp companies...April  1, 1984 was also the 30th anniversary of  the signing away of the native land  which is now the Primrose Lake Testing  Range.  As guests in Cole Bay, the women of the  camp see some of the injustices that  plague the people of the area: racism,  continual testing-bombing very near the  villages; jets flying 500 m.p.h. at tree-  top level over native villages that  border the Primrose range (this has been  happening since the 1950's); human  suffering caused by the loss of land  (and livelihood); continued destruction  of the area...  The women's camp celebrates its first  anniversary this August and women will be  gathering there again this summer (see  Bulletin Board).  Women from the camp will be travelling  to Wollaston Lake in support of the people  there to stop the planned blow-out of  the-lake and the construction of a new  uranium mine.  let the sun bless us in our struggle  for peace/let the moon give magic to  our mind and heart/and let the earth  wrap us around in her wis.dom/so that  our spirit can rise above this place  and dance in joy.  Camp against  nuclear production  Women Against Military Madness are sponsoring a Women's Peace Encampment near  the Savannah River Plant in Georgia USA.  This plant is the main American producer  of plutonium and tritium for nuclear  weapons. Organizers invite all women and  their children who believe that living  and learning peace is essential to join  them at this camp, which opens July 1,  1984.  While WAMM admits that currently their  group is largely composed of predominantly white¬a middle class lesbians and heterosexual women, they hope to become a  more broad based group. "We know working  for peace means working for justice as  well," said WAMM in a recent statement.  "As we seek to eliminate military madness,  we work also against domestic violence,  lesbian oppression, violence against  women, imperialism, and any other threat  to the wholeness and peacefulness of all  living things."  The camp is dedicated to non-violence as  the only way to attain nurturing, life-  giving power. This camp is specifically  a women's camp because of WAMM's awareness of women's inferior position in society and the need for women to be free of  gender defined models so they can reach  their full creative potential. "This  truer sense of ourselves, our own interactions, and our actions empowers us as  peacemakers." PEACE  by Shari Dunne!  Last fall, the first of Britains's cruise  missiles arrived in Greenham Common  courtesy of the United States, and surrounding the event was much shady government policy concerning its secrecy.  Sarah Tisdall, a 23 year old woman who was  working for the government as a Foreign  Office clerk, took the risk of exposing  the truth to the public. She is now serving a six month sentence.  In October, the British Defence Secretary,  Michael Heseltine, wrote a memo to Prime  Minister Margaret Thatcher regarding the  arrival of the cruise missiles. The memo  detailed plans to cover up the scheduled  arrival of the missiles until they were  already delivered to Greenham Common,  leaving no time for the Opposition or the  Peace Movement to react. Heseltine later  stated that he was confident that people  would forget all about the cruise missile  once it had arrived.  A copy of this memo was sent to the office  of the Foreign Secretary. It was Sarah  Tisdall's job to photocopy it. She made  extra copies of it, and delivered one to  the Guardian  newspaper.  The Guardian  published the memo in full,  and .after much investigation Sarah was  arrested. The marks on the photocopy  traced it to the machine in her office.  Sarah was sentenced under the Official  Secrets Act - an Act that is 73 years old  and widely discredited. There has been  much controversy over the use of this Act  and the severity of her sentence. It is  obvious that she was made an example of.  A person working with the Campaign for  Nuclear Disarmament (CND) described her  action as "a courageous example of personal  integrity standing against an increasingly  militaristic and secretive state," and  said that her only "crime" had been to  expose one more aspect of the governmental  manipulation, propaganda and deception  surrounding the whole cruise programme.  An interesting point is that Sarah is not  anti-nuclear nor a peace activist. She simply felt that the public had a right to know  that cruise missiles were being delivered  to Greenham "by the back door."  Before Sarah was sentenced, she appeared  on ITV's World In Action programme. Part of  the script reads:  Sarah:  I felt it was immoral. The Secretary  of State for Defence, who was accountable  to Parliament, had decided he was not going  UK women  against cruise  to be accountable to Parliament on that  particular day, the day that the cruise  missiles arrived; he was going to wait  until after they were there, at the end of  his allotted question time tell the House  that they were here, and then get up and  leave before the Opposition had time to  react in the House, and go off to Greenham  to have his photo taken.  J.T.V.:  He was going to evade proper  parliamentary scrutiny?  Sarah:  Yes, he was.  I.T.V.:  Why did you take it on in person,  wasn't that a bit risky?  Sarah:  Yes, it was a bit risky, but I took  it round on the evening of October 21 and  I was aware that there was a big CND march  planned for the next morning and to have  full impact that memo needed to be published in the paper on the Saturday morning.  I.T.V.:  Do you have views not only on  ministers' proper scrutiny by Parliament  but also on matters concerning Britain's  nuclear armament?  Sarah:  Yes, I do.  I.T.V.:  What are they?  Sarah:  My business.  I.T.V.:  What do you feel about the Guardi-  Women encircle Boeing  by Shari Dunnet  On Monday, June 18, 350 women joined  hands to encircle the Boeing plant in  Kent, Washington. The celebration/demonstration marked the first anniversary of  the Puget Sound Women's Peace Camp,  located a few blocks from Boeing.  The action began with a dawn ritual, and  the encirclement itself took place from  2-6 p.m., beginning with an informal rally,  and ending with a mass release of helium  balloons into the sky.  Women came from Portland, Seattle and  Bellingham, and there were about 25  women from Vancouver.  One of the organizers was Diana Siemens,  an ex-employee of the Boeing Commercial  Airplane Company. After working for the  company for 10 years, Diana quit her job  on May 14 of this year.  Siemens said that when she first started  working for Boeing, although she knew  they had military contracts, she thought  that the airline part of the company was  separate. She was shocked to learn that  the technology developed in a programme  she had worked on five years earlier was  being used for the cruise missile.  She also said that in the last three years,  Boeing has dramatically increased its  military contracts in order to continue  making a high profit during a time in  which airlines are not buying airplanes.  Diana said she left Boeing because the  internal conflict between her moral beliefs  and working for the company has been building up for the last year and she could no  longer stand the tension. Although she  has been trying to "work from the inside",  speaking with other workers, she said that  she reached a point where she couldn't  do that any longer.  Boeing manufactures two cruise missiles  every day.  If you're interested in further information, actions or sending support, contact:  Puget Sound Women's Peace Camp, 7604  S. 212th St., Kent, Washington, U.S.A.  98032 (206) 872-3482.   Jafr/AagsfM Kinesis It  an's  action in handing back the memo?  Sarah:  I still don't think they should  have handed it back, but that's a personal  opinion because it resulted in my arrest.  I.T.V.:  What do you think the Guardian  should have done?  Sarah:  I think they should have broken the  law. Now that's a fairly hairy thing to  say on television. I think they should  have destroyed the document and then told  the Government that they had destroyed it  some time previously.  I.T.V.: What do you feel about the possibility of going to prison?  Sarah:  It is a possibility; I think it  would be rather absurd to send me to prison  for leaking a document which is meant to  be a state secret. It was a party political  document essentially. I don't feel I  damaged national security in any great  way by releasing that document. I feel I  can cope with prison, it wouldn't be easy  but you just have to grin and bear it.  Meanwhile, in Greenham, the women who would  have been taken by surprise had Sarah not  released the document prepared for the  last 'Hallowe'en Party' before cruise  missiles arrived.  The women emerged from the woods and climbed on each other's shoulders to form pyramids along the fence. Equipped with bolt  cutters, the women on the top of the pyramids cut the retaining wires on the fence.  A 70 foot section of fence was brought  down after a tug of war between 12 women  and 25 soldiers.  As final preparations to move missiles  into Greenham began, more than 1,000 women  gathered. They wore witches' hats and  painted faces and circled around fires in  the woods near the perimeter fence designed  to protect the missiles.  Once the women had pulled down the fence,  the soldiers had to listen to a lengthy  rendering of "there's a hole in your fence,  dear major, dear major, there's a hole in  your fence, dear major -m a hole". Then the  women sat on the fence to keep it down.  As one section of fence after another was  dismantled, the women let out war cries  and left written statements on the coils  of barbed wire behind the fence. The women  said they had "taken up tools to cut down  this chainmail fence of fear and destruction."  In spite of arrests, the atmosphere between  the police and the women was good-spirited.  White wire cutters were confiscated, one  woman addressed the police, "You've got  them now, you finish the job for us."  One officer told the women, "It would be  the same if you cut down your neighbour's  fence."  A woman replied, "What if my neighbour had  a savage dog he could not control - would  it not be my duty to make a protest about  that?"  Harassment of the Greenham camp has increased since the arrival of the missiles (see  Kinesis    March '84). The main gate camp  has been forced to move its permanent  facilities, though daily activity still  takes place there, and camps remain at  the other gates to the base.  It will be interesting to see if Defence  Secretary Michael Heseltine is correct in  his assumption that the public will forget  about the cruise now that it has arrived. A  good guess, is that the Greenham women  won't forget - not at all!  Carrie Pester, one of the Greenham women  seeking a court injunction against Ronald  Feagan, will be speaking at the Carnegie  Centre on Monday July 9th, at 7:30p.m. 12 Kinesis   July/Aug. W  INTERNATIONAL  Women's lives in the Sudan  by Eleanor Knight  During the seven weeks I was travelling  in the Sudan last year, in general I was  treated as an honourary male. That meant  that I sat on the same mat and ate out of  the same dishes as the males at a meal,  while the women and girls who had prepared  it waited on the other side of the walled  courtyard to eat what was left.  Traditional Arab hospitality towards travellers is particularly gracious in the  Sudan, the largest and geographically most  diverse country in Africa, wherever we  travelled, city or countryside, north or  south, my male friend and I were received  with open generosity by the Arabs. Consequently, only three times, once in Khartoum the capital, the others in the north  country, was I allowed to go to the female  side of the house to eat. I was taken aback  by the tiny windowless smoke-filled kitchens in all these homes. Most of the  activities of eating, sleeping",1-and socializing were conducted in courtyards similar to the men's but while working these  women had to put up with the conditions  in these black infernos.  Sudan is one of the least developed countries in the world. Little has changed in  this country since the turn of the century.  The picturesque traditional pump and flood  irrigation along the Nile still exist, as  do traditional methods of trade in the old  towns, livestock farming and subsistence  agriculture, especially in the South.  Attempts at modernization of agriculture  have created a strong geographic concentration of development in the centre of  the country's cotton growing area. The  development of education, health, agriculture, power and transport has been con-  entrated in the higher income areas of  the centre, creating severe regional disparities .  Transportation through this land of vast  deserts, rain forests, grassland and swamp  has been developed only for military and  administrative reasons.  In Sudan, the cultures of Black Africa  and of Arab meet. The meeting has not been  amicable. A legacy of suspicion and hatred  left over from the slave trade plus the  Arabs' dominant position adds fuel to the  already-strained cultural and economic  domination of one people by the other.  These two cultures, however different in  other aspects, are both patrilineal and  have succeeded in subjugating women to an  inferior status, a similar position to  many other pre-Industrial societies.  Non-muslim Southern women are more extroverted and are not sexually segregated in  the home, although, like their neighbours  in the north, they are also trained to be  submissive and obedient. In both societies  marriages are arranged between families.  A woman marries young and has no status  until she has produced a son. The suitor  'ñ† Media Coverage continued from p. 7   shown no mercy in the hands of a tortured  judge (Remember, his voice was breaking  as he sentenced her.)  At least the tomato didn't get top billing  as it did in a June 8th Globe and Mail  article (and everywhere else) that describes  the same incident. According to the CP wire  service story the 'defiant' -(that word  again)- Ann Hansen bared her teeth(!) as  "she threw a tomato and shreds of paper  at Judge Toy." The Globe  records that  Hansen's supporters in the gallery screamed epithets at the man who had "branded  Miss Hansen unremorseful".  WordsXlike 'branded' and 'epithets' are  perjorative of Ann Hansen and her supporters.  They contrast sharply with the reverential  pays the bride price. In the north the  dowry is considered the women's personal  property while in the south it is divided  among the woman's male relatives. Polygamy  is common in both areas especially in the  countryside, and divorce until 1969 was  solely a male prerogative, gained as simply  as publicly denouncing the wife three times.  North Americans would have a hard time  visualizing the extent to which the Muslim  woman has suffered in seclusion because  of the man's fear of loss of family honour,  honour which is dependent on female behaviour .  Possibly the most difficult thing for us  to understand is the continuing practice  of Pharaonic form circumcision practised  thoughout the country on young girls  about seven years old. The clitoris, the  albia minora, most of the labia majora  are removed and stitched leaving a small  opening for urine and menses passage.  Should the family honour be questioned  many a woman has lost her life to her  father's, brother's, or uncle's vengeance.  The pressures that keep women in those  black infernos are physical as well as  psychological.  In spite of this grim reality some defiant  have been labouring to change things.  In 1907, against much opposition the first  private school for girls was opened in the  north and embroidery, dressmaking, Arabic  arithmetic and the Qoran were taught. Encouraged at the thought of having more  marriageable daughters, fathers began giving permission to enroll. That success led  to the opening of the first government  elementary girls' school, a training  college for girls' elementary teachers and  finally in 1940 the first intermediate  school. It was not until 1954 that the first  woman graduated at the university entrance  level.  The story in the south was quite different.  There was no educated elite from which to  treatment accorded the two police officers  who testify in Larry Still's June 9th  article. RCMP officer Spooner is described  as a "white-haired man in the late 50s  dressed in a dark blue suit." Officer  Vennor apparently "sported a very conservative looke." The two are dressed "in the  manner of bankers". How could we doubt  their testimony?  The coverage of a major news story, as  illustrated in this article, far from  being discreditable to the newspapers  that print it, has actually attained some  reward. In 1982, a large spread, similar  to the Sun  June 9th pages, that 'probed'  the life of convicted murderer Clifford  Olsen won a nationally recognized award  for two of its reporters.   petition economic support for daughters.  There was no feminist movement dedicated  to improve women's lot by organizing  night classes for women and going out to  the countryside to start schools as had  happened in the north. Until Sudanese  independence in 1956 (freedom from British  colonial rule) education in the South was  available only on an irregular basis through  Mission societies. No schools for girls  existed at all until the 1930s. During the  1940's the northern Sudan Independence  movement recognized the need for more  trained personnel to run the government  once the British left, and facilities were  increased for both girls and boys. Just  as education became a little more accessible the seventeen year long north-south  civil war disrupted the underdeveloped  Southern Economy and closed all schools.  It was not until.1974 that the first girl's  secondary school was finally established.  The literacy rate is still very low for both  genders in the country today. The lack of  teachers and materials, as in any third  world country, is a grave problem that  worsens the further one travels from the  more developed urban centres.  In Sudan, the  cultures of Black  African and of  Arab meet. The  meeting has not  been amicable.  There is a legacy of  suspicion and  hatred left over  from the slave  trade.  Khartoum Market  from Sisters Under the Sun  Today, communicable diseases and malnutrition, especially in the south, have been  the focus of medical teams. Because of  poor sanitation, waterborne infections -  malaria, belharzia, gastro-enteritis and  tuberculosis - are national problems.  These affect women's lives as bearers of  children and providers of food. Unfortunately, monumental transportation problems,  a foreign exchange deficit which prevents  buying drugs and supplies, and lack of  trained personnel allows for only the  most basic care. It is only since 1924  that Sudan has graduated nurses to deal  with some of these problems.  As Sudan is affected by worldwide inflation, more and more women have become wage  earners to try and support their families.  Women produce and sell handicrafts, food,  and drink or they may work for the government, the single largest employer of  women. As the men go further afield in  search of money - to the cotton zone in  the centre of the country or to Saudi  Arabia's oil fields - women are becoming  increasingly independent and resourceful.  The most oppressive customs restricting  women's movement in the communty are  losing their grasp, and with education  there is hope for the next generation.  Eleanor Knight has recently returned from  two year employment as a hydrotherapist  AFRICA. Our  time is now  "Our Time is Now, "  the first Canadian  Women's music and cultural festival, will  be held in Winnipeg on September 1st and  2nd. The festival will bring together  Canadian women performers and writers from  across the country.  This celebration of women's culture was  dreamed up by SDB Manitoba (Same Damn  Bunch), a group of women who have been active in the feminist community for years.  They felt it was time for a women's festival in Canada, but the women at the initial planning meeting last September had  not realized.the extent to which the festival concept would grow.  Festival organizers (the staff has recently grown to five) have been overwhelmed by  the support the event has been receiving.  Calls and letters are coming in from  across the country, volunteers are signing  up, mailings are going out, and the Winnipeg women's community is looking forward to  the networking potential the festival will  offer.  Even though the festival will feature  upward of forty musicians and writers,  many excellent performers had to be turned  down.  Rainbow Stage, a covered open air theatre  in a city park, will be the site of the  main festival program. A second stage for  children's concerts and workshops on  dance, writing, and music, will be set up  in a large tent. Plans are also underway  for a children's activity area and an arts  and crafts tent where Manitoba women will  display and sell their work.  Musicians and writers from a wide variety  of regional, cultural, and musical traditions will be enjoyed. Many of the performers are well known in feminist and folk  music circles - Holly Arntzen, Heather  Bishop, Marie Lynn Hammond, Connie Kaldor,  Rita-MacNeil, Nancy White. Advertising  these women generates a lot of enthusiasm.  The organizers are equally delighted to  present some lesser known performers:  Lillian Allen (Jamaican Dub poet); Baker  Lake Throat Singers (traditional Inuk  chanting); Suzanne Bird (country and  western); Suzanne Campagne (chanteuse  Francophone); Beatrice Culleton (Manitoba  Metis writer); Ezzel (dancer/interpreter);  Janice Finlay (woodwinds); Four the Moment (acappella voices of struggle);  Beverly Glen-Copeland (original jazz and  blues); Maara Haas (Winnipeg writer);  Viviana Himojosa (Chilean folksinger);  Karen Howe (Manitoba singer/songwriter);  Moon Joyce (Yellowknife singer/songwriter);  Marilyn Lerner (pianist); Catherine Mackay,  Maureen Brown, Sherry Shute, Gwen Swick  (rock and roll); Mairi McLean (flute and  keyboards); Arlene Mantle (songs for social  change); Alanis Obomsawin (songs of native  people); Kris Purdy (jazz guitar); and  Ilena Zaramba (vocalist). The festival is  is open to the general public. Although  access to the festival site is free, there  will be a charge for entrance to Rainbow  Stage, with rush seating for 2300 people.  The cost for the weekend is $20, $11 per  day, and $6 per half-day. Tickets at the  gate, if any remain, will be slightly more.  Group rates are available for groups of  fifteen or more.  By the time you read this article, brochures  and posters will be out across the country  Order your tickets now. Don't miss out on  this event! All events wheelchair accessible. Signing for the hearing impaired on  Sunday evening. On site childcare will be  provided during the day for those who  pre-register by August 1st.  Contact the Women's Festival, 745 Westminster, Winnipeg, Manitoba R3G 1A5  (205) 786-1921.  July/August *84   Kinesis 13  FESTIVALS  Rural  women's  festivals  West Kootenays  The West Kootenay Women's Association  (WKWA) was founded in 1974, two years  after the Nelson Women's Centre came into  being. Its original purpose was to be the  agency through which funding was obtained  to operate the Women's Centre.  Over the years, the WKWA has acted as a  sponsoring and supporting body for a  variety of projects, (Images Newspaper,  the Nelson Women's Theatre Group, Every-  woman's Moneymaking and Manufacturing  \l  Association or EMMA, and the Pro-Choice  group, to name a few). At present, the  Women's Centre is the project with the  longest history (12 years) and perhaps  the highest profile.  The WKWA has sponsored an annual women's  festival during the past six years.  Proceeds from the festival go back into  the Association for the purpose of maintaining the Women's Centre. The theme of  the festival this year is the 10th  Anniversary of the WKWA. The festival will  be on August 11, 7 - 12 at the Vallican  Whole.  A variety of topics related to the her-  story of the WKWA will be covered at the  festival. Vita Storey, one of the founding  mothers, is co-ordinating a herstory  presentation of the Association. Other  topics will include; ovulation method  of birth control, singing, reproductive  rights, women's theatre, dance, guided  fantasy, the women's peace movement, and  a discussion group on women's art,  including a display by local artists.  The festivities will also include guest  speakers, an auction, a potluck dinner,  a dance, a foot contest, and an anniversary cake cutting ceremony. Daycare will  be available for children, with an interesting and exciting list of activities.  Camping space will be available at  Vallican Whole and public campgrounds in  the vicinity.  Admission for the festival is $10 for a  weekend pass, $7 for Saturday only,  including the dance, and $5 for Sunday.  For more information contact the Nelson  Women's Centre, 307 Vernon Street, Nelson,  B.C. V1L 5R4 or phone 352-9916.  Okanagan  The 6th annual Okanagan Women's Festival  will be held on August 25th and 26th at  Camp Ida Arbuckle near Winfield on Okanagan Lake. The theme this year will be  Wholistic Health.  In keeping with this theme, the Vancouver Women's Health Collective will be  presenting workshops on breast health  and menopause. Plans are alsp being  finalized for workshops dealing with the  spiritual, physical and emotional well-  being of women. Some of these include  meditation, addictions, massage, belly  dancing, self defence, music, birthing  and aerobics.  Children have always been an integral  part of the festival and this year will  be no exception. Activities for the children plus daycare will be provided in  the same fashion as previous years. Plans  are to have a lifeguard on duty for water  play and there will be other co-ordinated  events such as face painting, clowning,  races and relays, and craft activities.  The location this year will add to the  activity and gathering together. It is  situated right on Okanagan Lake, in a  quiet surrounding. We can look forward* to  fun in the sun (we hope), in the water,  and around the campfire. There is a large  grassy area for camping and in case of  rain there is a lounge area with fireplace in the main building. We have full  kitchen facilities and a dining hall.  At a recent planning meeting we were  treated to the appetizing menu plans of  our cook for this year. Mealtimes promise  to be a delightful, vegetarian experience.  In past years the Okanagan Women's Festival  has been held in Vernon, Falkland and more  recently at Squaw Valley, The first festival was in 1979 and was a one day event.  Since then they have been held over a two  day period and have attracted the participation of a diversity of women. Women from  the smaller communities and the larger  centres have gathered together to celebrate.  The festival provides an opportunity for  women from various walks of life to  gather in the unity of the spirit of our  sisterhood.  ALL WOMEN WELCOME'. BIENVENUE A TOUTES LES  FEMMES!  For information and registration for this  year's festival please contact the  Okanagan Women's Coalition: Vernon:  Box 1242, V1T 6N6, 542-7531: Kelowna:  Box 1137 - Station A, V1Y 7P8, 762-2355.  Northwest  At press time, about 300 women from Prince  George to Queen Charlotte city were expected to attend the fifth annual Northwest  Women's Festival, being held in Prince  Rupert June 29-July 2.  The first festival was held in Terrace,  conceived and organized by the Terrace  Women's Resource Centre. In following  years established women's groups in Hazel-  ton and Smithers took turns organizing this  yearly summer event.  What makes this year's festival unique is  that the organization was assumed by 10  individual women in the Prince Rupert community, who met for the first time last  continued on p. 17 14 Kinesis   July/August "84  Women have always been  encouraged as musical  amateurs and rarely as  professionals  from All Our Lives Songbook  Lost composers  by Victoria Fenner  When the name Schumann is mentioned, most  people think of Robert. And Mendelssohn is  the man who wrote the single composition  familiar to just about all women - the  wedding march.  But there is a Schumann who is rarely performed in concerts. And there is a Mendelssohn whose works were originally published under her brother's name, plus a  lot of other female composers whose works  are either lost or forgotten. A few works  by women have survived down through the  ages in spite of the fact that in many  cases, the odds were against their work  ever being performed beyond their front  door.  A simple genralization about the problems  women composers face in a field dominated  by men for one thousand years would be  too much of an oversimplification. The  reasons are as complex as the combination  of individual women and men against the  backdrop of the society in which they  lived.  As a suggestion, find a recording of some  of the following women's works. If you  can't find a recording of these specific  artists, put on some music by one of your  favourite contemporary women musicians.  Chances are that you find some of the  same circumstances.  belj  'ñ†  During the Romantic era (late 19th century) women had varying degrees of freedom.  Fanny Mendelssohn's father encouraged her  brother Felix as a composer, yet he told  her that she must become more steady and  collected and prepare more earnestly and  eagerly for her real calling, the only  calling of a young woman ... the state  of a housewife.  At the age of twenty-four, Fanny married  Wilhelm Hensel, a painter. She continued  to compose even though she intended her  compositions for use and performance at  home. Her brother dissuaded her from  publishing her music: he believed that,  once published, a composer is obligated  to continue publishing and he did not  believe that Fanny could ever be a  prolific, professional composer.  But in 1846 when Fanny Mendelssohn  Hensel was forty-one, two Berlin  publishers persuaded her to issue a  collection of her best works. This encouragement spurred her to create her largest  scale composition, a piano trio. Shortly  after its first performance, she died.  Six months later Felix Mendelssohn also  died.  Clara Wieck, on the other hand, was an  established pianist on par with  Rubenstein and Lizst before she married  Robert Schumann. Her father would not  agree to their marriage because Robert's  career was not yet well-established and-  he doubted that his daughter would be  adequately supported. They were married  despite his lack of consent and were  happily married for fourteen years.  Their lives complemented each other and  strengthened each other's artistry. His  compositions influenced hers, and she  frequently premiered his new works. In  Clara's writings there is evidence of ten- "  sion between her personal life as a wife  and mother and her artistry. In a letter  to Robert: "Am I to neglect my own talent  'in order to serve you as a companion on  your journeys."  Together they had eight |  children. Yes,   She wrote, "vt" %s mosv  necessary that we should find some means  by which we can both utilise and develop  our talents side by side.  Clara Wieck Schumann's earlier compositions  were short piano forte pieces, saved from  triviality by their unique rhythms and  melodies. Her later works were larger in  scale and contained definite traces ot  Robert's music which was rich in emotional  expressiveness.  She composed only one work after Robert's  death, probably because her performing  schedule became more hectic as she was  the sole provider for her family. Robert's  death had a great impact on her life and  her writings suggest that she was happier  when he was alive. Today,  she wrote,  Johannes  (Brahms) set the stone over my  dear one 's grave - my whole soul went  with him.     She continued to promote and  perform his works until she died in 1896.  Women have always been encouraged as musical  amateurs and rarely as professionals.  During Mozart's time (the late 18th century)  music was considered a necessary social  accomplishment for Women of a rising  middle class. Evidence suggests that  there were female composers whose works  were lost over the years, dismissed as  "amateur.". But women were more often  encouraged as performers rather than composers and were given instruction on  "feminine" instruments such as fortepiano,  flute, guitar and harp. Vocal study was  also considered appropriate for young  women. Even so, they found few professional  opportunities.  The patronage system of the Baroque era  (roughly 1600 to 1750) also provided very  few opportunities for professional female  musicians though the rise of opera was a  major factor in paving the way for female  vocalists in professional life - eventually  operatic composers realized that it was  ludicrous to have young boys perform  female roles. Eventually the churches  also admitted women as musicians, especially late into the 18th century as the use  of castrati became an unacceptable way to  achieve a soprano sound.  France was the only European country  where the concept of the castrati received  no support in artistic circles. France was  progressive in another way - the court of  Louis XIV (the Sun King) employed a  female musician and composer.  Elisabeth Claude Jacquet was born in  Paris in 1664. She rose to prominence as  a harpsichordist, gaining prestige at  the age of ten. She presented herself at  the Court of Versailles at the age of fifteen and was engaged as a performing musician for four years. She then married  Marin de la Guerre, organist of the  church of Saint Severin in Paris and  returned there with him. She quickly reestablished her reputation, her fame  spread throughout the city, and she was  constantly in demand as both harpsichordist and composer. Her compositions  include one opera, three books of cantatas, pieces for harpsichord, a collection  of sonatas and a Te Deum for full chorus.  She died at the age of seventy as a  highly respected composer, particularly  in the field of instrumental music.  Italy also had one female composer-singer:  Francesca Caccini, the daughter of a well-  known musician at the court of the Medici.  She officially entered the service of  the Florentine court in 1607 and was  known primarily as a composer of vocal  music.  It is ironic that the Renaissance produced  no female composers whose works have  survived.;This era (1400 - 1600 approx.)  is usually thought of as a time of enlightenment where intellectual accomplishment  in a woman was highly prized. Women were  encouraged to be musicians, but in the  amateur sphere only. Performances of  compositions by women in court and chapel  were extremely rare.  It is sad that much women's music through  the years is lost. There is no doubt that  there were female musicians and composers  and the problem that plagues every musicologist is evident here: a lot of the music  is lost simply because it was not written  in understandable notation. The problem  of preserving ancient manuscripts is also  huge: for every manuscript found, there  are countless others which have disintegrated or burned.  For women, however, the problem is a bit  more complex. There was no need for them  to record their compositions on paper  because quite often they were convinced  that there was no intrinsic worth to their  creations. As is usually the case, only  the best and outstanding have been remembered .  Victoria Fenner is a Vancouver broadcaster  who hosts "Radio Antiqua" heard Mondays  on Co-op Radio  (102.7 FM). by Carolyn Bell  Vancouver audiences now have the pleasure  of hearing women whose material encompasses  all aspects of music. Ferron's latest album,  Shadows On A Dime  has a sophisticated up  tempo sound that doesn't get in the way  of the "go for the bone-marrow" philosophy  of our favourite local poet-composer...  Kathy Kidd, Renee Rosnes and Glenna Powrie,  three inspired jazz-pianists who can often  be seen at the Classical Joint and other  Kitty King, stand-up bassist and vocalist  who majors in the Blues and bluegrass  has toured with the Robin Flower Band...  Barbara Fisher and June Katz, both local  singers (Barbara also composes and plays  keyboards) have albums out this year...  The Animal Slaves and Moral 1  sent the "Women in New Wave" or "This  Change is Permanent, Boys" (as I like to  refer to it)...  In short, the musical climate is ready for  you to listen, to play, to sing. (You don't  even have to do it in public).  Most of the outstanding women involved  in music in Canada are composers as well  as performers: Joni Mitchell, Buffy Sainte  Marie, Carole Pope, Edith Butler, Lisa  dal Bello, the McGarrigles...the list  really does go on and on.        - ^ v  Much of their material combines a concern  for the preservation of the planet and  human rights along with a healthy dollop  of female egoism.  In the early part of the sixties, Joni  Mitchell played the Fourth Dimension  Coffee House which actually was a real  basement in Regina. And I with my black  turtleneck was there. It was good to hear  a woman singing about travelling and being  an artist. Especially because that year  the summer hit in Regina was "I'm Sorry",  by Brenda Lee...  Buffy Sainte-Marie played at a potlatch at  Piapot Indian Reserve outside of Regina in  1968 and I heard her do my favourite "folk"  songs of the time; "Country Girl", "Piney-  wood Hill", "Now that the Buffalo's Gone".  Recently, that particular Prairie Flower  ran off with one-half of a 1983 Oscar for  the best song, "Up Here Where We Belong."...  Another prairie woman of the independent  stalwart tradition is Connie Kaldor. Her  live performances are sheer delight. Theatrically trained, she mugs and kibbitzes  through her song "Jerks" as she satirizes  all those fellows who hang out in the  streets and make their most intimate  desires loudly known. And of course she  can move you to tears as well...  Heather Bishop does beautiful covers of  some of Connie's songs, as well as those  of other composers such as Nina Simone and  Dory Previn. Heather has written a tune  or two herself...  Farther east we find the likes of Nancy  White, satirist-songwriter extraordinaire  and one of the favourites of the Vancovuer  Folk Festival. Her songs are many and  varied, some poking vicious but subtle fun  at the working of world politics or addressing such issues as young people in prostitution. ..  White is one of those thanked on Jane  Siberry's second and most beautiful album  No Borders Here. Siberry played universities in Ontario and according to the Globe  and Mail opened for Joe Jackson and did a  commendable set...  There's Beverly Glenn-Copeland who has been  in the Canadian Music Scene for years. She's  got a new EP called At Last,   (as is her  new record company). For those who like  jazz and the blues...  Rita MacNeil. Nova Scotia. I was most fortunate to see her at the Soft Rock and was  impressed by the woman's comic wit, sense  of delivery and timing, not to mention  her somewhat above average voice. She writes  her own tunes, too...  I must confess, I sometimes buy record  albums for their graphic beauty or fun.  That was how I came to possess Horse of a  Different Feather  by Canadian Diana Marco-  vitz. There she is smiling on the cover,  boot deep in a bunch of white geese who  look like they are enjoying themselves as  well. The back cover shows Ms. Marcovitz  hitchhiking with ail her worldly goods (an  ouija board, trunks of funky clothes, books  a piano...) so I figured how could I lose?  Her songs are most eccentric and amusing.  Especially the classic, "Hymn to Canada"  where she says of her boyfriend, "I'll  tell him I"ve come back, addicted to smack,  that's just the thing he'd love to hear."..  And of course, the rockers; Nanette Workman  Toronto, and Heart, all of whom have been  digging in for years and coming out with  most tolerable rock and roll...  Classical guitarist Liona Boyd must be  mentioned as well, although I must confess  my ignorance re. classical music scene in  general...  Edith Butler, Acadian chanteuse, has been  steadily producing one quality album  after another. I wish Queen Ida could get  her hands on "Paquetteville" a Cajun  anthem that really moves...  Our Country stars are, of course, the  aforementioned Buffy Sainte Marie, multi-  award winner Carole Baker, and Sylvia  Then there are francophone singers Monique  Lerac, Patsy Gallant and Montreal singer  Lucy Tremblay who has been singing Ferron's  "Ain't Life a Brook" en francaise...  It is obvious that Canada has spawned a  truly new wave of women in music who have  learned to handle their success and be  relatively sane in their private lives.  Remember the old days when the wonderful  and talented Grace Slick would quip, "Saying I was drunk is like saying there was  a Tuesday last week." And oh the trials of  Marianne Faithful when she and Mick broke  up. She disappeared for years (except for  that classic French film, "Naked Under  Leather", but in a way, those two women  (and others who didn't survive - Joplin,  Marilyn Monroe) made a lot of women realize that they had to take care of their  own business or be (pardon my street-ese)  royally screwed.  Lisa dal Bello (remember her hit from a  few years ago, "Pretty Girls")? She has  ^decided to oversee her own business^"  I which thank goodness, includes writing  more of her own material. Her family used  to "protect her interests". It is,  as  Carole Pope, would say, A Jungle out there.  Carole Pope. ("Oh, Carole, we are but  fools...") Anyone who is intolerant of  Ms. Pope's charming exuberance, no  matter how outwardly hip they might seem  must hide, and I quote Lily Tomlin here,  "a dried-up peach p'it of a soul." To continue with Ms. Tomlin's monologue, Carole  Pope truly does "think of herself as a  chicken, and Life as Shake'n'Bake." She  thinks "of herself as a chip, and Life as  a dip."  Pope's lyrics can be challenging and  provocative (thought-provoking, yet) as in  "Race Music", on her new album Weapons  when she warns us "get rid of your spoiled,  western ways" or extremely hilarious as  in "Paisley Generation", a hymn to the  burn-outs of the sixties. (Lyrics inspired  by her sister, L.A. writer Elaine Pope).  Carole Pope epitomizes the thinking-person's  woman. Her friend, Kevan Staples, the musical brains of the outfit (although Ms.  Pope has been doing more composing of late)  compliments the powerful effect of her  lyrics.  The key word is power. And Carole Pope and  Rough Trade have laid the groundwork for  other writers, musicians and singers who  want to do relevant material with style  and sensitivity. Quoting from "The Canadian  Composer", June, 1984, Billy Bryans,  drummer from The Parachute Club, says, "I  don't think Parachute Club would have had  a chance if Rough Trade hadn't persisted  for so long."  Parachute Club is another lovely success  story. Lead vocalist Lorraine Segato,  Billy Bryans and Laurie Conger met in  Toronto on the Queen Street scene, when  they all played for Mama Quilla, a feminist  band circa 1981. Parachute Club's single,  "Rise Up", one of those let's-get-it-to-  gether songs that really means it, was  number one for quite some time, and lead  singer Segato has been accepting awards  left and right.  Locally, watch out for a band called,  Bolero Lava, and dance to the heady sounds  of a five woman band who really know how  to get those feet moving. I enjoyed them  recently at the Savoy (so did local singer/  songwriter Diane Levings...she's sounding  great, incidentally) and singer Vanessa  Richards tells me they have just finished  recording a single called "Inevitable" with  "Click of the Clock" on the flip-side.  They will be at the Luv Affair in August  and then will grace Calgary and Edmonton  with those wonderful original tunes (written by the whole band). When they have rested up from their recording session, they  will talk to this reporter over cheesecake  about their most original sound. You will  read it here, soon.  And, of course, I must mention in closing  Anne Murray, classical and jazz flautist  Kathryn Moses, Martha and the Muffins (now  M & M), writers and vocalists Shari Ulrich  and Ann Mortifee and the late Jane Vasey  of the Downchild Blues Band...  Well, there's a few role models for you,  in case any of you needed that extra push  to get the house guitar out of the basement where you stored it with the camping  gear. I would like to give kudos to Karlene  Faith, Connie Smith, and Province  columnist  Jeannie Read for redefining the meaning  of "critic" and for their constant support  of women in music.  Carolyn Bell is a composer who will teach  you music for money.  She recently performed  in the cabaret "You Can't Hold A Gun To  The Head Of The Muse" with Diane Levings. 16 Kinesis   July/Augusts  ^^^^^^^^^^H  by Jill Pollack  Ingrid Yuille is a Vancouver-based photographer who has been working in large-  scale photo-murals and photo-cut-outs for  the past five years.   When she was approached  to do an album cover,  it presented: an  opportunity to incorporate her own style  or art-making into a commercial venture,  a rare occurrence. I spoke with Yuille  about the work she did for the group,  Blue Northern, while she was busy preparing  for her next exhibition,  URBAN AMBIGUITIES  (Presentation House,  North Vancouver,  August 2 to September 2,   1984.  Ingrid, you've done two album covers, which  ones were they?  One for Blue Northern, which was the more  interesting one because it involved incorporating my own work, my own concept. The  other was for "The Little Ladies", a group  of young girls (12-14) who sang popular  music and did performing.  Did Blue Northern approach you?  Actually, Share Corsaut got them in touch  with me..They asked her for a group of  artists or names of people dealing with  photography so they could go around looking at work. It was kind of neat because  when Jim Wilson came over (he was the  leader of the band), he looked at my work  and it was nice talking with him. He was  not just interested in a concept for the  album, he was also interested in the actual  artwork. We got to talking about different  things you can do with cut-outs, about different directions I wanted to go.  He wanted to \  ''ñ† cut-outs?  He really liked my artwork initially^ and  we talked about it, and he said would I  mind if he brought back Maureen Jack, who  was the manager of the band, because he  wanted to show her my work. At that point  nothing was decided. I guess in looking at  my work he started to see possibilities  for himself and his group. So then he  brought over Maureen Jack and we talked  about the work. They verbalized how it  might be interesting to make actual photo-  cut-outs of the various people in the  band and re-photograph them in an environment in a similar way to what I had been  doing in my work at that time.  So it was decided that you would do the  cover-.  Did you take each individual band  member and do a photo shoot?  No, a woman who does a lot of rock 'n roll  photography, Dee Lippingwell, did the initial portraits of the band. We had the  negatives blown up and laminated professionally, which was really good because  it is a lot of work and a lot of manual  labour to go from the negative to the  cut-out.  Even though you did not do the printing  for those cut-outs,  did you make the  decisions of which negative to use?  Maureen Jack and I picked the individuals  that we though would work best in relation to their personality and the kind of  music they play. Then we cut them out  [from the large, laminated murals] and  hand-coloured them. Maureen knew what  colours they wore a lot and the general  ambience of the band. We then went around  to various places - including Wreck Beach,  Kits Park and Spanish Banks - where we set  up different shots and I photographed them,  using a 35mm camera.  You took the band members and the cut-outs  all around the city?  Yes. We even did a couple of shots in a  record store. We grouped them together and  re-photographed them as one image. Then  the record company looked at the various  shots I did and they decided on the one  done at Wreck Beach. Since the group was  rock-a-billy and called Blue Northern,  they picked the one that had the ocean  and the mountains in the background.  The cut-outs were photographed amongst the  rocks, and it had an interesting effect  because the rocks just flattened right out  and it looked like everything else was  flat and the photo-cuts were three-  dimensional.  The cover had ten images - the five cutouts and the five band members?  No, just the cut-outs. Later we did a studio  session where I got the band members to  pose with their cut-outs and we made mor_  photographs, in colour. I did all that work,  including the printing. Although the cover  is just the cut-outs, the back has smaller  prints of each band member interacting  with themselves.  Some members used the instrument they played as props. But there was one guy, Billy  Cowsill, who really didn't like his cutout. He did a parody of how he hated his  photographic image and literally buried it.  He did a requiem, using a lit candle and  a Beatles' album while he was putting himself in a garbage can.  What did you actually give the record company?  At first, they got a print, but later on  they asked for negatives. They made all the  final decisions about which image to use  and I really didn't have anything to do  with them.  Did you get paid?  Yes, but not very much. I did get recognition on the album cover. I was more  interested in the experience than the  financial aspects at that time. They gave  me three or four copies of the record. It  was a good experience and I had no problems  even though it was a verbal contract. I  retained the copyright to the negatives  and in fact, two of the images were shown  at the Viennese Sessetion.  Is -it different photographing for  <  sion,   like an album cover,   than doing your -  own work?  The interesting part of doing the Blue  Northern album is that I am not a commercial photographer and I have a pretty high  opinion of my work. I was dealing with other  artists and whatever conflicts we had were  due to the kind of egos that were involved.  The group was used to dealing with commercial photographers, someone who has a set  pattern down, and I don't. I am more free  style, into, "let's see what happens and  take a chance". I think that made things  a little sticky at times because of the  lack of guidance on certain levels which  I was just not prepared to give them  because it would take away from my own  creativity. ,  In my own work, when I have people interact  with their cut-outs, I don't give them any  directions. I think that made a few of  the band members a little uncomfortable  because when you're dealing with your own  image, even though you are in the world of  entertainment, all of a sudden you are  dealing with yourself. It was interesting  and it really taught me a lot about myself  and my own ego. It showed me that I'm not  a commercial photographer, I'm an artist;  I've chosen to be an artist very consciously. I think that I would do it again,  as long as I could have some creative control. by Janie Newton - Moss  On Monday,  July 2nd,  Womanvison featured  an interview with Alison Seddon, who is  staying in Vancouver for the summer. At  home in England she is a vocalist in an  eight piece reggae band called the Plainsmen,  who perform largely original material.  Before Alison left for Vancouver the Plainsmen had put down a demo tape at Flexible  Response, Co-op Studios in Bradford.  Alison explained that one of the reasons  they did few covers is that as a white  reggae band they have a different slant on  the black culture and politics that is so  central to reggae music.  The following article is a series of selected highlights from the show in which interviewer Janie Newton-Moss asked Alison about  the type of music women are producing in  July/August'84   Kinesis 17  We 're  listening to  Altered Images at the  moment "Don't talk to me about Love". Is  this fairly typical of music in England at  present?  As far as women's music is concerned, no.  You will have heard of the Au Pairs  and  Poison Girls  where there's a very positive  female input backed by male musicians.  Claire Grogan who is Altered Images '  lead  singer is involved in movies directed by  Glaswegian Bill Forsythe suxh as, "Gregory's  Girl". There are also bands like Siouxsie  and the Banshees  but there's not a particular women's music movement as such.  . This record sounds very poppy.  I like it,  but I don't think it does too much to take  us beyond the type of sound of the 60's  where you had a front singer, usually a  "girl",  usually attractive with a nice voice  who was quickly picked up by the media.  Do  you think this is what's happened with  Claire Grogan?  Absolutely.  Let's talk about the next artist we're  going to feature,  Hazel O'Connor. I remember seeing her in a movie called "Breakin  Glass" just before I came to Canada in 1980.  Before that she had a band in Coventry with  her brother.  Is this another story like  Claire Grogan: pop star turns film star?  In a way, although I feel Hazel O'Connor  is more dynamic and has had more time to  develop her ideas. She's currently doing a  T.V. show in which she plays a disco personality who's extremely wayward. Everyone  seems to like the show and she seems happy  doing it.  In "Breakin Glass" she played a woman getting a punk band together. Some guy comes  along whom she falls in love with, he wants  to make her a star and to leave the punk  scene alone. Do you think  Hazel O'Connor  is representative of the sort of women who  were making music in the late 70's?  Very much so. She was very avant garde in  certain respects, but not as popular as  Siouxsie and the Banshees,  who still have  terrific strength in the English music  scene.  We then had a discussion about the differences between commerical radio and television stations in England and Canada.  Channel 4 which is the new commercial  channel on T.V. has done a lot for women's  activities and minority issues with shows  like "Black on Black". The presenter is  Pauline Black  who use to be the lead singer  with The Selector  and is now doing a lot  of theatrical work with Janet Kay.  That's interesting.  I know when  Pauline  Black left  Selector she tried to carve a  career for herself and made a solo record  but she didn't seem to get anywhere.  I think that may have been because her  interests lie more in theatre and T.V. She's  been doing a lot of work within the London  Boroughs with a black youth theatre.  Can you tell us about Janet Kay? We're  going to be playing her single "Silly  Games."  She was discovered back in the 70's by  Alton Ellis who was involved in the early  Jamacian music scene, at the conception  of reggae in the 1950's. "Silly Games" was  the only real hit she had.  We 're going to be playing that back to back  with "Free" by  Denice Williams.  In a way they contrast and compliment each  other well. "Silly Games" is quite roots,  rockers, backyard beautiful music. Denise  Williams  does fantastic things with her  voice and she's moved so fluidly from  reggae to gospel to pop as you've heard on  Festivals continued from p. 13  February and have been meeting once a week  ever since.  Chief organizer Cindy Cunliffe says even  before the festival is held she can call  it a success. It- has meant the creation of  the Kaien Island Women's Society, a group  which plans to continue.  The committee was concerned by the low  attendance by native women at previous  festivals, and made a decision to include  workshops of particular interest to e -ive  women. They also invited a Cree In'' .an  women, Martha Many Grey Horses (an instructor at the University of Lethbridge, Alberta) to be Saturday evening's keynote  speaker. She will speak on the theme When  We Learn to Come Together We are Whole;  Women working together for positive change.  Her workshop title is Understanding the  nature of human beings from a native  philosophical perspective.  Other workshops geared to native women include a discussion of Section 121B of the  Indian Act, with Mildrid Gottfriedsbn,  president of the British'Columbia Native  Women's Society, and a native cultural  awareness workshop with artist Marion Hunt-  Doig from Prince George.  The festival is for all women and with this  in mind the committee attempted to keep the  24 workshops varied and interesting: a  practical workshop on understanding gasoline motors; women and peace; pensions;  women in the labour force; an explanation  of the social policies of the Fraser Institute; child sexual abuse; and relaxation *  techniques.  The festival is also a place for women to  take pride in their skills and accomplishments. Audrey Dudoward-Okabe plans to  give a basket weaving demonstration and  there are about a dozen artisans from  across the northwest setting up display  booths.  Information booths by special interest  groups will also be set up and topics  range from pornography, wife battery to  childbirth associations.  The weekend festival ends Sunday with a  film festival and a panel discussion. The  topic is Feminism: is it relevant for the  '80's, and what direction should women be  taking.  Let's Hear if for the Boy", her current  single. She's into gospel in a big way and  hopes to do a gospel album soon.  Halfway through the programme we got into  a discussion about reggae music and Alison 'i  experiences as a white woman producing  music for a predominantly black audience.  One of her current favorite artists is a  Jamacian dub poet called  Sister Breeze.  "Aid travels with a Bomb" by  Sister Breeze.  Talk about politics and music coming  together!  This woman I really admire. I don't know  whether you know that dub poetry was inspired by a Jamaican woman called Louise  Bennett.   She spoke in Creole which of  course was frowned on by the British  colonists and was banned.  More recently it's an area that's been  dominated by men so it's refreshing to see  women like Sister Breeze  coming back on the  scene. She's an extremely talented sportswoman, teacher, social worker, political  activist and she's just published a book  of poems called Answer.  Lillian Allen, a dub poet from Toronto will  be here at the Folk Festival. She should be  interesting to see.  You said that you'd  recently been turned on to gospel music by  Sweet Honey in the Rock who are often at  the Folk Festival.  They are another  of black women who have put music and  politics together really well.  That's important, as you have a double  minority, being black and being female. So  the more their music is aired and the  more they are accepted the better it must  be for music and for politics as a whole.  Have any particular songs been written  about Greenham Common?  There are jazz bands such as The Guest  Stars, a six piece women band based in  London who have done songs about peace  but not specifically about Greenham Common.  I have a tape of a women's reggae band  called Amazulu who do a piece on Greenham  Common but I don 't know any of their  other material.  I've not heard of them.  So now we arrive at  Style Council featuring  Tracey Thorn. Who are they?  Paul Weller left The Jam, a three piece  men's band and formed Style Council  with  Mick Talbot. They are politically aware,  a forceful, dynamic group who do huge  benefit rallies for the Campaign for  Nuclear Disarmament. They encourage  young musicians to play in a professional  atmosphere. Most of the band are under  23, and Tracey Thorn  is one of Paul  Weller's discoveries as such. She also  couples up with a guy called Ben Watts  to form Everything but the Girl.  Do you have any recommendations of women  musicians we should listen for?  Hopefully Tracey Thorn will develop more.  She's the woman within the music scene  that I'm most interested in because of the  political content of what she writes and  the fact that Style Council,  are committed  to non-sexist, non-racist forms in their 18 Kinesis   July/August *84  Jmith >5j^*^ , •     , •  they lived in cit  S^?,' becau*e their *  July/Augusts   Kinesis 19  —-~ kucii songs  packed with subtle inspi£Sf|  tailor-made f|JC*siip by the ^^^^^^  and reach the jEemale psyche dut in radio  land. If onlv'wIi^iB*!»S!ls  is a bon-  re jam-  messages  ^^^ned ear  by Connie Smith ^^^^^^^^^^^^  When I was a little girl, my favorite toy  was an old radio antenna that I found near  a pile of abandoned cars. It provided me  with hours of entertainment, serving as  my stand-up microphone, as I mouthed inaudible sounds to an imaginary audience,  in the field behind my house. I wanted to  move. I wanted to sing. I didn't have a  clue how.  As a teenager, I was lucky. I could live  vicariously through my radio. Every night  after the local station went off the air,  I tuned in to the sounds of K 0 M A in  Oklahoma City. And I learned very quickly  that there were groups of singing girls  out there.  I don't remember if I knew that  most of those girls were black or that  .  But I do remember  they lived in cities. But I do remem  that they made me feel and they made  move and they made me want to try.  Then,  in what seemed like a moment,  they  were gone and this group of guys from  England took over the world.  But it was ■  too late.  I already had the sickness. And  the first time I heard The Beatles sing  "My Bonnie Lies Over the Ocean",  I thought  what's the big deal. My mother must have  agreed because she traded in her green  stamp books and got me a guitar.  I never achieved the stature of my dreams..  but in later life I had many good women t  inspire me.  There were the guitar playing  women of heart and mind,  the flamboyant  gutsy singers of San Francisco psychedeli  the great blues women who broke my heart  yet built me up,  and the women of the  movement who redefined love and started  their own recording companies.  History has taken these women and divided  them into categories: victims, radicals  and stereotypes.  Victims? Unfortunately,  too many. Radicals? Every one of them.  Stereotypes? Forget it.  They did the best  they could with what they could take.  They  all paid and it all paid off. Because one  fine day, women went farther than they  ever had be fore. Perhaps they were inspired by Fanny,  The Runaways or Patti Smith.  Perhaps nWb. Mo&fc likely,  they    -'   ^^a^SrJane Owen (lead and wah wah guitar);  g^^^M McKeown (lead vocals) j^Sanda Joyc<  Joyce  (al||||pax);"Penny Leyton  (piano) replaced by Clare Hirst (tenor sax and kev-  boards);^|p§ila Barker 'vppyr.hm and acoust  |&|§^uitar); Lesley Shone  (bass)  ___,,____j$P||5|Bey had ti§ff||jp&ice. This  brings me*-to the nea^afK&ject. Since the  media fails to notice The Belle Stars'  musicianship, you can imagine' how little  is written abp^^^RCba^J's politics.  Sarah-Jane, Stella, Judy.'.'Tenny and Miranda, along with Rhoda Dakar and'Nicky  sons  (drums).  w!rf"nately'   the Belle  Judy Par-  ,              •    ~ - fernaps nzrv. MoWP likely,  th&y warn  »no\.  tad many good women to ed by their om ^ire. But it happened.  >e the guitar playing A somd emerged from ths punk movement i  .nd,  the -flamboyant  _ Britain and it belonged to us.  Francisco psychedelic,-—"  rrr-: i \ b^fil vear old ArrJ  \M T TheyVroke ^^'^U beauty  I ground. They conventional  I women who re3e        g^gg ^"les «omen  Egg ThS mn T^They6-?6 com-  ■ pletely uns,f    ..wfc nam>  J themselves by fw* ...      Men  5  th.emsel.ve*  -* Men  1 vas too -*• "—\SSl~ "T^  these «~°0fal^ng the "'"f^ti-ty-  mmms  Ihey were <j  ;way men did.    . ^ was a cross between  Palmolive (drums) replaced by Ingrid Weiss; Vicky Aspinall (violin, piano, acoustic guitar);  Gina Burch (bowed bass, bass, guitar); Ana da Silya (guitar, hand drum, bass); Shirley O'Loughlln  The Raincoats are a wonderful contradiction. Their music is clamourous, yet the women sing in  perfect harmony. Their lyrics are powerful declarations of anger, but delivered without emotion.  Whatever image this conjures up, one thing is clear. The Raincoats are a feminist band.  Although Shirley O'Loughlin is technically their manager, she participates as a non-playing  member of the group. All decisions are made collectively. Shirley carries them out. The women take  turns singing and they trade instruments as much as possible. Having an all-female band has always  been important to the Raincoats. However, when Palmolive left the group in 1979 to study tablas  in India, they had a difficult time replacing her. Eventually Ingrid Weiss was incorporated into  the group, but occasionally the women record with a male drummer.  The Raincoats, like their sister Slits have tapped into that ancient female rhythm. But I swear  some of their percussion is made from household objects. On their 1981 album Odyshape,   I hear  bicycle bells, water dripping and someone scraping a pan. No one is credited for these effects  the album cover; nonetheless they are sounds that are all too familiar.  Because the band has a political base, the women translate everyday experience into political  questions. Again, they do it with nonchalance that when the lyrics surface, they sting. Their  most deliberate attack comes in "Off Duty Trip", a song which tells the story of a soldier in  Belfast who receives a minimal punishment for* committing a rape. The Raincoats do not mince words.  They purposefully inject feminist principles into their operations and into their art.  id Arri Up were      %  I    of fi^een year old Ar      lg_  «-^<-^xrs"id i  "•iSS *s *****the"  headed the door. md ||      %  Von* <o»ale «£ £■£» TM£?i.  '"deWea    «l»olive    O0°eie?e«e«ted The  Mo-dettes. wtl up re6  Vi, ttteltme aoo a Polll"  £lt, "ith 8»>-»2d ltte en? 8>«°e0"J-  "l^s" W" Pal  Sort—* el  II  ed vith ase.h an a»aor        —|  The SI"9 '"bet they never oo«P   ||  Mle,ta^oV their o.iBiae^^_J|  the legacy^ ^q-i      ^S"^fi  ,,.,_j,.  Liie.oeue Stars seem to  have more presspjjSan they had hits. This  k is a reality for the majority of female  W  bands and a problem without a solution,  ^ short of a full scale radio revolution'."*' '■  ■ Tlie most^alked about aspect of the Belle  TM Stars is their appearance. They are inter-  ^ esting looking and they like to dress up.  W   Some people might consider them cute. So  cute, in fact, that there is gg£.need to  M   call.attention to their talent.  The most talked about Belle Stars record-  m   ing is "Iko l^K^^a traditional New  ^ Orleans call and response which was orig-  | inally recorded by The Dixie Cups. The  f  Dixie Cups learned the song from their  grandmothers so it definitely deserves a  I place on The Women of the World's Great-'  est Hits Album.  But it is a safe song  ; and using it as an example of Belle Star  ' material ^£ves the impression that this  seven-woman band is really a group of  teenage singers. Had The Dixie Cups and  »>jt|ji|Vjpther young singers of the early sixties received the respect they deserved,  this comparison might not be so b;  though The Dixie Cup*  But that is  written, so  to write off  'ere not ,  band.  iiSBBr*!*!*-  " !,°Lh°?_,,7he history "book    were  k»*w   '    Decomes a reasr  •atibther^U-womeri group. ^^ .  »*frf J English beauties pl»>  african  IS1  Summers were originally The Bodysnatchers,  ^;^2l||irly threatening band that rose from  / .jfie^lits/Raincoats deluge.  Fellow musicians and movement members were hardpres-  sed to''t^H'5he Bodysnatchers seriously.  And then Rhoda Dakar wrote "The Boiler".  This is one of the mas^p^rrifying songs  I have ev^Sheard. A boiler is a deroga-  jf^^^gotd used by men ^jpite music b^^-  ■.£j$Qg$ijgr describe women.  In this song, the  boiler is raped on a date,, and the story  ends with .piercing screams that never  seem to end.  The Bodysnatchers performed this  ularly, alt^^|h they did not r  However»|l|p,>'song was not lost.  In October of 1980,  the group broke  over musical differences. Within  five of the women ran " "■*"'*'  name The Belle Sta:  song reg-  not record it.   ..>,, »iuw- inde-  ]tecorded "The Boiler with the  group Special A.K.A, It's promotion was  dubious -fKij^ the reaction was predictable.  "The.Bo:^^*' was banned by the B.B.C.  although disc jockey and music historian  John Peal played it anyway. How many  times,-;|piiSj|'*t know. In Vancouver, the  CBC didn.'t do much better, However,k tKere^  was a twist. On one music program, the  music producer and the host, both me^^^y  were prepared to air the song. But 't|ifev^3  executive producer, who was a woman,  would not agree. This is understandable,  I suppose, considering "The Boiler"  .■- shatters.everyone's illusions of safety.  J The women of The Belle Stars axe-a.'t.y^^'^  afBsWS^®*^.  - "r former incarnation,  | obvious as the:  they make their point  > • • • <  bu£-  » • • •  soul, new wave. A^gihey play it with^^B###  in New Women in Rock, Delilah/Puti  ^nst-inct and^kiU^wV;'  must have something -to €o  ity to have'babies.  & the €xi$l£ of their  St^rs wri  although tht>v'  ij^i_w_» ■ ■ I  »_■_■.■_■ ■ i  • • • » i* ***************  1 • • / • •-•-•-•»•••»•»•«•«•«•«•-.•'• '  '»• V / Debora Lyall (vocals); Peter ti  '. \Jr^ tar); Benjamin Bossi (sax); Fi  prrriri  Woods (gui- *«  ^^^      Frank Zinca- *«  vage (bass); Larry Carter (drums and per-%  cussion). «  Perhaps one day this group will be called «  Debora Lyall and Romeo Void. She is the ,«  center, the singer, the lyricist and cat-,'  alyst. Debora is also the spokesperson ,'  and the one the media wants to get at ,'  most. »'  Debora is a poet and a graduate of the \  San Francisco School of Art. For years <  she didn't believe rock and roll had any-<  thing to say to her. Patti Smith changed «  •'•'• •"•"• •"•"• •"•"• • •"•"• •'•"•"«  all that. ,'  When Romeo Void went to work in 1980, ",  Debora chose as her mandate the difficul-*  ties between women and men - particularly i  in the bedroom mode. The response? On a ■ <  good day, Romeo Void is described as a '  highly acclaimed dance-think combo. Gener-j'  ally critics say Debora is pessimistic. m'  Debora says realistic and the band sup- »'  ports her point of view. •'  Debora is also criticized because of her <  weight. The more restrained rock writers <  call her ample. And I've seen for myself '  .•.••••V.V.V.V.V.V.VtV.V.-.'c  • •••••••••a************  • • • • •••••• ••••••••••»••«  . peers.»-'SK'|felle*#*#  majority of their" mat^SX*  more ostg^liHNP.V  Marian Lydbrooke (vocals, percussion,    t  lyrics, synthesizer); Rachel Melas (bass,>  vocals, lyrics); Conny Nowe (drums);    ',  . .  Elaine Stef (guitar); Bonnie Williams   ',  ^^^S.»*»     (guitar, vocals, lyrics). ',  To the casual observer in 1980, it might /  have seemed that The Moral Lepers dropped*  out of thin air. Where else but from ano->  ther planet could five women accumulate >  over fifty years of musical experience *t  between them. *t  certain"; i^_  with-their abxl-VJ  Their Vancouver history, alone, is worth  diagramming. In the latter seventies,  these women, in various configuration,  played in The Visitors, The Courage of  Lassie, Magic Dragon, Perfect Stranger,  The Singing Cowboys, Junco Run, The Zel- •  lots, Twin Twist, Rebel Planet and      *'c  Animal Slaves. Individually they made big*#|  changes. Together they were pioneers,  Their music displayed strong British  roots, but when the mood suited themj  they would switch into funk, hard rock or**  something completely experimental. And •  their lyrics were the stuff revolution is*(  made of. »(  The Moral Lepers were an intelligent, #*  animated, hard working band. They were »'  loved on the west coast, across Canada, #'  and in New York. I'm certain they were •  feared as well. The women stopped perform-*  ing as a group th:Ls jrear.  the crowd reaction at the Commodore when  Debora rocked and strutted across the  stage singing in her deep smokey voice  about sex. Judging from the people aroundl  me that night, unless a woman is under  size eleven, she is supposed to keep her  sexual feelings and opinions to herself.  Naturally, Debora is not impressed. In a  generous moment she said, "I feel I broaden their idea of what sexuality can be;  of what kind of person can be attractive  But in a more candid state she remarked,  "What's it to me if some jerk can't get a  hard-on." I"ll dance to that.  ■THE SLITS  Singles: Typical Girls Brink Style, I Heard it  Through the Grapevine, Liebe and Romance,  (September 1979), 12", Island, 12 SWIP 6505.   In  The Beginning There Was Rhythm, reverse by The  Pop Group, (March 1980), reissued on Rough Trade,  RT 039.   The Man Next Door,  - second version, (June 1980), reissued on Rough  Trade, RT 044.   Animal Space, Animal Spacier,  (November 1980), Human HUM 4.   Earthbeat,  Begin Again Rhythm, (September 1981), CBS A  1498.  Albums: Cut, (1979), Island, ILPS 9573.  Untitled, (official bootleg retrospective), (1980), Y  Records Y3.   The Return of the Giant Slits, (1981),  CBS, 85269.  ■THE RAINCOATS  Singles: Fairytale in the Supermarket, In Love,  Adventures Close to Home, (January 1979), Rough  Trade, RT 013.   Animal Rhapsody, Version, No  One's Little Girl, Honey Mad Woman, Rough Trade,  RTT-153.  Albums: The Raincoats, (1979), Rough Trade,  ROUGH 3. Odyshape, (1981), Rough Trade,  ROUGH 13.  ■THE BELLE STARS  Singles: Hiawatha, Big Blonde, (June 1981), Stiff,  BUY 117.   Slick Trick, Take Another Look, (July  1981), Stiff, BUY 123,   Another Latin Love Song,  Miss World, Stop Now, Having a Good Time,  (October 1981), Stiff, BUY 130.  Albums: The Belle Stars, (1983), Warner Brothers.  ■THE BODYSNATCHERS  Single: Let's Do the Rock Steady, Ruder Than You,  (1980), Two Tone Records, CHS TT9.  Albums: Soundtrack from the movie Dance Craze  (Compilation), Easy Life, (1981), Two Tone  Records.  ■RHODA DAKAR  Singles: The Boiler, Rhoda with The Special  A.K.A., (1982), Two Tone.   Also available on: This  Are Two Tone (compilation album, (1983), Two  Tone Records.  ■ ROMEO VOID  Albums: It's a Condition, (1981).   Never Say  Never EP, (415 Columbia) (1982).   Benefactor, (415  Columbia, CBS), 1982.  ■THE MORAL LEPERS  Album: Turn to Stone, (1982), Mo-Da-Mu, MDM 6.  In the past seven years, hundreds of all-  women bands have formed, reformed,  exchanged and dissolved.  On a second front,  women have united with sympathetic men in  mixed groups which write and perform from  a female point of view. Not all of these  musicians consider .themselves part of a  women 's community, but their music is  saturated with a strong women 's consciousness.  However,  it's important to remember that  there are an equal amount of women musicians working in isolation without any  sense of history.  Our popular culture  has yet to acknowledge the contributions  of women and act accordingly.  Until this  is done,  each individual musician will  have to repeat that tired old battle for  recognition above and beyond the call of  duty.  We can help by repeating the stories  of the thousands who have gone before her.  Because they never really went away.  Connie Smith hosts the Rubymusic show cm  Co-op Radio,  CFRO,   7:30 p.r 20 Kinesis   July/August "84  Whafsnew  in women's music?  by Gayle Scott  Plenty. This has been a busy year for  musicians and songwriters of the female-  identified persuasion. The support for  women's music has grown at an incredible  pace, as illustrated by the fact that  there are no fewer than seven major women'  music and cultural festivals being held  across Canada and the United States this  summer, and well-represented women's  stages and workshops at most of the big  folk festivals.  For your home enjoyment, a fingertrip  through the "Women's Music" bin at your  local record or bookstore should yield  something to satisfy the most varied in  consumer tastes. In the past decade or so  women's music has been on the scene as a  specialized category addressing itself to  the needs and concerns of listeners looking for something outside the male-defined  and dominated industry. The genre has  grown, from a few pioneering white middle-  class lesbian acoustic folksingers who came  out on record with a voice and a vengeance,  to a wildly diversified and seasoned assort  ment of musicians representing a broad  sweep of cultural, ethnic, and musical  backgrounds.  There are numerous albums brimming with  excruciatingly correct and current lyrics,  guaranteed to get you revved up and out  the door for your next political meeting;  lively jazz and pop-rock excursions into  the soggy realms of lesbian love and lust;  lyrical accounts of spiritual odysseys,  and mellow instrumentals suitable for  soaking in the tub. There's even a live  comedy album out by a woman who calls  herself a "fumerist" which is to say,  a feminist humorist.  But let's start with the serious stuff.  Redwood Records has released two Holly  Near albums in the past year. The first,  Lifeline,  was recorded live in concert with  Ronnie Gilbert, formerly of the Weavers.  Holly and Ronnie together comprise two  generations of politically outspoken  singer/songwriters, each having contributed  unabashedly to the poli-folk legacy of her  time.  In this album they sing out the history  and heroism of people like Harriet Tubman,  Sacco and Vanzetti, Stephen Biko, soldiers  at the Gandeza front, migrant farmworkers  of the dustbowl era, and Chilean political  prisoners. One song, written and updated  over the years by Holly, called "No More  Genocide in My Name" manages to chronicle  no less than twenty-one serious crimes  and inhumane offenses currently being  committed by the powers of Western Civili-  For thematic relief there's a medley of  vintage love songs like "People Will Say  We're in Love" and "For Me and My Gal"  which are teased into eliciting the contemporary ambiguity of sexual identity. If  you hanker for a more straightforward  approach to the obvious and germane, never  fear. Holly has written "Perfect Night",  romantic sketches of lesbian nightlife,  in which, "All the rules are broken/They're  not talking about the weather/A gentleman  asks, "Are you ladies alone?"/They smile  and say, "No, we're together."  My personal favourite cut is a squeaky-  cute song written by Ruth Pelham and sung  by Ronnie, called "The Activity Room"  which involves the conversations of some  ambitious senior citizens foisting their  plans for the day's recreational activities  on their timid or reluctant partners.  All in all, Lifeline  is an enjoyable  buffet of right- (that's left-) thinking  songwriting performed with gusto by two  women who possess a clear vision and strong  grip on the ways and means of socially  motivated music.  Holly's newest album, Watch Out!,  is a  continuation of relevant musical entertainment in the service of social welfare.  On this studio album Holly is accompanied  by the stringband Trapezoid as she moves  through her topical agenda denouncing  the evils of poverty, oppression, warmongering, the nuclear threat, political  imprisonment and torture, and child abuse  ...to name a few.  And if that isn't comprehensive enough to  appease your political palate, there's  Sweet Honey in the Rock's new release,  "We All... Everyone of Us", on Flying Fish  Records. Combining traditional folk music  forms of the Black church and community  with gospel, rhythm and blues, and jazz,  all delivered in exquisite harmonies of  soulful a capella, Sweet Honey never fails  to provoke and surprise.  Their previous album was called Good News.  The latest album is a combination of  news both good and bad. The good news is  delivered via songs of active self-determination and coalition, such as "I'm Gonna  Stand!" and the traditional "Study War No  More." The bad news is that there's so  much apparent struggle and hardship ahead,  given the current state of things. But,  as Bernice Johnson Reagon says in "Ella's  Song,"..."Struggling myself don't mean a  whole lot,/I've come to realize/That  teaching others to stand up and fight is/  the only way my struggle survives/I'm a  woman who speaks in a voice and I/must be  heard/At times I can be quite difficult,  I'll bow to/no man's word."  I believe her. To see Sweet Honey in the  Rock in concert is to be awed and inspired  by the frank authority' and quiet dignity  of these five Black women whose music, to  quote Susan McHenry in Ms  magazine,"pulls  at you, demanding some deeper response,  a more conscious commitment than applause."  Listening to their albums allows for a  steadily deepening appreciation of their  work (en every sense) over time. And, if  you thought you'd wrung dry the meaning  and melody of Ferron's best-known song,  "Testimony", Sweet Honey's version can  elicit an entirely new response.  Yet another version of "Testimony" (it  has become something of an anthem in  certain circles) can be found on Ginni  Clemmens' new album, Lopin' Along Thru  The Cosmos,   also on Flying Fish. Ginni  Clemmens is a real good ol' gal with a  warm Southern smile who now lives in  Chicago and sings, writes, and plays  guitar with a big heart and a generous  spirit. She calls this album "Songs for  the human potential in us all," and it  includes original material as well as  cover tunes by Si Kahn, Peter Aslop,  Amanda ("The Rose") McBrown, and an  engaging rendition of Judee Sills' "Ladyo"  accompanied by Kay Gardner on flute and  featuring Miss Saffman's Ladies Choir on  vocals. If you're in short supply of  music that helps you feel good while  scrubbing the kitchen floor, Ginni's  gentle, upbeat tunes just might do the  trick.  Another artist lopin' along on a cosmic  path is Meg Christian, whose new album  on Olivia Records, From The Heart,   is  dedicated to Guruyami Chidvilasananda,  who is also the subject of tracks such as  "Darshan," which is Sanskrit for "being  in the presence of a great being." In the  decade since the release of her now classic  first album, J Know You Know,  Meg has  remained one of the most interesting,  witty, and self-revelatory voices in  women's music.  At a recent concert in California, where  Meg seemed more expansive and self-assured  than ever, someone remarked to me that she  feared that since Meg had "gone religious"  she'd forgotten how to write a good song.  My interpretation of that comment was that  Meg can probably no longer be counted on  to titillate the senses of the more cynically inclined with woeful accounts of  pitiful frustration and pain carved out  of her earlier, less enlighte  True, her current themes display a less  sensational, more positive outlook, and  isn't that the goal of most spiritual  training? But Meg can still write beautiful music, and she's not above admitting  wryly to the most human of foibles, as in  "Living in the Moment", in which she says,  "I'm always falling/For someone who's  falling/In love with somebody/Who loves  somebody else." Well, some things never  change, no matter how much you meditate.  One of the highlights of the 1982 Vancouver Folk Music Festival, for me, took  place on a day stage when Jane Sapp, a  young Black woman from Augusta, Georgia,  sat down at the piano and in a voice rich  with passion and determination, riveted July/August '84   Kinesis 21  everyone to the grass with "I'm Listening  to What You Say (but I'm Checkin' What  You Do)". Now Jane has released her first  solo album on Flying Fish, called Take A  Look At My People,   (see album review, p.  31) which contains original material,  including "I'm Listening..." as well as  some traditional Black gospel songs. "The  songs selected'"^ says Jane, "represent  the roots and synthesis of my cultural  heritage and my commitment to social  justice. (They) celebrate and pay respect  to people everywhere who struggle for  peace and freedom." They also make for a  fine debut album from a very talented  singer.  One of the most-listened to new albums in  my women's music collection is Unexpected  by Teresa Trull and Barbara Higbie on  Second Wave Records, a subsidiary of  Olivia Records. Teresa and Barb have combined their various production, musical,  vocal, and songwriting talents to produce  an album of mostly original material that  skips smoothly from R&B and funk to  mellow pop and romantic ballads. Teresa's  famous 'white soul' voice is in command  of all these forms. She does an exceptionally moving version of Carol Beyer Sager  and Melissa Manchester's "Ruby and the  Dancer."  Barbara Higbie's 1982 Whydham Hill instrumental album with violinist Darol Anger  showcased her sensitive piano and compositional skills. On Unexpected  she reveals  a lovely untutored voice that lightly  hovers just this side of innocence. Her  song "Sunken Gold" is a gem.  Another entrant in the field of slick  pop rock is Tret Fure, whose debut album,  Terminal Holdwas just released, also on  Second Wave Records. The sound on this  album suggests a combination of Cris Williamson's music arrangements and Shari  Ulrich's vocal style. Tret has been touring and playing electric guitar with Cris  Williamson's band for the past while, so  it's no surprise that Cris' influence can  be heard. (Cris also co-produced the album  along with Tret and engineer Leslie Ann  Jones, and contributes.some piano and  vocal work.)  June Millington, another guitar-wielding  pop-rock performer, has followed Heartsong,  released in 1981, with Running,  her second  solo album on Fabulous Records. Rock her-  storians will fondly recall June as the  singer and lead guitarist of "Fanny", one  of the first all-female rock bands to  achieve prominence in the sixties. June  and her sister, bassist Jean Millington,  co-founded the band and toured extensively  with Fanny while promoting four albums  produced on Warner Brothers Records. June  later dropped out of the rock scene to  re-emerge in 1975 on Cris Williamson's  legendary The Changer And The Change.  Running  is an upbeat blend of electric  rock and R&B with lots of catchy tunes.  Sister Jean plays bass and contributes  back-up vocals on most of the tracks. Also  featured are percussionist Vicki Randle,  Mary Watkins on synthesizer, and Linda  Tillery on background vocals. On the inner  sleeve is a beautiful black and white  photograph taken in Manila in 1949 of baby  June, in the arms of her mother, a native  Filipina, standing under the palm trees  with eight of her mother's sisters and  sisters-in-law. The picture is worth the  price of the album.  Meanwhile, on the Canadian front, the  development and output of our own singer/  songwriters and musicians has been no  less remarkable. Vancouver's hometown-girl-  makes-good, Ferron, has released her  fourth album on Lucy Records, called  Shadows On A Dime.   She has just completed  a ten-week, 30-city concert tour to promote the album, which has been receiving  unanimously rave reviews from audiences  and critics everywhere.  Considered to be one of the most skilled  lyricists in women's music (while constantly being compared to Bob Dylan, Leonard Cohen and Bruce Springsteen!), Ferron  is best known for her achingly articulate  tales of struggle and sorrow, and her  chiseled excavations of personal relationships. Shadows On A Dime,  her first album  since 1980's Testimony,  is about the pursuit of change within the limitations of  destiny, and is her most accomplished and  well-produced work to date. Produced with  the help of Terry Garthwaite, the album  'ñ†features the work of several Vancouver  musicians heard on Testimony,   as well as  some fine contributions from Barb Higbie,  Adrienne Torf, Vicki Randle, Nena Gerber,  and Mary Fettig.  Kate Walter, writing in the Village  Voice,  says, "She plays with syntax, strings  similes galore, turns everything into a  metaphor, and somehow pulls this off in  1984 without sounding like a stilted '60s  throwback. Her brooding, mystical lyrics  come off thanks to her deadpan delivery  and catchy arrangements - Ferron's clean  guitar strummed over melodic bass lines  and her judicious insertion of eerie  violin, pedal steel and mandolin, jazzy  sax, or wailing back-up vocals."  Although Ferron has not played in Vancouver in a while, you can catch her Saturday night on the main stage at the Vancouver Folk Festival when she'll be  closing the evening's performances with  a five-piece band.  If you've been listening and dancing to  "Rise Up" or "Alienation" by The Parachute  Club, a six-piece co-ed rock band out of  Toronto, you've been listening to the  words and music of (among others) Lorraine  Segato and Lauri Conger, both veterans of  the Canadian women's music scene. Lauri  also lends her considerable keyboard  talent to Heather Bishop's later album  on Mother of Pearl Records, called I Love  Women... Who Laugh.  Heather is a down-home prairie woman who  has been singing the praises, struggles,  and triumphs of women and working people  for many years. She has a warm, gutsy  rhythm and blues style voice that continues to deepen and strengthen oyer time.  Lately, Heather has begun writing her  own material, and this album marks a  significant step forward in her ability  to claim and complement her own voice.  I Love Women,..Who Laugh  contains a  progressive mixture of songs about  friendship and freedom, songs promoting  social awareness and responsibility, and  of course, one or two about love won,  lost, and traded in.  If it's easy listening you're looking for  - nice quiet music with no words at all  to clog the brain, Marcia Meyer's Oregon  Summer  on Rana Records is just the album  for you. Marcia is a Vancouver composer  whose somewhat eclectic work swings  easily from the festive to the pensive.  The opening cut on the album "Cinq  Canards sur L'eau" lists the instrumentation as "piano, violin, viola, cello,  flute, oboe, vocals, ducks and friends  on location from Stanley Park, Vancouver,  and the birds from Lighthouse Park in  North Vancouver." What more could you want?  I find this album to be especially  pleasant in the mornings when I'm open  to being moved by music but not yet  ready to listen to anyone's problems or  messages. The album features some nice  string and woodwind arrangements by  Mary Watkins who also plays synthesizer  on several cuts. Marcia herself plays  the classical guitar and piano that sets  the tone for most of the pieces.  Enough music. If what you need now is a  few good bellylaughs, it's time to put  on Kate Clinton (or, let her put you  on.)  Kate has been cracking 'em up at the music  festivals with her emcee schticks and  doing concert tours out of upstate New  York, honing her ribald feminist humour  on gaggles of women in need of some witty,  intelligent comic relief. Kate and her  partner Trudy Wood have produced two live  comedy albums on their WhysCrack record  label. The first was Making Light,  and  now there's Making Waves.  A former high school English teacher and  "recovering Catholic", Kate illuminates  the pratfall potential of fast foods,  feminism, Catholic school slumber parties,  lesbian-TV shows, women's music festivals,  mastectomies and word processors. One of  her favourite topics is "the new Feminist  Man." Kate says, "Dustine Hoffman is a  new Feminist Man, and the whole point of^^-  the movie 'Tootsie' is that, whyv-men  just make better women than women ever  could. I think that, movie would have been  completely different if just once Dustin  Hoffman could have felt what it's like  to sneeze and blow your tampon out about  a quarter of an inch."  As you might have discovered, not all of  these albums are readily available in  local stores. If you're having trouble  finding them, there are several mail  order options. One is Festival Records,  3271 Main Street, Vancouver V5V 3M6. You  can call them at 879-2931 for a copy of  their 1984 catalogue which lists many of  these records. Another good source is  Genevieve Productions, 2616 S. Judkins,  Seatlle, WA. 98114, (206)324-1978.  Genevieve carries most women's labels including many of the independents. They have  continued on p. 34 22 Kinesis   July/Augusts  MYTHOLOGIES  photographs by  Michele Wollstonecroft  IDEAS SACRED & PROFANE  JULY 21-AUGUST 3, 1984  opening July 21, 8 p.m.  1310 Government St. Victoria  Thurs.-Sat. noon-4 p.m.  MacLeod';  |lg>f£ OLD  80GKS  ART  LITERATURE  HISTORY  CANADIANA  H55 WEST PENDER  VANCOUVER.  PHONE 681-7654-  Producing an album:  Harder than you think  by Marcia Meyer  There were times in the past three years  I wanted to throw my master tapes off the  Burrard Street Bridge and say 'forget it'  to this idea of making an album. Don't  get me wrong - there were fun times during  my last two album projects - but there  were also a lot of unexpected challenges  and twists of fate. Let me share with you  some of the business of making a record.  When a person decides to put out an album,  from the moment of its conception, they  are alone with that idea. In order to carry  out that idea they must gain the credibility of others. So it was with me at the  beginning of my two album projects.  Think of it. There I was with a bundle of  compositions (which I, my friends, and  a few small and scattered audiences  thought were wonderful) but so what! There  are hundreds - even thousands - of musicians trying to tell us how wonderful  we'll find their songs. It was not long  before I realized that people were not  going to be jumping for joy about my  recordings until I proved myself competent.  And along with trying to prove my competency. I had people (and my logical conscience)  advising me against my backward marketing  process. Market research? Not me - I just  had faith in my music. Some of my friends  were getting as excited as me - and that  was enough to keep me going.  My engineer once told me that in order  for a musician to work well in the studio  they have to hang their ego in the lobby  with their raincoat before they enter  the studio. It makes sense. If you want  to do a good recording you have to accept  the fact that, yes, you might be told  "That's not good enough - do it again."  There were times I wanted to push a pie  in my engineer's face (and that's being  polite!) for telling me, "I just don't  think it makes the grade." (Although now  when I listen to the final products I'm  glad I had that "quality control" bug  around).  And an artist's ego doesn't necessarily  find relief when it leaves the studio.  Once the album is released, there are  always critics in the media who love to  trash records. You just have to pay your  ego back into shapetand move forward again.  I've always shuddered a little at the word  responsibility. Maybe that's why it took  me so long to fully understand the word  producer. It's not easy for me to tell a  musician I'm working with that perhaps  they should try their part again, "playing a little sharper!" It's hard to accept  the fact that friends are not always the  best musicians for the job.  Taking on a record project meant I had to  learn to make decisions and quickly!! If  all your musicians are in the studio and  you're trying to decide whether a take  should be done again - later at home is  too late. If you find you have to do it  again you will have to call all the musicians back, pay them again and pay for more  studio time. I.had to learn to accept the  role of producer and in doing so accept  the responsibility for the final product.  Once out of the studio and onto vinyl an .  album own't do very much sitting in storage. The next logical step is to get as  much media coverage as possible for it -  and then perhaps it might sell. So I had  Therapy links women  • • •  BECKWOMAM'5      "la  3T0REfRDWT ART >TUDhO-&lrT SWY  >«? 0 CARDS + CWrrs   I  • Helium Sallooms    1  ?R£E LANCE  ART WofcK-    u      gSgL  ANYTHING MAPg IN CLAV-gfett/oufr [MUgft  You were young and you suffered abuse  At the hands of those who said they/  loved you  So you hid,  round the corner of your/  mind  In a place where no one could find you  -"Emma" Therese Edell "Women's Faces"  Music has always, for me in my life, been  the means and the way to my own self expression. Experiencing abuse as a child,  believing in me was the hardest thing this  woman child could realize. The moments  in my life when music was there to hold me,  to nurture me and to allow myself a means  to express the pain, the loneliness and  the joy of living were the moments when I  truly lived and breathed.  Women were preeminent in the creation of  music and have been musicians since the  beginning of civilization. Recent research  and findings show more and more evidence  that women were successful as musicians,  as dancers, as singers, as composers, as  healers.  Greek legend states that women created  music. The Muses, from whose name the  term 'music' is derived, numbered three:  Invention - "She who invents the words  and musical phrases"  Song - "She who sings"  Memory - "She who remembers"  Through remembering, through the words  and musical phrases, women are singing.  Women are recapturing their past, their  hidden power. When they discover a truth  about themselves, their world and their  very being, it inspires them to create new  truths, new energies, new strength. This  is what the music of women today does  for the woman of today.  In the last few centuries, women have  made great strides in gaining social  acceptance in all fields, though women  in the field of music are still largely  subverted by social habit and prejudice.  Female socialization and societal attitudes towards women combine to undermine  women's abilities, opportunities and  aspirations.  Music is intimate with personal experience.  Through my own experience, surviving life's  crises, I have come to that intimate place,  a place in my life where through the music  and through my women friends, I can share  in the skills that I have as a woman, as  a musician, as a music therapist. The  healing begins with the music.  Music Therapy is the use of music to aid  the physical, psychological and emotional  integration of the individual, and in the  treatment of an illness or disability.  It can be applied to all age groups, in a  variety of settings. Music has a non-verbal quality but offers a wide opportunity  for verbal and vocal expression. The  Music Therapist should be a well-rounded  July/August W   Kinesis 23  to force myself to contact specific  media personnel.  In order to get an interviewer, critic or  producer to listen to your music you have  to be persistent, especially if you're  still trying to gain credibility. ^.Remember - there are thousands of musicians  out there telling us about their wonderful music. Media people are very busy and  their desks are usually crowded with hundreds of records daily. I have constant  paranoic thoughts that my persistence  may be teetering on the edge of bothersome.  But having forced myself to be assertive  and having drawn the line between that  and irritating, I've managed to make  quite a few rewarding contacts.  Getting an album out of your basement and  into the hands of the media means that you  place yourself in the midst of the  competitive world of the record industry,  on both a national and international level.  I found my little personal projects being  held up beside big name record companies  and artists, even though that wasn't my  original plan. All this for the sake of  gaining credibility!  An album won't go very far unless the  artist becomes known. This means performing. I have found that since my music is  not exactly mainstream, the choice of  places for me to play are relatively few.  Often I have had to produce my own concerts  where I try to set my admission prices at  a minimum yet high enough to cover hall,  sound and artists' costs. I've never  even considered trying to recoup my advertising costs. (Still I sometimes get  complaints about the cost of admission  being too high. Expenses are expenses  and halls with sound equipment don't come  free.) And even after two albums, broadcasting coverage and extensive reviews in  the local papers I am still grappling with,  the feelings of not "being there" yet.  Last, but not least, is the problem of  money when one is recording. Fortunately  I found a studio with good rates and I  managed to do my projects in a highly unorthodox way - that is, over an extended  period of time. Both of my projects were  done at scattered times throughout the  period of about a year. This makes it  easier to pay the bills - they don't come  in one clump!  There are many ways to cut recording costs  - four track home studios, direct to two  track recordings. One friend had his album  cut from a cassette recording he did at  home on a four-track cassette machine.  Another friend of mine put a black and  white photocopied picture of himself on  his album to cut his cover expenses. There  are lots of ways to cut costs.  There were also many great things that  have happened to me since I began my recording endeavours. I've learned a great  deal about recording and mixing, and about  production and promotion. I've met a lot  of fantastically talented people, and I  was fortunate enough to find a great  engineer/co-producer to work with. In  taking on my own record projects I have  been able to keep my artistic identity  in a "Commercial AM Radio" dominated  world. (And still gained some recognition  for my work). I consider this an accomplishment .  Marcia Meyer has produced two albums of  her own work:    Phases  (1982), by Happy  Onion Music, and Oregon Summer (1984) by  Happy Onion Music and Rana  • 11 with musical self  musician with a broad musical background  plus extensive preparation and experience  in the behavioral sciences, counselling  or psycho-therapy, working with groups,  and educational methodology.  Using my music as a means to grow, to  change and to use that growth in a positive way is what brought me to my search  for musicians who had also experienced  through their own music, their own awareness of their talents, strengths and weaknesses - that ability to heal themselves  and to take that ability to share with  others. The search started for. me years  ago and through that search, I lost sight  of my purpose and goal, yet time and time  again I would come back to that place  where I knew music and I could share with  others. That search brought me to Capilano  College, where they have a two year diploma course offering the student indepth  group experience and music therapy skills  training.  Music Therapists are trained to work in  various settings dedicated to helping  children and adults with special needs.  They are involved with the intellectually  impaired, the elderly, the emotionally  and socially maladjusted, the terminally  ill. They are found in large hospitals  and institutions, private clinics, day  care facilities, community mental health  centres and the public school system. The  Canadian Association of Music Therapists  is an accrediting organization dedicated  to the work of qualifying future music  therapists in Canada. The present structure  is young - in its tenth year - and the majority of the members are women.  Music therapy can help to calm anxiety,  stimulate body movement, promote spiritual  growth, recall comfort and security, focus  attention, feed the imagination, counter  irritation and facilitate personal expression. It can also simply provide enjoyment  and pleasure.  Therapy is creating a relationship of  trust and through that relationship growing and sharing and evolving, creating  new relationships to self and to others. In  my work and through the programme, I have  learned many new skills.  Through my experience as a woman, as a  musician, as a lesbian-feminist, I obtain  a perspective that allows me to continue  in my growth. The second meaning of the  Greek translation of the word therapy -  "therapeia" - "attendance" - which means  being present, stretching, giving heed to,  looking after, listening to, waiting for,  directing attention to and watching over  the working of. This translation gives  meaning to my work. My own life's experience gives concrete evidence for the music  as being the therapy that has been present  and attendant throughout.  Music creates patterns and is a process  creating images and symbols. Patterns of  tension-build-up-release are so typical  of life situations. The qualities of music  are many and diverse. Through the use of  improvisation (spontaneous creativity),  rhythmic styles, or just in the listening  for relaxation, a music therapy session  can open us up to new experience. Allowing  ourselves to respond freely to music will  tend to generate less of the inner struggle and conflict that other methods of  change might produce.  ,1 cannot possibly share with you all that  music therapy is to me. The emotional  impact that music has had in my life and  the skills I have learned in my life all  combine to affirm my abilities, my aspirations, and the opportunity to share with  others my experience, my vision.  This summer I will be planning and facilitating workshops, as well as performing  for the Northwest Women's Cultural event.  Music will attend with me and though at  times we separate, when She is with me,  we are truly intimate and once again I  live, I breathe, I sing. Yes, there are  women, Yes, there is music and the therapy  is in the holding, the sharing, the healing.  Dis-covering self-rightness  Dis-closing creative likeness  Like times come before  Still being...free  "I Am"  Donna Lee '83 24 Kinesis July/August ^  byPatDavitt  For Grade,  Grade and all of her group  Bill Bennett and company,  let them eat  soup!  But we can't afford brisket or even a  bone  So we'll make  *em a soup out of pebbles  & stones.  (To the tune of "It's Organic"  Words: Euphonious Feminists)   ir''_  In the fall of '83, the women of WAB  (Women Against the Budget) gave a luncheon  at Grace MacCarthy's house. Hundreds of  people flocked to the quiet, tree-lined  Shaughnessy street to eat stone soup out of  styrofoam cups and to attend yet another  rally in the continuing fight-back against  the Socreds' 1983 budget. The people came  partly out of curiosity (so this is where  Gracie lives, eh?) and out of political  conviction and need. They were prepared,  out of political duty, to listen to the  usual roster of speakers recounting the  familiar litany of horrendous legislation  wreaked on the poor, the sick and the disadvantaged. Instead, people stood at the  mikes and sang song after song, mostly  written or rewritten for the occasion.  People sang along. Then came the speaker,  the one and only speaker: two minutes.  Then more singing; people went away singing.  Was this heresy, or political smarts?  What the women who organized 'Luncheon with  Gracie' had come to realize, through years  of attending rallies and demos, is that  speakers tend to be redundant, repetitive  and ultimately boring. They tell us things  we already know (or why would we be standing  out there in the rain?), and each successive  speaker feels compelled to say it again,  lest pur memories can't span a 15 minute  time period. What's worse, few have any  talents at all at oratory.  That's why music has it all over talk. With  music, talent (while useful) is not mandatory. Boredom is seldom a factor. People  feel good. Music: the universal panacea  for the rally blahs! Why does it work?  First there's the melody line. Think of the  tune to "Gentle Angry People" (Holly Near)  Without the words. The tune alone is  enough to set you swaying, and that's before  a single word is heard. "Solidarity Forever"  Turn-te-Tum-te-Turn-te-Tum Turn: stately, confident, compelling. Music creates a mood  or emotional tone quite apart from the  words, and appeals to feelings that only  the most brilliant orator can evoke.  Now think about the words. You can say  things directly and simply in song, repeat  yourself a zillion times and still come  away feeling exhilerated and satisfied. "Oh  Sing and Fight  no, you can't scare me, I'm sticking to  the union/I'm sticking to the union/I'm  sticking to the union/Oh no, you can't  scare me, I'm sticking to the union/I'm  sticking to the union 'til the day I die."  (Union Maid; W. Guthrie)  Moreover, the audience can become more than  passive recipients of information, they  become participants. Singing can promote  involvement, especially if song-sheets are  provided. The audience is then part of the  action. Thus, music has the power to unify,  to draw people into a shared centre called  community. Music helps to define that  community: those who know the words to  Riverboat, or Union Maid ... or 0 Canada.  Persons in authority recognize the value  of music as an organizing and cohesive  force. State and religious institutions  have for centuries used music as a method  of reinforcing ideology (theirs), encouraging group identification (I'm a Canadian;  I'm a Baptist), and playing on the emotional needs of people to belong. Onward,  Christian soldiers, marching off to war...  Alongside the state sponsored singing there  has always been a body of popular songs  created by people to celebrate their lives,  their drinking and their history; to reaffirm their community and to hint at, or  to speak boldly of, their resistance to  tyranny. These songs were often lively  and immediate in their appeal,  and authorities were not (and still are  not) above out-and-out theft of popular  culture.  John Wesley, the founder of the Methodist  Church, used popular songs to suit his own  purpose; a noted hymm-writer, he appropriated the tunes from barrooms and ballads  with the justification: Why should the  devil have all the good songs? Thus, when  we take a song such as "Travellin' On fo£  Are your clothes all patched and tattered  Are you living in a shack?  Would you have your troubles scattered?  Then dump the bosses off your back.  For 20 years at the beginning of this  century,   they were a singing crusade  on behalf of the poorest,  most exploited  workers in America.   Songs,  you might  say,  transformed them,  elevated them,  organized them,  united them,  enthused  them with hope and courage... They took  popular songs and  'Starvation Army'  hymns and turned the words inside out,  sharpening them with a subversive irony.  Even here, where life is so ordered and  "safe", music can be a shield against the  crazies and the violent ones. On the Muck-  amuck picket line, where the Euphonious  Feminists and NPQ sang for two years  (every Friday night, rain or snow), the  songs were often all that stood between  us and the rumbling malevolence and mayhem of the scabs crossing the line. Despite the numbers of Friday night drunks  and the weekend loony-tunes, there was  not one violent incident while we were  singing. Similarly, a potentially ugly  incident at Red Hot Video provoked by a  definitely ugly customer was defused (much  to his bafflement) because we (the whole  picket line) kept singing "Hang in there  a little bit longer" and refused to stop  so that he could speak. As angry as he was,  he couldn't keep it sustained and focussed  in the face of twenty singing people. The  man, and the trouble, departed.  It is presumptuous, perhaps, to compare  these skirmishes to wars of liberation and  oppression happening around the world but  the underlying principles apply. The  battle for social justice, for unions, for  equality here in North America is a class  war, a gender war and a race war that must  Jesus" and end up "Travellin' on towards  union" instead, we are following in hallowed footsteps indeed.  The people who reversed John Wesley's  musical piracy par excellence,   and wove  music firmly into North American trade  union.life, were the "Wobblies", members  of the International Workers of the World  (I.W.W.). They told their members: "Right  was the tyrant King who once said, 'Beware  of a movement that sings'...Whenever and  wherever the oppressed challenge the old  order, songs are on their lips.l The I.W.W.  took popular and religious songs of the day  and transformed them into biting social  criticism...  "Dump The Bosses Off Your Back"  by John Brill  (Tune: 'Take It to the Lord in Prayer')  Are you poor, forlorn and hungry?  Are there lots of things you lack?  Is your life made up of misery?  Then dump the bosses off your back.  be fought with every weapon we have. In  that long and continuing struggle, music  is one of our most effective tools for  unifying and focussing our forces, and  for sustaining ourselves mentally, emotionally and physically until we win. That's  why the Wobblies told people to "Sing &  .Fight!"  If we all stick with our sisters and  our brothers  We're gonna win this fight  Ain't no way they can ever keep us down.  Footnotes:  1Edith Fowke & Joe Glazer, Songs of Work  and Freedom.  N.Y.: Doubleday & Co., 1960  From the Introduction, p. 7.  ^Leon Rosselson, "Tune in to silence". In  New Socialist,  .1984 (May/June)pp.60-61.  Pat Davitt is a city worker, member of  VMREU and of the Euphoniously Feminist and  Non-Performing Quintet.  In her spare time  she harasses cats. July/August '84   Kinesis 25  Sweet Honey  in the Rock  Sweet Honey reaches back into the fields  and onto the auction block, and forward  by Connie Smith  One dark summer night, with only the north  star to guide her, a young slave woman  left her quarters and walked to freedom.  In the north, she joined and inspired  the Underground Railroad. And she returned  to the south at least fifteen times to  conduct hundreds of fugitives, including  her own family, to safety. Despite the  $40,000 bounty on her head, Harriet Tubman  said she felt no fear. And as she travelled  the back country at night, she signaled  her people with a song.  GOTTA MAKE THIS JOURNEY  (1983)  59:55  Produced by Michelle Parkerson  Directed by Joseph Camp  Edited by Fran Ely  There was another summer night, nearly one  hundred and thirty years later, when five  black women stood in a field before six  thousand. Only on this night, our races  were integrated. No one was hiding and no  one was afraid. Then the moment came when  these women signaled us with a song.  Every woman who ever loved a woman, you  you ought to stand up and call her name.  These are the changes we mark by time. It  was the Michigan Women's Music Festival  in 1978. And such is the power of Sweet  Honey in the Rock.  Sweet Honey's acappella music is deeply  rooted in the civil rights movement of  the 60's. Bernice Reagon was one of the  original Freedom Singers. But Sweet Honey  reaches back into the fields and onto  the auction blocks of the slave era, and  forward to include feminism and the issue  of nuclear sanity. Their music is for all  people who care about the quality of  human life.  Sweet Honey began in 1973 at a Black Repertory Theatre Company workshop, in Washington  D.C. under the direction of Bernice Reagon.  Over the years, there have been eighteen  different members in the group. The current  singers, Bernice Reagon, Ysaye Barnwell,  Evelyn Harris, Aisha Kahili and Yasmeen  Williams, have been together since the late  70's. A sixth member, Shirley Childress  Johnson, signs their music for the deaf.  Sweet Honey has recorded several expertly  produced albums. But for me, nothing has  come close to that first hand experience.  At least, not until now.  In 1978, Michelle Parkerson worked as a  production co-ordinator on Sweet Honey  in the Rock's second album, B'lieve I'll  Run On,  See What the End's Gonna Be.   She  knew then she wanted to make a video.  In the spring of '82, Michelle submitted a  to include f emi-  nism and the  issue of nuclear  sanity.  proposal to WETA-TV's Minority Producer's  Laboratory competition. The ten-page  proposal took a week to write, including  Michelle's resume and budget requirements.  And she submitted a copy of her celebrated  1980 film, But Then She's Beity Carter,  a documentary on the singer's thirty-two  years in jazz. Two months later, Michelle  was awarded $30,000, less than half of  what she had originally asked for,  (and still less than Harriet Tubman's  bounty). Michelle pressed for more funding  from other sources and began shooting.  After a few months of production, she was  able to pay herself $600 a month, hardly  a living wage, but a fact of life she  accepted. On January 14, 1983, the video  was finished.  Michelle was able to retain the copyright for her project. But WETA received  exclusive premiere rights, as well as  pay TV and cable rights within the Washington, D.C. Metropolitan viewing area.  The Corporation for Public Broadcasting,  who contributed extra funds, and PBS, own  the domestic pay TV and cable rights for  the next three years. Should Journey  be transferred to film, DPB will receive  half of all theatrical receipts. Michelle's  reward will never be financial. But  Gotta Make This Journey  won the blue  ribbon at the 1984 American Film  Festival.  Michelle's format is straight forward;  concert footage, personal interviews and  cameos by significant others. The performance segments were filmed in 1982  at Sweet Honey's ninth anniversary concert at Gallaudet College, Washington  D.C.'s noted school for the deaf. The  audience is responsive.  The sidebar portraits are intimate conversations. The women are filmed in their  homes, at school and at work. Ysaye  counsels abused children. Yasmeen is  studying law. Aisha practices self-  defense. And with complete clarity of  purpose, each woman recounts her personal  experience and philosophy which led her  to Sweet Honey in the Rock.  The significant others whose comments  punctuate the messages of Sweet Honey  are activists themselves: Angela Davis,  Alice Walker, Holly Near and Dr. Ben  Chavis, Jr. of the Wilmington 10. They  place the group in a historical context.  Holly Near believes Sweet Honey's music  expands perceptions. She says, We cannot  assume all women are the same."   For  Alice Walker, nine years of Sweet Honey  in the Rock means nine years of consciousness.  The journey ends down by the riverside.  And as Bernice Reagon leads the audience  into the parting lyrics, I ain't gonna  study war no more,"  lines dissolve. A  very diverse group of people rise together. It is a familiar image to anyone who  has taken that first step to freedom.  Hopefully, viewers of Gotta Make This  Journey will be inspired to start walking.  THERE REALLY IS A COMMUNITY  LOVERS  SEARCHERS  MOVERS INTO LIFE  FIGHTERS AND BUILDERS  OF A PLACE WHERE  MILITARY MACHINES,  HATRED OF WOMEN,  ABUSE  OF CHILDREN,  HOMOPHOBIA, SOCIETAL MALE  'ñ†SUICIDE, RACIAL BIGOTRY,  STARVATION,  WORK THAT KILLS AND CRIPPLES,  SOCIAL  ORDERS DRIVEN BY GREED,  THE USA INVADING  WHOEVER ...   THIS  WEEK  WHERE THIS DYING AND ACTING OUT OF FEAR,  ANGER,  AND TERROR WILL FIND NO FEEDING  GROUND  I WANNA BE THERE  niscogranhv  Sweet Honey in the Rock (1976)  Flying Fish Records  B'lieve I'll Run On,  See What The End's  Gonna Be  (1978)  Redwood Recrods  Good News  (1980)  Recorded live at the All Soul's Church  Unitarian, Washington, D.C.  Flying Fish Records  We All...Everyone of Us  (1983)  Flying Fish Records  Video Information  Gotta Make This Journey  is available for  rental in Vancouver at IDERA, 2524 Cypress,  (738-8815). 2*Ktaeas   *   y/AufosfM  I  ARTS  by Jill Pollack  "It all looks so familiar but when you  investigate it,  it is a different culture •  - it is no culture, yet, just a million  beginnings."  (Laslo Moholy-Nagy)  "The unconscious is something which is  volcanic in tone and yet you cannot do  anything about it. You had better be its  friend, or accept it, or love it if you  can, because it might get the better of  you.  You never know."  (Louise Bourgeois)  Photography by Cheryl Sourkes  images that challenge perception and depict the world in another way.  Her photographs have always been intense,  powerful and complex. They have, predominantly, incorporated multiple imagery within a black and white format. She extends  her photography with the inclusion of  images gleaned from books and utilizes  numerous techniques from photogramme to  the Kodalith (negative image) process to  Evoking ritual  from the routine  For the past fifteen years, Cheryl Sourkes  has dedicated her time to art-making. In  an almost single-minded fashion, she has  been developing her photography, from  concern to concern, series to series. Until recently, Sourkes had not been given  recognition or support from major arts  institutions. Up to now, she had not, unfortunately, received the critical acclaim  she certainly deserves.  That situation has started to change and  her work was included in the Vancouver Art  Gallery's exhibition, Art and Photography  (May 11 to June 24, 1984). Amazingly,  out of ten artists, three were women:  Sourkes, Chick Rice and Marion Penner  Bancroft. Before that show, Sourkes  exhibited at Women In Focus (the two  Woman to Woman shows), the Blue Mule and  Coburg galleries, and at the Western  Front.  Sourkes has lived in Vancouver for seven:  teen years, moving from Montreal where  she had attended McGill University. She  has always been interested in exploring  aspects of consciousness (or, as she says,  "the psyche or the soul") and first  searched for a jwers while studying the  Behavioral Sciences. It was not until  she picked up a camera, however, that the  means of research and communication became  clear. For her, photography became  another way of getting at consciousness".  It was through the use of photography  that she was most successful in presenting  mark-making. In her newer pieces, words  (language) play an increasingly important  role. And what were once images extended  to the borders of the print are now images  floating in a sea of black.  These developments, changes, and extensions in her photography reflect the maturation of her analysis. Although her work  has presented multiple layerings of interpretation, it now depicts refined comparisons and contrasts which rely upon the  juxtapositioning of historical and contemporary references.  This recurring approach of presenting  images from disparate cultures is used  to exemplify the similarities and the differences between who we are and where we  came from. Sourkes' thesis is dependent  upon the concept of a cyclical time line -  history repeating itself while simultaneously extending itself. Patterns of living and thinking, motives, and methods  are placed side-by-side within the context of each photography.  Sourkes points out at the same time as  merely presenting. However contradictory  this may seem, it does enhance her intention to allow the viewer to perceive the  connections she is drawing while deciphering for themselves and according to  their particular life experiences, the  meanings held in each photograph.  She renders this dichotomy effectively  through her awareness and manipulations of  gf^^  ~^'^ ' llr*L.  Wr               -   'life.  I  Mil  €!§§r  • Ply    TM  m *My  i i mm BR  [■   -mm P^llf [            4  WKm  jwi£&       :  1   •' 'vJmt  L-JW^-"  two ways of seeing. Sourkes believes  that we are capable of perceiving both  "the gazing/dreamlike and the rational  modes". That is, we see the information  presented and rationally determine its  function (ie. words and their literal  meaning, a structure and its literal  meaning, etc.) Concurrently, we perceive  the images on an emotional, psychological  level (the feelings evoked by the images.)  Together they produce a "complete resonant  moment." Together we acknowledge and feel  each work.  In advertising, there is a tendency to  use repetition, especially in jingles.  The desired effect is to sing or say  words over and over until they become  lodged in the brain, inducing one to buy  the product. Connections are supposed to  be made; when one either hears/reads the  words or sees the product, one is supposed  to remember all the good things that Will  happen if the product is purchased. Lasting relationships will form, financial  success will be gained, popularity (therefore happiness) will be achieved. The  key is the connection between product and  result.  Sourkes makes connections, strong ones,  using these same types of techniques,  but with a different aim and result.  Advertising is based on exploiting weaknesses and fears, promising improvement  through material acquisition. Sourkes  induces thinking and consideration,  She is saying that it is alright,  indeed good, to assess that which  we are faced with, to look closely  and analyze ourselves without  fear of reprisal. She is saying that  we can only gain from exploring  how we feel.  which promotes greater self-awareness.  She repeats techniques, not in order to  encourage acceptance but to allow learning. She incorporates the printed word  with images, as does advertising. She  manipulates each overall piece with a  central idea in mind, as does advertising.  In a sense, she 'sells' the idea of  taking responsibility for one's thoughts  and actions, be they outside the generally accepted viewpoints or not.  Consider, for example, an advertisement  for a car with a partially-clad woman  standing near it. We are given to understand that not only is the car 'sexy'  and by purchasing it, we will achieve  'sexiness', but the ad promotes women as  the 'prize' for buying it. Sourkes' photograph, Grave Slab at Kivik also presents  fundamentally different images within the  one work in such a way that they act as a  unit and evoke an idea, almost a promise,  of a better life. Fortunately, in the case  of Sourkes' work, a better life is defined  by the individual rather than by the pat-  riarchally-dominated ideology.  In this work, Sourkes has placed three  images side by side. On the far left of  the piece is an aerial view of an urban,  semi-industrial looking scene with people  in costume. The middle is an historical  representation of a grave slab at Kivik.  On the far right is a house, with a second  storey door leading nowhere.  continued next page  Grave Slab at Kivik, by Cheryl Sourkes  Jill Pollack is a free-  arts reviewer, and  to Kinesis.  lance curator and  contributor July/August W   Kinesis 27 .  On a purely, abstract level, there is a  repetition of shape and line. The house is  reminiscent of the grave stone which is  reminiscent of the road in the urban  scene. There are similar tonal qualities  present in the three images as are vertical lines. In other words, there is a  compositional reflection in each image,  which allows a sense of symmetry (calmness)  to emerge. This photograph, like all: of  Sourkes', has an aesthetic 'neatness',  a feeling of safety, despite the other  emotional implications/readings possible.  In effect, she is saying that it is alright, indeed good, to assess that which  we are faced with, to look closely and  analyze ourselves without fear of reprisal  (either from ourselves or others). She is  saying that we can only gain from exploring how we feel.  It then comes as somewhat of a surprise  to note the individual implications of  each image. People in costume, a grave  marker, a door leading nowhere. The first  evokes the facade we tend to adopt, the  multiple ways we hide ourselves from  ourselves and others. The second signifies  death and the end of something. The third  depicts futility. They are bleak images,  ones that exemplify existence rather than  living.  Yet I believe that Sourkes' intention is  a positive one. Each of those images ,also  contains a 'flip side', a more hopeful  viewpoint. In the image where people are  in costume, it is apparent that they have  done so joyfully and with full knowledge  of their actions. They chose to wear the  costumes and did so in a celebratory manner. Although it could be said that to  elect to adopt a facade is a sad comment  on our world, it could also be stated  that it is an opportunity to play, to  express creativity.  The grave slab depicts figures and clubs.  At the same time as marking death, it  acts as a rite of passage, an homage to  the life which has now ended. Graves are  a reminder or eulogy to life - they stand  as the fact of existence.  The door in the image of the house, if  opened, would lead to empty spaces. It is  a universal symbol for hopelessness. But  just as death can signify birth, so too  can the door represent new, as yet unexplored, possibilities.  Sourkes' ability to render the contradictory interpretations held within a single  image simultaneously is carried over to her  inclusion of historical and contemporary  references. She uses these references in  two ways: firstly, as metaphors and  secondly, as a means of comparison. Alle-  gorically, it is unimportant whether the  viewer is familiar with the reference,  either historical or contemporary, because  as she says, "I choose images which in  and of themselves convey their meaning."  In some works, such as Grave Site at Kivik,,  she has included one line of type which  does place the reference in a specific  time and culture. If the viewer wants,  she/he can research the history of the  reference.  But even if the viewer does not look  further, the intention is conveyed. We  know that it is not a contemporary grave  slab. We know it is from a different culture that, in all likelihood, held both  a different social organization and a  different value system. We can draw cer  tain conclusions with the information presented just as we can when presented with  the image of a modern house. We do not  know who lived in the house, what they were  like or if they were happy. We can, however, assume or imagine their situation,  personalities, etc., if we want. We can  look up Kivik in a book and learn more  about it, if we want.  Sourkes would be pleased to find that her  photographs induced us to search for further information, to want to know more. She  believes that "it is really exciting to  be given a key to a whole other place  that you didn't necessarily know even  existed until you stumbled on some piece of  it, some archaeological remnant."  Sourkes goes on to say, ''there are a whole  lot of people who I am in a conversaton  with. Some alive, some dead, some who I  know, others who I read about, who are  all creating or have been creating another  kind of culture." When we view her photographs, we become another participant in  that conversation, and we are better for  Inside an election  by Linda Grant  It's like breaking a dream.  There's the endless cups of coffee, the  lists, the camaraderie, pounding the pavement, the doors slammed in your face, the  invitation in to talk. And then the mounting tension building up to defeat, tears,  driving home tanked up on beer wondering  what the next four years is going to be  like.  Little Mountain, An Election from the  Inside,   directed by Debbie McGee, produced  by Cineworks. 16mm colour. 27 minutes,  50 seconds.  A year later, in a screening room, you  feel as if you're laying old ghosts to  rest. Days of optimism are filtered through  memories of the budget, of Solidarity, of  strikes and sellout. I remember walking  out in the streets the morning after the  1984 B.C. provincial election and feeling  surprised that there were no tanks in the  str  ets.  I'm watching a new film, Little Mountain,  An Election from the Inside.   For so many  of us the Little Mountain campaign had a  special meaning: to defeat Grace McCarthy,  Minister of Human Resources.  The film is an account of the election  campaign process - that is, the way the  organizers work to convince the electorate of their policies and how they bring  out the vote on election day. It's all  recognizable: the old-timers who have  worked on election campaigns for years;  the newcomers who are doing it for the  first time.  Director Debbie McGee had worked as an  organizer on NDP campaigns and had revelled  in the mix of people that she met. A year  and a half ago she thought that an election  campaign would make a good subject for  her first film. She hoped that by showing,  from the inside, the day-to-day energy  behind the campaigning, that viewers would  themselves become involved in future  elections.  Already the North Vancouver School Board  has bought one copy of the film and the  Canadian Labour Congress has purchased two.  Because Debbie has deliberately focussed  on ways in which the Little Mountain campaign is archetypal of all campaigns,  whether federal, provincial or municipal,  there is a better chance of ensuring wide  distribution.  As such, the film is an excellent educational tool, particularly for a non-politi-  cal audience. For the politically active,  particularly those involved in the last  provincial election, the film may be  disappointing. Completely absent are the  issues which made that election in that  riding a focus of attention all around  the province. Hundreds of people from  all over Greater Vancouver flocked to work  Little Mountain because they wanted to  "knock off Gracie".  The apolitical nature of the film weakens  it. Take the politics out of an election  and you are left with a ghost. People move  through tension, energy, anger and defeat  but the film does not tell us what defines  and impels their actions. It's rather like  eating a meal without the benefit of taste-  buds. Even the candidates are deliberately  downplayed. Gracie herself is never seen  and referred to only.once.  I admire Debbie's determination to make  a film that will be seen by a broad  audience, rather than the inner circle  of the Left. I think that it's important  that school kids get a chance to see the  electoral process from the point of view  of the working class. But it would be nice  if those kids could know exactly how much  that defeat cost us.  (This film is available from: Canadian  Filmmakers Distribution West, Suite 1,  525 West Pender, Vancouver, V6B 1V5, (604)  684-3014, or, Canadian Filmmakers Distribution Centre, Suite 204A, 299 Queen St.,  West, Toronto, M5V 1Z9. (416) 593-1808.  Linda Grant co-ordinates Kinesis book  reviews,  and is a member of the editorial  group. 28 Kinesis   July/August'84  ARTS  by Linda Hale  June 30 - July 3, 1983 - that's when the  first' Women and Words Conference was held  at the University of British Columbia in  Vancouver. If you were among the 700 or so.  women who were there, you will remember  the wonderful energy and the richness of  the offerings.  Perhaps the memory of Pol Pelletier's  spellbinding performance of Les Vaches de  Nuit by Jovette Marchessault still moves  you. Or maybe it is Joy Kogawa's reading  from Obasan that has stayed with you. Or  Margaret Atwood's reading from Murder In  the Dark that convulsed the audience with  laughter. No doubt you have your own  favourite recollections from among the 44  workshops.  It was certainly an impressive occasion -  inspiring and enriching to hear women from  across Canada, Francophone and native, East  Indian and lesbian, publishers and poets, .  journalists and teachers.  The Conference was recognized by the larger  community to be the event that we who were  in attendance knew it was. Among the extensive media coverage subsequent to the  Conference was an article in the Globe  and Mail  (December 31, 1983) citing it as  one of the most important cultural events  of the year.  So, what's happened as a result of all the  energy and enthusiasm that the Conference  stimulated? Where is Women and Words at,  one year later?  Good news: Toronto women are presently  organizing the next Women and Words Conference to be held in that city in 1985.  And the Society itself is growing. There  are members nation-wide and autonomous  Women and Words groups currently meeting  oh a regular basis in Victoria, Vancouver,  Winnipeg, Toronto, Ottawa, Montreal and  St. John's.  Two rural areas have contact persons:  the Gulf Islands and the Kootenays. A  Task Force was established at the Annual  General Meeting, held January 27-29, 1984,  to propose a structure for a national organization that will co-ordinate the  activities of the regional groups. The head-  office of this organization will change  locations every two years, to coincide  with the site of the next conference. And  there are plans to publish a newsletter  to facilitate communications across the  country.  Concurrent with the planning for the first  Conference was a project to compile an  anthology of previously unpublished women's  work. This project is nearing fruition.  The Anthology (a title has yet to be  chosen) will be published by Harbour Publishing this fall. This is the first bilingual anthology of women's writing in  Canada; about 30% of the material is in  French and the rest in English.  There are 81 different contributors, some  well-known to Canadian audiences and  others appearing for the first time in  print. Most of the material is poetry or  One year later  Women and Words  fiction; there is also one essay, one  excerpt from a play and one performance  piece. The completion of this ambitious  undertaking will be marked by an Anthology-  launching party sometime this fall, an  herstoric event not to be missed.  There are going to be second and third  Women and Words publications too. A  selection of the papers and talks presented at the Conference is going to be  published by Longspoon Press in the spring  of 1985. There will be approximately 48  contributors, with material chosen to  give as broad a representation from the  Conference Proceedings as possible. There  are plans to include both pictures from  the Conference and a resources section,  listing women's' bb^fkstbtes and preSs¬•s,r '  etc.  This publication will include anglophone  women's contributions and francophone  work in translation, a decision that was  influenced by the fact that Les Editions  de la Pleine Lune, a feminist press in  Montreal, is planning to publish concurrently its own selection from the Proceedings  entirely in French, with anglophone women's  work translated into French. If you don't  want to wait until next spring for the  conference material to appear in print,  there are twelve different tapes of the  Conference and panels available from the  Women and Words office at a cost of $10  each.  On the local level, women in Vancouver have  turned most of their energies (gratefully)  away from the administrative and organizational tasks imposed by a burgeoning  membership, and towards more informal  gatherings with a literary focus. This  spring, monthly business meetings have  been replaced by regular monthly events.  We have been entertained and moved by  excerpts from novels, prose, monologues,  stories and poetry at readings given by  local Women and Words members. Not only  have these been very pleasant social  occasions, they have also been opportuni  ties for us all to share the work that  talented local women are producing.  Because of our limited financial resources  (we are not receiving any outside funding  at the moment), these events have not been  widely advertised. But more are planned  for the fall and there are plans to extend  the focus of these evenings to include  issues of interest to women more generally.  So if you're a member of Women and Words  (or would like to become a member), and  would like to be notified about these  monthly events, phone the Women and Words  office (87208014) and ask to be placed on  the phone list.  During the summer, there are eight one-  day workshops planned:  The New Diary Workshop:  Brig Anderson,  Saturday, July 14. Discover creative and  therapeutic ways of keeping a diary to  increase your self-awareness, capacity  for intimacy, intuition and imagination.  So You're a Writer - Now What?  Carolyn  Zonailo, Sunday, July 15. How to break  into print - how to market your work -  how to gain wider recognition - these are  concerns for both published and unpublished  writers. The workshop will include an  overview of literary markets and consideration of individual manuscripts.  Finding Your Voices.   Joan Haggerty, Saturday, July 21. This workshop is for women  who have a strong urge to write but who  feel their work is held back by inner  conflicts and/or lack of technique.  Computers & Writers: a Good Match?  Rochelle  van Halm, Sunday, July 22. This workshop  will look at the ways in which writers  can use computers in their work.  Using your Unconscious.   Julia van Gorder,  Saturday, July 28. An introduction to  Jungian psychology which will include a  self-test to help you determine whicjvffjfe* tj  four functions (thinking, feeling, sensation, intuition) you tend to over-use in  your writing and your life.  Autobiography.   Jamila Ismail, Sunday,  July 29. auto bio graphy  (greek)  own life write  (english)  writing one's own story, the word ability  of one's life.  Writing Home.   Elizabeth Fortes, Saturday,  August 11. The immigrant experience  confronts us with the awareness of inner  transitions. In this workshop we will  share, explore and enlarge some discoveries of our identities in transition and  understand how to convey them.  Storytelling.  Mary Love May, Sunday,  August 12. This workshop is designed to  raise conscousness about the importance  and accessibility of storytelling and to  explore the possibilities for storytelling  in our individual lives.  All workshops will be limited in size,  and pre-registration is required. Fees are  $15 per workshop for members in good  standing (1984 dues paid) and $20 for non-  members. Please call the Women and Words  office (872-8014) for complete information  about each workshop, for pre-registration  deadlines, for information regarding membership and negotiable workshop fees for  unwaged and underemployed women.  Women and Words is alive and well. Not  only are we looking forward to the 1985  Conference in Toronto and an opportunity  to get together nationally, but we're  happily discovering the wealth of talent  in our midst locally. And there are more  exciting events in the works for the fall.  Leave some space in your calendar for the  following: -regular monthly Women and  Words events/-Anthology-launching party/  -more workshops on feminist research,  writing poetry, feminist use of language,  writing short stories, using your journal  as a resource. July/August'84   Kinesis 29  ARTS  Northwest Women of Colour  Revolutionary  writing and art  oneself, who made oneself possible, are  ingrained in one 's flesh and blood and  brain as much as the whorls of the hand  or the scar on my lip from being backhanded by my father as a child. "  The second part of Gathering Ground  contains excellent critical and creative  prose: Mayumi Tsutakawa's introduction  which discusses the concept and reality  of community for women writers of color:  Evelyn C. White's essay on Frances E.W.  Harper; Yvonne Yarbro-Bejarano's The Image  of the Chicana in Teatro;  and Dorothy  LaigoCordova's Pinays-Filipanas in America.  Two stories by native Indian women,  Debra C. Earling and Kathleen Shaye Hill,  highlight this segment as well. The Yellow  Dress  is an excerpt from a novel-in-progress,  It is a short but devastating portrait of  a mother and daughter locked into a battle  created by outside forces. Perma Red is a  slow moving story which softly vibrates  with the grief and despair o£ a woman who  loses her mother.  J.T. Stewart introduces the last section,  which deals with the cultural awareness of  women writers of color, their relationship  to the world at large and the smaller world  defined by color.  Stewart's short story  The White Horse Cafe  dramatizes, with stark  images, some of the ideas she presents at  the beginning of this segment. Stewart's  GATHERING GROUND  New Writing and Art by Northwest Women of  Color.  Edited by Jo Cochran, J.T. Stewart and  Mayumi Tsutakawa  187 pages. Seattle:  The Seal Press,  $6.95 U.S.  by Cy-Thea Sand  The anthology may be the most revolutionary of literary genres, giving us as it  does a tapestry of individual experience  from within a framework of collective  awareness, experience and purpose. Special  issues of journals as well as independent  collections of short fiction, poetry,  critical prose, personal narratives, book  reviews and letters, are trademarks of the  progressive publishing we know as feminist,  lesbian, Marxist or Third World. Gathering  Ground: New Writing and Art by Northwest  Women of Color  is a recent example of this  genre as well as of the kaleidoscopic,  frenetic creativity which is nudging,  pushing and erasing the traiditonal lines  of North America's literary establishment.  Divided into three sections - We Cannot  Wait To Be Discovered, I Am Going to Talk  With Them About Their Daughters, and In  Order To Survive - Gathering Ground  celebrates and records individual psyches,  cultural heritages and the relation between vision of a Black woman's struggle with  women of color and their communities.     the smaller world defined by color  reminds  As Jo Cochran writes in her introduction   me of Virginia Woolf's concept of moments  to Part One: of being, when one's consciousness takes  'Because as long as I,  or other  women writers of color,  cannot uncover who we are, we remain fragmented and not connected to ourselves  and other women of color,  and all  women.  Thus we remain separate  from our true power.  This true power  being a strong, growing sense of  self,  culture and community which  can help us take action against  radsm, sexism,  homophobia and  other systems of oppression that the  white male sodety has created to  keep us in our place.  Part One features an interview with  the three editors of Gathering Ground  who discuss some of the problems facing  women writers of color. One of the most  impressive features of this dialogue is  the concern expressed for other writers -  potential, would-be and serious - from  women who are themselves just beginning.  J.T. Stewart talks about how pluralistic  the lives of most women writers of color  are and how that can work for and against  them. Alternatives to the academic route  to serious writing are discussed as well  as the relationship between writers and  their communities.  One of the most powerful poems in this  section is Charlotte Watson Sherman's  These Women Only Look Crazy,  which dramatizes the insidiousness of the creative  spirit being cut up by poverty, neglect  and oppression. Sherman bears witness to  the humanity and complexity of anonymous  street women, reminding us how difficult  the creative life is for most women to  maintain. *^^^%  A letter from poet Kathleen Reyes, included in this section, outlines Reyes'  exploration of her Mexican heritage. Her  last sentence lyrically focuses in on a  major theme of Gathering Ground:  "I  believe that the people who went before  from Gathering Ground, by Amy Nikaitani  in the various fragments of one's life  with a shock of recognition. Virginia  Woolf believed that one"s personality is  a finely tuned mechanism, sensitive as a  seismograph to the slightest vibration in  the sodal environment, and hence volatile  like the flux and multiplidty of experience  to which it is  Rebecca's experience with what Stewart calls  "betrayal games" - her assimilation into  white academe at the cost of her integrity  - is examined with an almost ruthless honesty. Rebecca is paralyzed upon entering  an all white restaurant and is saved by a  brother, a kindred spirit, and her own  identity. She is only temporarily frozen  by the harsh environment racism creates,  creates.  One of the most rewarding aspects of progressive anthologies is the publishing  - side by side- of both experienced and  novice writers. In this third section of  Gathering Ground, Doris Harris' first  published piece appears, Who Will Braid  My Hair Today? , as well as an interview  with and poetry by Colleen J. McElroy,  the first Black woman to become a full  from Gathering Ground, by Cecilia Conception Alvarez  Professor at the University of Washington.  Harris' memoir is poignant, a lovely tribute  to her beloved grandmother who was an astute  observer of the oppression of her people.  Also in this section is Mayumi Tsutakasa's  A Chest of Kimonos - A Female Family History,so.  article Mien and Bmong Women's  Textile Work',  and poetry by Carletta Wilson,  Yvonne Yarbro-Bejarano and Jo Cochran. Art  work by Pacific Northwest women of color  is presented as well, including the stunning drawings of Amy Nikaitani.  In her introduction to the second section,  Mayumi Tsutakawa outlines some major obstacles for women writers who identify as part  of the large Third World Community:  ...Lack of time,  lack of money,  lack of  appreciation for the artistic, along  with undisguised sexism, create tall  barriers that keep women of color  writers in the Northwest and elsewhere  from achieving their goals and dreams  as writers ... few have the opportunities to learn,  to train,  to develop  their skills.  Few have the connections  or the access to grants and publications, to teaching positions,  to role  models who could help them develop  into first-rate writers.  This analysis is crucial to a progressive  criticism because the means of literary  production is so often taken for granted  by the mainstream literati. The significance of the publication of anthologies  like Gathering Ground must be understood  within the context of this struggle against  outrageous odds. There is an immense seriousness of purpose here as well as humour,  warmth and anger. Gathering Ground offers  women writers of color a forum to explore -  their options and the obstacles limiting  them.  One of the purposes of an anthology or journal is to off.er the reader a sampling of  the work being done by a specific group  of writers,a group with a unique history,  circumstance and vision. To do it as well  as Cochran, Stewart and Tsutakawa have  done, is to perpetuate and to help redefine the challenging spirit basic to  a dynamic, socially vibrant art.  ^Moments of Being  - Virginia Woolf published by Harcourt Brace Jovanovich 1976.  The quote is taken from the introduction  by Jeanne Schulkind.  Cy-Thea Sand writes the A Little Night  Reading column for Kinesis, and is former  editor of the Radical Reviewer. 30 Kinesis   July/August'84  The Small Press Poetry Review is a regular  feature of the Kinesis arts section.  It  appears quarterly.  by Deb Thomas  Labia Minor, Recession Issue #1  June 1983, Vancouver, B.C., 39 pages,  featuring poets Eleanor Crowe and  Joni Miller,  Labia Minor  is a first issue of a journal  "conceived as an outlet for feminist poetry and prose". The write-up on the back  page implies that a second issue was to  have been printed in September 1983.  I confess I approached this volume with  some reluctance after reading the dedication: "To Ann Hansen and Julie Belmas -  Prisoners of War". I anticipated the black  and white feminist politics of those who  see radical and violent action as the simple answer to complex political, problems.  Fortunately, many of the poems (particu- 'ñ†>.  larly Crowe's) were more subtle and complex than I anticipated. I didn't find  any of them truly remarkable poetically  but there are some sensitive, insightful  messages here.  One of the better works in Crowe's selection is her vignette, "The Visitor", a  five page excerpt from the life of a single mother. Had it been written in the  first person rather than the third, it  could easily have been a few pages from  a personal journal. "She" is never given  a name, only a situation and a personality  The situation is familiar seventies - a  single mother living with her male lover  and her three children, struggling to run  the household and attend university at the  same time, and feeling naturally inadequate at both. The standard female dilemma  of "Why can't I do everything and do it  wonderfully and close to perfectly"? is  the basis of the story.  She wondered where she'd gone  wrong, she always wondered  where-she'd gone wrong.  During  her last visit to her psychiatrist she 'd been told he was  glad to see her going to university because that was where you  met smart men and only smart  men got rich.  Her lover came downstairs with  a book in his hand. He was in  his fifth year of university.  The message of the vignette is clearly  feminist but there are no easy answers  given to the real and common dilemmas  presented. The protagonist both loves  and resents her children, her lover. She  resents her situation but does not, in  the course of the vignette, attempt to  change it. When, at the end, she finds  herself a third party in a passionate  intellectual discussion between her lover  and his male friend, she goes off to sit  in the garden and drink beer alone.  This is a positive move but again there  are no promises that this action is the  beginning of change. It is likely only  respite, an act to maintain fragile sanity rather than actively regain it.  This image of femaleness, as stuck between hell and a pale sort of heaven, is  continued in her string of poems, "Real  Mothers/Real Daughters". She attempts  difficult areas of particularly female  pain such as:  abandoning a child:  "Kathleen  giving birth was the easy part  when I left you, you were in an  oxygen tent and I was tired. "  being abandoned by your child:  SlMSt PUSS  "Why you  hide yourself from me  behind your implacable face or  amongst your new furniture and  so furnished  She infuses these poems with compassion  and a strong sense of identification with  the women of whom she writes. Crowe's  poetic style is blunt, not rich in language and metaphor.  There are stretches in which it seems almost too ordinary. Some of the poems did  not quite have enough interest or power to  reach beyond personal statement to universal feeling. But her compassion largely  saves her work, as well as her ability to  reflect familiar people back to us and  illumine in part their predicaments.  Joni Miller's style is as blunt and unadorned as Crowe's. Unfortunately, Miller'i  work generally lacks the compassion and  insight into the ordinary that helps  Crowe's work reach when it does reach.  There is a notable exception, a poem  called "Small Consolations (for Donald)"  in which she talks about an abortion:  "We are killing the thing  we made between us  We are not sure why"  In this poem, her feeling is evident -  the pain of the inevitable loss, the need  to make sense of the act to come.  In most of the other poems, I could grasp  little feeling. They seem, for the most  part, mental exercises for Miller, political statements without passion, language  without light.  Even the poem "For the Love of a Woman", a  poem one would expect to be radiant with  passion, or gentle with tenderness, was  neither. There is nothing in it that has  not been said, better, a thousand times  before. The age when merely declaring  one's love, for a person of the same sex,  an action which was beautiful, and politically courageous, is past. Now, if you are  a poet, you must give the statement at  least some of the specialness and intimacy it truly deserves.  The last section is a string of poems,  "Family Album", about incest. In these,  there is feeling and personal rage. The  manner of expressing this rage is sometimes politically transparent, but it is  clearly rage nonetheless and deeply felt.  The perpetrators, "john and bob", are totally one-dimensional characters. In the  context of catharsis, this is excusable.  And the poems are cathartic, complete with  a beginning resolution which encompasses  Miller's best image in this selection of  her work. The image is that of a woman  "writing letters home":  "she sits  writing letters home  the mailman  loses them.  been in this business  twenty years  he knows which letters  not to deliver"  and it builds in the string of poems until  the letters become the expression of catharsis, the method of identifying the perpetrator, and finally recognizing one's  own lack of blame and embracing the need  to speak out.  'Labia Minor  is looking for submissions.  Send them to: Labia Minor, c/o Box 65804,  Station F, Vancouver, B.C.  The Sound of One Fork by Minnie Burce  Pratt, Night Heron Press, Durham, N.C.,  1981, 41 pages.  Olga Broumas may be brilliant, but Pratt  speaks to my soul. There is no better way  of putting it. Pratt's language and subject matter are rich with images which  remember and consequently are remembered.  The poems have political messages but are  about people not doctrines;, they are full  of colour and light.  In "My Mother Loves Women", Pratt tells  about the friends and sisters her mother  devotes herself to:  "She sent a dozen red roses to  Ruby Lemly when she was sick and  took her eight quarts of purple  hull peas, shelled and ready to  cook. "  different from  and how that love isn't i  any other love.  "My mother loves. women but she 's  afraid to ask me about my life.  She thinks that I might love  women too."  In "Love Poem to an Ex-husband", she  tells of an incident when her husband refused to kill &.  crushed and dying tortoise .  "You had not acted like a man  and I never loved you better. "  Pratt must kill the tortoise herself and  faces, for the first time, this difficult  and necessary choice.  "Elbows" is a perfectly delightful example of Pratt's southern wit in which she  expands an exhortation by a southern parent not to "let your elbows show" so that  "no elbow  plump or thin  tan or pink  will entice others  to passion. "  Her conclusion is that:  "if I thought  my scrawny, two-toned  elbows  would lure you  when next I saw you  honey  I'd roll  up my sleeves and  sin  sin  sin. "  In another poem, she captures the realization of the special pleasures of  women loving: continued on p. 31 July/August'84   Kinesis 31  ARTS  According to Jane Sapp, her album Take A  Look At My People  belongs more to others  than it does to her. In the album notes  Jane thanks her grandmother and mother for  a lifetime of encouragement, and her husband, steadfast in his belief, for being  a good friend. But she gives this music  to the black community whose courage,  creativity, dignity and fight for freedom  and justice has been unrelenting.  Jane's style is a composite of blues,  gospel and other folk forms. For her, it's  an expression of personal experience. And  the songs she selected for this album  represent her roots and her commitment to  social justice.  Her themes are working people, children  and dreams deferred. She sings traditional  black gospel and many original compositions . Her own message proposes that the  time has come for the last to be first.  The final song on the album, which is the  title track, is for "people everywhere  who struggle for peace and freedom."  Take A Look At My People  is a one woman,  one piano tribute to survivors, and to the  ones who didn't make it.  Jane was born in Augusta, Georgia. (The  same city where her grandmother was one  of the first black voters). From the church  choir to Carnegie Hall, Jane has been  playing piano and singing all her life.  She toured for three years with the Southern Folk Festival, sang with the Washington D.C. Motherdust Ensemble, performed  at the National Women's Music Festival  in Illinois, and the Clearwater Folk  Festival. She appeared at. the Vancouver  Folk Music Festival in 1981 and at the  World's Fair in 1982.  Jane has also developed several cultural  programmes and community action projects.  She has worked as a field researcher in  Black American culture, and for the Smithsonian Institute. Currently she is the  Cultural Director of the Highlander Research and Education Centre in Tennessee.  Jane is an expert in folklore and the  history of traditional black music. She  is also considered one of the leading  voices in the performance of Afro-American traditional music.  I treasure Take A Look At My People  but I  have never had the privilege of hearing  Jane Sapp in concert. Luckily, I will be  able to rectify this at this year's Vancouver Folk Music Festival.  When I got to college,  they tried to  get me to sing songs like  "Dancing  through the Daffodils" and "See the  Sheep Grazing. " Now that meant nothing to me.  I couldn't <  open my mouth to sing music like that  ... that just wasn 't what my spirit  said I wanted to sing about.  If something talked about struggle or people  having hardships, I understood that.  -Jane Sapp  I was spellbound by Jane's intensity  and artistry.  I witnessed that she is  a woman willing and able to give completely of herself.   I bless her gifts.  -Odetta  "When women make love  we know how to play  the game both ways  we are pleased  to eat and be eaten  to die and live  by falling into another'i  mouth,  eyes and hand"  and this is the least enticing part  juicy little poem called "Teeth", in  celebration of the "vagina dentata" myth  The title piece, "The Sound of One Fork"  is a beautiful work. The poem, almost a  prose poem in its long narrative lines,  is a touching portrait of solitude, the  poet's own and her single neighbour's.  "Her younger neighbours think  that she is lonely that only  death keeps her company at  meals.   But I know what sufficiency she may possess."  The poem is not totally smooth and, read  aloud, which I could not resist doing,  has some rough spots. The tie-in of the  concluding image of the heron taking wing  with the poet and her neighbour is not  completely clear. The expression of this  solitude however, is clear, and painfully  familiar in the lines:  "My family and children are in  other states,   the women I love  in other towns.  I would rather  be here than with them in the  old ways, but when all that's  left of the sunset is the red  reflection underneath the clouds,  when I get up and come in to fix  supper in the darkened kitchen  I am often lonely for them. "  The Sound of One Fork  is in its second  printing and it's plain to see why. I  have hopes that it won't be long before  I encounter another of Pratt's collections, full of new images and insights.  HIGHLIFE  RECORDS & MUSIC  251-^964  1317 COMMERCIAL  Art show needs submissions • • •  The organizing committee of the 1984 Warehouse Show is now ready to accept applications from local visual artists and musicians interested in participating in a large  scale group exhibition that will be part of .  the 1984 October Show. The 1983 October  Show was a successful alternative to the  opening of the new Vancouver Art Gallery.  Recent works of art in the following media  will be considered by a group of independent curators for inclusion in the exhibition; drawing, painting, sculpture, print-  making, mixed media, photography, film, video, performance art, and installations.  Original musical scores will also be considered for inclusion in a series of evening  concerts that will accompany the exhibition.  Artists wishing to submit an application to  the curatorial committee should obtain an  application form, and include with their application appropriate supporting documents:  slides, photographs, video tapes (not originals), musical scores, or written proposals.  There will be a ten dollar application fee,  the purpose of which is to provide the organizing committee with approximately 10% of  the operating budget that will be necessary  to successfully mount the Warehouse Show.  Submissions will be limited to a maximum of  three works, with the initial criteria for  consideration being that the work must have  been completed since the last October Show,  and that the work has not been previously  exhibited.  Artists wishing to include a statement for  the proposed exhibition catalogue should  submit this on a separate piece of paper.  Deadline for application is Wednesday, August 15th, 1984. Works of art still in progress on that date will also be considered  by the curatorial committee, but the work  must be completed by September 15th to be  included in the exhibition.  For more information, contact the Warehouse  Show at 387 West 5th Ave., Vancouver, B.C.,  V5Y 1J6, or call Grant Baker at 228-4381, or  Michale MacKillop at 669-0244. 32 Kinesis   July/Augusts  LETTERS  Polish women  need assistance  Kinesis:  I was interested to read your series on  women in other countries in connection with  International Women's Day (Kinesis,  March  1984) and in particular the story entitled  "Women living in Poland".  As a footnote to that account, I enclose  the following letter (translation) which I  have received from a woman who has asked to  remain anonymous, as this could jeopardize  the safety of the women she writes about.  As Jerzy Milewski, director of the Co-ordinating Office of NSZZ Solidarnosc Abroad,  described during his visit in Canada to  the CLC convention in Montreal in May, the  trade union NSZZ Solidarnosc is alive and  active. Apart from its leadership, which  remains in hiding, about one million members  continue to pay regular dues to factory  committees. A further four to five million  people support the activities of the union,  whether by reading and circulating some  of the 500 publications which are regularly published clandestinely, attending  self-education seminars and discussions,  helping social welfare and food distribution committees, or simply listening to  clandestine radio broadcasts. Help is also  extended to those union members and their  families who have been arrested or laid off  for union activities. For example, one out  of every six journalists in Poland has been  blacklisted, (cf. La Presse,  May 31, 1984).  As the writer of the letter points out,  letters of protest to the Polish authorities  from feminist organizations in Canada might  save these women, and others like them,  from harassment, terror and injury to health,  I would appreciate knowing what action, if  any, follows from this letter.  Hania Fedorowicz  Ottawa, Ontario  Dea:  Hania Fedorowicz,  I am an employee of NSZZ Solidarnosc -  Mazowsze Region in Warsaw. ( — ) advised  me to write this letter. Aware of your  activities as a feminist, I appeal to you  for help on behalf of two women who, because of their predicament, are unable to  do so. The first one is Waclawa Bujak. She  is the wife of Zbigniew Bujak, chairman of  the Mazowsze Region and member of the  National Consultative Commission of NSZZ  Solidarnosc. My letter also regards Bogumila  Janas. Her husband Abigniew Janas is chairman of the factory committee at "URSUS"  factory (the largest plant in the Warsaw  area) and chairman of the Coordinating  Commission of the Mazowsze Region.  Since December 13, 1981, both of these men  have been in hiding and continue to be  active in Solidarnosc, albeit clandestinely.,  motivated by patriotism and loyalty to  union members who elected them.  For the activities of these men, it is  their wives that bear the greatest consequences. I know the situation of Mrs. Bujak  quite precisely. She is blackmailed, harassed by the militia at various times of the  day and night and followed. Her correspondence and telephone conversations are  automatically monitored. She is caring for  the mother of Zbigniew Bujak, an elderly  lady in her seventies, who is chronically  ill after a stroke last year and since  disabled. Both of them are in a state of  depression and at the limits of nervous  endurance.  The case of Bogumila Janas cannot be better  described than she did herself in her letter  to the Polish Episcopate.  I am the wife of Zbigniew Janas. For some  time now I have been pursued by the Securi  ty Service  (SB). Most times, I have been  [harassed at night, which is detrimental  poih to my mental health and that of my  \child.  Whenever the doorbell rings, my  \ahild reacts by pressing its entire body to  mine. I was recently on leave frommork  \since my child was sick with a temperature  of 40 degrees.  They came for me that evening\  and took me away, despite my pleas that my  child is sick, promising to bring me back  in two hours.  This was on October 5,   1983.  I found myself in the Mostowski Palace.  There by diverse means I was abused, and  beaten in such a way as to leave no marks.  The gentlemen of the SB gave me three days  to report the whereabouts of my husband,  and if I failed to do so within the deadline,  they would go after me,  destroy me.  They promised that during those three days  there would be police outside my house,  which is not true.  Entire columns of secret  \police are .always present.  I am afraid to  \stay in my own apartment with my child.  What am I guilty of, by being the wife of  (Zbigniew) Janas?  Knowing your deep sympathy with Polish  affairs, I have taken the initiative to  appeal for your help. First of all, it  could take the form of letters to both of  these women. It would give them courage and  the certain knowledge that their suffering  and difficult situation is taken note of  by the world. Both of these families live  in trying material conditions, so help by  way of parcels would be invaluable. However,  please do not menion either my name or the  fact that any help is a result of my request  Discretion is essential in order to ensure  their security (repressions result from  contacts "abroad"). Let me add that neither  of these women is an exception. At present,  there are hundreds of families persecuted  by the regime, which takes advantage of the  fact that the "Polish case" has become less  noticed by the world.  The appeals of feminist organizations could  ensure that the Polish government will proceed less lawlessly in using methods which  condemn entire families for acts they have  not committed.  Thank you sincerely for your help,  (name withheld)  (Call Kinesis for address)  Women condemn  harsh sentences  Kinesis:(The following is an Open Letter  to Judge Samuel Toy).  Re: the sentencing of Julie Belmas and  AnnJiansen to 20 years and life  imprisonment respectively, for bombing  of Litton Plant and other "terrorist  activities"   As members of the Women's Peace Camp at  Cole Bay, Saskatchewan, we would like to  express our sadness and anger at the harsh  and unjust sentences given to Julie Belmas  and Ann Hansen.  First, it is a common belief that violence  which endangers life is immoral. We believe  that government-sanctioned military violence  is wrong. Construction of weapons for mass  murder is wrong. But sometimes destruction  of something evil is necessary. For example,  if someone had succeeded in assassinating  Hitler, would that person deserve the  severest penalty for murder? Surely many  lives would have been saved, had Hitler  been stopped earlier. Certainly a parallel  thought must have been in Julie Belmas'  and Ann Hansen's minds: to prevent construction of the guidance system for cruise  missiles would also stop the missile from  ultimately killing millions. It is extremely  unfortunate that several people were injured  in the Litton'blast. It is clear their  intention was never to hurt anyone.  Perhaps a couple of quotations from Emma  Goldman, an anti-militarist active in the  early 1900's, will enlighten your attitude  towards such cases you are obliged to  judge. "No act committed by an anarchist  has been for personal gain, aggrandizement  or profit, but rather a conscious protest  against some repressive arbitrary, tyrannical measure from above." Surely you must  consider the sensitive nature of an individual, compelled to take action for the  safety of humanity. "The law does not even  make an attempt to go into the complexity  of the human soul which drives a person to  despair or insanity, out of hunger or out of  indignation into a political act."  We believe the sentences for Julie and Ann  are far too severe for their actions,  motivated by reverence for life and a hope  for world peace. Long and unfair sentences  will certainly not deter the peace movement  in any way.  It is always easier to condemn than to think  Jan Hermiston, Diana Leis...Women's Peace  Camp, Cole Bay, Saskatchewan  P.S. Remember, too, that you can imprison  a woman, but you can never imprison  her mind, her ideas or her hope.  Eastside Centre  protests cuts  Kinesis:  On Friday, the 18th of May, 1984 the Downtown Eastside Women's Centre was notified  that the Ministry of Human Resources would  terminate their funding as of August 1st,  1984. This means that two more women will  join the ranks of the unemployed due to the  severe Social Credit Budget cuts that  affect the women and children of the Downtown Eastside. In other words, it's the  poor who suffer the most from the 'B.C.  Spirit'.  The Centre has been in operation since  1974 serving the women and children of all  ages and ethnic backgrounds along the 'skid  row' area. This safe, warm, comfortable  drop-in centre has been a haven for thousands of women over the years and now it  means closing the doors forever. Where will  these women go? Every agency, every church,  every food line-up, foodbank, everywhere  along the Downtown Eastside is predominately  male oriented. This little green house  right on Hastings Street was the only  place  a woman could come into and not be verbally  or sexually hassled; where she could 'let  her guard down' and just relax, meeting new  friends, joining in various activities  that the Centre offered and could voice  her opinions without any put-downs from  others. The Centre offered a lot of programmes; English Classes three times a week;  Open Discussion Groups, counselling, referrals, liaison with various other agencies,  luncheons (once a month that were really  cheap and good); baking classes, budgeting  classes, health information classes, escort  interpretation and support as well as a  place to have some free tea, coffee and  sympathy.  The staff were shocked to hear the news;  and the women are still numb from the axing  job this government has done. We know where  it has begun - but where is it going to end?  Who's next? Why is it that in tough times  it is always women and children that suffer?  (Whatever happened to the old saying women  and children first - or is that the motto  of this government on a different survival  scenerio ?).  Mr. Bennett and Grace McCarthy should for  one week be made to live on an Income  Assistance Cheque - they will learn that to  eat and pay rent, eats up most of the  cheque with very little money left over to  enjoy some luxury. Maybe they would realize  the horrific plight of all socially economi- July/August'84   Kinesis 33  LETTERS  cally poor women who have barely survived  on this meager income.  The Downtown Eastside Women's Centre needs  money to survive and keep our doors open to  the women and children who make the Downtown Eastside their 'home'. Any kind of  donation will be appreciated and accepted.  In sisterhood and strength, Yvette Parr,  Jean Rindahl, Diane LaLoze, Lorna Tweedale,  Irene Schmidt, Ruth Kirpluk, Ancela Bortnick  Women to gather  before fall festival  Kinesis:   (The following is an open letter)  As you may be aware, the first Canadian Women's Music & Cultural Festival will be  held in Winnipeg on the Labour Day weekend,  September 1 and 2. (see p.  ). Having a  large number of women in the same place at  one time brings to mind the power, strength  and energy that many of us felt when we  came together for the "Ending the Silence"  conference that was held in Edmonton last  spring. The music festival presents the  opportunity to do this kind of creative  networking and learning once again with  feminists from all across Canada Who will  be coming to Winnipeg for this event.  We have begun working towards a one or two  day gathering to be held outdoors, if  possible, on'Friday, August 31 (which could  be expanded to include Thursday, August 30  as well). The casual setting of the music  festival suggests an informal type of  gathering where women active in feminist  organizations can get together to share  stories.  The day could start with a ritual to ground  us and bring us closer together. Then, we  could (depending on how many women we are)  break into smaller groups of women from  different provinces. In this way, branching  out (wasn't there once a magazine by that  name?) and networking between women will  come about naturally.  We are asking for input on what should be  the focus of discussion in these groups...  We thought discussions on group structures,  funding, problem solving, support, similarities, etc. would be valuable along with a  lot of networking. We want to know what  you would like to see happening. We want to  know what stories you want to tell. Ideas  and resource women are what we want.  Manitoba feminists can learn from other  groups and don't want to dominate the day.  We would like to talk about group process  rather than tasks and issues, although an  exchange of the kinds of actions and  strategies that others have employed recently would be valuable.   N^4?"*?'*  Please contact us as quickly as possible  with information on your group, how many of  you will attend, and what you'd like to  see happen so we can begin work on making  this gathering a reality.  We are expecting that this event will also  be lots of fun and a good time for women.  Friday, August 31, the festival organizers  will be holding a preview of some festival  performances and a women's dance at the  festival site; and women already in Winni-r  peg for Thursday can meet with us at Ms.  Purdy's...our unique women's bar.  By the way, 'We' are active in a variety of  Manitoba women's organizations, including  Manitoba Action Committee on the Status of  Women (MACSW), Moonstone (a feminist action,  group), Canadian Women's Music & Cultural  Festival, Reseau (a Franco-Manitoban women's  group), Manitoba Committee on Wife Abuse,  Women's Incest Survivors Encounter, Y.W.  C.A., University of Winnipeg Women's Centre,  Women and Words, HERizons (Manitoba women's  magazine), and many more...too numerous to  mention.  We will be looking forward to your feedback  in the near future. For more information,  phone 942-2000 or write to us at the MACSW  office, 224-388 Donald Street, Winnipeg,  Manitoba, R3B 2J2.  Signed: Arlene Beaumont, Louise Cloutier,  Pam Delisle, Janine Gibson, Lydia Giles,  Tanya Lester, Donna Lucas, Joan Miller,  Yvonne Olenick, Sharon Segal, Char Toews  for "Sisters Circle for Storytelling".  P.S. Surprise! There will be no charge for  this gathering, but no funding either. Just  bring good energy and some money for lunch,  etc. Billetting and childcare will be  available. Notify in advance.  » • • • t  • •••••  > • • •  • • • i  i • • •  • • • <  > •  • •  • ••••••  • ••••••  • • • • • •  j •  • • •  • • •  TESSERA editor  responds to review  Kinesis:  As one of the editors of the TESSERA issue  of Room of One 's Own,  I would like to correct some inaccuracies in Cy-Thea Sand's  review in your June '84 issue. TESSERA was  initially inspired not by the 1983 Women  and Words Conference (inspiring though  that conference was) but by the 1981  Dialogue Conference in Toronto. This  conference for the first time joined  Quebec feminist criticism and English-  Canadian feminist criticism in a mutual  dialogue. Excited by the possibility of  continuing such a dialogue, four of us  (Barbara Godard, Kathy Mezei, Gail Scott  and myself) formed a collective with the  purpose of editing special issues of magazines interested in publishing new Quebec  and English-Canadian feminist writing  that is both theoretical and experimental.  Much of this new writing focusses on the  issue of women's language and the experimental forms that Quebecoise writers are  using. In Quebec these issues are rightly  understood to be revolutionary because  any feminist theory must first of all  examine its language and its forms of  thought before it can be truly woman-centred and free from patriarchal bias. Sand's  review dismissed these concerns as "academic" without discussing their revolutionary implications or reporting any of  the ideas of the Quebecoise contributors  to TESSERA.  Although she began her review by accurately  quoting TESSERA's aims, she then went on  to talk not about the writing in the issue  but about a Women and Words discussion on  racism. As if this were the theme of the  issue (it was not), she quotes Barbara  Godard and Kathy Mezei out of context on  the concerns of native and black women  writers. She does not indicate that their  comments were made during an editorial  discussion on how realism dominates English-  Canadian women's writing and how this leads  to a focus on content at the expense of  attention to language. We know how crucial  naming is, how naming our own experience  rather than having it named for us is an  essential first step in feminist consciousness. The next step which needs to be  taken in English Canada by black, white  and native women writers alike is developing a feminist theory of language (and so  of culture). This is what TESSERA hopes to  facilitate, looking at theories already  developed in France and Quebec.  This is- the real framework of the issue,  which Sahd dismissed as "linear and competitive". Because her focus is on continuing  discussion of racism, not on what TESSERA  set out to do, her review in effect suppresses  the actual content of the issue. This  undermines the purpose of reviewing and  can lead to a subtle and dangerous form  of censorship.  Daphne Marlatt  *'w BOOK  '    AND ART  EMPORIUM  Catalogue Available  $2.00  PHONE: (604) 669-1753  1221 THURLOWST., VANCOUVER, B.C. V6E 1X4  Juniper Co-operative Community Society  JOIN US NOW  in helping to form a new  COMMUNAL HOUSING COOP  in Kitsilano  Location  The Group  More Information  large variety of cheeses, nuts, grains, household items,  fresh produce. ^\  AGORA  FOOD  CO-OP  non-members welcome to shop all summer  3307 Dunbar (at 17th) 228-9115  LESBIAN  INFORMATION LINE  Need Information?  Want to Talk?  Contact LI.L — (604)734-1016  Thurs. & Sun. 7-10 p.m.  or write 1501 W. Broadway,  Vancouver  OCTOPUS  BOOKS  INEXPENSIVE QUAMTY BOOKS  HARD TO GET ART, SOCIAL &  LITERARY MAGAZINES  & JOURNALS  \»EST  2250 W. 4TH 732-8721  EAST,  146 COMMERCIAL      2530913  % 34 Kinesis   July/August'84  BULLETIN BOARD  EVENTS  SUPPORT SOLIDARITY. Rally and picnic i  Saturday, July 7, 1:00 pm at John  Hendry Park, 18th and Victoria.  CAFE BABE presents a fundraiser for the  Eastenders, a women's soccer team.  Entertainment, buffet and dancing on  Sunday, July 8, 4:00 pm. Admission $2,  560 Davie Street.  AN EVENING FOR YOURSELF. Women's night  on July 12 at the South Surrey/White  Rock Women's Place Association. Bring  your own wine and cheese social, 1425  George Street, White Rock. Phone 536-  9611 for information.  CARRIE PESTER is One of thirteen Greenham  women bringing a lawsuite against  President Reagan and his government  about the legality of deploying cruise  missiles in Britain. She will be speaking at Carnegie Centre, Monday, July  9th at 7:30 pm, for more information  call 732-0318.  WOMEN ACROSS CANADA are planning trips  to Cole Bay,' Saskatchewan during the  last week in August to celebrate the  first anniversary of the Women's Peace  Camp there. Vancouver area meetings  each Wednesday, 7:30 pm at CRS or  La Quena. Phone 732-0318 or 731-6643  for details.  THE WEST KOOTENAY Women's Associ  proudly presents its annual ,  WOMEN'S FESTIVAL. This year we are  celebrating the 10th Anniversary of  the West Kootenay Women's Association.  This gala event will be held on  Autust 11 and 12. For more information  write: Nelson Women's Centre, 307  Vernon Street, Nelson, B.C. V1L 5R4  CONFERENCE  WE CAN DO SOMETHING AND THE TIME IS NOW.  A conference on Feminism, Heterosexism,  Violence, Militarism and the Arms Race,  sponsored by the Vancouver Gay Community Centre. The conference will consist of speakers, workshops and presentations and will be held on Sunday,  July 29, from 11:00 am to 6:00 pm.  Phone SEARCH at 689-1039 for childcare, pre-registration, and details  of locale. Registration fee: $10 or  by donation.  New Releases continued from p. 21  just started putting out a bi-montly newsletter which will include info on concerts  in the Northwest and new releases. For  $5.00 U.S. you can get six newsletter  issues plus Genevieve's 1984 catalogue.  One of the most interesting and comprehensive mail order catalogues of records and  tapes by women is put out by Ladyslipper  Missic. Bor a free copy write to them at  P.O. Box 3124, Durham, N.C. 27705.  In the meantime, you can continue to pester your local record outlets to carry  women's music labels and product. A little  customer encouragement never hurts.  Gayle Scott is a free lance writer, photographer and script supervisor in film  productions. During the past few years she  "has travelled extensively on the women's  music circuit as Ferron's manager and  business partner.  COME AND JOIN US - AUGUST 6 (B.C. DAY)  Women Against the Budget Funeral March.  11 am to 1 pm. North Side of B.C. Place  Stadium, Pacific Blvd. under Georgia St.  viaduct. 'Don't Mourn-Organize'.  GROUPS  THE PROVINCIAL LESBIAN Connection (B.C./  Yukon) Newsletter wants information  relevant to lesbians on the west coast.  It's free to lesbians for now (donations  gratefully accepted). For more information write to: PLC NEWSLETTER, "  33537, Station D, Vancouver,  Box  VOLUNTEERS NEEDED, Big Sisters of B.C.,  Lower Mainland is a lay-counselling  service which provides one-one relationship for girls between 7 and 17, who  need special attention. Welook for women,  aged 20 - 35 who are prepared to commit  5 hours a week for at least a year, and  to attend monthly support groups. The  work is both challenging and rewarding  in terms of personal growth and enrichment. A program of small group activity  supplements the one-one relationship.  Enquiries welcomed at 873-4525, 4512  Main Street, Vancouver, B.C. V5V 3R5  A GROUP OF single mothers meet at Little  Mountain Neighbourhood House to offer  support and share their thoughts and  feelings. Meal preparation and childcare  duties will be shared between 5:00 pm -  8:30 pm when the group meets. Drop by  • on the following Mondays: July 9, July 23,  August 13 and August 27 at 3981 Main St.  COURSES  IYENGAR YOGA Classes - September 1984.  Introductory and Level I Classes at  Britannia, Trout Lake, Riley Park, Dunbar  and False Creek Community Centres  ... call the centres for more information or call:  Paullette Roscoe  Claudia MacDonald  Lindsay Whalen  Wendy Davis  255-0523  874-1968  736-4851  731-9566  HOUSEHOLD REPAIRS for Women, courses  offered by the Vancouver School Board.  July Mini Program, July 16, 17, 18, and  19 at 9:30 at Kitsilano High School  or a ten week course starting September  10 at 7:30 - 9:30 at Vancouver Technical.  For more information phone Sherry  McCarman at 872-5847.  PLANE JANE  CONSTRUCTION  renovations  interior and exterior painting  general carpentry, cabinet making  Melanie 736-0935  Bet 873-5804  Shari Dunnet  Reflexologist  Ariette Esthetics & Electrotyas "'*  Suite #216-525Seymour St., iteH&tetvet, B C, fi«2*ffie  MfP*  ,tes  NEW!  at ARIEL  > Gathering Ground  ' Listening to Our Bodies  ' Woman's Encyclopedia of  Myths and Secrets  2766 W. 4th Ave.  733-3511  If you're getting too much news  and too little information,  our Public Affairs programmes  offer a real alternative  The Rational Mon - Fri 7 - 7:30 pm  daily news and analysis from the left  N l'g htwatch Wed 7:30-8 pm  in-depth look at the issues  Union Made Wed 8:30- 9:30pm  by labour for labour  Redeye Sat9am-noon  music, arts and news analysis  CO-OP RADIO  WomanvJSion Mon 7:30-8:30 pm  feminist current affairs & arts  Coming Out Thurs 7:30 - 8:30 pm  gay and lesbian perspectives  The Lesbian SIlOWThurs 8:30 - 9:30 pm  B. C. 's only lesbian radio  America Latina al Dia Sat noon -1 pm  Latin American news and music  \©%oV PKl  Call us for a free programme guide 684-8494 July/August'84   Kinesis 35  BULLETIN BOARD  SUBMISSIONS  PRESENTATION HOUSE announces a CALL FOR  ENTRIES for a national, annual, juried  photography exhibition. Open to all  Canadian residents, the focus of the  show, which is scheduled for November,  will be new approaches in photography  by young and/or lesser-known photographers. The deadline for submissions  is September 4th. For more information  and/or an application form write to or  call the Curator, PRESENTATION HOUSE,  333 Chesterfield Avenue, North Vancouver, B.C. V7M 3G9 (604) 986-1351)  CLASSIFIED  I AM SEEKING PICTURES OF (photocopies ok)  the following: Wu Tsao, Yosano Tomiko,  Yamakawa Tomiko, Hirazuka Raicho,  Miamoto Yuriko, Yaussa Yoshiko, (all  writers) and Otake Kuokichi (artist).  Any information you might have would be  helpful. Contact: Tee Corinne,  1199 Sunny Valley Loop, Sunny Valley,  Or. 97497, U.S.A.  FIREWEED, a quarterly feminist journal  in Toronto, has invited a guest collective consisting solely of Native women  to edit a special issue of material by  Native women. We welcome lesbian/heterosexual, unknown and established writers  to submit short stories, (5,000 words  max.), poetry, biographies, storytelling,  songs, drawings, photographs and articles  We want this issue to exist ah an  extension of not only our own lives and  struggles, but also those of1 our grandmothers and the spirits that continue  to guide and wolk before us. Please  send all manuscripts/artwork with a  self-addressed envelope before August  1, 1984 to: The Native Women's Collective, c/o Fireweed, Box 279, Station B,  Toronto, Ontario M5T 2W2  AUTO REPAIR: Complete car care by women.  We specialize in tune-ups and brakes.  Call 253-2120.  HOUSE TO SHARE available immediately.  Two rooms in Kits co-op house to rent  (PREFERABLY). As an unit (for $285.00)  or as singles ($143.00 each). Utilities  not included". This is a non-sexist,  politically progressive, n/s house.  Quiet area, large backyard with trees  and garden, f/p, spacious and'light  living area. You would share with two  adults and one 3 year old girl (part-  time), a cat, and a rabbit. For more  information call 731-8790 or 732-0953.  A NEW Publishing house, LEZ PRESS, has  been formed in Portland, Oregon.  Les Press will publish quality work of  interest to lesbians, as well as  feminist and gay-oriented material,  which because of its nature is not  generally considered by major publishing houses. The editors are interested  in publishing novels and short stories,  nonfiction,plays, and art suitable for  printed publications (collections of  black and white drawings and photographs).  Individual short stories will be considered for inclusion in an anthology.  No poetry, please. Send double-spaced  typed manuscripts to Lez Press, P.O.  Box 4387, Portland, OR 97208. Submissions will be returned only if accompanied by a self-addressed stamped  envelope.  KINGSWAY COMMUNITY DEVELOPMENT project  needs information re organizations and  activities of any kind in South Vancouver. Call Ellen 253-2395.  A DAY OF PAINTING with Phylis Serota  powerful Victoria painter on Saturday,  August 4, 11:00 - 6:00, $20. For details  call Ellen 253-3395.  WOMYN'S BASEBALL, Tuesdays at 7 pm. in  the southwest diamond behind Britannia  Community Centre. No experience necessary. Bring equipment if you have it.  Come join us!  EXPERIENCED BOOKKEEPER, fast and accurate,  specializes in legal accounting, small  business, non-profit societies. Reasonable rates. Call Sally Brisebois, 734-  7756.  CALL FOR submissions on the subject of  rape. Think about it. Imagine it.  Visualize your state, your way out.  Prevent it. Make a statement - Write.  Paint. Sculpt. Make an installation.  Perform. Record. ACT. Submit for juried  exhibition. Deadline July 15th. $5 fee.  IDEAS Sacred and Profane, 1310 Rudlin  Street, Victoria - Galerie dedicated  to Political, Social and Spiritual  Transformation.  SHARED ACCOMMODATION, non-smoking female,  38, wishes to share two bedroom Guilford  home on acreage, pets and kids OK.  $350 a month - 588-4248.  POTTERY WORKSHOP space for rent - Guilford  area - 588-4248.  FEMINARY, an American lesbian feminist  magazine founded in 1969 in North  Carolina, is now based in San Francisco.  We are soliciting submissions of fiction,  narratives, oral histories, poetry,  artwork, commentaries, critical articles,  reviews, journal entries, translations,  dramatic excerpts, and new forms.  Deadlines are: July 15, 1984 for fall  issue: November 1, 1984 for winter/  spring issue; and March 1, 1985 for  summer issue.  Send submissions to:  Feminary, 1945 - 20th Street, San  Francisco, CA. 94107  Graduate student (non-smoker) looking for  congenial woman with quiet lifestyle to  share apartment or house in Vancouver  area, beginning September. Please leave  a message for Leslie with Lucy or Joanne  at Media Watch, 873-8511. I will arrive  in Vancouver on July 25 and will be able  to return calls after that date.  11th ANNIVERSARY SALE at the Vancouver  Women's Bookstore. July 16 - 21, 11:00  am - 5:30 pm. Refreshments on Saturday,  July 21. New address, 315 Cambie Street.  Come and celebrate with us!  Feminism, Socialism  Anarchism  new books, magazines  buttons & newspapers  SPARTACUS BOOKS  upstairs 311 W. Hastings St.  ph: 688-6138  HOUSEMATE WANTED FOR EARLY AUGUST to share  co-operative home with two women, two  men. Pleasant old house, small bedroom,  near Charles and Victoria. Non-smoker  preferred. Rent/utilities/food $317/mth.  Phone: 251-3255 or 253-3006. Mona or Dana  JOBS  SU3-LET FOR JULY and/or AUGUST. Rooms  available in communal house (Quebec  Street House). Extra rooms for children. Call Anita or Claudia 874-1968 or  Anita at 732-1829. Women preferred.  POSITION AVAILABLE AT KINESIS  STARTING  August 1st.  Responsibilities: overall co-ordination  of volunteers in the production and  editorial content of the paper.  Duties: -co-ordinate solicitation of  copy; - co-ordinate volunteers on  office business and related areas (e.g.  advertising and distribution);  - oversee contracted production manager;  - attend Kinesis, staff & editorial  board meetings in conjunction with  other volunteers;  - maintain shared editorial responsibility.  Also: -production work; design and  paste-up; copy editing; office management; volunteer training.  Qualifications: -ability to work cooperatively with volunteers; - commitment to feminist media; - experience  with journalistic writing; - familiarity with newspaper production.  Salary: $1305/mth full-time, funded by  Secretary of State until April 1st.  Resumes to VSW, 400 A W. 5th by July 13.  POSITION AVAILABLE AT KINESIS  for a part-  time Production Manager, who would work  at the direction of the editor 1 week a  month to produce Kinesis.  Qualifications: - must know page design  and paste-up; - elements of newspaper  production; must be liaison with  typists, typesetter and printer; must  be liaison and provide some training  for production volunteers; - must be  available for late night work.  Salary: $300/for 1 week. Resumes to  VSW by August 1st.  A  ■PV%W Phone  %ft V 254-5044  i|0£<&  IT'S YOUR ONCE A YEAR OPPORTUNITY  TO ENJOY UNLIMITED GUEST  SHOPPING AT THE EAST END FOOD  CO-OP, 1806 VICTORIA DRIVE (at 2nd).  CHECK US OUT BEFORE BUYING A  SHARE IN THE ONLY NEIGHBOURHOOD  FOOD STORE THAT YOU CAN OWN.  One-stop shopping! Affordable Prices!  VANCOUVER  WOMEN'S BOOKSTORE  Come and celebrate  our 11th Anniversary.  We're having a week long sale  with 10% off everything - 20% off  selected titles. July 16-21  (refreshments on Sat. the 21st).  315 Cambie Street  Vancouver, B.C.  V6B2N4    Ph: 684-0523  Mon-Sat 11:00-5:30

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