Kinesis, October 1991 Oct 1, 1991

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 A  OCT. 1991  She's got a fast car—pg. 9  $2.25  r—i j^r   i—•     r-^      &$>&£  ngie  Fever:  flushing out  the racism  Albertina  Sisulu:  a message from  South Africa  to be small  living in fat  women's reality  Child support: shouldn't that mean mother suppor  Plus news from the AIDs front and reviews from the Fring Kinesis welcomes volunteers  to work on all aspects of the  paper. Call us at 255-5499.  Our next Writer's Meeting is  Tues. Oct. 1 at 7 pm at Kinesis, #301-1720 Grant St. All  women welcome even if you  don't have experience.  PRODUCTION THIS ISSUE:  Kelly O'Brien, Deborah Mclnnes, Faith Jones, Christine Cosby, Chloe Asti-Rose,  Donna McGee, Debbie Bryant, Janisse Browning, Nancy Pollak, Sandra Gillespie,  Julie Macdonnell, Donna Butorac, Nina Wolanski, Carrie  Smith, Charlene Linnell, Jan-  ette Heltmuth, Susan Brekel-  mans, Sandra Lynne, Heidi  Walsh, Agnes Huang, Mor-  na McLeod, Gladys We, Lois  Leveen, Chris Meyer, Lizanne  Foster.  FRONT COVER: Graphic by  Claudia Burke. PS: Oct. 28-  Nov. 3 is Eating Disorder  Awareness Week.  EDITORIAL BOARD: Nancy Pollak, Heidi Walsh, Agnes  Huang, Debbie Bryant, Christine Cosby, Sandra Gillespie,  Lizanne Foster.  CIRCULATION AND DISTRIBUTION: Jennifer Johnstone,  Rachel Fox, Tory Johnstone,  Cat L'Hirondelle.  ADVERTISING:  Birgit Schinke  Kinesis Is published 10 times  a year by the Vancouver Status of Women, its objectives  are to be a non-sectarian feminist voice for women and  to work actively for social  change, specifically combatting sexism, racism, homophobia and imperialism.  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 Board.  SUBSCRIPTIONS: Individual  subscriptions to Kinesis are  $20 per year (+ $1.40 G.S.T.)  or what you can afford. Membership in the Vancouver Status of Women is $30 or what  you can afford, includes subscription to Kinesis.  SUBMISSIONS: Women and  girls are welcome to make submissions. We reserve the right  to edit and submission does  not guarantee publication. If  possible, submissions should  be typed double spaced and  must be signed and include  an address and phone number.  Please note: Kinesis does not  accept poetry or fiction contributions. For material to be  returned, a SASE must be included. Editorial guidelines are  available on request.  ADVERTISING: For information about display advertising  rates, please contact Kinesis.  For information about classifieds, please see the classified  page in this issue.  DEADLINE: For features and  reviews: the 10th of the  month preceding publication;  news copy: 15th; letters and  Bulletin Board listings: 18th.  Display advertising—camera  ready: 18th; design required:  16th.  Albertina Sisulu reminds Vancouver that apartheid is far, far from  ended 7  Some picks from the Vancouver Fringe Festival  and the Grunt Gallery Performance Series 13  INSIDE  \REGMA/SSl  r  B.C. Election: out of the parking lot   ...3  by Nancy Pollak  Meme update: troubles mounting   ...3  by Heidi Walsh  AIDS, women and condoms   by Beth Easton  ..4  Movement Matters 2  Alcohol and women's health: Drinking and signing  ..5  by Karen Duthie  Inside Kinesis 2  Take Back the Night: one view   .5  by Judy Mason  Child support must equal mother support   .6  Wake Up Screening 12  by Maureen Roberto  by Zainub Verjee  South Africa: outside world bluffed   .7  by Albertina Sisulu  Fat women: refusing to stay small   .8  Letters 16  by Reisa Stone  Fast car: Arli Goldberg races it   ..9  as told to Deborah Kirkland  Bulletin Board 17  compiled by Cathy Griffin  Jungle Fever: flushing out racism   .10  '        by Selina Williams  Fringe Festival reviews: bones, baking, Medea   .13  by Erica Hendry  The Montreal Massacre: Slowing down forgetting....  14  by Margot Lacroix  Women and the legal system: two centuries   15  by Penny Goldsmith  i  CORRESPONDENCE:  Kinesis, Vancouver Status of  Women, 301-1720 Grant St.,  Vancouver, BC V5L 2Y6  Kinesis is indexed in the  Canadian Women's Periodicals Index, and the Alternative  Press Index.  Kinesis is a member of the  Canadian Magazine Publishers  Association. ISSN 0317-9095  Publications Mail Reg. #6426  KINESIS Movement Matters  Movement  Matters  listings information  Movement Matters is designed to be  a network of news, updates and information of special interest to the  women's movement. Submissions to  Movement Matters should be no  more than 500 words, typed, double-  spaced on eight and a half by eleven  paper. Submissions may be edited for  length. Deadline is the 18th of the  month preceding publication.  Missing Pieces  Thru Adoption  Missing Pieces Thru Adoption, a nonprofit organization, provides regular support meetings for members of the adoption  triangle and related people. There are three  chapters in BC's Lower Mainland and one  in Ontario.  Missing Pieces Thru Adoption promotes  openness and honesty in adoption practice.  Membership is $15 per year and includes  a subscription to their quarterly newsletter  Adoption Circles. For more information or  to subscribe, write to the National Office  at 12551—77B Ave., Surrey, BC, Canada  V3W 8L9.  Second stage  of literacy  project  The Canadian Congress for Learning Op- ■  portunities for Women (CCLOW) is entering the second stage of its women and literacy research project. The first stage of the  project established that literacy programs  are presently not designed for women or oi>-  erating for their benefit. The second stage  will explore new activities and approaches  to Hteracy work to develop literacy programming that will serve women better.  CCLOW is looking for ten hteracy programs across Canada that want to participate in research on woman-positive program activities. CCLOW can provide sup-  Kinesis  Women of  Colour  Caucus  Next Meeting:  Wednesday, Oct. 30  7 p.m.  301-1720 Grant St.  Contact Agnes at 736-7895  for more information  port to generate ideas for possible research  activities; some money for writing; and  funds to send women in hteracy programs  to national meetings to discuss their expe-  If you are interested in participating in  the research or want more information, contact Aisla Thomson, CCLOW, 47 Main  Street, Toronto, Ontario, Canada M4E 2VC  (phone 416-699-1909).  Graduate  programs in  women's studies  York University has become the first university in Ontario to offer a master's degree in Women's Studies and the first in  Canada to offer a doctorate. York's graduate program will be built around a core of  five courses: the history of women, women  and research methodology, feminist theory,  women and culture, and women and pubhc pohcy. Other courses will draw on programs already in existence, in a variety of  disciplines.  The first students will be admitted in  1992. For more information, contact York  University, 4700 Keele Street, North York,  ONT., Canada M3J 1P3  Correction  In our September, 1991 issue, a sentence  in Colleen Doty's letter, "Reform Party: humanitarian, not sexist," should have read:  «.. taxation over the last two decades has  risen to a point where it gobbles up 52 percent of Canadians' income."  :,!'"  Inside  Kinesis  Of late, Writers Meetings and production  sessions at Kinesis have been great—plenty  of new women keep showing up. Some are  experienced newspaper workers, but most  are women who want to check Kinesis  out—as a place to pick up new skills, to  write, to throw an idea into the stew. We  encourage all interested women to check us  out (see Bulletin Board for details, or call).  This issue, we have a number of first-  time Kinesis writers: Selina Williams, Deborah Kirkland (she's a cartoonist, too), Erica Hendry, Maureen Roberts, Reisa Stone,  Judy Mason and Beth Easton.  We also say hello to new production  volunteers Kelly O'Brien, Chloe Asti-Rose,  Donna McGee, Lois Leveen and Susan  Brekelmans.  And we say some goodbyes. Zainub Verjee turned in her last Wake Up Screening  column this month and, while we're sad to  see her go, we're not all that surprised. Talk  about fingers in pies. Zainub recently took  up a full-time job at the Western Front arts  centre, she's involved in a number of personal research projects re: media theory and  video, and she's an active contributor to  various other publications. The good news  is that Zainub has offered to write, for us on  an occasional basis. Thanks, Zainub. Now,  about that quarter ...  On September 22, the Vancouver Status of Women celebrated its 20th (gasp) birthday with a big bash. The party was our way of saying thanks to the literally thousands  of women who have made VSW a reality over those many years: the volunteers and staff  who planned, researched and carried out our events ... demonstrations ... educational  materials ... government briefs ... surprise attacks ... consciousness-raising groups ...  dances ... conferences ... assertiveness training ... flyers ... Kinesis ... fundraising  ... strategy sessions ... pubhc speaks ... forums ... candidate's meetings ... media  work ... mischief...  A number of women worked extraordinarily hard to make our birthday party good, great  fun. Our special thanks to organizers: Margaret Birrell, Terry Thomson, Esther Shannon,  Penny Thompson, Leshe Muir and Rachel Rocco.  We would also hke to thank the many people who contributed to our celebration:  II Barino • Delilah's • Alma Street Cafe • Giraffe's • Nirvana • Press Gang Printers •  Noreen Shanahan • Debbie Bryant • Catherine Malone, Dusty Rhodes, the front of house  staff and management at Vancouver East Cultural Centre • No/Yes Theatre • Aya • Amy  Bozart • Theatre Sports • Pushpgeet • Fifi & Fidelle • Nan Gregory • Jean Caha • Kim  Barsanti • Carla Wolff • Patty Moore • Patty Gibson • and all those who dished up hors  d'oeuvres and sold tickets.  Our thanks also to Vancouver Status of Women members who support us year 'round  with memberships and donations. Our appreciation to the following supporters who became members, renewed their memberships or donated in August and September:  Mary Ballon • Janet Berry • Mary Carhsle • Margaret Cogill • HoUy Devor • Dorothy  Elias • Catherine Esson • Jan Forde • Maura Gatensby • Joanne Gray • Lynda Griffiths  • Hannah Hadikin • B. Karmazyn • Lorraine Kuchinka • Vett Lloyd • Alex Maas • Judith Marcuse • Chris Morrissey • Cynthia Onstad • Tracy Potter • Michele Pujol • Nora  Randall • Ronni Richards • Adrienne Ross • Colleen Skidmore • Erin Soros • Chau Tran  • Ursula Wild • Shelagh Wilson  We also bid farewell to Chau Tran,  our bookkeeper and circulation worker.  As a VSW staff person, Chau made an  essential—and largely invisible—contribution to the paper. At the office, her care and  interest in Kinesis was easy to feel, and  we're very grateful for her hard work and  friendship. Thanks, Chau, and don't forget  lunch on Thursdays.  A couple of items. There is an opening  at the paper for Distribution Coordinator.  This is a paid position (9 hours a month,  $11.44 an hour), and mainly involves making deliveries to Vancouver bookstores. The  distributor must have a driver's hcense and  an abihty to maintain records. Please call  255-5499 for more information.  Also, we're on the lookout for fresh feminist graphics to use in the paper. What's  a fresh feminist graphic? Hey, you tell  us. If you're a creator of images (photographic, pen-and-ink, computer, whatever)  that could work in Kinesis, contact us (see  ad this issue). Or if you'd hke to contribute  as an editorial artist (i.e. we need an image of such-and-such ... ), give us a call.  We don't, unfortunately, pay for words or  pictures—think of it as experience, exposure, fame, glory, challenge, destiny, fun,  good deeds, a brain tease, a train breeze—  get the picture?  CCEC Credit Union  Serving cooperatives,  community businesses,  Hf the non-profit sector.  ► Lower interest rates on  loans to societies and  cooperatives.  ► Operating loans.  L  VANCOUVER  WOMEN'S  BOOKSTORE  315 Cambie Street  Vancouver, B.C. V6B 2N4  (604) 684-0523  Hours: Monday - Saturday  11:00-5:30 pm  ^  J  Wfe  Subscribe!  ► Term deposits.  ► Chequing accounts and  other banking services.  2250 Commercial Dr.  Vancouver, B.C. V5N 5P9  sdays 11 am - 5 pm  1 pm - 7 pm  10 am —1 pm  254-4100  i KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy/yyyyyyyyyyy  //////////////////y//y/yy^^  News  BC election:  Getting out of the parking lot  by Nancy Pollak  While the election in British Columbia is  between the Social Credit and New Democratic Party, the women's movement could  be said to face a different twosome: the  choice between "women's issues" according  to the pohticians, and women's demands  from the grassroots.  The choice is complicated by the fact that  after years of idling in the Socred parking  lot, the feminist lobbying engine is running  rough. Before election day on October 17,  activists will roll up their sleeves to do the  points-and-plugs: pointing out deficiencies  in party policies (and the Socred record),  and plugging for specific actions.  While the Socred's record on women's issues is considered dismal by activists, it's  the NDP leadership and its responsiveness  to the movement that has many concerned.  The NDP has released a document entitled Women's Equality, an impressive  summary of its promises on a range of economic and social issues, but the document  is lean on details and timetables. (The Socreds have no equivalent summary.)  "The challenge for women's organizations  is to pressure the NDP, even on their approach to the election," says Kim Zander,  who is active in the BC Coalition for Abortion Chnics (BCCAC). "They're good on  generalities, but the women's movement has  a number of demands that are endorsable."  Zander cited the example of abortion  chnics. "The NDP has said they will fully  fund abortion services and chnics. But what  kind of chnics? The NDP has yet to contact  the BCCAC so we're not sure that they're  aware of the detailed points we have.  "The NDP needs to indicate that they  want to talk to the interest groups and hear  what we have to say."  And it cuts both ways.  "We haven't always kept up our end of  the lobbying exchange," says Jennifer Johnstone of the Vancouver Status of Women.  "We let pohticians know what our general  demands are, but we rarely get down to  specifics or do solid follow-up.  Update:  Meme troubles  still mounting  by Heidi Walsh  The Meme breast implant was withdrawn  from the Canadian and American markets  in April 1991 after American testing found  the implant can cause liver cancer in rats.  Seventeen thousand women in this country,  the majority of them in Quebec, wear this  implant which is covered by an industrial-  grade foam known to decompose in the  body. Many Meme recipients are experiencing severe health problems resulting from  the implants.  The foUowing is an up-date on Kinesis's  coverage of the Meme controversy. For further information on the Meme and other  breast implants, see Kinesis April 1991 and  September 1991.  Women are still at risk. In June, 1991—  almost two months after the Meme was removed from the market—a Quebec surgeon  implanted a mastectomy patient with the  Meme. Carole Cyr had clearly stated she  did not want the device. She had the implants removed in August foUowing serious  infections. Cyr is now suing the hospital and  the surgeon.  Women's efforts to hold the government,  manufacturer and distributor accountable  for the Meme's injuries are being thwarted  in various ways.  A co-founder of I Know/Je Sais, the  nation-wide support group for Meme and  other breast implant recipients, received  two threatening phone calls in September. MarceUa Tardif, who has been successful in getting the Quebec media to foUow  the Meme controversy, was told by a male  caller to "watch it." Shortly thereafter, a  different-sounding man called her and said  she would die.  Tardif, who received Meme implants  in   July   1990   after   undergoing   mastec  tomies, has experienced repeated infections  and complications from her implants. She  was scheduled to have them removed this  September, but shortly before the operation, was informed that Quebec medicare  would not pay for the surgery.  According to a Montreal Gazette article, the Quebec health insurance commission advised her by letter that there "is not  enough evidence that the Meme implants  are unsafe to justify surgery for their removal."  The operation costs between $3,000-  $5,000. Tardif has since heard from 15 other  Quebec women who have been denied medicare coverage for the implant removal.  In August 1991 a federal health official  admitted the government cannot find any  proof that the Meme was sold in Canada  prior to 1983. This seriously discredits the  government's rationale for not having tested  the Meme before aUowing it on the market.  Medical devices in Canada have only been  tested by a government agency since April  1983; this regulation was not made retroactive to devices already being sold.  On a more positive note, Meme recipients  are organizing to bring the Meme scandal  to the public's attention and to get government cooperation or compensation.  Francine Power, a Meme recipient from  Quebec, is attempting to launch a class-  action suit against manufacturer Bristol-Meyers Squibb and distributor Re'al  Laperriere Inc. The suit wiU represent at  least 14,000 other recipients from that  province.  On September 23, the I Know/JeSais  network is sponsoring a pubhc information  meeting on the Meme in Montreal. Attendance is expected to be high, and the event  wiU be covered by the media.  "In part that's because our energies are  so strapped [by funding cuts, etc]. And  it's also because we've been demoralized by  years of Socred neglect—and we're not very  excited by the cautious, even conservative,  manner of [NDP leader] Mike Harcourt.  "Women in the NDP are even saying to  us: "make more noise—we need the pressure from you in order to pressure [the lead-  ership]."  There are plans to make noise.  In the Lower Mainland, a women's election coahtion is preparing to highlight  women's issues throughout the campaign. A  key element, says organizer Kim Zander, is  to expose the Socred record.  "The Socreds are attempting to capitalize on the importance of women's issues,"  says Zander,"but we know they don't carry  through with anything of substance. In  general, the Socreds are very vulnerable—  they're in the soup."  Janet Reid of the Howe Sound Women's  Centre has a hst of "substance" she wants  the pohticians to address, and her hst reads  hke a string of Socred failures.  "We want guaranteed funding for existing women's centres and for new centres. We want money for transition houses  [Squamish is attempting to open one], more  money for direct services, affordable housing, and an increase in the minimum wage,"  says Reid.  Women's groups should find it ironic  that the Socreds are campaigning on the  strength of their economic performance.  While the province's economy might look  good in a corporate boardroom, the Socred  years have been bust years for many women  and chUdren.  Women for Better Wages (WFBW), a  Vancouver coahtion of women's, community  and labour groups, has a set of specific demands for the election:  • pay equity legislation for aU women  workers, in both the public and private sectors;  • increasing the minimum wage to  $8.50/hour; and  • indexing welfare rates to the average  industrial wage.  "Five years ago, none of the parties had  pohcy on pay equity," says WFBW's Ann  Harvey. "We're encouraged that the NDP  has made pay equity a priority, and we want  to see legislation in the first term."  Harvey knows that business wiU lobby  strongly against pay equity in the private  sector and any substantial raises to the minimum wage. "We expect the NDP wiU make  these changes in stages," says Harvey. And  WFBW will be asking for a timetable.  WFBW has surveyed aU candidates on  these issues and wiU present the results at  a press conference in early October.  The conference wiU also highlight another key demand: that domestic and farm  workers be included in the province's Employment Standards Act, especiaUy around  the issue of overtime and hours of work.  The West Coast Domestic Workers estimate  that 80-90 percent of live-in domestics—  mainly women of colour— routinely do unpaid overtime.  Many women see the election campaign  as just the first stage.  "The problem isn't necessarily during the  election," says Jackie Larkin of the BCCAC.  "It's afterwards [if the NDP wins]." Larkin  beheves women should use the opportunity  of election organizing to create coalitions  with on-going agendas.  In other words, to get that car in gear.  Protesting the Loss of the Rape Shield Law  Women gathered in the Vancouver rain on August 28 to send the government  a loud, clear message: a woman's sexual history has no place in a rape trial.  Women were angered by the Supreme Court of Canada's ruling that the "rape  shield law"—which disallowed references to a woman's past—was unconsti-  tuonal. Justice Minister Kim Campbell has since promised to introduce new  legislation to fill the gap—and feminists will be watching her closely.  Pictured above are speaker Fawzia Ahmad (left), from WAWAV/Rape Crisis  Centre, and sign interpretor Linda Karmoto (right).  KINESIS :<ssss$ssss*^^  NEWS  by Beth Easton  AIDS, women, condoms:  Old habits may die hard  According to recent research, many heterosexual women do not see themselves at  any significant risk of being infected by  HIV (the virus beheved to cause AIDS). Indeed, the idea of "safer sex" stiU largely  means "birth control" to many heterosexual women—and not necessarUy protection  from sexuaUy transmitted diseases (STDs)  and HIV.  The research further reveals that attitudes towards condoms and sexuahty are  mired in age-old stereotypes which leave  women at risk—and men off the hook.  Interviews and questionnaires with Vancouver women and men aged 19 to 30, conducted in part for the Women and AIDS  Project, found that women consider condoms redundant when other birth control  methods are used.  This, despite the fact that women are one  of the fastest growing groups of people infected with the HIV virus in the country,  with the leading mode of their infection being unprotected heterosexual intercourse.  The study was undertaken to determine  the obstacles to—and incentives for—using  condoms. One interesting finding was that  both sexes would use condoms if they beheved they had ever been exposed to a high  risk situation.  For men, trust involves their perception  of a woman's sexuahty. If a woman fits  the "nice girl" stereotype and hasn't been  "around the block" then she is considered  "clean" and can be trusted. These men  didn't think of themselves (and heterosexual men in general) to be at risk for AIDS  or STDs. They did, however, speak of increased risk and a higher tendency to use  condoms if they consider a women to be a  "one night stand" with a "history." Condom  use would decrease if the woman is previously known by the man, or if he considers  her his steady girlfriend.  WhUe generaUy not judging men on their  past sexual experiences, women spoke of  trust in the context of how long a relationship would last. Women think unprotected  sex (i.e. no condom) isn't risky if the relationship may be "long term."  And how long is that? Most often, "long  term" is approximately six to eight weeks.  Although women consider themselves  and other women to be at higher risk than  men for HIV and STDs, their greatest concern in a sexual relationship is the risk of  unwanted pregnancy. Concern about STDs  and AIDS is at best minimal. H trust is  established with a man and another form  of birth control used, then condoms are  thought to be simply unnecessary.  The women also said that initiating  birth control (including condoms) is their  Participants were also asked what they  thought of someone who came prepared—in  other words, packed a condom before going  out. Both genders expressed mixed feehngs,  reflecting the stereotypes of sexuaUy "good"  and "bad" behaviour. Generally, women or  protected sex) lead to HIV transmission has  clearly influenced the women and men in  the study. '»  men who carry condoms are judged to be * 9 • 'Also, almost aU the moral concerns about  attitudes towards condoms and  sexuality are mired in age-old  stereotypes which leave women  at risk - and men off the hook  The personal sense of risk is the key to  motivation. But overall, participants said  they did not want to use condoms for the  rest of their hves.  "Trust" is the primary ingredient in  whether or not condoms wUl be used. Not  surprisingly, trust meant quite different  things to the women and the men. They  did, however, agree that once trust is established, the perception of risk and need for  condom use ceases.  responsibihty—and they're pretty sure the  men think so too. They were right. The men  said they would not suggest using a condom  if a woman is on the pUl and they confirmed  that women usuaUy initiate condom use.  However, men would offer to use condoms if they had a negative assessment of  a woman's sexual history—factors hke her  appearance or her presence in a bar were  cited.  either smart and responsible—or promiscuous.  Participants were therefore cautious:  because carrying condoms could signal  "promiscuity," they worried about being  viewed as high risk partners.  Overall, the research showed huge gaps  between what people believe they should  do around sex and condoms, and what they  actually do.  The study showed that, despite the AIDS  pandemic, the behaviour and values of this  sample group of Canadian heterosexuals has  apparently not changed. Being infected by  an STD or HIV seems a remote—and rarely  considered—possibihty. Birth control is an  issue but— no news here—it's up to the  woman.  Their comments also showed that their  ideas about safety and sex related to moral  values (notably, number of partners) rather  than actual sexual behaviours (hke intercourse without a condom). This attitude  probably reflects the influence of the mainstream media and its focus on infected  groups rather than risky behaviours. The  misleading idea that a certain type of person (hke gay men) gets AIDS, rather than  that certain activities (sharing needles, un-  ' sex were leveUed at women, proof plenty  that the sexual double standard is alive and  weU.  The study's most alarming finding was  that heterosexual women are not being protected from HIV and STD transmission—  and they seem unaware of the risks. The  birth control pUl can give a false sense of  security—and men are clearly offering httle  encouragement to use condoms.  STDs are rampant in our society, with serious and tragic results for women's health  and fertility. While HIV infection is stiU  much less common in most parts of North  America, a growing number of women of differing ages, sexual orientation, ethnic and  socio-economic backgrounds are now infected. Women must be encouraged to understand that safer sex practices have to include preventing STD and HIV transmission. And women must develop personal  and collective strategies to compel men to  use condoms, or beat it.  Cbs^s*  \<Ufyrfie>jiwL_?   t*&  [^^JUL^L0^^^  .<Mtg>  yuP... -THE... UH  v° CARtS Aeour  yooe. vote^X (MEAN  THose   ISSUFS  WBTCH  CCWCERM   YOV-UXE  How ^Bour   THAT  VIOL-ENCE"    ASAIMST  WO/HEWVTHlN<3-j, ETh'  -■£££;>   that'-:   A  B.EAU     PRo&i-EM?  Ai.i_P.lGHT ...   UH...  ... amp ... uh...CTHE£  SroFF...YeaH ...   i-l<e  W&L-L-;,     YOU   ICNOW...UI  ..VH . .. 0H? WHC AM   T-  K»p-t>traGJ  frits  Party  VSA.  CAVE-   TW«> HocTS  Aeeirr  vvoMe.Ni'5 issues  it's   -Sost a  e-oi.i-ec.-rio  of  e*£EiF-Ags;oR.gG:t>  MlioGVAiUT   HOOUIGAMS  AMP    X'M   CfiTT/Mft   OOT~  Beth Easton is a staff member at the  Vancouver Women and AIDS Project.  For further information about women  and AIDS education and prevention issues, contact her at 255-9811. Octobei  7 to 13 is National AIDS Awareness  Week.  'h-'T-'Z ■z-..^,vRvFi_  ...VTA  »VAy^  RuTa/ — J^K/  you'll ©^ TM&  ;-THFCti€lhty  . KINESIS NEWS  /yy///yyy///y//yyyyyyyyyyyyyyyyyyyyyy  Control or help?  Drinking and signing  by Karen Duthie  "Think of the anti-smoking, anti-  drinking "behave yourself" campaigns  aimed increasingly at pregnant women  ... One New York subway ad series shows two newborn footprints, one  from a full-term and one from a premature infant. The ads read, "Guess  which baby's mother smoked while pregnant?" Another asks, "Guess which  baby's mother drank while pregnant?"  And yet another, "Guess which baby's  mother didn't get pre-natal care?"  I looked in vain for the ad that says,  "Guess which baby's mother tried to get  by on welfare?"; "Guess which baby's  mother had to live on the streets?"; or  "Guess which baby's mother was beaten  by her husband?"  —from Recreating Motherhood  by Barbara K. Rothman  Fetal Alcohol Syndrome (FAS) and Fetal Alcohol Effects (FAE) are serious pubhc health problems. Four hundred reported  cases of FAS and 4000 cases of FAE occur  each year in Canada.  FAS and FAE are known to result from  a woman drinking when she is pregnant, although there is no medical agreement on the  impact of smaU quantities or timing. FAS  involves severe deformities and mental disabihties in newborns, disabihties which cannot be overcome. FAE is less pronounced,  but nevertheless terrible: learning problems, behavioral disorders, deformities—  problems which can last a hfetime.  Educating women about the dangers of  drinking whUe pregnant is, inarguably, essential. But feminists are asking, when  does education become paternalistic control? When does education start valuing a  fetus over a woman, as though the two had  separate interests?  And when does so-called education simply become a public relations gimmick for  government and the alcohol industry, who  would really rather not address the problems of poverty and addiction?  In July, 1991, the municipality of Richmond passed a by-law requiring any premise  serving alcohol to post signs in foyers and  women's washrooms warning of the potential birth defects should a pregnant woman  drink alcohol. A similar by-law is up for discussion in the Burnaby Community Issues  and Planning Committee and wUl likely be  passed shortly. Vancouver and New Westminster have distributed warning signs for  voluntarUy posting—a 100 percent compU-  ance rate has been reported.  - .  .'■O^.^.'.W-i  I WARNINGS Me^who  \ 'Bire- drinking ma^ be  :\ dangerous +o a f>re<rrva  ;) wowarvshealth.  m  w<%  In a number of communities, concerned  women have spearheaded the sign campaigns. Joy GUmore was the force behind  the Burnaby campaign, and is also involved  in the movement for legislated warning labels on bottles of alcoholic beverages.  Opinions differ among women in the  "warning" movement.  Karen Johnston of the Burnaby FAS  Coalition would hke to see signs kept voluntary for fear of losing support from the  food and restaurant industry. Diane Champion Smith of the Kaiser Substance Abuse  Foundation feels that it is more important  to provide the public with the necessary in-  NTED:  FEMINIST CLIP-ART  Down with generic White-Woman-Shopping graphics  KINESIS is scouring the country for women's graphic  art and photos. All work published will be credited to  the artist. Please send good quality photocopies or  B & W prints, or a self-addressed envelope to aid  return of originals. Call 255-5499 or mail to KINESIS,  301-1720 Grant St., Vancouver BC, V5L 2Y6.  formation so that women can make an educated choice.  While no one questions the need for preventative approaches to FAS and FAE, not  everyone believes signs and labels are an  effective strategy. Critics are particularly  concerned that such approaches cast the  mother in the role of "villain" (and the infant "innocent victim")—a dichotomy that  suggests that not only are a woman and her  fetus separate, but they have separate interests.  Trisha Joel of the Vancouver Status of  Women sees public pohcy on FAS and FAE  hnked to the reproductive rights issues.  "These signs can be seen as patronizing,  and objectifying of women as carriers with  no needs, no pain and no issues of their  own," says Joel. "H a woman isn't taking  care of her baby, it's often because she isn't  taking care of herself. And that's usuaUy because she has too many responsibihties and  too httle support.  "Pohcies to protect fetuses must have  at their core genuine concern and concrete  support for the mother."  Jean Swanson of End Legislated Poverty  agrees that warning signs are not enough  and, in fact, can miss the target group altogether. She beheves the people legislating the signs are weU-intentioned but are  "admonishing alcohol-dependant women to   read.  stop their addiction, which is easier said  than done."  VSW's Joel agrees. "Signs are an attempt  to clean up, not deal with the real problem  of the addiction itself," she says. Addicted  women wiU see these signs in bars and go  home to drink to avoid social pressures.  Swanson compares the anti-drinking signs  to the federal government's Participaction  posters promoting good health through exercise. "That campaign misses people who  cannot afford to eat properly," says Swanson.  In terms of alcohol-dependent women,  says Swanson, what needs more attention  are things hke the fact that the Ministry  of Social Services and Housing wUl not  give out bus passes to attending Alcoholics  Anonymous meetings.  Joel maintains that the potential to narrow women's hves is there and the next step  could be to prohibit pregnant women from  drinking. Already there are pubs who refuse  to serve pregnant women any alcohol, and  the BC Liquor Control Board has had numerous complaints.  While the signs in hcenced establishments only warn the public of the effects of  alcohol consumption on the fetus, proposed  labels on bottles would warn the public of  the risk to general health, including FAS,  hypertension, hver disease, cancer, addiction and alcohol poisoning.  Certainly the public, if it needs to be  warned about FAS and FAE, needs to be  warned about the other abusive social effects of alcohol.  For example, transition house workers  are weU-aware that violence in a relationship often starts during a women's pregnancy. How many of those men were drinking?  Imagine how that warning sign would  One view:  To keep the night  by Judy Mason  Standing outside the Vancouver Art  GaUery on the night of September 19, 1991  hstening to the pre-march speeches and  joining in the exuberant shouts of those  around me, I felt a sense of freedom and  empowerment. We gathered that evening to  take back what we have been denied. We  were women, we were over 300 strong, and  we were taking back the night.  Take Back the Night marches are international events that see women from ah corners of the world coming together to protest  violence against women and to make our  streets safer. Before the Vancouver march  began, women from Rape Relief read solidarity telegrams from across the country:  women in the Northwest Territories, on the  Prairies, and in central and eastern Canada  sent their support for a successful and safe  night. The women marching in Vancouver  that night were from ah age groups and various backgrounds.  As women, we are told implicitly and explicitly not to get uppity, not to get out of  hne and not to act out. It's not surprising  that when we organize a women-only march  to directly chaUenge the system that continually attempts to undermine our strength  and break our spirit, we are portrayed as  "shaven headed, face-painted troublemakers." That's the message that local television station U. TV felt compeUed to tell  their audience about the march. Other media (BCTV and CBC) also chose not to focus on the pohtical reasons why Take Back  the Night is for women only and instead emphasized the exclusion of men.  Once a year, women assemble to walk the  streets together without the protection of a  man. Once again, women have their experiences invalidated. We are expected to justify our actions and apologize for wanting  to feel safe, for empowering ourselves, and  for exercising our right to speak out against  a system of injustice.  The pohce attended the march (uninvited) to "protect" women and to keep us  in hne. I found it ironic that these men in  uniform—who too often teU us when we've  been raped that it is our fault and teU us  when we've been beaten that we asked for  it—would come out in great numbers to  protect us on the very night that we didn't  need or want their protection.  By the time we reached Enghsh Bay it  was obvious the pohce were really there to  control us. When the pohce attempted to  arrest a marcher for spray painting a "violent" message on a waU, they were surrounded by 30 or so angry women, demanding she be let go. The pohce refused,  we were asked to move back, and one of  the march organizers began to negotiate.  This night was supposed to be ours and it  was ours untU a male pohce officer decided  to take it back. I kept thinking that even  though we had marched for two hours proclaiming that "women united wiU never be  defeated," we were defeated the moment we  backed down and obeyed the patriarchal authority personified in the police.  I wanted to be arrested, I wanted to stand  up and shout, I wanted women to keep the  night that we had taken back throughout  the march.  I teU myself that there is always next year  when women wiU unite to take back the  night once again. Only next year we wUl not  give it back. We wUl stand together in soUdarity to take back and keep the night.  KINESIS Commentary  Child support  must equal  mother support  by Maureen Roberts  Canadian pohcy on chUd custody and  support payments is designed to appear fair  to both mothers and fathers—at least on  the surface. "The best interests of the chUd"  is posited as the dominant objective of government pohcy and legislation. But Canadian justice stiU has male fingerprints aU  over it.  Pohticians continue to be much more  acutely attuned to the voices of men, especially when their money is at stake. It is  primarily men, after aU, who finance pohtical parties and candidates. FamUy laws and  poUcies which purport to be "gender neutral" have, in fact, been designed and interpreted in ways that aUow men to more read-  Uy circumvent them than women.  For example, whUe all provinces in  Canada now have maintenance enforcement  programs, as many as 85 percent of these orders are in arrears at any given time. Programs with such an obscenely high failure  rate (favouring men) are clearly laden with  gender bias. Consider also that, in 1988, 16  percent of Canadian men hved below the  poverty hne after divorce, compared to 66  percent of divorced women and their chUdren. (In cases where no support was received, this latter figure rose to 75 percent.)  In June 1991, the Report of the Federal/Provincial/Territorial FamUy Law Committee, entitled Child Support: Public  Discussion Paper was released. Its purpose was twofold: to provide information  on problems with the existing chUd support practices, and to generate public input on the issue. Current practices, which  are heavUy based on judicial discretion (i.e.  judges assessing a case on its individual  merits), have come under attack because  of the inconsistency between awards, inadequate amounts, and systemic inequality—  all of which have impacted negatively on  women and chUdren and have tended to  benefit men.  A critical analysis of the report offers  cause for optimism in some areas and httle  in others. The myth of "gender neutrality"  under the present situation is apparent in  the report. For example, the current view is  that both parents should equaUy share the  responsibiUty for chUdren and that their respective contributions should be based upon  their individual means. Increasingly, this  approach has been interpreted as an economic responsibihty only.  The report, however, concedes that custodial parents (usually mothers) spend an  average of between 20 and 27 hours per  week in direct caring and nurturing of their  chUdren.  This daily caring—clearly essential to ;  chUd—conflicts with the pressure on custodial mothers to be sole or primary economic  providers for their chUdren. The report, unfortunately, barely acknowledges the tip of  this problematic iceberg. The requirement  to meet other than economic needs of the  chUd—nurturing, feeding, teaching, loving  (especially the chUd who, after divorce, often has greater emotional and psychological  needs)—means a woman may be either unable or unwilling to devote herself to full-  time work.  The report's recognition of the need for a  fair trade-off in this area is weak. The essential non-monetary contributions of mothers  just don't carry much weight here. The committee, however, does recognize that custodial parents bear not only the obvious direct costs of raising chUdren but also significant indirect costs, such as the barriers to  in the context of individual families. The  strength of this option, says the report, is  its flexibility in taking into account that  the parties to divorce are able to "make  exchanges between property rights, lump  sums and periodic sums for spousal support  and chUd support (emphasis mine)".  Exchanges. The idea that such exchanges  are a strength of the old approach is surely  a hberal male view of reality, overlooking  the fact that men and women rarely enjoy  equal power to negotiate in this society. It  overlooks as weU that many women are economically abused in the context of battering marriages; that they have httle access to  top-notch divorce lawyers and are then disadvantaged in terms of negotiating an economic settlement for their chUdren.  As weU, the report seems to imply that  these negotiations involve a legitimate bargaining process involving purely material  exchanges. Downplayed is the fact that men  use custody threats to intimidate mothers  and to extort women to abandon or accept  lower support payments. Overlooked is the  fact that women wUl settle quickly—and for  smaU amounts—in order to avoid the tension of ongoing negotiations with a man  who is abusive and intimidating. Battered  women surrender property rights, pension  rights and other interests for reasons having nothing to do with "equal exchange."  These are the gender/power issues within  which chUd support is deeply embedded.  The second option is that of maintaining the status quo but introducing data on  chUd-reariny, costs for the courts to use in  determining needs. This involves establish-  ...women will settle quickly - and for  small amounts - in order to  avoid...ongoing negotiations with a  man who is abusive...  career advancement posed by the demands  of single parenthood, and the lesser abihty  to contribute to pension plans.  The stated objectives for this study of  chUd support appear balanced: to arrive at  adequate, fair chUd support payments; to  assess payments on a basis which is objective, consistent and predictable; to ensure  flexibility to account for a variety of circumstances; and to be understandable and inexpensive to administer.  What is not clear is whether these objectives, if met, offer any greater guarantee of fairness to women than the status  quo. For example, whUe advocating that  parents have legal responsibihty for the financial support of their chUdren in proportion to the means of each parent, there is no  recognition that fathers have been known to  "hide" their employment, thereby reducing  or totally ehminating their visible means.  Fair chUd support guidelines must eliminate  this common loophole.  Three Alternatives  The report considered three alternative approaches to developing new chUd support  pohcy.  The first would be to simply maintain the  status quo, whereby negotiation by the parents and judicial discretion is undertaken  ing average expenditures and how these figures are set is problematic.  At present, governments favour an economic model for setting child-rearing, costs.  The model essentiaUy assumes that chUd-  rearing expenses can be calculated by examining the differences between a chUdless couple and a couple with a chUd or chUdren. According to this formula, if a chUdless couple  with a combined annual income of $40,000  spends $300 a month on food eaten at home  and a couple earning the same amount with  two chUdren spends $400 a month, the conclusion reached is that it costs $100 a month  to feed two chUdren.  This approach is clearly laden with false  assumptions, overlooking how chUdren's  needs affect spending priorities.  For in-  r^"*       DESKTOP PUBLISHING  periodicals      catalogues  | programs      ads      newsletters ,  i. customized graphics  $ Deborah Kirkland 253-5109  SLIDING    SCA  *»-*?  CROSSLAND CONSULTING  Personal Management  Services for Artists  FIRST CONSULTATION FREE  Jackie Crossland  By Appointment Only 435-2273  W&m  ^attk^nnttl  V&hfih  new and  gently used books  ^^^fe^B  Feminist  Philosophy - Poetry  Native - General  no GST  Open daily 11am -7pm  Coffee Bar  ■fill  1020 Commercial Drive  Vancouver BC V5L 3 W9  (604) 253-1099  Bonnie Murray  Cynthis Brooke  stance, parents wUl simply spend less  themselves and on "frills" when chUdren enter the scene.  However, it is unlikely that provincial  governments would accept an 'actual costs'  model. If the actual costs of raising healthy  chUdren were included on the politico-legal  agenda, governments would be unable to  justify their low welfare rates.  The third alternative involves adopting  chUd support guidelines. Again, there is the  problematic issue of whether to adopt an  'economic' or 'actual expenditures' model to  establish chUd-rearing costs.  The report also does not address the  current reality that custodial parents (usuaUy mothers) must pay income tax on  support payments,-and that parents (usuaUy fathers) who make support payments  can claim them as an income tax deduction. The father, usuaUy with higher earning power and fewer expenses, benefits over  the mother with lower earning power and  greater need.  If a new pohcy on chUd support i  be genuinely fair to women and chUdren, it  must expand the scope of its mandate. It  must incorporate into any formulas the reality that most custodial parents are mothers  because women bear the nurturing role in  this society. Women should not have to fear  the loss of custody because of the greater  economic power of men. Women should not  have to fear custody chaUenges if they seek  support from a father who is able but  wUhng to pay. And governments have to be  brought into hne. They don't want to pay  the real costs in social assistance and, unfortunately, neither do many fathers. Women  are left, with pain and rage, to carry the  load. ChUd support guidelines which only  consider "the best interests of the chUd,"  ignoring the fact of women's inequaUty, do  not benefit chUdren at all. And guidelines  which approach chUd support from the perspective of women's realities wUl go far towards genuinely benefitting the chUd.  The issue of support is about chUdren—  many chUdren too, given the rate of marriage breakdown in Canada. It is about the  critical importance of nurturing their bodies, their minds and their emotions, thereby  ensuring the health and self-esteem which  stems from a secure chUdhood. This demands an enormous investment of time and  money, which presently rests disproportionately on the shoulders of single mothers.  It is time to go beyond pohtical rhetoric  and conservative platitudes to implement  pohcies on support that are fair and responsible to the realities and needs of chUdren.  These pohcies, however, must start by being fair to their mothers.  Maureen Roberts agrees with Adrienne Rich's analysis that feminist  must address the myriad ways in which  the institution of motherhood oppresses  FOR women who are stretching  boundaries  And think broadest maybe  describes them best  And wonder if women's clothes in  size 0  Isn't really some very bad jest  FOR women out there who are  larger  And realize this is their fate  I carry clothes that are bigger  I know, isn't that great!  flmplesize Pork  Quality Consignment Clothing  Size 14 and Larger  5766 Frossr Street (604) 322-0107  Vancouver. B.C. V5UJ 2Z5   Sarah-Jane  > KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  yyyyyyy/yyyyyyyyyyyyyyyyyyyyyyyy/zyyyyyyyyyyyyyyyyyyyyyyy^  International  South Africa:  "The outside world has been bluffed"  by   Albertina Sisulu  In September, Vancouver had the  rare and fortunate opportunity to hear  African National Congress (ANC) activists Albertina Sisulu and Walter  Sisulu speak about conditions for Black  people living in South Africa. The city  was a stop on their nation-wide information tour co-sponsored by OXFAM  and the South African Education Trust  Fund.  Albertina Sisulu worked in the forefront of the struggle against apartheid  as a healthworker, educator and as  a co-founder of the ANC Women's  League. On September 16, the Congress  of Black Women and Vancouver Status  of Women organized a morning gathering of women's groups to hear Albertina  Sisulu. The following are excerpts from  her speech, transcribed by Louie Ettling.  Albertina Sisulu: Thank you very much  for the honour you have given me to address you on conditions in our country. I'm  sure you've read things in the papers and  seen things on TV, but that is not enough.  [In the media,] it would not be as you see it  with your two eyes.  Apartheid has divided us as mothers,  Black and white, when we should have been  united—so as to speak with one voice. We  have at least one thing in common: being  mothers ... knowing how to bring hfe into  the world. But because of apartheid, we  have been divided so that our white sisters don't even know what is happening  to us. They have servants from the Black  community—hardly do they know where  they hve, hardly do they know what happens to the chUdren who have no schools.  We say that violence  is caused deliberately  to weaken our  organization [ANC].  (Albertina Sisulu spoke about the difficulties of being politically active with  the ANC during the SO years that this  organization was banned by the minority white South African government  We carried on under those difficulties: under states of emergency, jaU without trial—  it could take you up to three years without trial. You were kept in jaU just because you were 'problematic' as a Black person. Fortunately for us, when [some of] our  men were released in 1989 after 27 years  ... the government unbanned the organizations. We started restructuring ... The  women moved fast, in fact. On the 9th of  August [that year], an historic day [South  African Women's Day,] we launched our  ANC Women's League in Durban ... In  AprU this year, we managed to have our national conference which elected our national  executive of the ANC Women's League. We  elected 11 members nationally, as weU as 14  regional representatives. So our national executive, the highest body, has 25 members.  For a very long time women have hved  under conditions of slavery with hardly any  hope ever of having proper accommodation  to protect our children from bitter colds  and rainy weather. ChUdren are deprived of  proper education, necessary to equip them  with skiUs of development. Lives continue  to be lost in the mines, streets, and rallies,  whUe many die at the hands of the warlords.  Many stiU languish in prisons whUe thousands are homeless. Do we really need this  situation? Do we need a country that wUl  keep people under perpetual bondage? That  is our question to our women, which we  have united under the banner of the ANC  Women's League.  The time has come for aU women in our  country to unite under this banner. To decide our own hves and that of our children. Let us come together and take part  in the decisions of laws and pohcies that  wUl govern our country. We need a South  Africa that wUl be worthy of aU the hves  that have been sacrificed. That is our call to  the women of South Africa. Let us unite in  action and consolidate the victories scored  by aU oppressed and struggling women and  people of our country. Let us do so by taking up the foUowing campaigns:  • against injustice and apartheid, which  have given us such bitter and heavy losses;  • against increase of rents, services,  transport fares and food prices;  • against forced sterUization of our  women, sometimes without their knowledge;  • against the regime's imposed puppet  leaders—force them to resign;  • for ah South African chUdren to be protected under the UN [United Nations] charter of the rights of a chUd;  • for the hberation of women from all  forms of oppression;  • for the right to family hfe, and  • for all women workers to join democratic trade unions and work to develop a  progressive trade union movement.  Living Conditions Still Abhorrent  Women in our country have no rest because  they have no homes.  Our country is full of shacks of one room.  You are expected to hve in that shack for  as long as you hve. It doesn't matter how  many chUdren you have. And where is privacy? You can't hve with a boy of 15 or 16  years in one room. Even a girl for that matter. You can't ...  When the government decides to break  down those shacks, it doesn't matter what  time of day it is, what time of year. We have  bitter winters in South Africa. But that is  the time when the government is going to  puU down those shacks and leave people in  the open air. Even if you have a baby of one  month or three weeks ...  The outside world has been bluffed by the  South African government saying: "[We've]  repealed the Land Act of 1913." We don't  see that taking off the ground. The shacks  in our cities are increasing stiU. There is no  land yet aUocated to the Black people that  would give us a chance to buUd.  In Soweto, which has become a city [estimated population 1.5 miUion], we have  only one hospital, the Baragwanath hospital, at the end of the township. We have  [few] creches [day care centres]... and none  that are open 24 hours. In my country we  rarely have centres to cater for the deadly  disease of AIDS. We don't even have doctors who wUl be responsible for calUng conferences, to workshop with people on how  to behave with AIDS.  Who suffers most? The women ... Your  husband is dead. You are left with five  chUdren. You have got to educate them.  The government has no provision for such  there for years before the unbanning-  instigated by themselves ... Our country  has the strongest army, the strongest pohce  force, but the government could not stop violence in Natal and tries to blame the ANC.  We say that violence is caused deliberately  to weaken our organization. In the process  people are dying, the women are suffering.  Albertina Sisulu (left) of the African National Congress Women's  League, and Yvonne Brown (right) of the Congress of Black Women  of Canada  women. There is no law that the government should support such people. At  present we have this violence that has  roamed our country. Most sufferers are  women.  We have chUdren who have lost both parents. They are in the streets, they are out  of school because they have no parents. We  call them the "twUight chUdren." They are  homeless and parentless. They hide during  the day so the pohce cannot arrest them.  A group of them may be arrested by pohce and taken into custody—what happens  to them? Nobody knows because no parents  wUl foUow them.  These twUight chUdren come out during  the night and make httle fires along the road  to ask for food from whatever car passes.  They must hve. These chUdren are being  abused by [white] mothers because they are  homeless. They collect these chUdren during  the night and give them a bath, give them  food and make them men during the night.  And in the morning they are let free to go  and hide. We have chUd abuse in our country, of the helpless chUdren by our white sisters.  The mothers of South Africa have that  problem.  An Appeal to Help End the Violence  The violence is there because the government is responsible for it. The government has been funding the Inkatha Freedom  Party to kiU members of the ANC. These  facts have recently been revealed by one of  our progressive papers, The Weekly Mail.  But the Inkatha people get into the townships and just kill everybody, ANC or not  It is hardly two years since the ANC  [was] unbanned and the government is try-.  ing to blame us for violence which had been  The hves that are lost are the hves that  are brought into this world by the mothers.  The hves that are lost are the hves of our  husbands who should be the fathers of these  chUdren. And in fact, the lost hves of both  parents have been traumatic in our country.  We appeal to all the countries that supported us, including Canada. Thank you  very much for the support you gave  when we needed it most. You supported  us moraUy and financiaUy. You supported  us in maintaining sanctions. That was the  only peaceful weapon that was left for us.  We stiU appeal to you to continue supporting us because, for us, this is a crucial time  when we don't even trust the government  that promised change. It wUl not come in a  plate of food, as we can see that the government has put our people at loggerheads so  they can stand there and say: "It is Black  on Black violence ..."  The peaceful solution is stiU very far ...  We want skiUs and training for our women  so that we can manage our own projects. We  sew, we train pre-schoolers—but we need  managing sldUs. Our 14 regions have many  UUterate people. Especially rural women  who are working for farmers. They work  with their chUdren for a hving. ChUdren [in  those areas] have no school. They are only  taught how to communicate with the boss  farmer, who gives them work. These people need [the most] help—those who come  to hve in city shacks.  Thank you my dear sisters.  To offer direct support (financial,  etc) to the work of the ANC Women's  League, contact the Vancouver unit of  the ANC at (604) 263-8508.  KINESIS Commentary  XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX^  Fat women's reality:  Refusing to stay small  by Reisa Stone  As I write, I am in pain from physical and emotional flashbacks. These feehngs  are not (directly) about incest memories or  drug withdrawal. Fm riding through a horror show of failed diets, being battered with  30 years of hving in a body size not acceptable to my society. I'm remembering ugly  names from men who are trained to lust after sharp angles, the betrayal of thin girlfriends, doctors, teachers and employers.  I hve in fat women's reality. Over the past  seven years I've stopped dieting, gaxbaged  my speed and cocaine stash and arrested  chronic bulimia. My metabolism wUl never  again aUow me to shrink below size 16/18  without severe deprivation and obsessive exercise.  Let me be specific about these flashbacks.  I'm having memories of experiences which  over 70 percent of North American women  are stiU in the process of hving.  Imagine a 10-year old girl being sent off  to grade five with mother's words: "You  are fat, dear so expect the others to make  fun." Having read an ad for sauna belts,  I spent my nights in agony, my leather  belt cinched tightly around my body. Good  morning: skin rash, cramped guts, smaUer  waist. Good day: apple for breakfast, same  for lunch, tiny dinner. "No thanks I'm not  hungry," I hed.  See that same httle girl in grade six, 12  to 15 pounds hghter, arriving for school pictures in a new red dress. I felt normal untU my best friend said, "Don't be vain. You  haven't lost that much weight." AU day long  I was teased with, "Reisa's wearing a girdle." Newly slim, I was being chided for having to lose weight in the first place.  Within the year I developed breasts,  which grew at a rate of personal astonishment. I was proud and pleased. My nickname became 'mUktruck'. North American society uses many tools to control its  women. At eleven I had already discovered the oppression of feehng physicaUy  ashamed.  My weight crept up in junior high, so I  returned to deprivation. Not only deprivation of food, but of dances, sports and the  validation of hearing "You've lost weight!"  from family, friends, teachers.  I was lucky and ambitious enough to create a fantasy world across the street, where  I cared for some horses after school. I felt  so adult and capable. And the thought was  never far away that maybe shovelling aU  that manure would get me thin. It was blissful untU the boy I had a crush on saw me  trotting around the field. He and his buddies let me know what they thought of the  horse's chance of survival. Loudly. Thinness  denied, bhss denied, boys denied.  (I'm looking at pictures of a girl at 13,14,  15. The objective reality? She is a solid, big-  shouldered baby woman with fuU breasts,  muscular legs and a roU of fat around her  waist. AU that shovelling, grooming and riding has given her a fitness level most girls  that age couldn't have achieved with then-  four hours of team sports per week. But objectivity is beyond the scope of a teenager  with a lousy homeUfe, within a size-hating  culture. Objectivity loses hope when a gym  teacher yeUs, "154 pounds!" to a room fuU  of giggling girls.)  I know now how threatening my size is  to a culture which demands its women stay  smaU enough to be conveniently moved out  of the way. I know now that disclosure of  sexual abuse is met with astonishment when  the victim is a fat girl.  Through the fat girl's network I discovered a diet doctor. He weighed me, told me  to strip naked and he on a cold metal table.  He murmured, "Tsk, tsk, tsk," and roUed  my beUy around with his hands. He said I  should have a concave tummy and protruding hipbones, gave me httle yeUow pUls and  a 1000-calorie diet.  My stomach rumbled aU day, my palms  sweated and I was constantly anxious. Two  years earlier I had skipped a grade, now I  was demoted to summer school. I was stiU  fat and now I felt stupid. Over the next  few years my pUl habit progressed to buying bags of benzedrine on the street.  Never doubt that some drug addictions  start in the doctor's office. Never doubt that  a multitude of women's concerns are dismissed inside of 15 minutes with shaming  and prescriptions.  My best friend advised me to simply  stop eating, as she had. One night when I  had consumed aU the 'healthy' food in the  house, I caUed her and demanded one good  reason why I shouldn't eat what my body  craved. "Because when we walk together,  we'll look Uke the number 10," she laughed.  She was soon threatened with hospitalization for anorexia.  What a triumph for patriarchal rule, to  see two fiercely intelligent, outspoken females so obsessed with dieting that they  couldn't possibly have the energy to compete in pohtics, business, the arts.  Picture a 17-year old girl hving on 500  calories plus a vitamin pUl, weighing-in  daily at exorbitant cost, dipping htmus paper in her urine to monitor ketosis (a chemical signal of carbohydrate starvation, and  Sweet 16 was the year of Weight Watchers. At long last a lonely teenager had the  camaraderie of other fat women, bonded in  embarrassment and hope. Weighing, measuring and planning meals became my occupation. I jogged to and from meetings, always arriving early so I could squeeze out  the last drop of pee before weigh-in.  Tiring of constant vigUance, I regained  some weight. I found a naturopath who  promised natural weight loss. "Fat is hnked  to a condition of toxicity," he stated firmly,  "Cleanse your body and be fat-free forever."  A vaguely understood vegetarian regime  and agonizing molasses enemas took me  to 170 pounds, 15 more than pre-Weight  Watchers. Queuing hunger pangs with carrots turned my skin orange.  <°- TJVc-iCe-'  a medical red flag diabetics guard against).  Weight-Loss Chnic helped me lose 50  pounds. Within that three months I also  lost hair, sleep and my good nature. My  lover was overjoyed. He had recently puUed  me out of a post-sex shower, stood me in  front of a mirror and exclaimed, "Baby,  you'd be gorgeous if you lost 40 pounds."  (I'm examining a photo of a 17-year old.  She has large frightened eyes, a boney face,  no tits, no ass. How narrowly did she escape heart or kidney faUure? Men foUow  her, whispering lewd suggestions and pinching non-existent flesh.)  Within the year I began compulsive vomiting. Social occasions were spent with one  eye on the food, one eye on the bathroom. I  shot up to size fourteen. My beUy cramped,  my teeth loosened and my throat ached. I  missed classes and refused to eat in front of  people. I secretly ate my dog's dry food because it was 'pure protein.'  I was fired from my job grooming horses  at a rich, thin stable for being overweight,  and underwent surgery to correct the knee  I'd mangled through obsessive jogging. My  surgeon ironicaUy prescribed a strict diet  and exercise. I weighed about 150 pounds.  Job discrimination, medical abuse and  denial of physical love are aU excused in our  society with two words: You're fat.  See this woman at 22, enlisting the help  of a fitness trainer. She worked out with  me, measured my food intake and declared  I should be losing 2-5 pounds per week.  I wasn't. Having experienced starvation,  my body was tenaciously hanging onto fat  stores to ensure survival. As had the wise,  healthy bodies of my Ukrainian ancestors.  My trainer raged at the people who  didn't find me beautiful, took away my Diet  Coke and fed me juice. She massaged me  and drove me to nude beaches; for the first  time in my hfe I showed my skin to the sun.  I found a pleasure-loving fat boyfriend.  I stopped vomiting. It had been five  years since bulimic onset. I stiU desperately  wanted to be thin.  Here was hfe at 24. Running three miles  morning and night, pushing weights for two  or three hours, riding my horse and taking  double aerobics classes. I said I wasn't dieting.  (Photograph: She is a woman—a singer—  at prime in a sUver dress, with firm breasts,  frosted hair and an elegant stance. One  hand on the grand piano, the other on a microphone. She has just come from her day  job, doing beauty makeovers for Elizabeth  Arden).  One night I stayed after work to flirt with  the bar manager and overheard a guy telhng  his friends about the 'fat broad' who'd been  singing. Something inside me snapped, my  reaUty shifted. How dare he insult me when  all I did was cultivate my looks and my business. Rage overwhelmed me and I stomped  to his table. I let loose 25 years of unuttered  humUiation and blew him out of the room.  It was my powerful voice that had scared  him, the unapologetic way I fiUed the room  with colour and sound. What a telhng insight into a culture which conditions its  women to speak softly, to not take up space.  Within weeks I cut down my exercise and  actually began to enjoy it. I began taking  in food my body craved, learned to share it  with others, didn't judge amounts.  Research into the goddess cultures gave  me images upon images of the fat Mother,  who sweUs unashamedly around us. Her big  body is the mountains, the fatness of the  grizzly bear. Patriarchy attempts to reduce  our world to straight hnes and angles; fat  women jar men's senses with memories of  wUd sensuality.  I Uve in fat women's reality. I make love,  dance, enjoy food, wear clothes that fit, sing  in public ritual, counsel others and celebrate  the goddess in myself and other women. I  am a wUd fat Witch-woman who knows your  secrets. And now I'm telhng.  Reisa Stone is a Vancouver-based  therapist who helps women heal from  eating disorders, fat oppression, sexual abuse and related family /cultural issues. Reisa acknowledges that 5-10 percent of women are genetically encoded  for thinness, and urges the naturally  thin to become large women's allies.  KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  y/yyyy/yyyy///y//y//yy/yyyyyyyyyyy/yy^^  NEWS  She's got a fast car  Fast forward and in control  as told to Deborah Kirkland  It was the last week in August and I  was standing in the deluge of rain craning over a cement railing at BC Place  Stadium trying to get a good look at cars  streaking by at over 100 miles per hour.  I was wet. I was deafened. I was at the  Indy. And so were 40,000 other people  that Friday afternoon.  Arli Goldberg, feminist, was racing  in the Series 2000 of the City Racing  League. The CRL is comprised of racing teams representing various Ameri-  tion.' So I blithely changed the tires front  to back. Everyone was on the ground howling. That's how ignorant I was. But on the  driving end, I've always been clean.  It didn't occur to me that there would  be problems with acceptance or discrimination. I think what did occur to me was that  there were very few women racing cars and I  thought, if nothing else, it wUl be a cocktaU  party conversation stopper. I wasn't taking  it very seriously when I started. I thought,  this is totally ridiculous. You know nothing  about the sport, you reaUy have never been  *  1 *  i  fin  Arli Goldberg, fast and funny:  "I really want to go as far as  my talent and someone  else's money can take me."  can cities. (For this race there were also  teams from the Lower Mainland.) Each  team has a maximum of three drivers  who compete for both driver and team  championships. This level is the least  expensive class for entry into pro racing.  Goldberg is the only woman in the  Team San Francisco and an oddity in  racing. The first race she ever saw was  the one she drove in, in 1987 in a Formula Vee (Volkswagen motors), at the  age of thirty-four. Prior to racing, her  career had been in health care management.  It all started innocently enough.  Goldberg decided to go to racing driver's  school because she was getting too many  speeding tickets and wanted to learn  how to have control over her car. She  ended up buying her own race car and  tools.  Arli Goldberg: When I started, I didn't  want to be humUiated and be the last car  tailed out and lapped. Formula Vee is a very  competitive class. It has guys who can't afford to go pro racing, so they have been  driving these cars for 12, 15 years. They  can make their car do anything. They stress  clean driving, using your mirrors and proper  driving technique.  I was so afraid I would make a mistake  because I didn't know what I was doing. I  didn't know what the flags meant, I didn't  know the difference between the pit, the  paddocks, the hot pit. I didn't know how to  load a car onto a trailer. I'd never seen tie-  downs before.  I didn't know that your front tires were  smaUer than your rear tires—in those cars  the difference is only half an inch. One time  my crew told me to change the tires, so I  said front to back, right to left? He said  front to back, hke, 'this is a stupid ques-  into the sport, but why not? I wanted to  do it weU but I didn't sit down and think  about doing it professionaUy. It was just  something to amuse me.  I used to sit on the edge of my van  painting my toenails. It was the most absurd thing I could think of doing. I'd never  painted my toenails or my fingernails. But  it would drive the men crazy ... And I'd  watch them squirm as they were getting  beaten by me. In some ways, it was twisting the sword in just a httle bit more. In  some ways it might be revenge more than  anything.  Here I was at the mercy of every single  man out there. It was a very uncomfortable  feehng. I was at the mercy of how they felt  about women driving at their driving levels,  at their knowledge levels, about what information they would impart to me. I hated  relying on them to that degree. I hated not  being self-sufficient. It was hteraUy handing  over your hfe and soul to these guys and  saying, "Mold me; create me; make me into  what I can be." The only person you ever  turn your soul over that much to is someone you're sleeping with. With the degree  of trust this requires, I'm amazed I was ever  able to do it. It is not how I normally operate. I did it and I stiU have to do it. There •  are days when I hate it. There are days  when I hate being on a continual character  buUding learning curve.  Goldberg jumped to the Series 2000  after three years in Formula Vee. She  didn't have time to waste at her age, so  Arli and her coach condensed six years  into three. But the jump also meant  finding sponsors to finance her racing.  Her sponsor this year is Polaroid.  Arli: Basically what the pubUc relations  people said is, "Look, this is a very competitive business; use whatever assets you have  to get what you want because everybody is  out there fighting tooth and nail." So fine,  this is what I have to seU. I hold my nose  and jump into it. But you know I used to  watch all these other women come through  and they'd be pristine, absolutely pristine.  And I'd have on my track make-up, grease  smears aU over my face. I saw these women  wearing make-up and I thought, weU maybe  this is a thing you've got to do. I wear very  httle because I can't stand it. But I've decided that I'm going to use it. I do a lot  of self-checks on whether I'm compromising  myself. On the scheme of things, what was  I compromising?  When I was running without a sponsor I put a pro-choice sticker [on my car].  About two years ago a Supreme Court decision was made, something on minors' access to abortion. It sparked my fury that  day, and I stuck on my hanger with the red  slash through it. I was appalled at the number of men who asked me what it meant.  Somebody actually came up to me and said,  "Does this mean you don't hang up your  clothes?"  The best thing about racing is the discipline, the concentration, the precision. It's  so exact. You can't make an error. It forces  you to do it right as much as possible. I really hke that.  The worst thing? WeU there are two. One  thing is as you start up the pro ladder, the  comraderie disappears. It's not the same as  in [amateur driving ]. It's more aloof ...  more competitive.  What has also been reaUy hard is that it  has desecrated my social hfe. I had to give  up a lot of volunteer community activity.  My famUy doesn't understand it. It's consuming my Ufe and when things are going  badly, I can't talk to them about it. Their  attention span on this subject is very lim  ited. And my friends' attention spans are  very limited, too. So there are very few people I can talk to anymore and that's been  real hard. I get very isolated and as a single  woman I feel even more isolated. But luck-  Uy I have a very good team this year and  they provide me with some outlets.  I notice a fair number of women who really get behind it. When I'm at the race  track and women find out I'm racing they  want to get my number to separate me out  from the boys. They want you to do weU.  They want you to uphold the pride of being a woman; they're scared to death that  you're going to go out there and be an  embarrassment to them. They stiU support  you, but they hke it when you're up in front,  they hke it when you're being competitive,  they hke it when you beat the guys.  Ireally want to go as far as my talent and  somebody else's money can take me. As far  as my whimsy takes me.  Goldberg's plan is to jump to a higher  level in 1998. At the beginning of the  Vancouver race her overall individual  standing in the series was third. Near  the end of Friday's practice run in  the torrential rain, Goldberg crashed in  curve number one. Her car was totalled  and the left side of her helmet was  cracked. She was released from hospital  with a badly bruised left knee and her  third concussion from racing. Goldberg  was cleared to race Sunday and she tried  to find a replacement car. She couldn't  and went home, totally pissed off and  on crutches. She will be driving again  in October.  I watched the race Sunday morning.  The sky was clear. The track was dry.  The air cool. The grounds were dense  with people. I was bored. WiU I go again  next year? Yes. I'll go to watch and root  for Arli Goldberg. I wasn't as bored as I  thought.  Deborah Kirkland is a free-lance cartoonist, writer and epicure.  wmm  t  JSfr*' V''L-'■.••'.;,Av  t*0mitf?&*Z~^',\;-:"v ■ ■•'■.-0r;."-\.:;":c--.7.  KINESIS      oct 9i "S££5»  At the movies:  Flushing out the  racism  iiliiliililiiiifiliiitiifHii  by Selina Williams  The movies of Spike Lee are extremely appealing to me because  of my personal interest in his films and in their relationship to film  and Black radicalism. But while considering writing this article  about Lee's Jungle Fever (see box), I had to ask myself how my experiences relate to those of African-Americans. Infact, my experiences are not the same as an African-American's. In reviewing  Jungle Fever, i" regard the film as an outsider, combining my personal knowledge with what I have gained from Black intellectuals like bell hooks and Kobena Mercer. To review Jungle Fever as  though I could speak for all Black people would affirm commonly  held assumptions which insist that all Black people are alike.  As a Canadian woman of mixed heritage, I find myself grappling with  experiences in mainstream films quite removed from my own. Instead,  I identify with the films of Spike Lee and the "New Black Cinema"—  despite their sexism. These films have begun the urgent work of representing Black realities, of fining that void in cultural practice.  In my experience of viewing Jungle Fever, Lee's latest film, it became impossible to ignore the subtle and insidious brand of Canadian  racism I encountered. Inside and outside the theatre, Jungle Fever  flushed out the white, hberal "I have a friend who is Black" racism that  is so vehemently and consistently denied in our society. I recalled a time  when many white Canadians walked out of Lee's first feature She's  Gotta Have It. Independently produced and directed by a Black man,  the film was perceived to be inferior culture, too far removed from many  Canadians' preconceived notions of art.  You see, although we do have home-grown racism in Canada, we import more through American culture. Being aware of how the resonance  created by Lee's films impacts my personal hfe and of how cultural  trends draw all kinds of Canadians to his films (I'm often surprised at  just whom I now find popping up), I had no choice but to examine the  film in this context.  On its premiere night in Vancouver, the resonance of Jungle Fever  was already taking effect. Outside the theatre, a certain curiosity about  the "exotic,"—the unknown of the "ethnic" world—seemed to saturate  the air as I found my way to the end of the long line-up. White people  I've never seen before gazed approvingly at me, as they frequently do  at such events, as if to say "we're not racists, we're here to see a Spike  Lee film." With this display, my white partner looked embarrassed, as  did the faces of other "interracial" couples who peppered the hne up.  I couldn't help feehng hke the appetizer for some exotic cannibalistic  feast.  Later, as I stood in hne for some popcorn, a young white male—  whom I recognized as a one-time customer at my workplace—began  chatting away at me, as though he thought forming a connection might  lend credibihty to his pohticaUy correct status. I was poUte but remained aloof, feeUng crushed between the imposing sUent gaze of mostly  white onlookers and the guy's unnerving overtures. But he didn't notice  my coolness toward him. In this famihar scenario, I sensed that I, as a  coloured person and a female, was supposed to appreciate the generosity  of his attentions.  Laughter and Silence  Watching Jungle Fever, I was disappointed to find that—perhaps to a  lesser degree than in films by white men and women—an accurate characterization of Black women escaped Lee's vision once again. The concerns of Black women are barely touched upon in the film. For example,  "the war party" scene centres on the difficulties Black women have in  finding partners. Significantly, the scene opens with a discussion of the  resentment Black women feel towards white women and then concludes  with them discussing the virUity of the Black male. The performances of  the female actors, who were mostly improvising the scene, were probably affected by the desires of their Black male director. I found the  scene unnerving. I didn't hke the notion of a predominantly white audience penetrating my world, the world of Black women, especially in  iltlMMllllfiiff ||l«  the context of Lee's lopsided vision (a context which, judging by its response, the audience had difficulty understanding.)  The audience laughed for no apparent reason at sensitive and generaUy inappropriate moments during this scene. Their laughter was almost  mocking and hysterical and evoked chUdhood memories of white Canadian kids who would touch my hair and retract their hands with a sort  of nervous hiccup which passed for laughter. My experience of the film  was marred as I was forced to endure the audience's clumsy transgression of unfamUiar cultural boundaries.  The scenes of Black anger toward whites, and of white hberal or overt  racism were liberating for me. The audience, however, was sUent. I felt  they had never imagined that Black people could have such intense  anger toward whites (hberal and overt racists alike), nor had they considered where it comes from. I sensed that the hberal racist comments  made by white yuppies in the film forced much of the audience to hold a  mirror up to themselves.  As I watched Jungle Fever, I was inspired by the cinematic quality  of Lee's story telhng and his brave attempt to convey a multiplicity of  voices and realities within the context of a commercial film. The scenes  with Ruby Dee and Ozzie Davis (who play Flipper's parents), AnnabeUa  Sciorra (Angie, the white "other") and John Turturro (Angie's white  counterpart Pauhe), are strong points of the film. Paulie's discussions  with his peers best display Lee's talents. IronicaUy, it's as though Lee is  freed from the constraint of "speaking for aU Black people" because he  uses white characters.  The buppie (Black urban professional) nuclear family scenes with  Flipper seem unnaturaUy saccharine. I was comforted by Lee's apparent  discomfort here: these scenes clearly point to the uninhabitable nature  of Black upper middle class reality. The awkwardness of these scenes revealed Lee's inability to homogenize the complexities of Black people  into a marketable stereotype. The awkwardness also highlights the pressures on Lee from conservative Blacks who demand a positive stereotype  based on the idea that Black people need to be "uplifted" and measured  against the impossible standards of white society—which wUl always  judge us inferior. Such a positive stereotype is damaging because it denies us our complex human nature—and denies us our right to defy the  dominant culture.  When the issue of drugs entered Jungle Fever, I felt Lee was yielding to pressures from the white hberal critics who expect him to speak  for aU Black people on aU "Black issues." Criticisms of Lee for neglecting the drug issue in his earlier film, Do the Right Thing, may have influenced him here. Lee handles the matter weU, imbuing his drug addict  character with all of the rebeUiousness denied in the Black upper middle class. I found the addict to be the film's richest Black character. He  represents madness, alienation and rejection of both the dominant white  society and the Black upper middle class. For these transgressions, he  is kUled by his religious zealot father. In the US, the Black middle class  cannot afford rebeUion.  The hves of FUpper, Drew and their friends and family reveal the  ways in which Black male "pohticaUy correct" values constrain relationships. These conservative values—that a Black man must marry a  Black woman— aUow Flipper to commit adultery with Angie, but prevent him from taking an interracial relationship seriously. And Flipper's  adultery places Drew in a double bind. Loyalty to the pohticaUy correct values of Black men Umit her prospects of finding another partner  (he has to be Black), thereby increasing the chance of her taking Flipper  back, despite his infidelity. In Jungle Fever, Flipper's infidelity is not  the issue—the issue is that he is with a white woman.  I was disappointed that, unhke FUpper, Angie is not made to consider  how her actions affect the hfe of a Black woman. Angie never sees Drew  and seems to lack any pohtical analysis of her actions. In one scene,  a Black waitress in a Black restaurant refuses Angie and Flipper service, clearly angered by Angie's "theft" of a Black man. Yet the scene is  poorly handled, and it angered me that this point is drowned out in the  sympathy generated for poor, unaware Angie.  When FUpper leaves Angie to return to Drew, it seems Jungle  Fever's message is that experimentation is okay for the Black man as  long as he marries a Black woman. But Lee is redeemed on the subject  by aUowing Paulie, because of his rare personal and pohtical views, to  begin an interracial relationship. In the final scene Flipper embraces a  Jungle Fever  Jungle Fever charts a  •'   :t (Fli  which is run by tw  ptir between a successful married  pper rurny; and his white Italian-American  "). Shortly after starting the affair, Flipper quits  efused a long overdue partnership in the firm  yuppie white liberal men.  it friend Cyrus about quitting his job and the  ediately tells his own wife who then tells Flipper's  r. sne throws Flipper out of their Harlem brownstone.  _—lultaneously, Angie is betrayed by one of her friends and thrown  out of her Bronx working class home after being brutally beaten by  her racist father. Angie leaves her Italian boyfriend, Paulie, and she  and Flipper get a place together.  After kicking Flipper out, Drew and her friend - both women of  mixed race - angrily discuss the personal politics of interracial  relationships with other Black women in a scene called "the war  party."  Flipper's parents  Angie. His mothei  f.\iuWiitWM  accept his interracial relationship with  :erned about its effects on her grandchild  ie is a reminder of the passive  tctica's slave history.  A number of scenes with Paulie, Angie's ex-boyfriend, display the  complexities of Italian-American racism and illuminates Paulie's  inherent interest in race politics. A Black female character who  intermittently enters the store where these discussions take nlare.  provides a Catalyst for thesp Hisruseinne - Hisriissinns \  shed light on the extren  regard Black women.  Various scenes with Flipper's drug ad<  southern baptist parents are interwovt.. uuvu^nuu. •..«. ..«..«»»t.  Eventually, Flipper's life becomes too fractured and complex with the  added pressures of the interracial relationship. He breaks up with  Angie, using the weak excuse that he had been r—  then returns home to her father and Flipper tries to patch things up  mixed heritage (Black and white) addicted prostitute and screams "no."  At first it appears the message of the film is "Say no" to drugs, miscegenation and mixed kids. However I beUeve Flipper is expressing America's inabUity to resolve aU the complex contradictions of Black/white  America.  The Movie Was Far From Over...  When the film ended, snatches of audience commentaries included: "See.  Reverse racism!" Other people appeared to be happy to just get going,  having gotten their racial awareness fix for the month. This is Lee's best  film to date, I told my friends. One was very upset that Angie had been  sUenced. The leeway Sciorra was given in her performance, I said, made  up for Angie's sUence. One girlfriend observed that white male directors  were rarely judged by feminist standards the way Lee is, and that few of  them even hve up to Lee's standards.  After the film, we went to a mostly white artsy-type party. Many  were discussing Jungle Fever and, as usual, people insisted the technical form of the film should have been more avant-garde to reflect its  pohtical content. I said, people often concentrate on the technical when  they don't wish to, or know how to, deal with the pohtics of a movie. I  don't beheve any filmmaking technique would have much of a hberating  influence untU all excluded voices are heard on screen.  A few people at the party talked about "already-been-used" techniques in the film and about how Lee was standing on a soap box again.  Those who talked about the commercial aspects of his filmmaking, with  an ehtist sneer, faUed to realize that obscure individualized films are  not yet a luxury that Black Americans can afford. The need to stand on  "soap boxes" and use accessible, commercial techniques, I said, reflects  the urgency of the messages of the New Black Cinema. Black cinema  could easily disappear, since it is somewhat at the mercy of the fickle  appetites of the dominant white culture. But these thoughts were lost  on most of the people I spoke to.  The irony of aU these comments on the film was that people at the  party actually beheved they were perfectly justified in judging the film  according to the standards of the white film inteUigencia. I found it curious that they presumed the film was made primarily for them.  Later on, when the party music switched to house music, I began  dancing by myself, reheved to finaUy be able to dance at one of these  parties. Then the music switched to 70's disco. Some of the people  hadn't quite figured out house or rap yet, so they chose something more  famiUar, something that has already been dUuted and slaughtered as a  cultural form— something they could regard with a mocking pleasure.  A curious yet famihar ritual was taking place. Some people were self-  conscious about dancing to Black music whUe others just simply enjoyed the music. Those who had been intimidated by Jungle Fever,  house music, my thoughts, my presence and their own inabUity to make  sense of them all, began a grotesque imitation of the Soul Train or hustle hne— "Dancing Darkies." Some people were embarrassed by them,  but continued to dance at my expense; some didn't notice what was going on as others made bizarre gestures of hostility in their dancing. The  music switched back to some folksy stuff and, in anger, I left the dance  floor.  I remarked to a white friend that most white people require pre-  digested, dUuted music to dance to. He looked at me curiously and  somewhat offended. I felt bad. I tried to explain what was happening to  another friend, but it escaped her. I then looked around the room fiUed  with my peers, the generation I have grown up with. I have managed  to exist in these and many other cultural terrains which are rarely my  own. Yet, I saw that in experiencing a mere two hours of voluntary entrance into new cultural territories, safely shielded by the cinema screen,  many chose to once again mock Black culture and return to the comfortable safety of their racist mentality. Spike Lee affected these people.  How Canadians responded to the effects of his messages is often telhng  of Canada's own racism.  »iitM|itlMlll(iii<  Selina Williams is Canadian-born and is of West Indian and  British heritage. She is a film and communications student at Simon Fraser University and is involved with women of colour in the  arts.  iqKINESIS  KINESIS Arts  xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxv  by Zainub Verjee  Three watermelons, one hand  On a recent visit to England, I met  with women filmmakers and program-  s who reflected on developments in  cultural funding. As in Canada, government support for the arts is dwindling,  and feminist producers and distributors  are scrambling to survive with their visions and politics intact. The follow-  article is based on interviews with  women connected to England's Channel  Four series, Women Call the Shots.  The gradual withdrawal of funding to cultural organizations in Britain has sparked  concerned protests by those concerned with  the country's progressive film and video  scene. The Barbican, a major national art  centre, was privatized some years back and  independent and paraUel structures continue to be slowly eroded.  Recently two major feminist distribution  centres, Cinema of Women and Circles,  were forced to amalgamate. The British  FUm Institute, a major funding source  for alternative media structures, concluded  that two women's centres were "unnecessary" and now provides operational funding for only one. This led to a long, hard  battle for both organizations, causing dis-  sention and breakdown within the women's  community.  Like Women in Focus, Video Femmes  and other feminist media centres in Canada,  Cinema of Women emerged as a feminist distribution centre in the mid-70's in  Britain. As one of the first such centres in  Britain, Cinema of Women played a vital  role in distributing feminist work. In 1980,  Circles formed to disseminate both feminist film and video. The recent funding crisis left Circles as the sole feminist distribution network in London. No doubt its staff  and funding are not entirely adequate for  the kind of work needed to fulfill the independent distribution mandate. Distribution  is, after ah, the unglamorous but essential  wing of cultural work that makes feminist  film and video visible in—and outside—our  communities.  The focus of the British Film Institute  has been on producing and prograrnming  with both BBC and Channel Four. This  support has been beneficial in providing  television exposure to the independent sector; however, it has also meant that pohcy  and direction have not necessarUy been determined by that sector.  Channel Four has been more innovative in its pohcies and recently broadcast Women CaU the Shots, a season of  women's cinema. The program consisted of  feature length films, documentaries, shorts  and animation primarUy from North America, USSR Europe, Africa, Asia and Latin  America. Also broadcast were forum discussions by invited guests.  In broad terms, Women CaU the Shots  focused on work dealing with women's hves  under patriarchal rule. Issues of displacement, land reform, war, sexual exploitation  and other socio-political matters formed the  underlying themes of the program.  1988 W 4th & Maple  Vancouver, B.C.  V6J 1M5  733-3511  Current Art Show  Love Poems &  Other Stories  works by Claire Kujundzic  Body Rain  book launch  for Jana Hamilton  Saturday, Sept. 28 2-4 pm.  compared to somebody who is trying to balance three water-melons in one hand—practically impossible."  According to HolboU, the "women's question" was an insignificant item on the  agenda of the Communist Party. "Anything  to do with 'women' as a separate issue was  regarded almost with scorn," says HolboU.  "The height of approval for a woman was to  be told that she had a man's brain."  This discrimination was evident in the  Soviet film industry. The International Federation of Women was only recently established as a forum in which women working  wake up  • •' -w  r.v.v  SCREENING  Not surprisingly, women from the USSR,  Asia and Latin America articulate issues of  cultural production and feminism quite differently from women in the West. Women  participating in Channel Four's season have  this to say about feminism:  Ana Carolina of BrazU rejects being labeUed a feminist. "I am not a feminist, I  have never been one," says CaroUna. "I am  much more than that, I am a woman and a  filmmaker, and my militancy as a woman is  my work, so I have nothing to do with feminism."  Marilou Diaz-Abaya, a weU-known filmmaker in the Phihppines, started producing  in the Marcos era—a time when her films  were censored. In order to make her work  accessible, Diaz-Abaya deployed soap opera  techniques with overloaded images of infidelity, sex, drugs and decadence. Although  her work has been described as feminist, she  feels there is a difference between a sensibility which comes from being a woman and  being feminist.  TJSSR-born Tamara HolboU (a specialist  in Russian affairs now hving in London,  England) states in her essay in the Women  CaU the Shots catalogue: "The current position of a woman in Soviet society can be  in the Soviet industry can openly discuss  their problems and declare their existence.  There has yet to be the emergence of what  could be called a women's cinema.  Even where national cinemas exist women find it extremely hard to make feature length work and find themselves turning towards television production or shorter  documentary work. As Indian documentary  filmmaker Deepa Dhanraj states: "Mine is  a poor country with burning problems, and  it really is a luxury to sit back and say I am  going to do things for my own creativity."  Dhanraj's work is based on social issues and  she works collaboratively with her subjects.  In the West women have fought for access  to technology and positions of power. In the  Canadian documentary Calling the Shots,  JiU GodmUow expresses the effects of social  conditioning: "Feeling Ulegitimate to spend  a miUion doUars on an idea you have. Feeling Ulegitimate giving orders. FeeUng Ulegitimate believing in your bizarre way of doing  it up against the critical expertise and talent  of people who've done it 25 times more than  you and say you can't do it that way. Those  are the problems of being a woman filmmaker. Feehng entitled, feehng legitimate,  trusting yourself."  Channel Four's Women CaU the Shots  provided viewers with an interesting backdrop of the diversity of women's cinema  globaUy. Their weekly program, Out, broadcasts work around sexuahty, race and class  within a feminist context and during prime  time. Innovative and issue-oriented feminist  work in many forms is reaching a wide audience through concerned producers working at Channel Four.  Although Channel Four is supportive in  producing and programming feminist work,  it cannot replace the paraUel distribution  structure. Production and programming defined by the funding sources and the broadcast networks wUl alter the final content  and form of work produced. Experimental  film, video art, and community-based work  he outside the mainstream industry and the  programming, distribution and exhibition  of this work is determined by people who  are producing it.  Control over one's work and, to some extent, control over who wUl see the work  is vital in sustaining a feminist voice and  participating in a discourse. Women have  emerged as film and video makers depending on the structure of their national cultural industries and organizations formed  by women to support women. The elimination of these support structures wUl further exacerbate the existing frustrations  and limitations within a male-dominated industry.  In Canada, the federal government is  withdrawing funds from the arts and cultural sector. This loss could cause the  demise of some of the most important paraUel structures—particularly women's art  centres—in the country. It is essential that  strategies are put into place for survival.  As funding becomes scarce artists are  considering other means to finance work  and are looking at international co-production possibiUties. The Third World,  whose technology and facUities are not on  par with the production centres of North  America and Europe, have used co-production strategies but often with a great deal  of compromise.  If we are to maintain control of our work,  both in form and content, it is essential that  we maintain the structures which provide  this freedom.  With this column, Zainub Verjee bids  Kinesis adieu as a regular columnist.  Please see Inside Kinesis (pg. 2).  Eastside DataCraphics  1460 Commercial Drive  tel: 255-9559 fax: 253-3073  ~1  15% OFF  office or art supplies  with this coupon  expiry date: October 30.1991  Call or fax for free next-day delivery!  i2KINESIS Arts  yyyyyyyyyyyyyyyyyyyyyyyy  Bones, baking and Medea  by Erica Hendry  There was a definite women's presence at  the Vancouver Fringe Festival in September; in fact, there was just too much to  see. In the productions I was able to attend  there seemed to be a theme about choice:  women having a choice; women making a  choice; women wondering if they had made  the right choice; and women who had no  choice.  What foUows are some "choices" from the  Fringe and from the Performance Poetry Series at the Grunt GaUery which ran in conjunction with the Fringe.  CLOSE TO THE BONE  by Alison Field, Alex Dallas  and Wendy Vousden  Sensible Footwear, London Eng.  Debunking forever the myth that feminists are not funny and can't take a  joke, Sensible Footwear, the British trio of  Wendy Vousden, Alex Dallas and Alison  Field returned to the Fringe Festival this  year with a stand-up comedy, cabaret act  entitled Close to the Bone.  As the title suggests, the main target of  their humour is the loud, unsupportive sexist male. However, the show also challenges  women's increasing sense of hberation and  identity by asking such burning questions as  "Can you be a lesbian and not own a cat?"  Their repertoire—a mixture of the confessional—"have you ever ... ?" and the  confrontational—"c'mon we know you have  ... "—ranges from conversations overheard  in the women's toilet, to three high-heeled,  high-pitched women "Stuck [once again] in  a male film director's fantasy," to the potential of God "as good husband material"—  and the similarities between one's lover and  one's hairdresser.  That most intriguing subject of aU, sex, is  discussed from a number of angles. "Putting  a rubber on the tool is really cool," they  sing, "... Men can do this too." Of course,  your lover coming home at 2 am "after consuming large amounts of beer and curry"  can also be a very effective form of safe sex.  The three women work weU together,  with impeccable timing and dehvery, taking up different parts of a woman's psyche  or opposing sides of a problem. There is the  traditional nice girl, who always says "It  doesn't matter" set up against the woman  who isn't afraid to admit she enjoys sex  but stiU worries about what people at work  might think.  Why are women confused about how we  should be? "WeU," says Sensible Footwear,  "How did you grow up to be a feminist  when your only role model was Ohve Oyl  ... When Barbie didn't have zits ... When  Brown Owl was the bravest woman you  knew?" The players remind us of the awkward and painful moments growing up, but  they also make us laugh at ourselves and  such feminist foibles as trying to be pohticaUy and emotionaUy correct aU the time:  "Come back, I love you ... I have to give  a paper on independent women tomorrow  and I can't do it if you leave me!"  If women are stiU confused, so too is the  new man. He is sensitive, "but not very exciting ... He wears a safety helmet when  cycling"—and it doesn't help that women  laugh at him. Secretly, women have always  laughed at men. However, moving this very  bleak and slightly bitter humour out of the  private hen party and onto the public stage  is stiU relatively new.  Some critics have claimed that Sensible  Footwear are as "sexist" as their targets.  The new man is trying reaUy hard to be sensitive and supportive and should not be subject to criticism and humUiation. To this,  the women answer: "So is the woman who  tries to get the man who raped her convicted ... So is the woman who has to try  twice as hard to be taken seriously at work  ... Join the club, boys!"  Sensible Footwear is sure to be returning  to sold-out audiences at next year's Vancouver Folk, Comedy or Fringe Festivals so  watch for them—and remember: "Be a good  girl!"  chppings about strikes and rent increases  papered the waUs and hung from clothes  Unes Uke laundry. As she puts the cake in  the toaster oven she repeatedly instructs us,  and the unseen chUd to whom the poem is  addressed, "do not touch ... hot, hot, hot."  And Uke Uttle chUdren, totally absorbed  in a bedtime story, we Ustened as Dragu  read prose—poems in various women's  voices. Most of the voices were mothers  speaking about their chUdren: the frustrations of being patient"... Hyou don't stop  whining I'U dress you aU up and put you  out on the front porch;" a mother raising  her chUdren in the inner city and secretly  watching them on their way to the corner  store; a woman who is humUiated because  she cannot produce enough milk to breastfeed her chUd. There is also the mother who  "... walks the hne ... the picket hne ...  the femimst Une ... I watch the hne between country and western music."  These humorous poems were interspersed  with "tips"—"When in doubt, bake"—  read from cards that look hke they had  been chpped from cereal boxes. Dragu also  put a twist on those old patty-cake-patty-  cake rhymes by telling the stories of a  Guatemalan refugee and a young widow: "  ... but that's the way the world is, the  world is, the world is," she clapped.  And, hke many mothers, Dragu sang us  songs in Enghsh, French, and Spanish, and  at one point threatened to become a cabaret  queen. But aU too soon it was over and it  was time for us to go to sleep—the cake was  probably burning. So, as the lights went out,  she answered a few unheard questions from  a chUd about tomorrow's activities and quietly left the room to great applause.  This month, Coach House Press wUl release Momz' Radio: Mothers Talk Back,  a collection of writings edited by Margaret  Dragu, Sarah Sheard and Susan Swan.  Margaret Dragu bakes a  batch of bedtime stories.  THE SECRET KITCHEN  by Margaret Dragu,  Vancouver, BC  You are sitting across a kitchen table.  Country and western music is playing, the  kids are finaUy asleep and this woman is  telling you a story.  She was alone in a London apartment  when she had the baby. There was no phone  so her husband had left to find a doctor. The neighbours, who previously ignored  her, gathered outside her door and later,  they continue to tell her "... of their confinements." She was half disturbed by their  presence but "kinda thought it was great."  Margaret Dragu had many other stories  to tell in many other voices at her show  at the Grunt Gallery's Performance Poetry  Series held in conjunction with the Fringe  Festival. And, hke the neighbours, her stories and poetry were brought together by  the theme of motherhood. Motherhood? Is  that the stuff of poetry? Isn't it just too  common? But we aU heard poetry from  our mothers when we were young. And, as  Dragu pointed out, we are aU of mothers  born: it is the making of communities.  Dragu is a dancer, filmmaker, writer and  performance artist— The Secret Kitchen  was her first Vancouver show in many years.  The performance opened as the audience  watched Dragu via a video monitor making  a chocolate cake in an adjacent kitchen. She  then arrived on the set where newspaper  j  1  s2  v m  1  1  4     **:?           •»..*  w-  ■  1  Sailing the seas - and getting  fleeced - in Collateral Damage.  COLLATERAL DAMAGE:  The Tragedy of Medea  by Jackie Crossland  Random Acts, Vancouver BC  Legend presents Medea as a sorceress  who takes the ultimate revenge of kUling her  chUdren when her ungrateful husband Jason  deserts her to marry another woman for pohtical gain. As playwright Jackie Crossland  notes: "I think a story is the sum of aU its  versions. There are a lot of versions of the  Medea story and this is ours ... a woman:  version. I beheve this could be any woman's  story."  According to this Medea, almost every  woman finds herself in circumstances beyond her control: war (hence the title),  abuse, not to mention the boredom of waiting for your husband to get home. Collateral Damage poses questions not usuaUy asked by conventional interpretations  of the Medea legend. Everyone remembers  Medea kiUing her chUdren but nobody remembers what happened to her mother-  was she murdered? And what happened to  Medea herself? The tragedy of Crossland's  Medea is that things haven't really changed  since Medea's time and that: "It happens  more often than you think... Mom goes off  and kUls the kids ... You can read about  it at the checkout at Supersave ..." However, this play is not a tragedy but an inspiring and witty comedy.  Crossland presents her Medea through  two sets of characters—one modern and  one ancient—who are played by the same  actors. The play opens in Cleo's east-side  kitchen where women gather to play cards,  share shopping secrets and hear her advice  which is usuaUy sought indirectly but delivered directly. Cleo, a wise old aunt figure,  tells it Uke it is and one of her stories concerns the princess Medea,  The play unfolds as she narrates it, offering her own humorously unsentimental  interpretation of events much hke a traditional chorus would. With the aid of a few  props, a costume addition, masks and transitional music, the women in the kitchen are  transformed and take their roles, both female and male, in the ancient story. They  continue to move back and forth in time  during the course of the play.  When we first meet Medea she is guarding her lather's coveted Golden Fleece and  is extremely bored with her hfe. According to her father, "She's been a bit off ever  since her mother died." But then, as Cleo  comments, there are always "FamUy secrets,  and royal famiUes are no different." Medea  is visited by her mother's ghost but her  ghostly advice comes too late to save Medea  from suffering at the hands of her father and  brother, who rape her. When the adventurer Jason comes along and offers to take  her away, he looks hke a pretty good deal;  she's just trying to get out of a bad situation.  Jason is a simple man who hkes his  women "quiet and soft ... He has never  actually met any women Uke this, but  he keeps hoping." The two leave Colchis  along with Medea's maid, a wise practi  cal woman, and the Fleece. They head for  Corinth, where Big Guy King Creon rules  from his personal trampoline-throne, armed  with an ever-increasing ego and large purple crayon. In Corinth, Jason—that's Big  Dick Hero Jason now—becomes the king's  drinking buddy and right-hand-man by settling boundary disputes and expanding the  Corinthian empire (marked on an inflated  globe overhanging the stage). Although Jason's activities involve rape and pUlage, as  Cleo says: "As aU wars do, Jason is just doing his job." What would happen if everyone just stopped doing their job, Jason asks.  Medea's job, meanwhUe, is to produce  babies, keep house and be very, very  bored. She visits the decaying women's  temple for  sanctuary and solidarity. As  See FRINGE, page 14  KINESIS SSSSSxxx^Sxxx^xxx^S^^  Arts  The Montreal Massacre:  Slowing down the  process of forgetting  POLYTECHNIQUE, 6 DECEMBRE  sous la direction de  Louise Malette et Marie Chalouth  Montreal: Les editions du remue-menage,  1990  THE MONTREAL MASSACRE  ed. by Marie Chalouth  and Louise Malette  translated by Marlene WUdeman  Charlottetown: gynergy books, 1991  by Margot Lacroix  It took me a whUe to open Polytech-  nique, 6 decembre and actually read it.  This collection of letters and essays caught  my eye last November at the Montreal  Book Fair, one of the latest titles offered  by the Quebecoise femimst publishing house  les editions du remue-menage. I glanced  through the pages, recognizing here and  there some of the material published in the  Quebec press in the days and weeks foUowing the murders of 14 women at the ecole  Polytechnique on December 6, 1989.  Less than a year later, I did not feel any  urge to dig up and turn over something  which had so devastated me—the murderous act and, equaUy disturbing, the vast  orchestration and channeling of interpretations into nonthreatening territories. More  than at any other time in my hfe, I felt  the seemingly inexorable weight of this patriarchal society's safety mechanisms. I had  fallen, Uke many others, into a relative silence, a suspended state, waiting for memory and obhvion to negotiate their own portions of my mind.  "We rely on the hving, breathing body  to articulate its reaction and, when aU  is said and done, there really are so few  words in the language," writes contributor  Sylvie Beraid. Contributors stiU found the  strength to wrestle with their feehngs of dismay and impotence, putting pen to paper  to manifest their grief, to discern and challenge the mainstream interpretation of the  massacre. Many of these writings have the  gut quahty of immediacy. Several of them—  letters to the editor, for example—would  probably have fallen into oblivion had this  book project not been undertaken precisely  ...the media  systematically  solicited analysis  and opinion from  male rather than  female  commentators...  to slow down the process of forgetting, "to  put a foot in a door that is already being  closed." Polytechnique, 6 decembre was  undertaken with the belief that it is essential for women to remember, regardless of  how painful this may be, because so much  of our history has been eradicated.  EquaUy important, it is mainly women's  voices that are recorded and preserved in  the book (there are a few letters by men).  As several of the articles state, there was  a strong feehng in Quebec right after the  massacre that our voices were being pushed  aside, that there was in fact httle room for  the expression of women's grief, fear and  anger and even less room, it seemed, for  feminist analysis.  Editors Louise Malette and Marie Chalouth set out to redress this situation,  and to provide elements for further discussion and analysis. Contributors include  several weU-known Quebec feminist writers  and intellectuals such as Nicole Brossard,  Louky Bersianik, Monique Bosco and Greta  Hofman Nemiroff, and feminist journalists  Francine PeUetier, Armande Saint-Jean and  Gloria Escomel, to name a few.  WhUe varied in style and approach, most  of the texts agree on several points, and  the foUowing emerge as the main theses of  FRINGE from page 13  weU as discussing the dynamics between  men and women and the consequences of  war, playwright Crossland examines the  war dynamics among women during difficult times, particularly the pohtical one between Medea and her maid and the spiritual one between Medea and her dead  mother. We also learn about "the other  Princess," Creon's daughter, who is later  forced to marry Jason despite her own ambitions. Crossland's interpretation of Medea's  "revenge"—we won't give it away—is truth-  full and plainly dramatic, as are the fates of  aU the characters.  Though Collateral Damage is presented as a "workshop production" in which  each character presents a different facet of  the story according to her hghts, the play  was brought together and dehvered with incredible focus and energy. The members of  the cast were aU very strong, presenting,  weU-developed characters as famihar as the  woman in Cleo's kitchen. Of particular note  were Nora RandaU as Cleo, and Murlane  Carew and River Light who played Jason and Medea respectively. The music and  humorous sound effects by Jacqui Parker-  Snedker and Sue McGowan along with the  masks, props and giant ghost puppet by  Christina FarmUo gave a magical feel to the  performance.  Examining the seemingly sensational  story of Medea, Crossland finds that we stiU  Uve in tragic times. At the same time, she  inspires us to laugh and to hope for a future  where women rely on their own strengths  Oct. 91  and dreams and not on men who are "just  doing their job."  Collateral Damage: The Tragedy of  Medea is being restaged again in December  at the Vancouver East Cultural Centre—  don't miss it!  MADNESS AND CIVILIZATION  by Elizabeth Fischer  Vancouver, BC  "In the Church of the Blind ... the angels look from picture frames ... the walls  melt on the benevolent saints ... examples  for suicides ..." and there sits a siren,  swaying on a stool, singing yet snarling at  the same time. Her name is Elizabeth Fischer.  So set the tone of Madness and Civilization, Fischer's performance at the  Grunt GaUery last month which involved a  cello double bass, electric piano and a full  drum kit. All this packed into the gallery  made for a very intimate atmosphere which  was made even cozier and hellish by a black  set with large skeletal white chalk drawings  aU cast in red Ught.  Starting off slow, warm and jazzy, the  music grew swankier, and then, hke horror  movie music, more and more frenzied. We  are being pursued and then the music is  broken with a voice. But this ain't no jazz  singing.  Fischer, once the lead singer of Vancouver's Animal Slaves, has a distinctive style.  Low and brooding, her voice is both seductive in its intensity yet terrifying in the images it evokes. She seems to be on the verge  of a shiver or a scream at any moment, pronouncing every phrase with heightened sibi-  lance.  The musicians each took extended solos  which, despite the small space, were never  overpowering—indeed, they were enrapturing. Is Fischer grooving to the music, or trying to shake some pain out of her head?  There is certainly a lot of pain in her lyrics:  "In the dark ... My lover writes letters he  never sends ... he is lost ... he is painting  gargoyles on his tomb ... on his tomb ...  holding hands over heU ... in the dark ...  I make my confession." The last few words  are almost lost in a breathless scream. We  don't really know whether it would be sac-  rUegious to applaud, but we do.  This aU sounds rather gloomy but there's  a definite sardonic tone to Fischer's work.  As she finally moves off the stool and out  from behind her great long hair, we now see  her eyes, rolling dramatically with both disgust and dehght.  The performance ended with Fischer sitting in the audience, head down, exhausted.  The confession was over, whatever spirit  possessing her had been exorcised, and the  audience, too, was feehng hghter.  Erica Hendry is a former associate  editor of (F.)Lip and is currently a bookseller.    Polytechnique: The massacre was not an  isolated incident or a crime without motive.  It was a crime against women. This crime  must be examined in the context of the violence to which aU women are prey in patriarchal culture, and we must not be afraid  to identify and name aU the forms this violence takes; feminists have not gone too far  in their demands and were not the cause  of the kUler's actions; the media system-  aticaUy solicited analysis and opinion from  male rather than female commentators at a  time when the general public's need to make  sense of the events was insatiable; religious  and pohtical institutions ignored an opportunity to address the real issues and quickly  acted to preserve the status quo; to surpass  this state of siege against women wUl mean  no less than a transformation of the entire  patriarchal system.  The lucid analysis offered by Nicole  Brossard stands most in my mind, in which  she distinguishes between misogyny, phal-  locentrism, sexism and anti-feminism, stating that they form "a pohtical and cultural  whole so coherent that it is difficult to zero  in on the real participation of each and every man to the oppression of women."  IronicaUy, the presence of Polytechnique, 6 decembre at North America's  largest French-language book fair last faU  was overshadowed by the publication of a  sensationalist, anti-feminist work which was  hailed as a 'coup' at the peak of the publishing season in Quebec. Entitled Manifeste  d'un salaud ("Manifest of a Bastard",) its  author (do I have to reveal his sex?) contended that the "ideologues of feminism"  had reduced the behaviour of all men to  that of "the low-class, the desperate and to  that of demented gunmen," in order to accommodate their "narcissistic goals." The  book was an infuriating piece of trash disguised under humanistic pretenses and the  relatively uncritical response it received in  Quebec less than a year after the massacre  is a sorry comment on mainstream attitudes, and puts in a particularly critical  hght the need for a book hke Polytechnique: 6 decembre.  This is a book to keep on one's shelves for  those days when complacency seeps through  the cracks of everyday hfe and threatens  to duU mind and consciousness. A letter, a  poem, an essay, or a commentary should be  read each time memory seems to falter, in  order not to forget, and strengthen oneself  against the prevaiUng winds and currents  of an increasingly conformist and ruthlessly  self-preserving culture.  Margot Lacroix i Arts  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  Women and the Canadian legal system:  Courting women in two centuries  PETTICOATS AND PREJUDICES  Women and Law in Nineteenth  Century Canada  by Constance Backhouse  published for The Osgoode Society  Toronto: Women's Press, 1991  CANADIAN FEMINISM AND  THE LAW:  Tbe Women's Legal Education and Action Fund and the Pursuit of Equality  by Sherene Razack  Toronto: Second Story Press, 1991  by Penny Goldsmith  There is a certain tension in the air'  vis-a-vis the law these days. The tension  is not new, but it's getting more attention than in the past. The proliferation of  government-and law society-created commissions floating around the country consulting the "grass roots" (i.e. whichever  community groups have the time, money,  resources and inchnation to present briefs to  these task forces) is an indication perhaps  that even the upper echelons have some  concerns about the integrity of the western  white legal system and its purported pursuit of justice, truth and equahty.  WOMEN'S PRESS  CATHERINE, CATHERINE  LESBIAN SHORT STORIES  by Ingrid MacDonald  A fine first collection, these stories  introduce an imagination that is  humourous, sexual, sensual and always  captivating. From the romantic foibles of  everyday lesbian relationships to a  powerful historical account of a woman  executed for cross-dressing and sodomy  in the 17th century, Ingrid MacDonald  never fails to enchant.  "Powers of language and insight meet  in these stories to create a distinctive  voice important for us all to hear."  — JANE RULE  $11.95 pb 0-88961-164-5 Release: Oct '91  #223—517 COLLEGE STREET  TORONTO • ONTARIO ■ M6G 4A2  Discussions are happening around a parallel Native justice system. Law societies are  instigating commissions on "gender bias"  (although they initiaUy preferred to try and  call the issue "gender equity"). The federal  government is sending another commission  across the country to hear what we have  to say about violence against women (this  year).  Into the fray leap two books published  by feminist presses. Petticoats and Prejudice is a history book; Canadian Feminism and the Law is a current description  of the Legal Education and Action Fund  (LEAF) and the organization's work in the  courts on behalf of women in the 1980s and  Using a fairly traditional framework,  Petticoats and Prejudice foUows the path  of the law as it related to women in the nineteenth century. Part I covers the regulation  of marriage, courtship and sexual violence;  Part II: fertiUty (infanticide and abortion);  Part III: the family (divorce and separation,  custody); and Part IV: work (prostitution,  protective labour legislation and a chapter  on Canada's first woman lawyer).  In her introduction, author Constance  Backhouse acknowledges that "studying the  legal records of a white supremacist, patriarchal regime is not weU-calculated to unearthing much of relevance about the hves  of women of the First Nations and women  of colour in the nineteenth century." She  does use examples throughout the book: a  First Nations woman who marries a white  man and how the colonizer's legal system  defines the legahty of this marriage; a Chinese teenager who is the subject of a custody battle between her community and a  white Methodist "Rescue Home" in Victoria.  But this is a book about the legal system  as it has functioned (and continues to function) from the point of view of the western  institution of law. HI were from any of the  non-dominant cultures that Backhouse uses  as examples, my response, I imagine, would  be no more than "so what else is new?"  Backhouse also acknowledges that lesbians are invisible in this history. No one she  has run up against in the cases of the nineteenth century has admitted to the courts  that she was a lesbian. Again, a modern-day  lesbian, battling a homophobic court system for custody of her chUdren, would of  ten be equally inclined to not wish her name  recorded for posterity if it meant losing custody (although some brave women have indeed done so).  Petticoats and Prejudice is weU-resear-  ched and interesting as a documentation of  the history of the law and how it has consistently discriminated against women. The  book is readable - it is not a dry legal treatise. Backhouse takes individual women in  each of the areas of the law hsted above  and recounts their histories, sometimes in  an almost journalistic fashion. The individual women of her examples are "heroines"  in their struggles to fight against a repressive legal system where they are defined as  property to buy and seU.  This is a book for people who are interested in the history of a specific legal system and what it has done (and continues  to do) to women. It is not a book for those  who think that the law has anything to do  with truth, justice or equahty, unless they  are prepared to be disabused of the notion.  It is also not a book for people who have  any hope that our legal system, as it is stiU  constituted, has changed for the better in  the last century.  LEAF: One Route for Feminists  Canadian Feminism and the Law is not  a history book and does not purport to be  one. Written by human rights activist and  popular educator Sherene Razack, the book  outlines how LEAF came into existence and  what it has done up untU 1988 in trying  to represent the interests of women in the  courts.  LEAF stands for the Legal Education  and Action Fund. It was founded in 1985  out of a group of women organizing for constitutional guarantees of sex equahty. In her  introduction, Razack goes into some detaU  about the concept of feminism as it applies  to law and the problems inherent in a male  legal system which wUl not hear evidence  unless it is couched in its own terminology.  This book is more legalistic than Petticoats and is for the reader who wants  to get some idea of how LEAF is working  in the courts today to protect the rights  of women. Razack examines a number of  LEAF cases/positions, including the right  of woman-only organizations to exist, and  the idea that it is discrimination on the basis of sex to not take into account a woman's  chUd-bearing capabiUties. Other issues in-  1045 COtnmERCIAL DRIVE 255-23^6  Author Sherene Razack:  turning over LEAF'S strengths  and flaws.  elude sexual harassment and sexual assault  (the rape shield law case that was just overturned; see September 1991 issue of Kinesis.) LEAF is currently working with domestic workers on chaUenging overtime provisions in the Employment Standards Act.  Razack is not a whole-hearted supporter  of LEAF. She sees a problem in the organization's focus on sexism, which means that  racial oppression can only be dealt with in  an additive way. "A Black domestic worker  or a Native woman in the prison system are  both unlikely to experience their gender ii  the same way that the predominantly white  women teachers of Ontario do."  LEAF has got itself into some troubh  from its inception, being seen as a white,  middle-class mainstream organization. InitiaUy, they did not consult with grassroots  community women's groups on issues that  were famihar to these groups (LEAF has  since set up working groups around specific  issues.) Many women feel that taking these  highly pohtical issues into the courts is  waste of time and money.  Razack discusses the role that feminism  has to play in law throughout this book;  she sees it as important that feminism has a  voice in our legal system. In spite of its limitations, she sees LEAF as being one route  to make that voice heard. This book is a  useful description of that process.  As I sat down to analyze both of these  books for this review, I became aware that  I want more from alternative legal literature than either of these two books offer. I  think that we need to get beyond the point  of merely criticizing the legal system as it is  now constituted. We need to start talking  about alternatives to that system instead of  always struggling to squish our definitions  of who we are into it.  Penny Goldsmith is a paralegal who  works in the field of public legal education. She is also the owner of Lazara  Press which has just instigated a new  series of chapbooks called Discussions  About Law.  KINESIS Letters  Dear Reader,  Kinesis loves receiving mail. Please get  your letter to us by the 18th of the  month.  If you can, keep the length to about 500  words (if you go way over, we might  edit for space).  Hope to hear from you soon.  love,  Kinesis  Criticisms may  be valid, but  attacks leave a  lot to be desired  Kinesis:  Kinesis may be inherently classist and  racist, but mostly I find it just, weU ...  boring is the word that springs to mind. It  has never become a forum for debate and  discussion, for the exchange of controversial  ideas or the expression of the doubt, frustration and cynicism we aU sometimes feel  about the women's movement. The unfortunate result of this is _that when a writer  is honest, brave or naive enough to step  out of hne, aU heU breaks loose, because  we haven't had the opportunity to see any  of this stuff in print before. Out comes all  the frustration, sense of exclusion and longstanding personality conflicts; all the stuff  we've been bitching about in our kitchens  for years gets dumped on the head of the  hapless writer who sprang the leak. And  then when Kinesis can't deal with this  the way the people would hke it to, it gets  dumped on too.  The criticisms people level against Kinesis may be fundamentally valid, but the  confrontational/wholesale attack method of  communicating them leaves a lot to be desired. The results of these attacks are always  the same: deafening sUence from readers,  foUowed by one heU of a long time before  anyone writes another article in the paper  criticizing the women's movement. Unfortunately, Kinesis is not a safe place to say  anything much beyond the "correct hne,"  and until space is cleared for a bit of exploration, doubt and criticism, it never wUl be.  Faced with reactions hke BOA's (and others), what writer would have the guts to go  first?  H we want a dynamic, controversial and  interesting women's paper that represents a  diverse community, then we wUl have to put  up with being offended occasionally without  trying to bring down the roof. We also have  to support writers who fuck up once in a  whUe, because at least they have the guts to  be out there in public talking about things.  And we have to use Kinesis to start talking about our own stuff, in our own ways,  before a conflict occurs, not just after. H, on  the other hand, we want safe, straight reporting that supports everything we do, and  writers who can be intimidated into keeping  their mouths shut, then that's what we're  going to get. The solution is not to shut people up, but to get all of us talking.  Elaine Litmann  Vancouver, BC  Thanks from  down under  Kinesis:  Now that I am hving in Australia, I very  much appreciate the hard work done by Kinesis in keeping women informed and in  touch with each other. Since there is no  newspaper in Australia that does this, I eagerly look forward to receiving my copies  in the maU, and voraciously devour every  word. I appreciate the global perspective as  weU as the local.  Reading  Kinesis  somehow keeps  me  closer to my old friends and community in  Vancouver. Although reading about their issues and concerns also makes me very homesick. Thank you for your hard work and  commitment.  Homesick for Vancouver,  Pamela Harris  Paddington, Austraha  P.S. Perhaps I can contribute something  from this end of the world, soon.  Pf^f^f^f^f^f^f^f^f^f^f  ROBIN GOLDFARB rut  Registered   Massage   Therapist  'ñ†MM  You've Always Delivered  Now, help dehver Kinesis. We need a  woman to distribute the paper, by car  to local bookstores and by maU to our  national distributor and foreign  oudets.  You wiU be paid for the  approximately 9 hours/month this  job entails. A driver's license and an  ability to maintain records required.  The Goods  Please call 255-5499.  The Law Society of British Columbia  GENDER BIAS COMMITTEE  NOTICE of public hearings  The Law Society's Gender Bias Committee is holding public hearings on the Issue of  gender bias in our Justice system. The specific areas the committee will focus on Include:  Family Law, Criminal, Law, Civil Law (excluding, Famify), the response of the Justice  System to violence against women and gender bias from the perspective of the courtroom.  AH interested people are encouraged to make their suggestions known to the Committee.  Submissions may be made orally or in writing, but the Committee strenuously recommends  a written submission, the deadline for which Is December 1,1991.  Dates, times and locations of the public meetings, as well as deadlines for requesting  appointment times are as follows:  aut  Cats  Place  Appointment  Deadline  Nelson       '  Sept 13 & 14, 1991  Savoy Inn  Sept 11.1991  Terrace  Oct. 4 & 5, 1991  Inn of the West  Oct 2,1991  Prince George  Oct. 18419,1991  Yeliowhead Inn  Oct 16,1991  Kelowna  Nov. 1 & 2,1991  Capri Hotel  Oct 30.1991  Courtenay  Nov. 15 & 16,1991  Westerfey  Nov. 13,1991  Victoria  Nov. 29 & 30,1991  Harbour Towers  Nov. 27,1991  Abbottsford  Jan. 10 &11,1991  McCaRum Activity  Centre  Jan. 8,1992  Vancouver  Jan. 17 & 18.1992  Jan. 13-16,1992 (evening  Law Society  Building  sessions)  Jan. 12,1992  To obtain an appearance time please contact  Gender Bias Committee  c/o Catherine J. Bruce, Director  300 -1275 W. 6th Avenue  Vancouver, B.C  V6H 1A6  Phone: 732-4284 (Call Collect)  VANCOUVER.  INTERNATIONAL  WRITERS  FESTtVAL  Events of Special Interest To  Kinesis Readers  Under The Gun  1 p.m. Wednesday Oct 23  Two women writers, Nancy Morejon from  Cuba and Gioconda Belli from Nicaragua  share personal experiences and discuss  with their audience how an oppressive  totalitarian environment gave rise to their  passionately life-embracing work.  Sci-Fi Through Women's Eyes  1 p.m. Friday Oct 25  In the predominantly men's world of  speculative fiction, the works of Ursula  LeGuin stand out. LeGuin shares her  experiences with writers Leona Gom and  Heather Spears who have just published  first novels in the science fiction genre.  Our Words, Our Selves  2:30 p.m. Sat Oct 26  How much greater impact do women's  issues have when overlaid with repression  beyond the experience of everyday North  Americans? This view from five Latin  American, U.S. and Canadian women  writers is certain to challenge our  understanding of "women's issues".  Women's Worlds, Women's Words  3 p.m. Sunday, Oct 27  A number of outstanding women writers  at the Festival read their work in English  and Spanish. This promises to be one of  the most intense and intimate experiences  of this year's Festival.  OCTOBER 23 - 27  GRANVILLE ISLAND jjjjjf INFORMATION 681-8400  PROGRAMS AVAILABLE AT: FINE BOOKSTORES,  COMMUNITY CENTRES, LIBRARIES AND OTHER OUTLETS  3 KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  BULLETIN BOARD  READ THIS  All hstings must be received no later than  the 18th of the month preceding pubhcation. Listings are limited to 50 words and  should include a contact name and telephone number for any clarification that may  be required. Listings should be typed or  neatly handwritten, double-spaced on 8 1/2  by 11 paper. Listings will not be accepted  over the telephone. Groups, organizations  and individuals eligible for free space in the  Bulletin Board must be, or have, non-profit  objectives. Other free notices will be items  of general pubhc interest and will appear at  the discretion of Kinesis.  Classifieds are $8 (plus $0.56 GST) for  the first 50 words or portion thereof, $4  (plus $0.28 GST) for each additional 25  words or portion thereoL Deadline for classifieds is the 18th of the month preceding  pubhcation. Kinesis will not accept classifieds over the telephone. All classifieds must  be prepaid.  For Bulletin Board submissions send  copy to Kinesis Attn: Bulletin Board,  #301-1720 Grant Street, Vancouver, B.C.  V5L 2Y6. For more information call 255-  5499.  EVENTS  WANNA GET INVOLVED?  With Kinesis? We want to get involved  with you too. Help plan our next issues.  Come to the Writers' Meetings on Tues.  Oct. 1 (for the Nov. issue) and Tues.  Nov. 5 (for the Dec./Jan. issue) at 7 pm  at our office, #301-1720 Grant St. If you  can't make the meeting, call 255-5499.  No experience necessary, all women welcome  EVENT SIE VENT SIE VENTS  WOMEN OF COLOUR CAUCUS  Women of Colour are organizing at Kinesis and we welcome all volunteers past,  present and future to our next meeting  Wed. Oct. 30 at 7:30 pm at #301-1720  Grant St. For more info, please call Agnes  Huang at 736-7895  ELECTION IN BC!  Women's groups are gearing up to put  our issues on the political agenda in BC.  In the Lower Mainland, a non-partisan  women's coalition has formed. For info  about their activities, call Kim Zander  (254-9836, 253-8717) or Lu Hansen (734-  6667). Women For Better Wages is also  active—call Donna Abrams (766-0311).  And the Vancouver Status of Women is  organizing a women candidate's evening,  with Darlene Marzari (NDP), Carol Gran  (Social Credit) and reps from the Liberals and Greens. Wed. Oct. 9, 7:30 pm  at the Van. Indian Ctr., 1607 E. Hastings  St. Call VSW (255-5511) for more info  and for childcare subsidies.  BREAKING THE SURFACE  Nov. 13-17 University of Calgary Drama  Dept., and Maenad Productions will  host "Breaking the Surface," An Interactive Festival/Conference of Women,  Theatre and Social Action. Workshops  and performances will be organized  around four panel sessions: "Strategies of Engagement" (methodologies,  audiences, etc.), "Politics of Funding  for Feminist Theatre," "Feminist Theatre/Historical Perspectives," and "Pedagogy and Drama/Theatre by Women."  Call (403) 220-5421 for more info  Computer Training and  { Resume Service        *  {Computer Sales & Consulting*  * -WP 5.120 hrs for $250 *  * -DOS& Hardware 12 hrs lor $100       *  * -Lotus 12312hrs for$100 *  « - Resumes from $15 *  { WOMAN TO WOMAN TRAINING  *  {     MARGARET 436-9574     £  ■It***.********--*-****.*******;,  WORKPLACE VIOLENCE  This one-day workshop offered by Capilano College Labour Studies emphasizes  the impact of violence in the workplace  on women. To be held Fri. Oct. 4 from  9:30 am-4:30 pm at the Ship and Dock  Foremen Local 514, 200-1726 E. Hastings. Cost $58 (includes lunch and course  materials). Call 984-4954 to register or  for more info  PERSONS DAY BREAKFAST  The West Coast Legal Education and  Action Fund invites you to a breakfast commemorating the 62nd anniversary of women legally becoming "persons." Oct. 18 at the Vancouver Trade  and Convention Centre, tix $40. Accessible event, with signed interpretation.  Childcare available by pre-reg before Oct.  3. Call LEAF at 684-8774 for more info  ENOUGH IS ENOUGH  The Canadian Labour Congress, the Action Canada Network, and provincial federations of labour are planning a national  day of mass action Oct. 26 to protest  Free Trade, service cutbacks, plant closures, tax hikes, and the GST. Meet at  the Van. Art Gallery (north entrance) at  12 noon. To get involved, call 254-0703  CRIAW CONFERENCE  This year's CRIAW Conference "Global  Vision—Local Action" on feminist research activities will take place Nov. 8-  10 at the Westin Hotel in Edmonton.  Register by Oct. 8 to: Women's Research Centre, 11043-90 Ave., Edmonton,  Alta., T6G 1A6. Call coordinator Mar-  celline Forestier at (403) 492-8950 for details  VLC HALLOWE'EN DANCE  Dress in your sexiest, scariest, funniest  or most ferocious costume! Sat. Nov. 2  at The Capri Hall. Doors open at 8 pm.  Tix $4-6. Wheelchair accessible. Childcare available. For more info call 254-  8458  REPRODUCTIVE TECHNOLOGY  The Vancouver Women's Reproductive  Technologies Coalition will be meeting on  Oct. 2, 1991 at 7 pm in the VSW office at #301-1720 Grant St. Members  of the coalition meet on a regular basis to discuss feminist concerns regarding  reproductive technologies. All interested  women are invited to attend. For further  info call 731-1552  SKY LEE  Author of Disappearing Moon Cafe will  be reading her new work, Thurs. Oct.  10 at 8 pm at R2B2 Books, 2742 W. 4th  Ave., 732-5087  DAPHNE MARLATT  Will be having a booklaunch and reading  from her book Salvage Fri. Nov. 1 at 8  pm at R2B2 Books, 2742 W. 4th Ave.,  732-5087  WOMEN AND SPORTS  Annual meeting of the Canadian Association for the Advancement of Women and  Sport (CAAWS). In Hamilton, Ont., Nov.  23-24. Contact CAAWS 323 Chapel St.,  3rd Floor, Ottawa Ont., KIN 7Z2  CHILD CARE CONFERENCE  Affirming the Vision: A Comprehensive  Child Care System. Nov. 29-Dec. 2, in  Toronto, Ont. Contact Eileen Condon,  Ontario Coalition for Better Child Care,  297 St. George St., Toronto, Ont., M5R  2P8. Tel (416) 324-9080, Fax (416) 929-  5485  BODY IMAGE WORKSHOP  Are you tired of dieting? Explore healthier ways of relating to your body. Britannia Secondary, Oct. 11 and 12. $7. Call  255-9371 to register. Facilitated by Reisa  Stone. Reisa is also accepting clients for  group or individual counselling. Sexual  abuse, eating disorder, ACOA/Shame issues. Please call 254-4816  VOLUNTEERS NEEDED  The first organizing meeting for a B.C.  Womyn's Music/Cultural Festival. Small  group (4-5) needed now for planning,  fundraising, landsearch, etc. Women with  production, technical, fundraising skills  and/or who have helped set up other  women's festivals urged to call. Fri. Oct.  18. For meeting time and place call  Pat/Sounds & Furies at 253-7189  FLICKS BY FEMALES  The Vancouver Int'l Film Festival offers  a wide range of film by women directors, including Ann Hui (Taiwan/Hong  Kong), Jan Oxenberg (USA), Dorota  Kadzierzawska (Poland), Sibylle Schone-  mann (Germany), Nietzchka Keene (Iceland),—as well as 9 Canadian directors.  Check the local media for details of time  and place or call 738-4567, Oct. 4 to  Oct. 20  STREET AWARENESS COURSE  Parents & Friends of Lesbians and Gays  (PFLAG) in collaboration with the VLC,  and the Gay and Lesbian Centre (GLC)  will be providing an education workshop  on Street Awareness for lesbians and gays  as a way to combat anti-homosexual violence. Tues. Oct. 15 7:30-10 pm at the  VLC, 876 Commercial Dr. Lesbians and  Gay men welcome. No cost.  JUDY RADUL SHINES  Performance poet Judy Radul presents To  Shine, including a free performance at the  Lux Theatre, 57 E. Hastings St., Wed.  Oct. 9 at 9 pm. Installation of her work  will continue at the Western Front Gallery  to Oct. 11, 303 E. 8th Ave., 876-9343  CAP COLLEGE LECTURES  Free lectures Weds. 7:30-9:30 pm at  the Capilano College Students' Lounge—  N115. 2055 PurceU Way, North Van. Oct.  9: "Equal Opportunities for Girls and  Women in Physical Activity and Sport."  Oct. 23: "Lesbians and Aging: Exploring  the Issues." To reserve a seat call 986-  1813  VIDEO SCREENING  L.A. Woman: California Girls?? This exhibition by women video makers who have  lived in L.A. and San Francisco challenges  media stereotypes about women living in  California and the USA. Screening will be  held at Video In, Sat. Oct. 19, at 9 pm  Cost is $3 for mbrs, $4 for non-mbrs  RUNNING FOR OFFICE?  A two-day conference sponsored by Winning Women and BC Women's Programs  will address women's participation in the  political process particularly as it relates  to running for office. Fri. Oct. 18, and  Sat. Oct. 19, 1991. For more info write  Westcoast Agenda, #708-1755 Robson  St., V6G 3B7, or Tel. 688-8584  500 YEARS OF STRUGGLE  Sat. Oct. 12 "International Day of Solidarity with the Indigenous Peoples of  the Americas" Lee Maracle, poet; Mayan  Marimba Band K'Ojom Tze; Diane Million, poet; Kelly White; Dennis Maracle;  Lil'Wat Drummers. Mark the anniversary  of the colonizers' arrival in solidarity with  Indigenous struggles because 1992 means  500 years of resistance to colonization.  La Quena, 777 Commercial Dr., 7:30 pm,  Tix $3/5  orri&- xifr /you- <<j}c£' ^oCdj2/ot       &Jb& jiASictUe^ <c&~>   .   -   -  t\;e ne^er pe«-x  TttSWAY BEFORE ArtN.  StGW I'VE KEVeR  F£i-T THVS   WAY  BEFORE SUSANf. St<,H.  \MEAN,^VE   KEVER  F^ElX   T^IS WAY  wow! wow.' I've rtevea,  tsV£«Z., i^E^T TVUS WAY  EKCOONTPR *■ i-  ErtCoutiTER **?.  eHCOON.-\£R*k-3  EMCoutHTCR *4-  o v o  f=Et-t TttlS WAY, <£HS?  Oxd-  O c?  9  tdeWER..   I'VE  i^EVE*  PEtT TrHS  WAY SSfOK£.  nece*l. neVER. e-ve*-  OOC  imMmmSim  e.»4<^>us-rBR.  ** ^Q  KINESIS Bulletin Board  W.P.B.C. DANCE  Come enjoy a fun filled evening of dancing  to "Hooked on Books and Music" Sat.  Oct. 26 8 pm-1 am. Doors open at 7:30  pm. There will be three cash door prizes,  50/50 draw and snacks. Mbrs. $10. Non-  brs $12. For info and your presold tix  call Lois at 437-3965 or if in Haney call  'Hooked on  Books," 463-8380. No tix  vail at the door  CONSTITUTIONAL CONFERENCE  A two day interdisciplinary conference on  Women and Constitutional Reform will  be held at the University of Alta. on Oct.  25-26, 1991. Reg. fee: full day $25. Half  day $15. Students $15. For more info  contact Centre for Constitutional Studies, 456 Law Centre, U. of Alta., Edmonton, Alta., T6G 2H5. Tel: 492-5681, Fax:  492-4924  AIDS AWARENESS WEEK  Oct. 13-17 is AIDS Awareness Week:  This is an opportunity for community organizations to set a positive theme for  public and media attention towards AIDS  and HIV infections at least once a year. A  wide variety of events can be offered to  help you improve your AIDS awareness.  For more info call or write Howard Engel, AIDS Vancouver, 1272 Richards St.,  Van., BC, V6B 3G2. Tel: (604) 687-5220  LEAF SPEAKS  LEAF Speaks is a short course on the basics of Women and the Law followed by a  speaker's orientation for those wishing to  cultivate public speaking skills for LEAF.  The course is at the BCTF Wed. Oct  23 and 30 from 7-9 pm. To register call  684-8772  CAMPAIGN APPEAL  Centre of Co-operation with El Salvador  is requesting donations for the campaign  against cholera. In co-operation with 17  other organizations they are attempting  to bring education and medical assistance  to affected communities. To donate or  obtain more info contact Myra Johnson  (604) 325-1094, or write: #12-404 E.  43rd Ave., Van., BC, V5W 1T4  POWER PLAYS  Headlines Theatre offers groups a chance  to do a Power Play—a 6-day workshop  which leads to Forum Theatre performance. Power Plays are interactive theatre, taking participants through games  and exercises to build group trust. Workshops can be tailored to meet specific  needs. Write, fax, or call Headlines Theatre, #101-1416 Commercial Dr., Van.,  BC, V5L 3X9, (604) 251-2006  OUTDOORS CLUB FOR WOMEN  The Vancouver OCFW meets the 1st  Wed. every month at the Sitka Coop Common Room, 1550 Woodland.  Women wanting to learn more about the  club are welcome to attend. Offers a supportive, non-competitive atmosphere and  a range of outdoor activities  SURVIVORS OF INCEST  A nine-week sharing and healing group  starts 7:30 pm, Tues., Oct. 15. You'll  learn valuable skills for coping with the  many feelings you're experiencing, in a  loving and supportive atmosphere. $180  for 18 hours. Please call 254-4816 for  more info. Reisa Stone, feminist therapist  HIV COUNSELLORS NEEDED  In Dec. '91, the Vancouver Lesbian Connection will be offering HIV testing for  lesbians. HIV pre- and post-testing counsellors still needed. Training workshop  Oct. 26 and 27. Call Ginger at 254-8458  to sign up  ASSERTIVENESS TRAINING  Vancouver Status of Women will be  running 6-week Assertiveness Training  groups for women this fall. One evening  a week, childcare subsidy available. Call  Trisha 1-5 pm, Mon.-Thurs., at 255-5111  for more info and to register  SPEAKERS AVAILABLE  The West Coast Women's Legal Education and Action Fund (LEAF) has speakers available for classes, workshops and  large groups to speak and lead discussion  on women's equality rights and the Charter of Rights and Freedoms. To book a  speaker call 684-8772  qilriftlMMflE  iJLv K bK\tS\\iEU6rW\r^,* ;.l* *•. ■ .2&1 &*r  2&|6A$r  r\VArJ  LEND US AN EAR  Redeye is an alternative media project  broadcast every Sat. morning from nine  until noon on Vancouver Cooperative Radio, 102.7 FM. We present progressive  views on culture, politics and social issues. Lend us an ear next Sat., and consider joining our collective. No radio experience is necessary. Call Jane at 255-8173  LEGAL SERVICES  Battered Women's Support Services and  the UBC Law Students Legal Advice Program are co-sponsoring a series of free legal clinics for women to be held on the  following Tues. eves from 6:30-8:30 pm,  Oct. 8 and 22, Nov. 5 and 19. For more  info call The Law Students Legal Advice  Program at 822-5791  LESBIAN/GAY BENEFITS  The Lesbian and Gay Benefits Committee  is committed to achieving employment  benefits for same sex couples. We meet  monthly to develop strategies to lobby  government, educate interest groups and  politicians, support individual discrimination cases, to liaison with other groups,  and to provide info. Box 65893 Stn F,  Van., BC, V5N 5L3. Tel: 942-9987 or  876-1465  VLC WANTS YOU  You're not only wanted, you're needed at  the Vancouver Lesbian Centre. Help keep  the centre open, put on events or workshops, update resources, organize the library or clean up the filing system. Call  Ginger 11 am-4 pm, Wed. and Fri., at  254-8458 for details. Groups meetings at  the VLC now include: a support group for  lesbians who have been involved in psychiatry; a group for lesbians who want  casual social contact and discussion; and  Coming Out groups for women exploring  their sexuality and trying to accept themselves as lesbians. Call 254-8458 to sign  up for these or to find our about other  lesbian groups and events  CALL FOR SUBMISSIONS  At the Crossroads is a brand new visual,  performing and literary arts journal for  Canadian women artists of African descent. Send photographs (black & white)  of visual art—line drawings, graphics,  mixed media, painting, quilts, textile art,  etc., or photocopies of poetry, journal  entries, screenplays, reviews, essays, etc.  Do not send originals, and do send a  SASE. Submissions should include a bio,  brief statement about your work, and any  other relevant info. Deadline for the first  issue is Nov. 30, 1991. All photos will be  returned. At the Crossroads is especially  interested in submissions from women in  the  Maritimes  region  and  writers  who  have not yet been published. Send to:  At the Crossroads, c/o Karen Augustine,  P.O. Box 317, Stn. P, Toronto, Ont., M5S  2S8  AQUELARRE MAGAZINE  Bi-lingual (Spanish/English) published by  non-profit Latin American Women's Cultural Collective is seeking submissions for  its special issue on 500 Years Of Resistance. Articles, essays, drawings, photographs, humour ... by Native women  of the Americas. Deadline Nov. 1, 1991.  Aquelarre, P.O. Box 65535, Stn. F, Van,  BC, V5N 5K6  NEW SURVIVORS JOURNAL  For women healing from childhood sexual  abuse. A place for women to share our  stories, poems, thoughts, drawings, theories and resources. Write for more info  or send copies of work to: 925 Victoria  Dr., Vancouver, BC V5L 4G1. Deadline  for second issue Dec. 1  ASS  F ED  SHARED HOUSE  Have you ever noticed the weather looks  better south of the city? Here's an opportunity to live there affordably. Shared  house in west Delta needs one more  woman. One fast bus to downtown. Clean  air, sunshine, laundry facilities. $225 plus  share utilities. 940-1741 or 844-9276  (pager).  COUNSELLOR-HYPNOTHERAPIST  Judy Forester—Individual counselling and  hypnosis for women. My approach to  therapy, unlike traditional hypnosis, is  non-directive and is designed to empower  women and to respect their individual  uniqueness. For an appointment call 873-  5477  VILLA DE HERMANAS  All women's Caribbean Beachfront Guesthouse: Beautiful spacious L/F owned  guesthouse on long, secluded beach in the  Dominican Republic. Tropical gardens,  pool, large, private guestrooms, sumptuous meals, massages, and crystal healings. Room rates: $330 single; $440 double per week. Call our Toronto friend, Susan, at (416) 463-6138 between 9 am-10  pm  FABRIC BANNERS  Strong colourful long-lasting banners for  indoors and out. Made to order by well-  known Vancouver artist Sima Elizabeth  Shefrin. From the maker of the beautiful  banners for Kinesis, Angles, Ariel Books,  AIDS Vancouver, Tools for Peace & mai  other organizations directly to you. Reasonable prices. 734-9395  OUR STORIES  1111 Commercial Drive  Presented by  The Vancouver Status of Women  and  The National Film Board  OCTOBER 1,8 p.m.  Still Killing US Softly American feminist Jean Kilbourne casts a  critical eye on the power and influence of advertising.  Toying With Their Future Toys are big business. In 1988 alone,  40 million Barbie dolls were sold worldwide. This film takes a critical look  at the toy industry.  After the Montreal Massacre One year after the massacre of 14  women at Montreal's Ecole Polytechnique on December 6,1989, this  sKINESIS  video looks at the issues of male violence against women, women's fear  and what we as a society must do.  OCTOBER 8, 8 p.m.  The Company Of Strangers Feisty, funny and poignant, eight  women whose average age is 73 turn the breakdown of their bus, miles  from civilization, into a unique adventure.  OCTOBER 15, 8 p.m.  Who Gets In? What does it take to become a Canadian? Filmed in  Asia, Africa and Canada, Who Gets In?takes Canadians to the  ■frontlines' of the immigration process.  NO Time tO Stop Through the lives of three articulate women of  colour - a sewing machine operator, a domestic worker and a garment  worker/labour organizer, the social and employment barriers facing  working-class immigrant women in Canada are portrayed.  Unnatural Causes A film-poem featuring Lillian Allen.  OCTOBER 22, 8 p.m.  Augusta Daughter of a Shuswap chief, Augusta was separated from  her parents at age four and sent away to a Catholic mission school  where only English was allowed. When she married a white man in  1903, she lost her status as an Indian.  Richard Cardinal, Diary of a Metis Child This powerful film  is based on the diary of a Native child who was put in foster care and  was subsequently shuttled from family to family throughout his short life.  Summer Legend Summer Legend is a delightful animated version  of the Micmac legend explaining the cyde of the seasons.  Mother Of Many Children In this film, Indian and Inuit women of  all ages and from all areas of Canada, talk about their struggle to regain  a sense of equality and to instill in their children a sense of cultural pride.  PREMIERE SCREENING OF:  SISTERS IN THE STRUGGLE  November 5,1991 at 7:30 p.m.  at the Robson Square Cinema  Co-directed by Toronto filmmaker and poet, Dionne Brand, and Ginny  Stikeman, Sisters in the Struggle explores the diversity, vision, and  impetus of a contemporary Black women's movement in Canada  Dionne Brand will be present at the screening.  For childcare info, call 255-5511. VSS/S//SSSS/S//S//S/SS/S/SS//SS/SSSSSS/SSJI'  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  Bulletin Board  ,VMIJM»]  PSYCHIC READINGS  Women's moonrune readings by Pat in  the gentle atmosphere of Ariel Books.  Sliding scale $30-45/hr, $15-25/half hr.  Call 733-3511 to book appointments or  drop in Thursdays between 12 and 4  pm. Other readers available Tuesdays and  Wednesdays  HOLISTIC BODYWORK  If you would like to become aware of  your physical/emotional "holding" patterns through bodysage, aromatherapy,  hydrotherapy, music, I'd like to assist  you in your process. I have 8 yrs training/experience in holistic health care (2  yrs professional training at Sutherland-  Chan School of Massage Therapy). Lynn  Roberts, 688-4033. Sliding scale  FEMINIST RESEARCH  Women's Studies at SFU is offering two  one-year post-doctoral fellowships equal  in,value to SSHRC post-doctoral fellowships ($27,168 in 1991) to begin in Sept.  1992. A research allowance of $5,000  (funding permitting) is also included.  Candidates must have a doctoral degree  or equivalent in any area of the arts, humanities, social sciences or applied sciences. To apply, those interested must  first write for further information to: The  Co-ordinator, Women's Studies Program,  Simon Fraser University, Burnaby, BC,  V5A 1S6. Tel: (604) 291-3593. The closing date for completed applications is  Jan. 15. 1992.  In accordance with Canadian immigration requirements this advertisement is  directed to people who are eligible for employment in Canada at the time of application. Simon Fraser University is committed to the principle of equity in employment and offers equal employment  opportunities to qualified applicants.  TRAINED MEDIATOR  Trained mediator (Justice Institute) available to work with individuals, couples,  groups to resolve conflicts and disputes  which get in the way of your working/social/love relationships (This is not therapy). Sliding scale fees. Pat Hogan 25'i-  7189  FEMINIST COUNSELLOR  Delyse Ledgard—I work with women and  lesbians. I offer individual and couples  counselling. My interests and experience  are in substance abuse, child sexual abuse  and childhood trauma, relationship issues, violence against women and poor  self esteem. I use an experiential approach  from a Gestalt framework with use of  visualizations/imagery and dream work.  Sliding scale. For more info, tel: 873-  4495.  LASSIFIE  HISTORY/WOMEN'S STUDIES  The Departments of History and Women's Studies at Simon Fraser University-  invite applications for a tenure track joint  appointment in Canadian History with a  specialization in Canadian Women's History, to commence in September 1992.  The appointment will be made at the  beginning Assistant Professor level, and  the salary will match qualifications. Preferred qualifications include a completed  Ph.D., publications, and university teaching experience. The successful applicant  will teach undergraduate and graduate  courses in History and Women's Studies  and will be expected to develop a strong  research programme in his/her area of  specialization.  In accordance with immigration requirements, this advertisement is directed to  people who are eligible for employment  in Canada at the time of application. Simon Fraser University is committed to  the principle of equity in employment  and offers equal employment opportunities to qualified applicants. Applicants  should send a curriculum vitae and three  letters of reference to Dr. William Cleveland, Chair, Department of History, Simon Fraser University, Burnaby, B.C.,  V5A 1S6. Closing date for receipt of applications is Dec. 1, 1991  FREE THE SINGER WITHIN!  Singers of all levels can increase range,  tone and power while developing confidence to sing out and speak up! Expert  vocal coaching in a supportive, accepting environment. A holistic and effective:  method for personal empowerment, joyful creative expression and a great voice!  On Commercial Drive. $30/session or 6  sessions $150. Penny Sidor 251-4715  COUNSELLOR-HYPNOTHERAPIST  Eian Mulholland—I use Ericksonian hypnosis and neurolinguistics to deal with a  variety of issues. My approach is designed  to connect women with their inner resources in order for them to experience  the joy of living life more fully. For an appointment phone 531-2600  RUNE READINGS  Discover the Mystery of You—Rune  Readings by Frances. In pre-Christian  times the wise women of Europe would  scratch these symbols on pieces of wood  and cast them to the ground, bringing  clarity to situations in their community.  While healing from the pain of my childhood I discovered this northern magic  within myself and developed it through  study and practice. For a reading call  Frances Bean Sidhe, Runemistress. 255-  3352  CANCER IN TWO VOICES by Sandra  Butler & Barbara Rosenblum  TALK & BOOK LAUNCHING by Sandra  Butler Saturday, October 5th 7:30-9:30  p.m. Justice Institute, 4180 W. 4th Ave.  SANDRA BUTLER is a writer, counsellor, trainer & organizer in the  field of child sexual assault and violence against women. Her  pioneering work Conspiracy of Silence: The Trauma of Incest stands as  a classic reference and guide to understanding the crime and to  counselling survivors.  BARBARA ROSENBLUM was a creative sociologist, taught at Stanford  University and Vermont College and was widely published during her  life. After a passionate career as a writer and teacher, Barbara died of  breast cancer at age 44.  Sponsored by the Vancouver Women's Health  Collective (for more information, phone 255-8284)  Tickets $10-$l 2   Refreshments Provided  Tickets at Ariel Books, Vancouver Women's Bookstore,  Book Mantle & Vancouver Women's Health Collective  Carmen Berenguer (above) Is one of Chile's leading writers — and  political risk-takers. She's at the Vancouver international Writer's  Festival (Oct. 23 — 27) along with an impressive line-up of women  authors, including Giocanda Belli (Nicaragua); Liliana Heker  (Argentina); Sharon Olds (US); Nancy Morejon (Cuba); Sara  Sefchovlch (Mexico); Ursula K. LeGuin (US); Carmen Rodriguez  (Chile/Canada), and from this country: Jeanette Armstrong, Lorna  Crozier, Leona Gom, Sheri D. Wilson, Alison Gordon, Susan  Musgrave, Mary Howes, Nadine Shelly and Heather Spears. For  ticket information, call 681-8400 (and see ad, page 16).  CLASS IFIE DECLASSIFIED  READ LESBIANEWS:  Monthly events, information, ideas from  Victoria's lesbian feminist community.  Sample issue/back issues $2 each. Yearly  subscription [mailed in plain lavender  wrapper] $18. Cheques to Debby Gregory,  LesbiaNews, P.O. Box 5339, Station B,  Victoria, BC, V8R 6S4   SAILING FOR WOMEN  HERIZEN New Age Sailing offers immersion sailing and self- awareness courses  for women in warm and wonderful Baja,  Mexico, Nov.-Jan. Book now, space limited. Call Trish at (604) 662-8016  TRY CO-OP LIVING  City View Co-op, a 31 unit building near  Victoria & Hastings, keeps an open waiting list for applications for membership.  Rent for 1,2, or 3 BR apts, is $504, 636, or  738, plus a (refundable] share purchase.  To apply, send a S.A.S.E. to: Membership Ctte, #108, 1885 E. Pender, Vane.  V5L 1W6   STUNNING T-SHIRTS  "Take Back the Night" T-shirts are now  available through the Vancouver Rape  Relief and Women's Shelter. They are  100% cotton with a quality reproduction.  Please call Suzy or Pierrette at 872-8212  COMMUNITY ALTERNATIVES  Want an exciting place to live? We, Community Alternatives, are an intentional  community with shared values. We have  attempted to create an egalitarian village ambience in an urban setting. We  share meals in groups and enjoy living  in an inter-generational, non-sexist, con-  server conscious, spiritually pluralistic atmosphere. We are 40 people who have  built a three storey apartment house close  to Kits Beach. We own co-operatively the  apartment house and an organic farm in  the Fraser Valley. Interested in joining or  renting? Leave a message at 731-3005  from 10 am to 5 pm. We'll call you back  RENOVATIONS  Meticulous contract work. Indoor/outdoor construction, renovations, landscaping,  etc. Done by women in your community.  No job too big or too small. Free estimates. Call 253-8450  SURROGACY RESEARCH  I am a female researcher interested in  the question of surrogacy. I am interestec  in contacting women who have been or  who are surrogate mothers. Please contact me at: Fiona Green, Women's Studies, University of Winnipeg, Winnipeg,  Manitoba, R3B 2E9. (204) 786-9295  ON-GOING THERAPY  Small group for women beginning late  October with feminist, self-help emphasis. Women may enter with any presenting issue. Techniques include journal and  dream work, gestalt, hypnosis and art  therapy. Michaela Johnson, M.A., 733-  7721  NOVEMBER  3  A  17-DAY,  ROUND-THE-CLOCK RADIO EXTRAVAGANZA  Oct. 25   7:30 pm  WOMEN OF INFLUENCE  IN THE MUSIC BUSINESS  Oct. 26   9:00 am  REDEYE  Money Is the focus  on this Canadian  day of protest  Oct. 27   4:00 pm  AUOWED ft FORBIDDENl  Iranian traditional  & popular music  Oct. 28   7:00 pm  THE WOMEN OF CO-OPl  RADIO - THEN ft NOW  Oct. 29 9:00 am ,  THE NEW WORLD ORDER!  A  24  hr.  special  Oct. 30   7:00 pm  JUSTICE FOR AU???  Women  and   the  [Justice  system  Oct. 31   9:00 am  WOMEN ARE EVERYWHERE  |A 24  hr.  special  TUNE    IN...CALL   UP.  AND   JOIN. ..684-8494  KINESIS igjS vANCUUVtK  LIB1Z86*  SERIALS  Imagine it's a rainbow.  Imagine how lucky a subscriber feels.  Feel lucky. Subscribe.  riVSW Membership (includes Kinesis subscription): $30 plus $1.40 GST  KINESIS Subscription:  Bl year: $20 plus $1.40 GST Q2 years: $36 plus $2.52 GST □institutions/Groups: $4S plus $3.15 GST  Cheque enclosed      □Bill me QNew □ Renewal □Gift □Donation  at you can. Kinesis is free to prisoners. CAN YOU HELP ?  THE VANCOUVER WOMEN'S HEALTH  COLLECTIVE IS IN CRISIS  AND MAY HAVE TO CLOSE  WE ARE:  Health information for women  Mail order access to publications  Public Speaking and Workshops  Informational and referral counselling  A women-controlled organization  Over the years, women have built the Health Collective into an organization with a  national reputation for consistent and excellent work.  Our fundraising efforts this year were not nearly as successful as we had anticipated. Hence, this  urgent plea for your support. We are in the process of planning new fundraising strategies, BUT WE  NEED MONEY FOR THE SHORT TERM!  1992 marks our 20th anniversary !!! It would indeed be a shame for us to have to close our doors, so  please help us continue to provide this invaluable service.  HELP US STAY OPEN  I want to help the Health Collective stay open.  Here is my contribution:  LZH     $250        LZZI   $100 CZI  $50 LZZI $25 LZZI other $   OR Sustaining donations of 12 post dated cheques for $ each.  Please make cheques payable to the Vancouver Women's Health Collective #302 -1720 Grant St. V5L 2Y7  All contributions are tax-deductible.  Printed as a supplement to Kinesis, October 1991


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