Kinesis 1991-06-01

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 Dirty pictures—pages 10-14  cmpa • $2.25  Sexpiorations  Crisis at  Women in Focus  Violence against  women: has the  movement been  tamed?  try to throw  the baby bonus out with the bathwater.,  and much more Kinesis welcomes v  to work on all aspects of the  paper. Call us at 255-5499.  Our next Writer's Meeting is  Wed., June 5 at 7pm at Kinesis, #301-1720 Grant St. All  women welcome even if you  don't have experience.  PRODUCTION THIS ISSUE:  Debbie Bryant, Christine Cosby, Nancy Pollak, Laurel Wel-  don, Ginger Plumb, Lyn Roberts, Simmah Black, Cathy  Griffin, Mary Watt, Lizanne  Foster, Donna Butorac, Char-  lene Linnell, Terry Thompson,  Jackie Brown, Rhoda Rosenfeld, Heidi Walsh, Agnes  Huang, Sandra Gillespie, Frances Wasserlein, Marsha Arbour, Deborah Mclnnes, Juli  Macdonnel.  FRONT COVER: Cover photo by Susan Stewart  EDITORIAL BOARD: Nancy  Pollak, Heidi Walsh,. Agnes  Huang, Terrie Hamazaki, Debbie Bryant, Christine Cosby,  Sandra Gillespie.  CIRCULATION AND DISTRIBUTION: Jennifer Johnstone,  Chau Tran, Rachel Fox  ADVERTISING: Birgit Schin-  OFFICE: Jennifer Johnstone,  Chau Tran  imes  Kinesis Is published 10 tii  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. AH unsigned material is  the responsibility ofthe Kinesis Editorial Board.  SUBSCRIPTIONS: Individual  subscriptions to Kinesis are  $20 per year 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.  News About Women That's Mot In The Dailies  0NS  0t0T  Sexplorations—a panel di  INSIDE  W(?m#s\  Throwing out the baby bonus?   ...3  by Heidi Walsh  Perspective: getting past the Post   ...3  by Nancy Pollak  Gender bias in the courts   ....4  by Lorraine Michael  Native activist harassed   ....4  Movement Matters 2  by Jill Bend  Women in Focus: visibly out of focus   ....5  I Inside Kinesis 2  by Nancy Pollak  Reseau femmes: part of BC experience   ...7  as told to Margot Lacroix  What's News? 6  Myalgic encephalomyelitis: a retrovirus?   ...7  compiled by Karen Duthie  by Joni Miller  BC Retirement Savings Plan: too exclusive?   ....8  by Agnes Huang  Commentary 15  Ellen Pence: perspectives on violence   ...9  by Farhat Khan  as told to Kim Irving  Sexplorations: a panel discussion   .10  Letters 19  by Susan Stewart, Nora D. Randall,  Patrice Leung and Shaira Holman  A.D. Perry and Anita Sleeman, composers   by Margaret Boyes  ...16  Bulletin Board 21  complied by Lyn Roberts  Lillian Allen: why she writes and sings   ...17  as told to Andrea Fatona and Kathy March  Book reviews: words that ache, ignite and hum..  ...18  by Cathy Stonehouse  \  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. Second class mail  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.  %%%%%*%%***)«*%  Feminist bookfair  in Netherlands  Amsterdam, the Netherlands has been  nominated to host the 5th (V) International  Feminist Bookfair in 1992 by the organizers  of the I, II and IV Bookfairs at a meeting  in Barcelona, Italy in November 1990.  At the same meeting, the team agreed to  formalize a permanent Secretariat to ensure  continuity between the fairs. An Advisory  Board was also created to ensure that the  wealth of information and experience accumulated is not lost to future organizers of  the fairs. Appointed to this board are: Carole Spedding, Elisabeth Middelthon, Maria  Jose Aubet, Barbel Becker, Jester Thuma,  Urvashi Buthalia, and Carol Seajay.  To contact the V International Feminist Bookfair organizers, write: Gerda Mei-  jerink, Schinkelhavenstraat 29, 1075 VP  Amsterdam, The Netherlands.  To receive materials, press releases and  debates from the IV Bookfair (which was  held in Barcelona) contact: IV Feria Internacional del Libro Feminista, Casa Elizalde,  Valencia 302, 08009 Barcelona  Research centre  at York University  The first bilingual (French/English) centre for feminist research is being established  at the York University in Toronto. Called  the York University Centre for Feminist Research/Centre de recherche feminste a York  (CFR/crf), the centre is the culmination of  feminist research and teaching in women's  studies that has been evolving at York for  more than two decades.  CFR/crf will serve the research needs of  faculty and students as well as overseeing  activities already initiated by York's female  faculty, including sponsoring conferences,  computer networks and providing policy ad-  Professor Shelagh Wilkinson, a founding member of York's Women's Studies Research Group, began working on this initiative in 1985. "I think York is going to  be in the forefront of feminist research  and women's studies teaching," said Wilkinson. The centre will be closely associated  with the Nellie Langford Rowell Library  which contains more than 6,000 volumes on  women, women's studies and feminism.  For more information contact: Lydia Lo-  bos, Department of Communications, York  University, 4700 Keele St., North York, Ont.  M3J 1P3. Telephone (416) 736-5010  Endorsing the  Indian Act case  The Women's Legal Education and Action Fund (LEAF) is sponsoring the court  case of Sharon Mclvor, an Aboriginal  woman from Merrit, BC who is challenging sex discrimination in the Indian Act.  Mclvor vs The Department of Indian Affairs (as the case is known) relates to a 1985  amendment to the Indian Act which, ironically, was designed to end the discrimination and loss of status that Native women  faced when they married non-Native men.  Specifically, Mclvor is challenging the "second generation cut off" provision which denies her children—and thousands of others in similar circumstances—access to Indian status because their Native heritage  is traced through their grandmothers, not  their grandfathers.  Mclvor will argue that the cut-off violates  the Charter of Rights and Freedoms by discriminating on the basis of sex and race. Her  case now has the official endorsement of the  Native Women's Association of Canada, the  Assembly of First Nations, and the Native  Council of Canada.  LEAF is asking women's and other progressive organizations to join with these  national Aboriginal groups to endorse  Mclvor's legal challenge.  For further information about Mclvor's  case and the legal issues in question, and to  endorse her challenge, contact: LEAF, 489  College St., Suite 403, Toronto, Ont. M6G  1A5  Corrections  Due to an error in transcribing, Josette  Cole was misquoted about the number of  homeless people in South Africa in "Free  market approach ignores reality," Kinesis  May 1991. The correct number is 7 to 9 million homeless people.  Our apologies to Melinda Mollineaux for  failing to credit her for the photograph accompanying "Toying with Black women's  bodies," in the May issue. Also, if you're  interested in buying the Hazel Mote music  tape (reviewed in the May "Making Waves"  column), send 'em five bucks.  &yHI]lllHHllHllllllllllilllllllllllllilllllHHlHIII(illilllHilllllHllllllllllllllHllllll  Kinesis Women of Colour Caucus  contact Farhat Kahn at 734-7885  for information about the next meeting  Inside  Kinesis  We were sooooo close ... So close to  booking Madonna for our Annual Kinesis  Raffle and Benefit. Sooooo close ... We've  still got the hottest Une-up in town on Monday, June 10th. Catch fan dancer Helga,  poet Raj Pannu, Random Acts and singer-  songwriters Oline Luinenburg, Diane Lev-  ings and Sue McGowan at 7:00 at La Quena  Coffee House, 1111 Commercial Drive. Tix  are sliding scale ($2-6) at the door and there  will be plenty of prizes raffled off at the  event.  Kinesis is on the look-out for a volunteer  to write the "What's News?" column (see  page 6) on a regular basis. "What's News?"  presents a great opportunity to hone your  writing skills, especially if you're interested  in news. Weil help you to learn. Call 255-  5499 for more details.  We always have new women to welcome  as first time writers, proofers and pasters.  This month, Mary Watt, Laurel Weldon and  Farhat Khan contributed to Kinesis for the  first time.  This is yet another month of hellos and  goodbyes. First, hello to Debbie Bryant,  our new Production Co-ordinator. We're  thrilled to have Debbie join us in this capacity. For a number of years, readers will  have noticed her wonderful illustrations-  last month's cover is a good example. Well,  now we will also be reaping the benefits of  her skills as a designer, teacher and really  neat woman. Welcome to an old friend, Debbie.  Another change, temporarily, is Ginger  Plumb at the typesetting controls. Ginger  is filling in for Janisse who is away teaching  for a few weeks. And hello to Lyn Roberts,  the new, invisible energy behind Bulletin  Board.  And now, the goodbye. Christine Cosby,  our beloved outgoing Production Coordinator ... is going out. Christine came to  the paper as a newcomer and quickly became an indispensable presence. She has  been helpful and encouraging to literally  hundreds of volunteers, she has produced  one attractive paper after another, she has  weathered the sometimes fierce storms in  the production room with ease, her cakes  are scrumptious (sauerkraut notwithstanding), her energy apparently boundless—and  her personal and political contributions to  life at Kinesis have always been thoughtful.  Luckily, we aren't facing life without her.  Christine will continue to serve on the Editorial Board as a volunteer, and she'll continue to put vegetables in desserts and we'll  continue to eat them up. Thanks for everything, Christine. You've been great to work  with.  On Sunday May 12th—Mother's Day—about a hundred mothers and children enjoyed  a VSW sponsored event in honour of single mothers in Grandview Park. Children had a  great time on the trampoline, drawing on a giant mother's day card, having their faces  painted like turtles and eating chips, cheese and cookies. Meanwhile their mothers looked  through the piles of free clothing at the clothing exchange or listened to the entertainment.  It was a great day and we are very grateful to all the volunteers and businesses who donated their time and goods to the event:  Mina Hayes • Carrie Smith • Patty Moore • Katie Moore-Ostry • Kim Jackson • Leslie  Schwab • April Lortie • Shawna Kinman • Mary Garnett • Jennifer Watkinson • Maureen Field • Sylvie • Sand Northrup • Kate Nelson • Jolene • Calm Davidson • Sundance Trampolines • The YWCA • Chubbie's Pizza • Nalley's Chips • Dairyland • Uprising Bread • Andy's Bakery • Circling Dawn • Sweet Cherubim • San Marcos Bakery •  Carmelo's Bakery • Santa Barbara • East End Food Co-Op • Safeway • Save on Foods •  Horizon Distributors • Wild West • La Quena • Carnegie Centre  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 May:  Tanya Anderson • Gert Beadle • Liz Bennett • Kate Braid • Jo Coffey • Rosemary  Courtney • Gail Cryer • Shelora Dalen • Jill Davidson • Holly Devor • Joanna Dunaway  • Catharine Esson • Frances Friesen • Lynn Giraud • Baylah. Greenspoon • Tekla Hen-  drickson • Suzanne James • Olive Johnson • B. Karmazyn • Naomi Katz • Isobel Ki-  born • Mary Lane • Catherine Malone • Norma-Jean McLaren • Lynda Osborne • Claire  Perry • Janet Pollock • Ronni Richards • Laurie Robertson • Hulda Roddan ♦ Jane Rule  • Jean Scott • Mary Selman • Helen Shore • Sheilah Thompson • Mary Winder  * Computer Training and *  { Resume Service *  (Computer Sales & Consulting{  { -WP 5.120 hrs for $250 *  «        -DOSi Hardware 12 hrs for $100 $  { -Lotus 12312hrs for$100 *  * - Resumes from $15 *  { WOMAN TO WOMAN TRAINING £  {     MARGARET 436-9574     *  ROBin QOLDFARB rm  Registered   Massage   Therapist  KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  //y/yyyyyyyyy/////y//yy/yy/yyyyy/y^^^^  news  Throwing out the baby bonus?  by Heidi Walsh  When the federal government proposes a  new social program to fight child poverty,  and in the same breath acknowledges the  program will reduce government spending  and possibly eliminate the universal family  allowance cheques, women across Canada  should be on the alert.  At the beginning of May, the Conservatives floated the idea of a child benefit package which would give up to $3,400 per child  to poor families. Details are vague on how  the program will be funded and who will  qualify as "poor," but one thing is clear: no  new federal money will be infused into the  program and the program could save the  federal government $1 billion a year in its  share of welfare payments.  Tory MPs have suggested the program  would consolidate a variety of existing child  tax credits and the family allowance, with  the federal government taking over responsibility for all welfare payments to children.  Inherent in this proposal is the assumption that $3,400 per year would cover the  costs of raising a child. Barbara Greene, the  Conservative Chair of the House of Commons Subcommittee on Child Poverty has  stated that the proposed credit would be  just for children. She has also stated "The  parent would be financed either through the  welfare system or a minimum wage. The  minimum wage would not have to cover the  costs of raising children, just the cost of the  adult."  It is no accident the proposal is specifically aimed at "child poverty." A recent  trend in mainstream politics has been to  make an artificial distinction between poor  adults and poor children— a distinction  which masks the obvious fact that children  are poor only because their parents are  poor.  Ending adult poverty, however, would require a major overhaul of our political and  economic systems. In the meantime, say  poverty action groups, steps to relieve adult  poverty would have to include a commitment to full employment, at least a 50 per  cent increase in the minimum wage, widespread and effective pay equity schemes and  a fairer tax system.  "Focusing on child poverty as the government does can result in a complete abdication of responsibility for social programs,"  says Janet Maher, Co-Chair of the National Action Committee on the Status of  Women's Social Policy Committee. "The  notion is that if you can somehow identify a  few children who are poor and throw money  at them, you can claim to have done something [and also] reduce your budget."  Jean Swanson of Vancouver's End Legislated Poverty says the government would  use the child benefit package proposal to  meet four of their own goals: "To reduce the  deficit, destroy universal programs, maintain wage top-ups and delude people into  thinking the government is concerned about  poverty."  Swanson further criticizes the program  for limiting its source of revenue to existing  credits for families with children. "This is  ridiculous," she says. "The program should  be getting its revenue from the rich and corporations, and not just rich people with children, but those without." Swanson has calculated that many low income families are  likely to be better off under the current child  benefit and tax credit schemes than with the  $3,400.  While adults are held responsible for  their own poverty, children rarely are—and  politicians have discovered that appearing  to help poor children makes good public  relations. An appeal in November 1989 to  eliminate child poverty by the year 2000  won unanimous support from the House of  Commons. Less than a year later, Prime  Minister Brian Mulroney hosted the United  Nations World Summit for Children and  urged governments to "ensure a dignified future for all children."  A dignified future is unlikely if the Tories act on their desire to eliminate universal social programs—and the child benefits  proposal calls for just that. On the chopping  block is the monthly baby bonus (family allowance) cheques to higher income families.  The baby bonus was introduced in 1945  to ensure a basic income to families with  children and thereby help avoid a post-war  recession. Almost all western industrial nations offer universal family allowance programs, with the notable exception of the  US.  "It is far easier to  scrap a social  program that only  poor people use..."  Swanson says governments nave a history  of manipulating the family allowance to fit  their agendas. "Governments raise it before  elections and reduce and de-index it in between. It is totally political."  Perspective: getting past the Post  by Nancy Pollak  Perspective, a Calgary-based women's  publication, copped a pile of free publicity  in May when Canada Post decided to warn  the general population of the five-year old  tabloid's existence.  Warn?  In an unprecedented move, Canada Post  officials paid special visits to Calgary's two  daily newspapers in an effort to alert the unaware citizens of Calgary that 2,000 households would be mailed unsolicited copies of  Perspective—full of information, articles,  resources and thoughts about ... sex.  From women's Perspective, naturally.  Canada Post's actions caused an uproar  in Calgary and some fairly furious backped-  dling in the public relations department,  which had initiated the visits to the Calgary Sun and Herald. Lloyd Mildon, the  Canada Post official who calls himself "the  guy who did it," says that he believed a  reasonable person could consider the May  issue of Perspective "obscene"—and that  the post office didn't want to be blamed for  offending the public when they delivered the  unsolicited copies.  Postal regulations prohibit the delivery  of obscene items (in the Criminal Code  sense). While Mildon acknowledges that untold amounts of pornographic materials flow  through the mail system, his sole concern  was that Perspective would be arriving unsolicited on 2,000 doorsteps.  The May edition of Perspective is an  attractive, thoughtful and resolutely sex-  positive collection of articles— tame by feminist standards (there is very little lesbian  content and nothing on sexual minorities)—  tame even by Cosmo standards. Articles,  poems and interviews address issues around  passion, recovering from breast cancer, sex  education and therapy, and a playful list of  "turn-ons."  Canada Post, however, couldn't cope  with an article by Gwendolyn, a Toronto  sex trade worker, filmmaker and activist.  Gwendolyn speaks plainly about men who  go to prostitutes and their thoughts about  sex with different women. Says Mildon, a  male postal worker read the article at the  post office, became upset and notified PubHc Relations.  After a ruling from Ottawa head office  that Perspective was indeed not obscene,  Mildon decided to let the mainstream press  in on what the women's press was up to.  Perspective editor Annette Ruitenbeek  says that the paper is routinely distributed  to households "as a means of extending our  net beyond the usual feminist networks."  A quarterly, Perspective has an editorial  commitment to documenting women's experience and is run by an editorial collective  which, in Ruitenbeek's words, "is not extensively involved in the women's movement."  Concerning the May issue, Ruitenbeek says,  "Our premise is that silence around sex is  dangerous."  Canada Post, which never bothered informing Perspective of its plan to notify  the press, did take the time to telephone  the magazine's funders, the Secretary of  State—a move Ruitenbeek describes as "extremely political." (Mildon denies that any  official call went to SecState.) As a result,  Secretary of State Robert de Cotret issued  a statement that, while his ministry does indeed fund the magazine, no funding went to  that particular issue.  "We're chronically underfunded," says  Ruitenbeek. "If they choose to disown this  issue, that's their business." Perspective's  five-year funding is up in September and  they have been informed that they must  now apply on an issue-by-issue basis, pending theme approval. It is unclear whether  Canada Post's actions affected SecState's  approach to the magazine.  Perspective is available by subscription fort 9.50/four issues. Write to  S05-223 12th Ave. SW, Calgary AB  T2R 0G9.  In 1973 the monthly cheques were indexed (increased to keep up with the inflation rate) for the first time but also became  taxable income. Six years later, the Liberals cut the allowance by over 20 percent  to finance most of the Refundable Child  Tax Credit. In 1985, the Conservatives partially de-indexed the allowance, which in  real terms decreases its value by 3 percenl  annually. Since 1989, it has been subject to  a "clawback"—the higher a family's income,  the more the baby bonus is taxed back.  At the current rate of $33.93 per child I  with much of it taxed back from middle  and high income families, the allowance is  an easy target for those who believe it has  lost its value as a universal program. In fact,  universality—the idea of communal responsibility and communal entitlement—is itself |  under attack.  "The sneakiest and, unfortunately, most  appealing argument against universal socia  programs is that wealthy people don't need  the benefits, so why should they get them,"  says Trisha Joel of the Vancouver Status  of Women. "In fact, the people who promote that argument aren't really interested  in 'saving the taxpayer money.' They want  to destroy the idea that society as a whole—  not just individuals—is responsible for our  health and prosperity.  "It is far easier to scrap a social program  that only poor people use, than one that everyone participates in."  The family allowance cheque is automatically issued to the mother, unless a divorced  or single father has custody of the children.  "For a lot of women, the baby bonus is the  only recognition they get that the job they  do is important," says Janet Maher.  NDP Women's Critic MP Dawn Black  agrees the family allowance acknowledges  the worth of being a mother and recognizes  that society has an obligation to all children.  She adds that in families of all income levels where women are subjected to violence  and male domination, "this cheque may be  the only bit of money a woman has that's  not under her husband's control."  If the Tories go ahead with their proposal, it may be at the expense of the families just above the eligibility cut-off line  through a reduction of their current child  tax credits and benefits. Says Maher, "We  cannot divert people's attention by spending money on a few at the cost of withdrawing support from the women and children  who are just above the level of those who  are eligible—the so-called working poor."  KINESIS ssssssssssss^^  NEWS  Gender bias? You  mean women, right?  by Lorraine Michael  The BC Law Society's recently announced study into gender bias in the  province's legal and justice systems coincides with a national spotlight on the issue.  The study is one of many similar actions being taken by the legal profession  across the country. In April, for example,  the Law Society of Upper Canada released  a report entitled "Transitions in the Legal Profession." The report's recommendations, which were passed by the Society,  deal with issues ranging from discrimination  against women lawyers to the sexual harassment they experience in the profession.  The Canadian Bar Association in Ontario has also announced a study examining  gender bias in the courts. The study will be  headed by retired Supreme Court of Canada  Judge Bertha Wilson.  As illustrated in the last few weeks,  women who launch sexual assault cases encounter many biases. In one case, Vancouver Justice Sherman Hood ruled that when  a woman says no to sex, she might mean  "maybe" or "wait a while," while a Prince  George doctor was acquitted on 16 separate  charges of sexual assault by 12 of his former  patients, all women.  By its own definition, the Law Society's  study will be considering such cases and will  also make recommendations on how to eliminate gender bias in the system.  The Gender Bias Committee has set itself a formidable task. It will explore in  depth four areas: substantive and procedural law; gender bias within the justice system from the perspective of the court room;  the response of the justice system to violence against women; and gender bias in the  legal profession.  Women's groups have high expectations  of the committee and its mandate and many  say the study is long overdue. Among them  is Florence Hackett of the Indian Homemakers' Association. "We have been involved  with this issue [the treatment of women in  the courts] for twenty years or more," says  Hackett, who hopes the study will "make  a big difference... [the Law Society] would  have more power because they're part of the  system."  Susan Milliken of the Society for Children's Rights to Adequate Parental Support (SCRAPS) also expressed cautious optimism. "The most the committee can do  is identify problems and attitudes that militate against all women and children and  then make recommendations for an educational process that can result in changes,"  she says.  Protesting Judge Sherman Hood's decision in a rape trial, Vancouver, April 1991  In a scathing evaluation of the 1985 Divorce Act, published in Lawyers' Weekly  (August 31, 1990), the federal Department  of Justice concludes "women's situation has  certainly shown no improvement as a result of the [Act's] legislation ... The likelihood that divorced women with custody  of the children and limited employment opportunities will be living below the poverty  One area of concern for Milliken is  some judge's and lawyer's attitudes towards  women seeking spousal support. In her experience, many women who have made out-  of-court settlements are not told they have  a right to financial assistance.  line has probably increased rather than decreased over the past few years."  Trisha Joel of the Vancouver Status of  Women points to a new phenomenon of  women who are losing custody of their  children simply because the man is better  Native activist harassed  by Jill Bend  On December 18, 1990, Native rights activist Kelly White was arrested and charged  with the assault of a Vancouver police officer after two plainclothes officials forced entry into her home at 10:30pm. When she demanded to see identification and a warrant,  White was slammed into the wall, elbow-  punched in the face, punched and kicked repeatedly about her body. She has since filed  a complaint and called for an internal investigation, alleging police brutality and illegal  entry.  The trial on the assault charge against  White began Wednesday, May 22 in BC  Provincial Court. The defence case and  summation will continue in early June.  White's lawyer, Harry Rankin, will question whether the police conduct in this case  was routine or illegitimate and racist harassment.  White is from the Salish Nation and is a  33-year old mother of three daughters. Last  December, she organized a ten day west  coast speaking tour by the Mohawk delegation, which ended in a large public benefit for the joint defenses of the Mohawk and  Lil'wat Nations (see Kinesis, March 1991,  "In defence of sacred land"). White's  name and number circulated throughout  the city as the contact for this tour. On  the day prior to the assault, White returned  from an organizer's meeting for the event in  Mount Currie. For this reason, the raid is  believed by some activists to be politically  motivated.  "The public has a right to know why the  police are doing these things," says White.  "I have been in this community for 16 years,  doing events for the First Nations, Native  inmates, radio programs, classes in cultural  enrichment for both elementary and adult  schools, theatre performances...rve been really involved in networking, bringing people  together around issues such as racism and  class war. Who gave the orders for the police to do this to me?"  White's biggest concern is the psychological effects on her children. Woken from sleep  by the shouting, the two youngest daughters witnessed the whole assault. "Leave my  mother alone," the ten-year-old screamed in  an attempt to help her mother. "I hate you.  I hate you."  A defendant from the Lil'wat sovereignty  case, staying at White's during the trials, intervened against the officer beating her. At  this point, some of White's neighbours came  to check on the noise. The officers panicked  and radioed the emergency code 1033 (police officer in trouble), shouting: "There's  fucking Indians all over the place." Within  a few minutes, more than a dozen officers  appeared at the house, searching the entire  premises.  According to White, "My neighbours  counted 16 uniforms. Obviously, they were  not police on a routine check or who just  happened to be cruising by. They were waiting to come in."  See ARREST page 6  off economically. Joel believes that this is  part of "the backlash from the men's rights  groups." Joel anticipates that the VSW and  Access Working Group will include this issue as part of their presentation to the Gender Bias Committee.  The Indian Homemakers' Association has  many concerns in the area of male violence. Referring to judges who acquit men  charged with beating their wives and children, Florence Hackett wants judges to become aware that this is an unacceptable way  to treat women.  She also sees a need for a comprehensive study of women who fight back in self-  defense, so that women "do not end up in  prison while the [abusive] men continue to  walk free."  According to Cathy Bruce, director of the  BC Gender Bias Committee, the committee members are aware of the enormous nature of their task and although they plan to  cover all areas, acknowledge that "some areas will be peripheral."  The committee plans to hold hearings in  eight different locations in the province beginning in the Fall of 1991. In addition to  formal hearings, Bruce says, "the opportunity will be given to individuals who wish to  speak in confidence to the committee about  experiences they have encountered in the  system."  She says the committee would like to hear  from women and men on issues such as family, criminal and civil law and the treatment  of women lawyers by judges, lawyers and  non-judicial court personnel.  All concerned groups will be able to meet  with members of the committee, says Bruce,  who encourages groups or individuals desiring information to contact the committee.  The committee is using the list of  women's organizations registered with Women's Programs for their initial mailing.  This information package, which will be sent  out in June, includes the time and place  of the hearings and a paper explaining the  study and its goals. The hearings for Vancouver will be held January 17 - 18, 1992.  In the meantime, women who cannot wait  for the results of a formal study are taking action of their own. In Prince George,  women incensed by the acquittal of the doctor accused of sexually assaulting 12 former patients have formed a group called  "Equal Justice for Women." Spokesperson  Ann Johns says the aim of this group, the  first of its kind in Prince George, is "to serve  as a referral network for victims of sexual  abuse, as well as to lobby for change in the  justice and medical professions."  For more information call Cathy Bruce  at (604) 732-4248 Fax: (604) 738-7134.  4 KINESIS MEWS  /y////yy/////yyyy/y/yy/yyyyy/yyyyy^  Women in Focus, In Visible Colours  Visibly far out of focus  by Nancy Pollak  Vancouver Women in Focus, one of this  country's few community-based feminist  arts centres, is tangled in a mesh of legal and  ethical battles that threatens its existence  and may deepen divisions among women of  colour and white women.  The dispute is a complicated mix of financial crisis, racism, organizational and personal exhaustion—and troubled histories.  The crisis erupted when In Visible  Colours (IVC), a women of colour film and  video group, accused the Board of Directors of Women in Focus (WIF) of improperly seizing IVC funds.  The board says that after WIF decided  to dissolve itself as a society—another controversial issue—they were legally bound to  secure the money ($50,000) in order to act  in good faith towards their creditors.  IVC, which originated as a highly successful film and video festival co-sponsored  by WIF and the National Film Board in  1989, was outraged by the WD? board's unilateral removal of the funds from their bank  account. The $50,000, which was intended  as seed money for a future women of colour  festival, now sits in WIF's lawyer's trust account.  As Kinesis goes to press, the major players in the dispute are:  • FVC, which has recently gained legal  status as a society in its own right;  • Sue Jenkins, the sole remaining director on WIF's board. Another four directors  resigned in April after the WIF membership  voted to return the money to IVC;  • the active membership of WIF—about  30 women—who have formed a steering  committee which is willing to stand as new  directors of WIF. The steering committee is  pledged to return the funds to IVC and to,  keep WIF alive.  The dispute has gone to court and all  three parties have submitted a variety of  petitions, counter-petitions and suits. The  Vancouver feminist community is largely  unaware of the unfolding events—an indication, some say, of how isolated WIF had  become in the past year.  A Big Deficit—But How Big?  Women in Focus Arts and Media Centre  formed in 1974 with a mandate to promote  women's culture. Over the years, WIF developed an impressive video and film distribution network, operated a visual arts  gallery and performance space, and sponsored production workshops, among others.  Throughout its history, WIF has grappled  with its identity vis-a-vis the feminist and  arts communities, an identity that tended  to shift with staff or volunteers changes.  The current crisis became apparent this  January when WIF's board fired the paid  director and only full-time staff, Deborah  Mclnnis, after a three month probationary  period. The board claims that, after the  firing, it discovered an operating deficit of  $40,000—a figure which is still unconfirmed.  Mclnnis, according to sources, had warned  the board of an impending crisis for months  prior to her firing.  After laying off WIF's distribution manager, the board—Jill Pollack, Ingrid Yuille,  Jeanne Landry and Sue Jenkins—kept the  centre open as volunteers, a task that ultimately proved too exhausting.  Throughout the previous fall, In Visible  Colours and WIF attempted to negotiate  a settlement regarding the IVC monies left  over from the festival. No contract had ever  been signed between the three parties involved in the 1989 JVC Festival (WD?, NFB  and IVC) and the money sat in an account  with signing officers from both WD? and  IVC. At a November, 1990 meeting, WIF  agreed to turn all the funds over to IVC,  but the transfer never happened. WD? also  proposed a mediator to help settle the matter, a suggestion IVC turned down.  By early March, the WD? board was out  of energy and, despite their efforts, the financial picture was still grim. At a March  20 society meetings, the board said it could  no longer carry on and appealed to the few  members in attendance for help. The decision was made to legally dissolve WD?.  On April 8, IVC learned that the money  in their account had been transferred out  and that their representative, Lorraine  Chan, had been removed as a signing officer.  Jill Pollack, who later resigned from the  WD? board on April 20, says the transfer  was an attempt to protect the money from  creditors. WD? lawyers advised the board  to make the transfer, she said, in order to  avoid acting in "bad faith" vis-a-vis those  creditors.  "Our lawyer told us, you can't do it [give  the money to IVC] because it would mean  we would be dispersing funds in bad faith,"  says Pollack.  The WIF board was also dealing with a  credit union and a major funder, Secretary  of State—dealings which re-enforced the  board's belief that the money was legally  WIF's.  Zainub Verjee, a former WD? employee  and co-founder of IVC (with Lorraine Chan)  says: "That is their legal concern. There's  also the issue of the WIF board acting  in bad faith towards the artist, feminist  and cross-cultural communities— especially  in terms of trying to bridge gaps between  white women and women of colour." Verjee, Chan and the IVC board—along with  WIF's active membership—are adamant  that the money is both legally and morally  IVC's.  Also on April 8, WD? proposed two options to IVC via a letter to Barbara of  the NFB: 1) that the newly formed IVC society accept $15,000 from WD? in exchange  for a "full release for all parties;" or 2) that  four IVC members join the WIF board and,  with other WD? board members, pay off  WIF's accounts payable (approx. $30,000)  and generally deal with WIF's affairs.  In the same letter, WIF's lawyer Kim  Roberts described the IVC Festival as "a  project of Women in Focus." Pollack concurs with this view. "Clearly," says Pollack,  "it was never the case that it [IVC] was a  separate entity."  IVC refused to consider either option,  stating that "the whole notion of being  forced into a position whereby one has to accept what others consider "choices" is ... a  contradiction in terms." IVC also views the  idea that they aren't a separate entity a distortion of fact, a view snared by most observers. "The whole event [the festival] from  start to finish, was run by women of colour,"  says Verjee.  Upon learning of the money transfer, IVC  sent a letter throughout the community urging women's groups to ask WIF to deposit  the money in an IVC trust fund, pending  resolution of the problem. IVC also started  a court action against WIF to get the money  back. WIF's lawyer wrote to IVC warning  that the letter-writing campaign was possibly defamatory.  Distortion of Fact  Former WIF board members, WIF members and other concerned women—many  with previous ties to WIF as artists or  workers—then got involved. At a special  meeting on April 20, the decision to dissolve WD? was rescinded and the membership agreed to return the money to IVC.  Four WD? board members resigned, believing the IVC decision to be legally untenable.  On April 25, over 50 women from the arts  community (including WIF and IVC members) met to discuss the situation. A WIF  steering committee was struck to explore an  action plan for saving the centre, including  fundraising and paying back IVC.  Since that date, the WIF membership  and steering committee have been locked  in a struggle for control of WIF with  the remaining board member, Sue Jenkins.  Legally, Jenkins can serve as the sole director for up to six months or until the next annual general meeting, which can take place  in late June at the earliest.  Jenkins has questioned the legality of  both meetings and has refused to appoint  the steering committee to the board. On  May 21, in a move to apparently derail a membership meeting called for that  evening, she petitioned the court to appoint  a management firm to take over WIF's legal and financial affairs. The membership  counter-petitioned, blocking the management firm move by agreeing to not discuss  comments published about me which may  lower my reputation in the community are  defamatory and actionable."  WIF members are both bewildered and  angered by Jenkins' actions. "She has completely disregarded us,"says Margo Butler,  a former WD? staffperson. Fumiko Kiyooka,  a video and filmmaker on the WD? steering  committee, says: "Sue feels she has been left  to deal with the situation, but she doesn't  see that just keeping WIF alive legally is, in  the meantime, killing other parts of it, like  its community and ethical [considerations]."  Many WIF members now believe the  March 20 decision to dissolve WIF and the  transferring of IVC's funds were made in an  atmosphere of exhaustion, pessimism and  fear—especially concerning finances. Whatever the reasons, the money transfer fed  into an already uneasy relationship between  WIF and IVC.  "During the Festival planning, there  was an ongoing struggle between IVC and  WIF," says Yasmin Jiwani of IVC's original board of directors, referring to a range  of problems including sharing space (IVC  worked out of WIF's offices) and money-  problems which often had racist underpinnings. "These weren't personalized incidents," says Jiwani. "But [they] had their  prejudices backed by power."  Zainub Verjee says, "The actual act of  taking the IVC money wasn't necessarily a  #||E SIZE FITS Att     TMjfc  IVC funds or the appointment of new directors at the meeting.  Jenkins' petition was based on her concern that the May 21 meeting would elect  directors who would then bankrupt WIF by  returning the money to IVC—the same reason she has given for not appointing steering committee members to the board.  Says Jill Baird, a steering committee  member: "My intention is to return the  $50,000 to IVC. But under no circumstances  do we plan to destroy WD? in doing this. We  also plan to fundraise to deal with the society's debt and to [activate] the grants available to WIF."  Jenkins refused an interview with Kinesis, saying the issues were before the  courts and her more pressing task was to  appoint a new board and organize an AGM.  She then asked Kinesis to publish "a fact  sheet/article" by her, an offer that was  turned down. In a letter hand-delivered to  this reporter a few hours before press time,  Jenkins threatened to sue, writing: "any  racist act—they were desperate. But how  they've dealt with us since has been racist."  Selina Williams, a member of the new  IVC board, says, "This has been disillusioning and disheartening for the new IVC  board. Many of us are younger women and  we've seen almost a negative stereotype of  white women here."  With its money frozen, IVC is strapped  for cash and having difficulty paying the  rent—like WIF. "We're glad to see the  membership of WD? has decided to fight  with us to get the money," says Williams.  The women's art community in Vancouver seems to agree that the prospect of losing Women in Focus and In Visible Colours  in bitter, expensive legal fights is unacceptable. It is unclear, however, when the fighting can be stopped.  As Kinesis goes to press on May 27,  the WIF/IVC situation is changing,  with various meetings and court appearances scheduled for the last week of  May.  KINESIS assssss5*****s$*s$ssss^^  NEWS  WHAT' S NEWS?  by Karen Duthie  No time limit  on criminal  abuse  In a unanimous 7-0 vote, the Supreme  Court of Canada ruled in May that a  lengthy passage of time would not permit  a man accused of sexually abusing his three'  daughters to avoid being brought to trial.  The BC man abused his daughters between 1957 and 1985, but it wasn't until  I that 18 charges were brought against  him. A stay of proceedings on the charges,  granted by a BC trial judge, was later overturned by the BC Court of Appeal. The  man appealed to the Supreme Court on  the grounds that the lengthy delay violated  his right to a fair trial under the Canadian  Charter of Rights and Freedoms.  Mr. Justice William Stevenson wrote in  the decision that "the fairness of a trial is  not automatically determined by a lengthy  delay ... it is well-documented that, in  cases of sexual abuse, non-reporting, incomplete reporting and delay in reporting  is common. For victims of sexual abuse to  complain would take courage and emotional  itrength ... in opening old wounds."  Pat Marshall of the Metro Toronto  Action Committee on Violence Against  Women and Children said the decision "is  appropriate and accepting of the reality victims experience."  The court's decision is an affirmation of  the existing law which sets no time limits on  when criminal charges for sexual abuse may  be laid. Women's groups are continuing to  work towards eh'minating the time limit on  sexual abuse suits in civil cases, which currently must begin within four years after the  complainant reaches age 19.  Feds try to  block pay  equity  In early May, the federal government  asked the Federal Court of Canada to block  a Canadian Human Rights Commission  (CHRC) tribunal from investigating pay equity complaints filed on behalf of 68,000  federally employed clerks and secretaries-  most of them women.  The human rights body believes that the  government, in making this move, is ignoring its own pay-equity guidelines established in 1986 and used in all major pay equity cases since then.  The government filed its objection to the  CHRC tribunal in a Federal Court hearing  shortly before the CHRC tribunal inquiry—  an inquiry that could force the government  to pay up to $250 million to compensate  for discriminatory pay structures throughout the federal public service.  The workers are represented by the  Public Service Alliance of Canada. PSAC  spokesperson Susan Gianpitri is disgusted  the government is taking the case to Federal  Court: "It is really disgraceful to watch this  government abuse its power and waste taxpayers' dollars when it knows full well that  it is wrong."  CHRC sources say that the government  is trying to impede the evolution of equal  pay guidelines. The earlier approach of comparing a lone female worker with a lone  male worker has been broadened to measure the value of work performed by female-  dominated occupations with that of the  male-dominated occupations, and has further evolved with federal clerks and secretaries requesting to be compared with any  group of men doing work of equal value.  The federal government disagrees with  this approach, arguing comparisons should  be restricted to a single male-dominated occupation.  After years of disagreements between the  federal government and its unions about the  implementation of pay equity provisions,  the government acted unilaterally in 1990  and paid $317 million in back pay and $80  million in adjustments. The current dispute  stems from the unions' behef that those  payments failed to address all the pay inequities.  The bad gets  worse  The second annual study of 15 Canadian  newspapers indicates that women receive a  fraction of the coverage men get and are getting credit for writing less than a third of  the articles. The study, conducted by MediaWatch, a national women's organization  concerned with how the media treat women,  provides a follow-up to a study done last  year. Over the year, while some papers improved, many got worse.  "The dismal findings of our 1990 study  were replicated in this year's research," said  Jennifer Ellis, Communications Officer for  MediaWatch. "Any doubt we may have had  about last year's 'A Day in the Life of Canadian Newspapers' study being just a bad  day has been eradicated with this second  study. I suspect every day is a bad day for  women in the Canadian press."  The Globe and Mail, Canada's national  newspaper, rates as one of the worst. Although the average for the 15 papers stud  ied was one woman mentioned for every five  men, The Globe referred to women one-  tenth as often as men, a decline of four  percent from its performance last year. In  terms of how many bylines women received  in the Globe and Mail this year, it ranked  as the third lowest of the 1991 sample, down  almost seven percent from last year.  Of the six newspapers reviewed both  years, only one paper, Vancouver's Province, increased the number of bylines that  women were getting—by 14 percent. The  highest and lowest number of bylines came  from the two Winnipeg papers. The Winnipeg Sun had 21 percent more bylines  for women than its competition, The Winnipeg Free Press.  When women were mentioned, the manner in which they were discussed was often sexist. In addition to using many male  gendered terms such as "manpower," "man-  made," or "businessmen," women were frequently described by their appearance and  their relationships to men. One article,  printed in three different papers, referred to  one woman as "his wife" or "the wife" without ever mentioning her name.  Meme implant  finally banned  In mid-April, Health and Welfare Canada  belatedly acted on the controversy surrounding the Meme breast implant when  it issued a warning to Canadian doctors  to stop using the device—a day after the  US manufacturer voluntarily withdrew the  product from the international market as a  precautionary measure pending a full safety  review.  The Meme is constructed of a foam which  easily disintegrates, releasing chemicals sus  pected of causing cancer.  The over 13,000 Canadian women who  have received the breast implant were advised by the government to "discuss their  concerns with their doctors."  Millions of women world-wide have had  the Meme inserted into their bodies, 80 percent for so-called cosmetic reasons, the others after breast surgery or injuries.  Recent studies from the US Food and  Drug Administration reveal that traces of  the chemical 2-4 toluene diamine (TDA),  known to cause fiver cancer in mice and  rats, can be' found when the implant's  polyurethane foam breaks down.  The foam, which critics say was intended  for industrial uses only, was considered "attractive" because it keeps the implant soft,  while other implants become hard due to  scar tissue.  Manufacturer Bristol Myers says that although the company is confident about the  implant's safety, shipments have been suspended because "negative publicity" from  the media will reduce the confidence of their  consumers.  In the US, several women with Meme implants have launched court cases after developing cancer. An award of $4.45 million  was awarded to a New York woman who developed breast cancer after having the implants in 1983.  Canadian women have not been so successful. Linda Wilson of Delta BC was the  first Canadian to go to court in connection  with the Meme. Her negligence suit against  her doctors was dismissed in BC Supreme  Court last year, and she is now pursuing a  product liability suit against the manufacturer. The federal government has provided  little information and less support for Canadian women who are concerned about the  safety of Meme implants.  "Fetal protection"  policies thrown  out  The US Supreme Court unanimously  ruled in March that so-called "fetal protection" policies barring women of childbearing  age from certain hazardous but high-paying  jobs is illegal sex discrimination. The ruling is considered a victory by women's and  labour organizations.  The case before the court involved the  Johnson Controls Company of Wisconsin,  the largest maker of car batteries in the US.  Johnson Control policy meant fertile women  of childbearing age were barred from certain  jobs with either known or suspected health  hazards.  Writing for the majority, Mr. Justice  Harry Blackman recognized that: "Concern  for a woman's existing or potential offspring  historically has been the excuse for denying women equal employment opportunities  ... It is no more appropriate for the courts  than it is for individual employers to decide whether a woman's reproductive role  is more important to herself and her family  than her economic role."  Allison Wetherfield of the National Organization for Women's Legal Defense Fund  was pleased at the strong wording of the  ruhng: "H this pohcy had been upheld, millions of women could have suffered."  At least 15 major US corporations,  including General Motors, duPont, BF  Goodrich, Gulf Oil and American Cyanimid  have so-called fetal protection pohcies.  The case arose after a lower court decision last November gave the right to the  Johnson Controls Company of Wisconsin to  bar women of childbearing age from jobs  exposing them to high levels of lead unless  they could prove they were infertile.  The United Auto Workers appealed that  decision to the Supreme Court, arguing that  companies should make the jobs safe for  women and men, not discriminate against  women workers. The union was supported  in its appeal by Planned Parenthood and  the American Civil Liberties Union, who argued that fetal protection rulings are part  of a backlash against women who are seen  as deserting their role as guardians of the  unborn.  Sources: Globe and Mail, MediaWatch.  ARREST from page 4  Pubhc knowledge and community support are crucial in cases of pohce brutality  and racist harassment. Talks Not Tanks, a  local coahtion in soUdarity with First Nation's struggles, has sent a letter with the  endorsement of 50 organizations to the Pohce Commission on Race Relations, protesting the charges against White. In the four  days following the raid on December 18, the  Mayor's office received dozens of inquiries  regarding pohce conduct in this case.  When White phoned her lawyer the pohce kicked out the phone cord. They threatened to hand her baby over to welfare, and  then laid an assault charge against her. As  they dragged her out barefoot to the pohce wagon, the pohce continued their racist  slurs saying, "Where are your Oka warriors  now?" "Oka hves," and "Dump her off at  Oka."  Up to now, the pohce have not released  any of the findings of their internal investigation.  White is adamant that the racist treatment suffered by First Nations' people in  the judicial system must be confronted and  exposed, perhaps in the form of national tribunals.  "No matter how extreme those pohce  forces get, or who gave the orders, they  can't take the truth out of our people or our  future work. They can't erase us by beating  the shit out of our physicalness."  KINESIS NEWS  //////////////////////////////////////  Reseau femmes:  Francophone  women: part  of the B.C. experience  as told to Margot Lacroix  The 1986 census revealed there were  54,250 individuals hving in British Columbia whose mother tongue is French. By applying the 52 percent "rule," we can calculate that close to 50,000 are women. A number of them have been involved in Reseau-  Femmes Colombie-Britannique, an organization being set up to represent francophone women in BC. An upcoming annual  general meeting in June will mark Reseau-  Femmes' official founding.  Marie Dussault, coordinator of Reseau-  Femmes, and Louise Cantin-Merler, member of the ad hoc committee, spoke with  Margot Lacroix about the organization, the  experiences of francophone women in BC,  and some of the issues they face.  Margot Lacroix: Tell me about the  origins of Reseau-Femmes.  Louise Cantin-Merler: They go back  to 1979. The Federation Nationale des  Femmes Canadiennes-Francaises had acknowledged that there was no representation from British Columbia, Newfoundland  or the Northwest Territories. [FNFCF, a  national organization representing the interests of francophone women outside of  Quebec, was founded in 1914 to fight for the  right for French schools. It has since become  an advocate on behalf of women in all areas  of social and pohtical hfe. Its pubUcations  include the magazine Femmes d'action,  and exceUent tool of information and discussion.] I was vice-president of the Federation  des Franco-Columbiens at the time, and was  appointed spokesperson at the FNFCF's annual general meeting.  Shortly after I attended a conference on  women and pohtical education organized by  the FNFCF in Saskatoon, along with about  ten other women from BC. On the way back  to Vancouver, Olga Campo and I talked  about doing something—it had been such  an inspiring event. We decided to invite  other women that we knew to meet, and we  ended up meeting and organizing activities  on a regular basis for almost three years.  We held several information sessions—we  would invite someone to speak about different topics, for example divorce. We had  workshops on self-defence for a time. We  French, especiaUy in the areas of day care  and health. Now that we have an office and  a telephone, women contact us about the  widest range of issues: housing, social services, unwanted pregnancies...Also, women  expressed the need to meet other French-  speaking women.  Marie Dussault: The study showed that  there was a clearly-defined interest for a  group hke Reseau-Femmes. Consultations  we did later on in the suburbs around Vancouver confirmed that women had a great  need to meet other francophone women,  to speak French outside of the household,  and for opportunities for personal growth  and development in French. Several years  ago, francophone women had some structures that aUowed them to meet as a  community—the church in particular— but  now that's gone. Something else is needed,  and we hope to fulfill part of that role.  Margot: What might characterize  francophone women in British Columbia?  Marie: It's not exactly a homogeneous  population, especiaUy in terms of the origin of its members. Some women have been  here most of their Uves, some have been  born here, others are either from Quebec,  or from a province where francophones are  a minority, or even from Europe. Each experience provides a very different vision or  perception of "la francophonie," and with  it a different sense of commitment towards  the francophone community.  But there are definitely common experiences. Isolation is probably the most common one, and the isolation is often heightened by the fact of being a woman. Breaking that isolation can be problematic, if you  are at home taking care of chUdren, or if  your partner does not speak French.  The francophone community in BC is stiU  a fairly transient population, probably more  than in any other province. It has yet to develop a strong sense of itself, but there are  signs that this is happening and the current  pohtical climate may weU have something  to do with this.  Perhaps one of the most interesting facts  is that women speak French at least twice  as much as their male counterparts, according to another study. It is we women who  identify most with our culture, and are con-  Women deplored the lack of  services in French, especiaUy in  the areas of daycare and health.  did not receive any funding whatsoever, we  asked for a small contribution at the door  and volunteered our time. We had a hst of  approximately 80 women who attended our  events on a regular basis.  Several of the women involved in the core  group started to want to return to work,  and things slowed down for a whUe. We had  the opportunity to participate in a study  concerning francophone women in BC. We  were trying to define more accurately what  their needs were, and what may characterize them as a group.  Women deplored the lack of services in  tributing to its transmission. Women are  presently very involved in education and  have worked very hard to obtain French  classes and schools in their communities.  Margot: Does this kind of involvement and subsequent political education  also foster an awareness of women's issues? And what about the constitutional  debate?  Marie: Francophone women can be  caught between the two roles, arguing for  their rights as a minority and defending  their rights as women. And looking for funds  on both fronts...It is essential, however, that  Some members of Reseau-Femmes at launching of March 1991 issue of Femmes d'action  the latter role not be neglected because of  the apparent urgency of the first, and that  women claim their rightful place within the  constitutional debate.  Margot: I know that Reseau-Femmes  is only now organizing itself into a formal structure, and that your energies  have been directed towards this objective. Eas the organization had a chance  to formulate its position on constitutional matters?  Marie: We have yet to do this, but it  wiU be a matter high on the priority list  in the year to come. We wiU be forming  committees at our upcoming annual general  meeting, and one of them wUl be delegated  to work on developing a position. We have  also been busy in the meantime prepar  ing women for an upcoming national conference of the Federation des francophones  hors-Queoec [The FFHQ is a national organization representing francophones outside  of Quebec] so that they can fuUy participate in aU the discussions. An effort is being made nationaUy for greater representar  tion by women in these debates.  Reseau-Femmes Colombie Britanni-  que will hold its annual general meeting  on June 11 and is currently conducting  a recruiting campaign. For more information, call Louise Cantin- Merler at  (604) 7SS-1520.  Margot Lacroix is a writer and a  francophone who has lived in Vancouver for 12 years.  M.E. a retrovirus?  Many unknowns,  some discoveries  by Joni Miller  Women suffering from myalgic encephalomyelitis (ME) have too often been told  it's aU in their heads—a common enough  experience considering the sexism in mainstream medicine.  GraduaUy, however, medical research is  catching up to the reality of ME—and the  news is scary. Recent discoveries suggest  that the sickness is caused by a retrovirus—  and that it's contagious.  A retrovirus works by inserting copies of  its genes into the DNA of the cells it invades, effectively taking over the ceU. HIV—  the virus beheved by many to be responsible for ADDS, is also a retrovirus.  Myalgic encephalomyelitis (sometimes  derisively caUed the "yuppie flu") is a devastating disease that attacks the immune  system. In the United States, ME is commonly referred to as Chronic Fatigue Syndrome. Sufferers experience extreme muscle  fatigue, abdominal pain, headaches, neurological disturbances and often brain damage. They are simply unable to carry on  with their hves. WhUe ME doesn't kUl directly, some patients have committed suicide. It's probably been around for years,  but has now reached epidemic proportions'.  Women under 45 are particularly at risk.  The majority of reported cases of ME  involve women, although it is not clear  whether that is because women are more  susceptible or because women seek help for  their symptoms.  Pauline (not her real name), an ME  sufferer hving in Vancouver, can point to  woman after woman she believes she may  have inadvertantly infected. Pauline worked  as a health care professional before becoming too UI to continue. At the beginning  of her illness, she beheved her problems  stemmed from a case of pelvic inflammatory  disease, and she continued working despite  pain and low grade fevers.  Recently, ME patients have been advised  by medical doctors not to donate blood, to  avoid kissing on the mouth, sexual intercourse without latex barriers, and sharing  food or dishes.  "The idea that such a devastating disease may be casuaUy transmitted is horrifying," Pauline says. She now washes dishes  in bleach, considers a sexual Ufe out of the  question, and avoids physical contact with  people. Some friends have told her they wiU  no longer visit.  "I'm afraid I'U end up talking only to people with ME for the rest of my Ufe," she  says.  At this point, not enough is known about  how people are stricken. What seems to be  true is that some people can be exposed  to the virus and not acquire the disease.  There is a case in Vancouver where a man  apparently passed ME from one woman  to another via sexual intercourse without  getting sick himself. Researchers speculate  that some people may be genetically predisposed to resist ME. There is also speculation about the role of stress. Many sufferers became UI after an operation or another  type of infection. The onset of the Ulness is  usuaUy sudden.  See ME page i  KINESIS ssssssss^sssas^  NEWS  A retiring approach:  Excluding those  who need it most  by Agnes Huang  The Social Credit government's longstanding pledge to tackle the issue of pensions for homemakers has taken soUd form  in a pre-election biU entitled the British  Columbia Retirement Savings Plan Act.  In March 1991, Carol Gran, BC Minister responsible for Women's Programs and  the FamUy presented the biU, whose major  feature is the establishment of the BC Retirement Savings Plan (BCRSP)—a provin-  ciaUy sponsored retirement savings scheme  which any resident of British Columbia may  contribute to.  The government claims the BCRSP wiU  address the needs of women who stay home  to look after their young chUdren, and wiU  offer protection to the 1.2 miUion British  Columbians without pension plans.  The Socreds have introduced the act as  For many  women...  disposable  income is  a fantasy.  an "exposure bUl"—a legislative approach'  the pubUc has been invited to study and  respond to. In order to facilitate the bUl's  exposure, promotional flyers outUning the  bill's main points and featuring the smUing  faces of Carol Gran and Premier Rita Johnston were distributed to every household in  the province.  The BCRSP appears to have a number  of critical flaws when viewed as a method  of eliminating or even reducing the poverty  many women face in old age. Firstly, the  BCRSP is not a pension scheme at aU,  but a retirement savings plan. As such, the  BCRSP is based on the premise that women  VANCOUVER ^  WOMEN'S  BOOKSTORE  315 Cambie Street  Vancouver, B.C., V6B 2N4  (604) 684-0523  Hours: Monday-Saturday 11:00-5:30 pm  ftflfes  Subscribe!  i Canada  ude Canada  actuaUy have disposable income to be able  to contribute to the plan.  For many women, especiaUy those most  in need of a long-term solution to poverty—  single mothers and women with low-paying  or part-time jobs, many of whom are immigrant women—disposable income is a fantasy.  "H people have to make their own contributions," says Jean Swanson of End Legislated Poverty, "the BCRSP excludes those  who need it most—those who can't afford  food, let alone contributions to a retirement  savings plan."  Contributions to the BCRSP would be  locked into the plan untU the contributor retires. The plan member could not  transfer them to other retirement savings  plans or withdraw them partiaUy or in fuU.  This lock-in clause could discourage many  women from participating in the plan.  "Women with low incomes and httle job  security cannot afford to invest any disposable income which they cannot access untU retirement," says Trisha Joel of the Vancouver Status of Women.  The Socreds are offering a smaU leg-up  to women who work in the home. One component of the plan is the Homeparents Savings Plan contribution grant, which is seen  as a means to achieve retirement security  for "homeparents" (translation: mothers).  Eligible homeparents who pay into the plan  wiU receive a matching sum from the government, to a maximum of $500 annually.  To be eligible for the grant, a woman cannot be employed full-time or have a total  household income exceeding $30,000. She  must be caring for at least one chUd under  the age of 13, and must have hved in BC for  at least three years.  This grant, however, can actually result  in a disadvantage for the woman. WhUe aU  other Homeparents Plan members can withdraw their money within the first 60 days  of making their contribution, those receiving the grant cannot.  The BCRSP's criteria for grant eligibU-  ity reinforces the government's narrow definition of the family. Trisha Joel says the  plan: "disqualifies women who care for famUy members who do not faU into the age category of 13 years, including disabled or elderly members." As weU, by referring only  to husband and wife unions, the plan excludes same-sex spousal relationships from  grant ehgibUity.  The BCRSP Act also reinforces the dependency of women working in the home on  their wage-earning spouses: women would  be forced to rely on their spouse's willingness to pay into the plan on their behalf.  The $30,000 famUy income ceiling is low  and does not take into account the number  of people being supported by that money.  If a woman is employed part-time and her  spouse fuU-time, a famUy's total income is  Ukely to exceed the limit.  Part-time workers, however, are not always eligible for the Canada Pension Plan  (CPP) and virtuaUy never eligible for pension plans provided by employers—in many  ways, the crux of the pension problem for  women. In BC, 30 percent of women working outside the home have part-time jobs  (compared to only 9 per cent of men), and  most of their work is in the low-paying service sector.  Many women do not qualify for the CPP  because, to be eligible, a person must work  a minimum of 15 hours a week or earn at  least $136 a week.  Aside from the retirement savings plan  approach, the Socreds are inviting the pubhc to respond to the idea of mandatory  employer's pension plans—in effect, privatization of pensions. To this end, the government has offered to absorb the start-up  costs of company retirement plans. Mary  Rowles of the BC Federation of Labour  points out that: "Since employers are already facing increasing UIC and CPP contributions, it is unlikely that they wiU add  a private pension plan to the benefits they  offer their employees."  In general, Rowles is concerned about the  bUl's overaU direction. "Retirement savings  plans have never been suitable substitutes  for pension plans," she says.  In pursuing an RSP approach, the government has indicated its intention to shift  the responsibility for economic security during retirement to individuals, without addressing the economic discrimination faced  by women during their prime working years.  ME from page 7  Jacquehne Young of the ME Society of  BC is excited about recent breakthroughs in  ME research. The ME Society sponsored a  pubUc forum on May 11 featuring many of  North America's leading physicians in the  field.  The ME Society was established in 1988  and has grown rapidly. There are now 30  support groups and a central office. The society keeps up on the latest medical information on ME, publishes a newsletter and  organizes events for its members.  The good news is that researchers are  close to developing a simple blood test to  identify ME sufferers. Young looks to the  development of a blood test for ME as important validation.  "ME" wiU finally be recognized as an Ulness by everyone," she says. Currently, doctors who diagnose ME must first eliminate  other possible disorders as the source of  the problem. Then, the patient's symptoms  must fit a lengthy set of criteria.  Young is also excited about the possibU-  ity of researchers discovering a cure. Some  people have shown improvement after being treated with anti-yeast drugs and a no-  sugar diet. Others have turned to bed-rest,  vitamins and diet changes. Acupuncture has  proven successful in some cases.  Young says she has spent $600-800 a  month on vitamins and other remedies since  she became UI—an approach that would be  prohibitive for most women.  A drug caUed ampUgin, tested in the  US, may be effective in attacking the retrovirus. Young and the ME Society are eager to have the drug approved for clinical  trials in Canada. AmpUgen's drawbacks are  lack of information about side effects—and  its price. AmpUgen is administered through  IV's—initiaUy 3-4 times a week, which costs  about $1500 Canadian per month—putting  it out of the reach of most patients who are  often financiaUy devastated by their inabU-  ity to work.  Young beheves the true extent of the ME  epidemic has yet to be uncovered. She estimates that 80 percent of people with the  disease are in denial—afraid to acknowledge  the severity of their ulness.  Increasingly, ME is showing up in chUdren. Jane, Pauline's teenage daughter, is  also coping with ME. Jane finds it impossible to get through a whole day of school and  usuaUy comes home midday to rest. PauUne  worries about whether Jane wUl be able to  finish high school and how she wUl hve with  the consequences of ME. "How can you teU  a 17-year-old she can't have a love hfe?" she  asks.  ME is one of a growing number of sicknesses related to damaged immune systems.  While medical science scrambles to find  pharmaceutical treatments, health activists  are questioning how the chemical poisoning  of our air, food, land and water is making us  hteraUy unable to hve within our own bodies.  The ME Society can be reached at  PO Box 35214, Stn. E, Vancouver, BC,  V6M 4G4. (604) 526-3993.   Joni Miller writes regularly for Kinesis and has a particular interest in  health issues.  □ Individual $12 (Personal cheque only)  □ Group/tibrary/lnstitution $24  (USA: add $2 Cdn or US funds; Other  r $10 are fax deductible  Return this card and your cheque to:  WOMEN HEALTHSHARING  14 Skey Lane, Toronto, Ont. M6J 354  Q Cheque enc  D Bill me  itional Money Orders Only)  wooao*  Canada's only feminist health magazine  lost all their core funding in the last federal budget ... and needs your help.  Healthsharing, an independent voice on  women's health issues, must now rely on  the support of subscribers and donors. If  you're not yet a subscriber, join up.  And if you care about women and health,  feminist-wise, send along some bucks.  Your body will thank you.   (P.S. Donations are tax-deductible.)  KINESIS ///S///S///////SS////////SS/////S///////////////////////////////////////S/////////////S/////////////S////  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  yyyyyyyyyyyyyyyyyyyyyyy/yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy/  International  Perspectives on violence:  Acting in our own best interest  as told to Kim Irving  After nearly two decades of organizing  women's services, feminists seem to be facing a crossroads in analyzing the effectiveness of our work.  In search of some answers, many women  involved in eradicating violence against  women have turned to the Duluth Minnesota Domestic Abuse Intervention Project. Recognized for their strong feminist  stance and their abihty to raUy together  community agencies, they were recently invited to Vancouver by the Urban Native Education Centre and the Vancouver Wife Assault Coordination Program.  Based on the teachings of BrazUian educator Paulo Freire, the Duluth Project asks  the battered women's movement to examine the personal, institutional and cultural  supports that perpetrate violence against  women. From here, they ask that we develop teaching materials that come from  each woman's personal experience and work  towards action that wiU change the conditions of her hfe.  An example of this work and a central  theme for the Duluth Project is the Power  and Control Wheel (illustrated this page).  Developing the wheel allows women to examine the tactics batterers use to maintain  power and control, and to examine how society supports this.  "Liberation is something we can experience now," writes EUen Pence in the Duluth manual In Our Own Best Interest,  "as we act and think in our own best interest." Pence was in Vancouver as part of the  Duluth team and spoke briefly with Kinesis about some of her work.  Kim Irving: How has the battered  women's movement changed?  Ellen Pence: I started doing this work  15 years ago. Then, women were start-,  ing to make the connections between their  personal hfestyles and the relationship to  power dynamics. We understood that there  couldn't be equal relationships with men if  the institutions in society continued to support men's power over women. We were  going, "oh yes—that institution and this  institution—they're aU screwing us"  Then we got money for shelters. The government got the funds through corporations  or foundations and even said: "we'U pay  you to do this work, and in exchange, you  provide this service for women." EventuaUy there [grew] a difference between who  got the services and who was providing  them. We saw ourselves as helping battered  women. We started using words hke chent.  We wanted certain things and in order to  get those things we started shaping the description of battered women. And this was  the beginning of the distancing.  We had to make women seem pathetic in  order to get money. So we didn't just describe battered women—we described "pathetic battered women." Such as, if we  wanted the pohce to arrest batterers rather  than making women go to mediation we  said "women are afraid" and suddenly we  had the "fearful battered woman." Which is  true, she is afraid. But as we continued to  describe this woman to the pohce, the hospital and whoever else, what we got was the  "victim." And we don't want to be that.  At one time we were demanding that  women have a safe place to go. Now we want  to provide that safe place and also control  it. And I don't beheve you can maintain  a radical base if you are not economicaUy  seU-sufficient—which the battered women's  movement wUl never be. AU this moaning  about how other agencies are taMng over  "our" shelters is because we've become so  economicaUy tied to the work.  Yet the single greatest contribution that  feminists have made to women is to have  given women permission to leave abusive  husbands. Many women are getting out of  violent relationships. So it becomes a question ot 'how do we organize these women  once they are out?"  If we are a part of the social service fabric, the question for radical women is "do I  stay within this framework and try to provide radical analyses?"  Our Women's Action Group (WAG) is  one way we have answered this. WAG has  about 50 associates, with about 25 active  members. Our centre gives them money—  these are aU dirt poor women with a miUion  kids—and they aU go out and cause trouble.  We've found that most women leaving  batterers want a sense of community and  WAG has become that social network. Often, many women start in WAG and then  go on to other more broad-based groups.  Kim: But what if the 'action group'  goes too far—and begins to threaten the  very foundation where it began ?  Ellen: When one does action, it has to be  responsible. It is quite possible that the action wUl be taken out on other people. Successes are groups hke ACT UP [AIDS CoaUtion To Unleash Power]. People teU them  that they go too far, but they have loosened  up a lot of money for AIDS research.  We had to make  women seem  pathetic in  order to  get money  The benefit of the "unreasonable" action  groups is that behind them there's always  the reasonable group who can say to funders: "Look, you wanna fund us or do you  wanna deal with them?" And the funder  says: "Whew! we'U work with you!"  Kim: And I suppose women's anger  gets connected with the action.  Ellen: I used to land of fester women's  anger, thinking I was helping women, but  now I don't see anger as that same tool. I'd  rather help women see clarity, see the truth  of what's going on—looking at the different  forces in their hves and their relationships  to them.  Anger can fuel women into action, or  rebeUion, but it doesn't necessarily propel  one into radical thought, into a clearer consciousness or revolution.  For example, a woman comes into the  shelter, reaUy pissed off at some man. She  may say : " I'm gonna do this...," and us,  the workers are hke: "Right on sister!" So  the woman goes off, leaves him—but two  months later she moves back in with him. Of  course, part of that reason is economics, but  it is also that her decision to leave was made  in this emotional reaction to injustice—her  anger.  Kim: You seem to have a lot of  disagreement with self-help groups and  with therapy.  Ellen: In aU these chemical and emotional dependency groups, they talk about a  void—the void in women, which women fiU  up with alcohol, or with men - something.  They talk about searching for serenity, to  find 'that place'. And actuaUy, this is not a  bad description of women under patriarchal  rule. This is a totaUy alienating society for  women. Because it's alienating, women seek  comfort, seek connection. But even though  it's aUenation these groups describe, it gets  caUed addiction.  I don't beUeve women going to these  groups wUl necessarUy get stuck there—  because eventuaUy these groups wiU faU  women.  H a woman is being sexuaUy and physicaUy abused—at some point she wUl emotionaUy break. For those women who get  hooked on drugs or self-mutilate, it's probably not real appropriate to sit down with  them and say: "Here, let's read 'How to  smash patriarchy in 100 days.'" What they  may need is therapy. But I think that therapy is a limited need.  Therapists are unable to distinguish between who needs therapy and who doesn't.  Therapy puts people in a centralized place  rather than on [the periphery]. Therapists see personal transformation, personal  change as freeing women. And that's the big  he. There's no such thing as freedom under  patriarchy, yet therapists would hke us to  beheve that.  Kim: What have you learnt about lesbian battering?  Ellen: As feminists, we've always had  a gender-based theory about battering—  about violence against women. It goes, men  batter because of socialization, for political  and economic power. Along with that, we  had assumptions that if women were in lesbian relationships, they would naturaUy be  in equal relationships. A very naive thought.  We now know that not many lesbian relationships are equal. UsuaUy one woman has  economic power over the other, or another  inequality.  It was Sonia Johnson who reminded us  that patriarchy is a social construct that  permeates the whole planet. Every one engages in patriarchal thinking. Women are  equaUy taught to value power—our assumption, and mistake, was that this was strictly  gender-based.  I disagree with theories that say there is  as much violence in lesbian relationships as  in heterosexual ones. I may be hopeful and  naive ... but I beheve that there is a lot  of dominance and shoving, and less "PH kUl  you if you leave me..."  Kim: So how do we integrate all  women into the battered women's movement?  Ellen: Many feminists often want to help  refugee or immigrant women have our perspective. We want them to allow us to work  in their community, rather than aUowing  the development of process.  As white women, the true hberation of  women doesn't necessarily meet our best interest. So there wiU always be some unconscious, subliminal protection of white status. We've talked and created a movement,  whUe stiU clinging to our class and race  privUeges—just as white men hang on to  their gender privUeges. No oppressive group  has ever given up power, unless it was taken.  White women set the agenda at their  level, kind of hke '111 get the freedom first  and then maybe behind me wiU be my sisters'. Yet, the agenda has to come from the  most disadvantaged group.  However, unless we can structure a truly  shared power, or structure out middle class  women in leadership positions, I beheve the  women's movement wUl never effectively  speak to the issues of women of colour.  We need to buUd alliances with aU women  and as white women we need to give access to money—that part of white privUege  and power. We put a lot of energy into getting men to see things differently, into converting men, when, in fact, it's only when  women's consciousness is changed that patriarchy wUl change. I kind of see white  women as the dinosaurs—and we get in the  way a lot.  Kim Irving facilitates groups for battered women in Vancouver's downtown  east side.  KINESIS Sexplorations  International Lesbian  Week was celebrated last  February in Vancouver,  and one of the better-  attended events was  entitled Sexplorations: a  forum on lesbian  sexuality in politics, the  arts and life. Reprinted  below are the  presentations by four of  the five panelists: Susan  Stewart, Patrice Leung,  Nora D. Randall and  Shaira Holman. The  evening was emceed by  Bet Cecil.  Bet Cecil: We are here to talk about sex. This is not a new idea—  many of us have been doing so for years—but we haven't often come  together as a community and talked about sex. This is not surprising.  Sex is scary territory and discussions have often been painful and polarized. Our natural sexuahty has been taken away from most of us, often through violence, and the struggle to reclaim it has often been difficult. We often experience sex as our greatest strength and our greatest  vulnerabUity. Talking about sex, Uke doing it, can make us both frightened and excited. Our sexuahties are diverse. Our personal sexuahty is  always potentiaUy changing. We never know what we wiU discover next.  We beUeve that it is important to come together as a community to  share our thoughts and experiences. Even more importantly, it's vital  that we do so in a way that recognizes each woman's right to choose  how she wants to express her sexuahty, as long as she has the consent  of her partner or partners. It's hard to share our experiences because it  means that we have to be okay with another woman's choices, choices  that we might find boring, disgusting or frightening. Or fun, or interesting or exciting.  It means we have to move beyond "my way is the right way, the only  way," —although it may be for you—to "my way is only one of a number of possibiUties." It means we must really hsten to one another and  attempt to stand in another's shoes. It means we must talk about ourselves and not about others. It's not easy stuff.  Susan Stewart is an artist and photographer. She was  a co-creator of "Drawing the Line"—an interactive  photography exhibit of lesbian sex—along with Lizard  Jones and Persimmon Blackbridge.  Susan Stewart: For the past couple of years I have been working  with Persimmon and Lizard to produce images of lesbian sex practice.  Three white lesbians with varied backgrounds representing a smaU segment of a very big picture. The more images we made, the more we realised how limitless were the possibilities—representing lesbian sex-  stepping into the void—that huge absence of images to show us who we  are, to show us where we've come from.  There are, I suppose, certain advantages to never seeing yourseH  represented—a certain freedom of invention—a kind of "we can create  our own reaUty" point of view. But somehow I wonder if that wiU ever  balance out the sense of tremendous loss and the wistful longing for our  , KINESIS unrepresented history. We know lesbians have always existed, but we  have precious httle evidence and so Uttle knowledge of our foresisters.  We can only imagine what lesbian culture may have been—here and  there—we can only invent, and surmise and seek for reUcs in a culture  saturated by heterosexuaUty.  None of us are unaffected by the mass media definition of what a  woman ought to look hke. The stereotype is branded deeply into our  psyches. Of course the vast majority of women, of lesbians, don't fit this  mold. It's like the mold is a mass hallucination of perfected womanhood  as constructed by—guess who—that other gender. Pretty effective strategy, too. It takes some fancy footwork for a lesbian to free herself from  the "what I ought to look hke" thinking. Yet lesbians do it, sometimes  subtly and sometimes by blatant appropriation, and sometimes by pure  creative inspiration.  But I digress. We want to talk about sex and art about sex. Making a  lot of sex pictures, and putting them up in pubUc spaces brought us face  to face with issues of censorship. State censorship, community censorship and self-censorship. There is an intrinsic relationship between each  of the three. As artists working to create exphcit images of lesbian sexuahty, we have encountered each of these to varying degrees.  State censorship is a concrete reaUty—laws exist, laws are enforced.  One side wants censorship, the other doesn't. Fairly clear-cut lines are  drawn and reaction sets in. The opposition is a visible entity, something  that can be grasped, understood and strategized around. Like a chess  game.  Censorship within our own community is quite a bit more slippery  (by community I am referring both to the lesbian and gay community  and to that diverse complement of hfestyles which includes feminists,  artists and progressive ideologues). This censorship is best characterized by stony silences, withheld opinions, unspoken judgments and subtle manoeuvering within our pohtical groups, our press and media, to  suppress sex radicals and, if I can dust off an ancient but worthy turn of  phrase, the women's sexual hberation movement.  The third aspect is self-censorship and we have come to beheve that  this is the most dangerous and insidious form of aU. Self-censorship  is the enactment of our oppression. It is what prevents us ultimately  from self expression, and it is exactly what the moral right-wing is after. Self-policing is the most economic, hassle-free form of repression yet  invented—and it is very effective. Nobody has to censor us if we censor  ourselves. Yet what is the cost? What is the cost of cultural invisibUity?  What can we possibly gain by sUence?  A lot of questions get raised for us when we do sex-based work.  Maybe you know some of the answers. Why do some lesbians dehber-  ately set out to make images that wUl upset a lot of people?  Why are lesbians walking into the middle of the porn wars when we  could be safe at home in bed?  We have such fine-honed fear, why do we keep doing things hke this?  How much can art effect real hfe?  Where do you draw the hne between art you just don't hke, and art  that has the power to offend you?  Are there pictures you think should offend everyone?  How do you feel about someone who is not offended by something  that offends you?  Can you be against censorship and stiU be offended?  Are there pictures you think no one should see? That no one should  take? That no one should imagine taking?  Who gets to take them, see them, or decide?  If you feel a representation of a particular practice should be censored  in some way, is it the representation or the practice that you would censor?  Is it because the representation may inspire imitations? In art or in  hfe? Or because someone may be turned on by the wrong thing?  Does it make you feel any different to know the woman represented  has control of her depiction?  What makes an image sexual anyway?  For lots of straight people, any image of lesbians is de facto sexual,  but what is it for us? Is it nudity? Costuming? Contact? Passion? AU of  these? None of these?  What is at the root of the reaction against homoerotic representation?  Why an attack on culture and artists?  Where does censorship come from?  What is a bad girl? *  How do we feel about a lesbian who loves sex? How do we feel about "a  a lesbian who asks for sex? How do we feel about a lesbian who displays J  her desire? £  How do we feel about a lesbian who says "I need, I want sex?" ...who |  wants sex with both women and men? ...who sells sex for money?  How do we feel about a lesbian who wiU take off her clothes in pubUc? How do we feel about lesbians who find flannel shirts erotic? How  do we feel about a lesbian who packs a dUdo? ...who knows what she  wants?  How do we feel about lesbians who can't stand to be touched?  How do we feel about our own sex radicals? ...lesbians who explore  the unexplored? ...lesbians who experiment with dominance and submission? ...lesbians who play power games openly and with honesty?  How do we feel about women who are turned on by equahty?  How do we feel about our passing women, our stone butches, our ultra femmes?  How do we feel about lesbians who won't caU themselves lesbians?  How do we feel about our own history? ".a culture evolved from  butch-femme dynamics, B/F codes?  How do we feel about leather jackets, boots, collars and cuffs?  How do we feel about lesbians who Uke it in the closet?  How do we feel about dykes who wiU flaunt it? ...display it? ...disclose  it?  How do we feel about dykes who won't talk about it?  How do we feel about words like vaniUa—slut—cunt—bitch—fuck-  making love?  How do we feel about lesbians who are turned off by butch-femme?  How do we feel about Daddy-Boy? Lesbians playing men, playing  boys, playing faggots? How do we feel about dykes who claim the phallus, the cock, as their own lesbian love toy?  How do we feel about ceUbate lesbians?  What do we feel for dykes who wear Upstick, heels, lace—who claim  traditional codes as their own?  How do we feel towards lesbians who embrace what we reject? What  is lesbian desire anyway?  Lesbian sex—we get to fiU the blank page—we get to invent it, represent it, Uve it. It's our Uves we're talking about. It's our pleasure, our  desire, our sex.  From my experience the fastest way to cut through self-censorship is  to step over the Une. That line we have, that to cross it means we consciously ignore our self-judgement, self-censorship and self-hatred. We  cross that Une and we own our desire. We cross that Une and we stand a  httle taUer, we stand a lot stronger and we own ourselves. H we take it  a step further and represent ourselves—put a part of ourselves out there  in the world—then we come ever closer to naming our existence.  And more than that, we begin to create a culture—our own culture.  We can start mapping our sexual identity, and the more of us that contribute the more accurate wUl be the reflection. We are an incredibly diverse community and our sex practice is equaUy diverse.  As the sUence that has characterized our experience as lesbians drops,  as our visibUity increases in mainstream culture, surely it is in our best  interest to ensure that we bring our entire culture forward, not just  those aspects that are most palatable to mainstream tastes.  We need to own the entire lesbian body because each part has a vital function to the other. We've made the mistake before of denying  parts. In that confusing time in the women's movement of the 1970's  when feminists and lesbians were shuffling.around for common ground,  there was wholesale rejection of butch-femme sensibiUties, and we almost lost a most vital part of our own history and culture. What we can  learn from that mistake is to look around now and notice who is being  left out.  What parts of ourselves are too painful to look at—what parts are we  afraid to own? Who is being shut out and why? When we can identify  these things and shape a movement that is inclusive of aU of our parts—  then watch out. Our culture wUl have a renaissance that is long overdue  and we wUl set a model of culture-buUding that is progressive, visionary  and hot. Because sex is on the agenda and lesbians are on to it.  see next page  KINESIS Sexplorations  continued from previous page  Patrice Leung works in film production.  Patricia Leung: Ah yes, lesbian sexuahty. We of the lesbian community use the phrase lesbian sexuahty as a weapon to denounce each  other. Why? I think it's all because of jeopardy, as in the game show.  On Jeopardy there is only one right answer for every question. And this  world is so fuU of buUshit, that we love those simple, one sentence definitions. It makes things much easier to figure out. In fact, we want everyone labeUed so that we have a quick way to assess how we feel about  that person without going through the long, labourious process of talking to them.  For instance, if a lesbian acquires a certain label pertaining to a certain sexual proclivity of hers and that label faUs outside of our definition  of lesbian sexuaUty, then she is no longer considered a noble part of the  lesbian community and is therefore an open target for ostracism. She  has committed the sin of compUcation and must be punished. She has  fallen into a grey area and must be condemned.  Now black and white is a heck of a fashion statement but it's not a  terribly successful way to view the world. I grew up in a home heav-  Uy influenced by right wing fundamentalist rehgion. The rigidity of my  "wonder years" has taught me that those who deem themselves judges  of aU that is righteous and correct have a lot of insecurities and fears  themselves. In other words, they are just as fucked up as everyone else.  These Christians continue to use dogma and rhetoric as weapons to control anyone who is not heterosexual, white and male.  Despicable as they are, I have witnessed within our happy lesbian  community the use of dogma, rhetoric and labelling as a means of monitoring each other's behaviour, especiaUy each other's sexual behaviour.  This in fact mirrors the control tactics used by our homophobic.detractors.  Does this mean that we as the oppressed also oppress? Make no mistake, we lesbians are fascists and bigots, we are not hoUer than they.  They have shown us the way and it is time we got on our own bus and  head in another direction.  First off, lets stop shitting on each other—that's figurative, of course,  because anything that consenting adults want to do with each other is  none of my business. I'm talking about the pain we inflict on each other.  We come from so many different places that we are bound to piss each  other off. We wUl never aU agree. Fine. But our tactics are despicable.  We use rhetoric backed by personal attacks to destroy reputations and  self-esteem in order to win. Sound hke the Gulf war?  There is no right and wrong lesbian sexuahty, therefore there are no  losers. It's impossible to hke every lesbian because, frankly it would be  boring and we would have no one to talk about. But please learn some  respect for her point of view and her pain. We aU know about pain, it's  the one thing aU outcasts understand. She is, after aU, an aUy against  the homophobes.  Secondly, speak for yourself. Group think is a power game that exists  to diminish those outside the group. Lesbian sexuaUty is what you, the  individual, want it to be. Set your own terras and conditions, find others who want to play and have fun. Your choices wiU never have the approval of every faction, chque, caucus, posse, harem and potluck in the  lesbian community. So please yourseU.  We are a community because we have one thing in common, we are  lesbians. Beyond that we are fingerprints, aU unique. No one shares my  exact past or my particular present and because of that I would not  dare to represent aU lesbians. Or aU lesbians of colour, or aU Chinese  lesbians of colour, or aU Chinese lesbians of colour who wear glasses. I  represent myself and I am the sum of my parts. I am not a label. I am a  human being. I wiU not toe the party hne. My sexuahty is mine alone to  choose. I fight heterosexuals every day for that.  Nora D. Randall figured out she was a lesbian at 24.  She's been making her living over the last 20 years  doing writing, community organizing and driving jobs.  Nora Randall: My idea about sexuahty is that it works against  neatness. And what I mean by that is people have a tendency to form  groups, families, friends, clubs, parties, countries, communities—you  name it. People-have a way of coming together so they know who they  are—and they also know who does not belong. I think that sexuaUty is  a kind of countervailing force to this tendency and that our sexual attractions lead us to cross the hnes, change groups, re-arrange ourselves.  When a group becomes too closed or too isolated, there is a progression that people go through that we have to watch out for. First of all,  people lose touch with each other and then they start to worry that  there is something wrong between them. They feel weird and then they  get afraid and then they get mad and then they hate and then they  fight. My idea is that in order to keep this progression from happening,  what we have to do is keep in touch and keep the energy and the infor  mation flowing from group to group.  I know that this is pretty vague and simplistic, but there is a central  truth that I am trying to get at about groups and people and individual  sexuahty. I'm trying to work toward an understanding that would make  it possible for groups to coalesce around certain values and goals whUe  maintaining enough communication with those outside the group that  they do not become 'those who do not belong' and therefore" vulnerable  to attack.  This is the idea behind how I have been working at being a lesbian in  my neighbourhood and at my job and in my art.  I've hved in the same house for six years and we've had the same  neighbours for that long, too. Mostly our exchanges have been "can I  please borrow your ladder," and "we're sorry our kid ripped up aU your  carrots." Last spring we went to Toronto for two weeks and I asked the  ...our sexual attractions lead us  to cross the lines, change groups,  re-arrange ourselves.  next door neighbours if they would mind the house because we'd be  gone. And he said, "Oh, where are you going?" And I said, "We're going to Toronto." "Oh," he said, "what for?" I said, "We're going to be  in the Queer Culture Festival."  "What?" he said.  Now this did not come totaUy out of the blue because for six years  they've noticed that just about only women ever go into the house—and  they aU watched my 40th birthday party from behind the kitchen window curtain. The lack of men has beenjrind of noticeable. It's just that  I've never said anything out loud, face to face.  my outfit. They are under my jacket so no one sees them, but I started  taking off my jacket in the staff lunch room so the staff could see my  suspenders.  I'm sure that almost aU the people that I work with have never seen a  So I said, "Jackie [Crossland] and I did a show for the VIEW Festival  that was a lesbian story and now we've been invited to the Queer Cultural Festival in Toronto so we're going."  Several months later I got locked out of the house and I went next  door to wait for Jackie to come home. We had a great chat about our  jobs and what we did. We had such a good time that I took the risk  and asked if they would hke to come for dinner. They were delighted.  We had a wonderful time again and they were clearly fascinated. They  wanted to know how we came to hve such a different hfestyle. It seemed  to me that they had never known any gay people. We were reaUy interested because they had really straight jobs, which we know nothing  about, so we traded stories.  My job is another story.  My job is so straight that showing up for work in slacks instead of a  skirt was already radical. It took about two months before people would  even talk to me. I can't be sure that it wasn't the slacks, because up untU then the woman who had done my job dressed to the nines including  heels, earrings, make-up and hair-dos.  When things started to thaw a httle, I added a pair of suspenders to  woman do such a thing. Most people are friendlier now and they talk to  me. I even invited two staff people to see our show at the VIEW Festival, although they didn't come. But Housekeeping did invite me to have  coffee at their table. Now this is a big thing, I waited seven months for  this.  They don't know how I'm different, but they know I'm different. And  httle by httle Fm gaining a place in the group. Sooner or later an opening is going to present itselL Basically I've just managed to get my suspenders in there, but I'm just waiting for the time.  In my art, this is what I've been doing for the last two years. Jackie  and I started Random Acts [a theatre company] to do performance stories. Our first performance was for a general audience at the first VIEW  Festival where we did Mavis Tells the Story of Marlene and the  Chicken Yard. There was no expUcit lesbian material in the story, but  I played Mavis as a lesbian in the way I moved and talked and dressed.  Mavis was lesbian—she also wore a Navy ring from her lover.  Our next show was Postcards from Hawaii [a one-woman show].  The character only makes one short reference about being a lesbian, so  it's mentioned but you could miss it. Next we did Great Explanations:  Four Lesbian Stories. This show was totaUy about being a lesbian.  We put the word right in the title so that we would be sure it would be  used in the pubUcity. Explanations was about lesbians talking abut lesbians in such a way that anybody could relate to it. This worked weU  because many of the reviewers would say, "This is a show for everybody,  not just lesbians."  Then we did Coffeebreak Characters which was about working  women who didn't talk about their sexuahty. However, for First Night  in Vancouver, we put together a show of Coffeebreak Characters  which included a rewrite of one of the Great Explanation stories so  the lesbian lover of the storyteUer was obviously the nurse's aid from the  first story. [Ed. note: First Night is a pubUc event on New Year's Eve  featuring many performers in downtown venues.] We definitely crossed a  border which that audience did not expect1 us to cross, but we aU Uved  through it. And there has been another development: we got a letter  from First Night organizers saying that they had had an angry letter  and two angry phone calls about our performance and they couldn't  stress enough that this was a famUy evening and they were returning  our pictures.  Our idea about this is that they could have sent back our pictures  and not ever said anything, but they said something. We sent back a  letter saying we thought we were doing family material and that this  was a time for tolerance and basicaUy we looked forward to hearing  from them. We also sent them the text of the performance. What we are  trying to do at this point is keep the channels open because I'm hoping  that this is what some people caU "the teachable moment."  Then we put Great Explanations and Coffeebreak Characters together for a show in Victoria. We were interviewed on TV and we talked  about being lesbians. But, to teU you the truth, that's the first time I  was interviewed on TV and I don't remember what we said. Jackie said  that we said we hked it.  This is how Pve been using my sexual energy to go from group to  group to break down barriers and build understanding.  see next page  , KINESIS  KINESIS Sexplorations  continued from previous page  Shaira Holman is an actor, a photographer,  and an artist  Shaira Holman: Pve been asked to talk about being out at art  school: what it's Uke, why I do it, what's in it for me [to be] pushing  people's boundaries, and how they react. When I think of why, it reminds me—without belittling anyone else I hope—of a woman who hid  Jews from the Nazis. When asked why she'd done that, she said she had  only done what any decent human being would have done. Because I do  beheve that this is a hfe and death situation.  We must be out to survive, both on the spiritual level and on the  physical one. H aU queers turned lavender overnight, it would lessen our  problems considerably. It would not solve them, there would stiU be the  racial ones—some of my best friends are lavender—but it seems to me it  would make the fight a lot clearer.  ...they are seen as sex pictures  because they are about  women with power...  Pve never thought being a lesbian was not okay, although a lot of  other people did. Pve been out since Pve been out—that is, in high  school I did lesbian plays. And that scares me a lot. I get very paranoid  being out, but its a huge rehef and very empowering, too. I don't ever  have the anxiety of losing a friend because I'm a lesbian, because they  would never have gotten to know me in the first place. Where I work in  school, there is about one other person who is out.  The person I work for is very homophobic and very sexist and prob-  but I guess they're pretty far out for the straight audience that I chose.  I got mostly blank faces and sUence, but I also got some positive and insightful remarks, which both surprised, pleased and worried me a bit—  what did I do wrong? Yet that was what I wanted and did not expect. I  did have one woman teU me to my face how awful and violent the show  was—which I expected a lot more of, although I was very clear about  the consensual content.  A lot of my work is sexual, although not expUcitly so. I guess they are  seen as sex pictures because they are about women with power, woman  who are sexual in their own right, not as compliments to men, not lacking. I do this work first because I Uke it. I don't have some grand philosophy that makes it sound better than it is. I think lesbian visibUity  is very important and I want to chaUenge people's ideas about lesbians  and lesbians' ideas about themselves and my own ideas about myself. I  hope to go beyond documentary because visibUity alone is not knowledge.  A lot of the work is about lesbians as heros. I didn't seek to do this,  so Pve been trying to understand why that is. For one, lesbians are my  heros, but also I think that as lesbians we need new icons outside of the  straight world, to rebuUd ourselves because we've had so Uttle written  history. And we do have aU these role models in ourselves.  Pve been thinking a lot about context and audience, too. Do I show  just to lesbians? If not, do I show the same thing to straights? "Power  and Trust" bridged that a bit because women were represented as subjects, not objects—and because it wasn't so expUcit as to be titiUating.  I just had a piece in a show at EmUy Carr [art school] called "Not  For Your Gaze." I put a series of fences around a picture and the fences  had names hke Censorship, Representation and one unnamed fiU in your  s own hang-up. The picture I used had been in a larger piece with other  pictures and, on its own, was rather titiUating. WeU, it was supposed to  be obscure, but that did not stop men from getting lots of pleasure from  it. I changed the picture a.s.a.p.  In the context of a lesbian audience, that original picture or any  from that series had a totaUy different meaning. It would not have had  ably a lot of other very nasty things. And we get along great. Not because I watch my step—quite the contrary. Just the other day he passed  along a photography job to me and we got to talking about acting. He  asked me why I haven't been doing much acting. I said that they didn't  have a lot of calls for bald Jewish dykes. He asked why I shaved my  head. (I stiU have the job .)  There are a lot of people who avoid me because Fm a lesbian, because of my art work which is usuaUy lesbian and usuaUy around sex.  I don't want anyone to assume I'm straight. Maybe that wUl help the  next lesbian. In a new situation, Uke a new art class, the first thing I do  is something flamboyantly homosexual. Like "Power and Trust," which  is portraits of SM dykes. The portraits are not reaUy sexuaUy expUcit,  a fence around it questioning the gaze and it would have been asking  questions more about SM.  I don't work from my head, it seems to politicize itself later as a  "why I'm reaUy doing this." I used to just take a lot of pretty pictures  and not think about audience and intention—and I stiU want to do  some of that. But now I want them aU to be under the heading of "Lesbian Landscapes," sunsets, anything. Because we do see the world differently, hke a different culture. Of course there is our own individual diversity in that and 111 never try to make the definitive lesbian picture.  But Jung said that lesbians would save humanity and he might be right.  Many thanks to Terry Thomson for transcribing the tape.  a KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  ///////////////////^^^^  Commentary  It's the process  and support that count  by Farhat Khan  cialization and the subtle yet profound impact they have on my psyche—and on my  struggle to change. This is true for most of  us and I cannot emphasize enough the importance of having an awareness of and sensitivity to factors such as gender, race and  Although almost one year has passed  since I moved to Vancouver, I have just re-  For the first time in my hfe I have the  wonderful freedom and openness to explore  my heart, soul, and mind. Growing up with  the difficulties that accompany being raised  in two very different cultures often created  an almost schizophrenic atmosphere. I hter-  llHilllllllllllllllllliillllllHIlllllllllllHillllllllllllillllHllllllllllllllllllliimil  I have also come to realize that my  pure energy and intentions are not  enough to make changes...  IHllllllllllllHllllllllHlllllllllliillllllillllllHIiliiiillllllllllHlllHlllllHllllllllI  aUy had two different Uves—one at school,  where I could never reaUy "fit in," and another one at home, where I was hving in the  traditions of my parents.  ; Looking back, I honestly am grateful to  my parents for instilling in me the wonderful richness of our culture. My mother  taught me to speak her mother tongue; I  have an insatiable passion for our music.  Through an understanding of my culture, I  have greater sensitivity towards other cultures. But I also resented my parents for  not aUowing me to enjoy a normal social hfe  with school friends, for providing me with  a university education but not aUowing me  the freedom to fully utilize the avaUable resources.  I understand that my parents only  wanted my happiness and they often were  acting out of fear of the unknown. But I did  not know who I was or what I wanted from  hfe. I needed space, so I moved. This was by  no means easy and involved a great deal of  pain for both myself and my parents.  My courage to overcome the many new  obstacles lying before me comes from this  precious independence. I have also come  to realize that my pure energy and intentions are not enough to make changes in  my own hfe, as weU as in this oppressive  society. I identified with this vital concern  when I first read BeU Hooks' words, in her  inspiring book Talking Back—Thinking  Feminist, Thinking Black. "Awakening  women to the need for change without pro^  viding substantive models and strategies for  change frustrates, creates a situation where  women are left with unfulfilled longings for  transformations," Hooks wrote. My transformation is nowhere near complete; but it  has definitely begun and there is no turning  back. I know it and feel it in my being.  Sharing with other women who are working to change the inescapable suffering in  this misogynist, racist, classist society gives  me great strength and energy to begin my  own struggle. However, I frustrate myself  because I want immediate change and, of  course, this frustration is only augmented  by the countless times I am confronted with  my weaknesses. I am almost constantly reminding myself that it is going to take time.  I honestly cannot describe the intricacies of  aU the things that have been part of my so-  cently found a supportive arena that has  the sensitivity, patience and understanding  to help me at this critical point of transformation in my hfe. We are a smaU group of  women that meets monthly—but if something requires our immediate attention, we  come together and work it out.  Because we are smaU in number, we converse intimately and, at the same time,  learn from each others' experiences, struggles, fears and joys. This informal but critical exchange not only raises my consciousness but also allows me to relate what I am  learning to every day occurrences.  I was motivated to write this article  when I read Morgan McGuigan's piece in  the May issue of Kinesis "Wanting more  than surviving oppression"—an art review  of the Bevy of Anarcha-Fermnists' (BOA)  show Women Surviving Oppression, held  this spring in Vancouver. McGuigan raises  a very real concern in the women's movement: the danger of involving ourselves in  actions that do not effect or create any real  changes in the oppressive social, economic  and pohtical structures.  However, I am disappointed that she criticized women who where at different stages  of seH-development than herseU. Providing  support, encouragement and positive alternatives to women who are at varied levels  of self determination is what is needed.  McGuigan is right when she says that  "Perhaps the lack of other dimensions is a  missing element in feminism today." One  of the integral problems inhibiting  the  women's movement today is the lack of constructive support and guidance for women  to progress to critical awareness and action.  UntU an understanding of the power structures, the sexism, the racism and the classism that exist in society and in the women's  movement is reached, we can expect httle  change.  For example, individual power is influenced by accessibihty to proper nutrition,  quahty higher education, to money-lending  institutions. If we want to bring about  meaningful change, as BeU Hooks states,  "As feminist activists, as feminist theorists,  we must acknowledge our faUure to create  adequate models for radical change in every  day hfe that would have meaning and significance to masses of women. UntU we construct and unless we construct such models,  the feminist movement wUl not have revolutionary impact transforming self and society."  Slowly, ever so slowly, I am beginning to  make smaU but progressive changes—such  as writing this article—something I would  never have done ten months ago. I wUl probably look back with disbelief that I could  have once written so poorly. But right now,  this is my starting point.  My confidence has strengthened and I  have more behef in myself to embrace more  difficult tasks. I beheve this is part of the  continuous process of healing and transformation that is essential to my hberation.  Only when I have found a hberatory voice  within myself can I begin to constructively  contribute to coUective action. I know I  come closer to self-empowerment,with every httle personal victory.  Farhat Khan lives in Vancouver.  Persimmon Blackbridge  Sculptor Persimmon Blackbridge has  been known to Kinesis for many years,  for her strong portrayals of women, her  willingness to grapple with difficult  political subject matter, and her visually  stunning art work. We're not the only  ones who've noticed her. This month  Blackbridge received the prestigious  V.I.V.A. award. V.I.V.A. (Vancouver  Institute for the Visual Arts) was set up  In 1988 by writer and curator Doris  Shadbolt and painter Jack Shadbolt. It  awards two prizes a year to "artists of  demonstrated commitment and creative  potential."  Blackbridge Is an open lesbian with  strong roots in Vancouver's feminist, gay  and lesbian communities.  Congratulations!  KINESIS sasassssssvsss^^  Arts  Composing  Women...  A.D. Perry  by Margaret Boyes  Most of British Columbia's composers  are unknown to the general pubUc. They  make httle money from compositions seldom performed because of pubUc prejudice  against new music. It is even tougher to  survive if you are female. Anita Perry and  Anita Sleeman are two such survivors.  It's In My Blood  Anita Perry has written music for plays,  film, dance and instrumental groups. She  has also performed extensively throughout  Vancouver, Oregon and West Germany.  However, she is unable to support herself through her music and works as a legal  secretary and administrative assistant for a  Vancouver stockbroker.  Perry was born in AUiston, Ontario and  moved to BC when she was twelve. As a  chUd, she sang httle songs then wrote them  down. "I compose because it's in my blood,"  says Perry. "I get cranky if I don't. I meditate and get inspiration from above—from  the wind, sea, sky and rocks."  Her formal piano lessons began at eight.  Her famUy presented no resistance to her  studying arts and in 1982 she graduated  from UBC with a major in music. She applied for the master's program but was  turned down for the fifth qualifying year required for composition.  "They told me that judging from the  work submitted, my standard of composition was not high enough to be accepted  into the qualifying year. One of the pieces I  submitted had won first place in the Okanagan Composers' Festival. At the festival, I  beat three UBC composition students who  were already accepted into that program  and had been there for several years.  "I suspect that my gender had a lot to  do with the decision. The entire faculty was  male, and there was only one female out of  15 students."  After this, Perry supported herself by doing lounge work and playing piano for bal:  let classes. But she developed tendonitis in  her shoulders from playing for two hours at  a stretch, six hours a day, and she had to go  on welfare.  Then she met her husband, Andre, and  moved in with him, thereby cutting down  on expenses. She then decided to go to business school which led to her present job.  Perry is always aware of being female in  the male-dominated world of music. "It's a  man's world in music as it is in aU areas of  Ufe. The connections in the music industry  are aU men. The heads of record companies  are men. There are very few women produc-  "The hardest thing is to break down the  boys' club mentaUty. Even when men beheve they are not prejudiced, they stUl are.  "I have struggled long and hard to get  media coverage. Most reviewers in this city  are male and that may have something to  do with it."  She recaUed an incident when she was  ridiculed by male composers for writing a  chUdren's baUet. "They were conveying the  opinion that women are not serious about  music."  Perry is recording secretary for Women  in Music. "Men compete. Women cooperate," says Perry. "A friend of mine says that  women are process-oriented and men goal-  oriented. The group has a lovely spirit of cooperation which is very inspiring."  Perry described her music and the process of composing. "My music is classical  but romantic. It is classical in that there is a  strong sense of form. I don't improvise when  I compose. I hear an idea in my head where  I develop it a bit and then go to the piano  and work on it there. My music is eclectic.  I write in a lot of different styles. Whatever  I'm trying to say wUl depend on a certain  style. If I want to write something comedic,  I might try a barbershop quartet. H it's serious, I might write in the style of Benjamin  Britten."  Perry receives very httle income from her  compositions. In 1987, she received $400 for  writing a 20 minute Suite for Orchestra  for an Okanagan orchestra. She gets royalties from performances of her works.  At present, Perry is putting out a cassette of baUet music for classes. This was  originaUy piano music, now orchestrated on  a synthesizer. Two pieces written by Perry,  Serenade and Fantasy, wiU be performed  on June 10 and June 17 respectively as part  of the Vancouver Community Arts CouncU  series, Here and Now.  I Think Mathematically  Anita Sleeman is a composer, music teacher  and performer who hves with her husband  in North Vancouver. She describes her own  music as eclectic. "I combine various styles  in my own way. In some ways it is traditional and in some ways contemporary."  She was born in California. Her mother  was an amateur violinist and her father  a commercial artist. Sleeman began piano  lessons at three and started composing in  her pre-teens. Her first language is Spanish,  and there is a definite Spanish influence in  her work.  "I was encouraged to hsten to music,"  says Sleeman. "There was always a piano in  the house."  At 14, she wrote a group of Spanish  dances but did no more composing untU entering a community coUege to study theory  and composition.  After graduation Sleeman married a  rancher and moved to a ranch 250 mUes  from Salt Lake City, Utah. She raised six  chUdren but did no more composing for the  next 18 years.  "It is difficult for a woman to concentrate  her time," says Sleeman. "I was a supermom  geared to doing 40 things at once."  "At first I fell into the  trap of everything  being loud and  lacking finesse  because of not  wanting to appear  weak, but I soon got  over it."  In 1963, the famUy moved to the  ChUcotins in BC where Sleeman played  piano in a Norwegian fiddle band. Four  years later, the famUy moved to Vancouver.  Sleeman entered the University of British  Columbia in faU as a composition major.  "At this time, our youngest chUd was  eight and the oldest fifteen. They had to  accept more responsibility which was very  positive.  "My husband has always been very supportive. He even chopped firewood to pay  my copyist in Grass Hills, California." (A  copyist copies individual parts for performances from a score.)  After graduating from UBC, Sleeman  taught theory, music history and instrumental techniques at Capilano CoUege. In  1976, she returned to northern Cahfornia  and started commuting to Los Angeles twice  a week to work on her Doctor of Musical  Arts (DMA).  "The process of composing is not sitting  out under a tree and waiting for a symphony  to come into your head,"says Sleeman. "I  experiment with and reject many ideas and  work with smaU motifs which I expand into  longer forms. I think mathematicaUy and  construct music according to mathematical  guidelines.  "I tend to think orchestraUy. I have each  instrument in mind as I construct each section. I work away from the piano but use it  to check things out.  "At first I feU into the trap of everything  being loud and lacking finesse because of not  wanting to appear weak, but I soon got over  it."  Sleeman had advantages in dealing with  her male professors. "I am not small, and I  am older than some of them. Also I was very  strong from raising six chUdren and Uving  on a ranch.  "When the head of the composition department at Stanford University discussed  the doctoral program with me, he said he  had no composition students over thirty.  When I said how prejudicial this statement  was to women, he rephed, 'I had a woman  student once, and she was not very good.' "  Sleeman also studied piano and conducting, conducted several ensembles and was  musical director of the Golden State Chamber Players.  When her DMA was completed, the famUy returned to North Vancouver where Sleeman has hved ever since.  Sleeman belongs to Women in Music  which was formed in 1989 as a branch of the  National Women Composers organization.  It is now an independent group and membership has expanded to include producers, performers, teachers, librarians, historians, songwriters, broadcasters, and women  in musical theatre.  Anita Sleeman  "Women composers have to promote  themselves," says Sleeman. "They often  cannot afford agents. Creative people often don't have the personality to do seUing.  Women in Music reaUy helps."  Margaret Boyes is an avid hiker,  sings in a choir and is pursuing a career as a technical writer.  .KINESIS Arts  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy/t.  Lillian Allen:  Why  Why  as told to Andrea Fatona  and Kathy March  do you write?  do you sing?  In Canada, Lillian AUen is the queen of  dub poetry. As a musician, her words with  rhythm are a powerful caU to recognize that  revolution takes place as the everyday challenges of hfe are met, overcome and enjoyed. The feats of the unsung become liberating as Lillian captures them and frames  them in rhythms and beats that stay in  your head. There is room for aU kinds of  people in LiUian AUen's revolution. She has  recently published a book entitled If You  See Truth, a coUection of poems for chUdren and young people. This pubhcation is  an extension of her creative and revolutionary process, and an attempt to incorporate  a wider cross section into the process of consciousness raising. LiUian Allen was in Vancouver for the MayWorks Festival, and she  wiU return in July for the Vancouver Folk  Music Festival.  Andrea Fatona: Can you tell us about  your new book?  Lillian Allen: If You See Truth is poems for young people—the young at heart.  ActuaUy I issued a smaller version about  five years ago and decided to do what's considered a booklet version. It's making the  poetry more democratic, more accessible to  younger people—I think that's very important. One of the big lessons I've learned  from my daughter is that kids, young people, are whole human beings; they are not  just part of something or an aside. They are  fuU members of the human race and we need  to struggle to make it as democratic as possible to include them.  I've had books before. As a matter of fact,  I put out a book before I had a record. It's  aU about poetry, art, communication. Any  medium is fair game. It aU depends on what  one decides to emphasize with a particular  project.  Andrea: Is there an inclusion of  young people in the process?  Lillian: I do a lot of workshops and work  in the schools. I also try to transform my  own hfe to be more aware and more receptive and interactive with chUdren. I'm also  working on an album for kids.  Andrea: How do you see yourself impacting on young Black artists attempting to break into the arts?  Lillian: I work with a number of young  people on records and in the publishing industry. Basically in terms of someone trying to "make it," I'm not sure if I can be of  much use. I'm interested in people finding  the forms of expression and making some  kind of intervention in society. I find a lot  of young people want to make a record tomorrow and they want to be stars. I'm first  of aU asking, "Why do you want to write?  Why do you want to sing?" and they have  to probe themselves to see why they want  to do it. Some of these young people think  they can sing what they hear on radio and  make a hit. I'm more interested in making  the world a better, more humane place. I  provide a lot of support for people to develop work that's culturaUy responsible.  Andrea: How does your book connect  to the oral tradition of dub poetry ?  Lillian: There is always this idea that  Black culture/Africa does not have a written tradition. The point I'm making is that  in Black culture there aren't straight lines.  There isn't a hne from music to poetry, it's  a spectrum. There is Bob Marley, who is  the recognition for the work in terms of  the labour and quahty, because it doesn't  fit into a commercial format. That keeps  the artist from making the necessary monies  needed to further develop and buUd in their  field. Societal barriers of racism.  Lillian Allen  more music, LiUian Allen with her dub poetry, June Jordan who is more written and  even Claude Mackay. So one runs up and  down the spectrum, and that's the way I  wish it to be. The categories of written and  oral are artificial.  Andrea: Your video—Unnatural Causes—how did it come about, what is it  about, where does it fit into the spectrum of expression?  Lillian: I had offers to make a video—  a rock video. I decided not to because I  wanted to start out by creating a new form  by synthesizing various elements. I chose to  work with the less rhythmic of the poems  to create what I caU a "filmeo"—a cross between a film and a video. I'm attempting  to do with that video what I do with my  poetry—to transform by synthesizing the  brain into one artistic place. To synthesize  elements from popular culture using a certain intention to transform that form.  That was my intention; it was not to  present a person on stage with a guitar  spouting "Buy America." I wanted to go a  httle deeper to see what is actuaUy going on  in society and challenge it.  I also acknowledge that the audience has  a brain and social responsibility, as weU as  hves within a social context. So, as an artist  it's great for me to be able to access various creative forms. Dub poetry is ten percent of what I do, it's the part that gets out  to the pubhc and gets recognition. As a creative person there are no boundaries. Barriers, but not boundaries.  The barriers are lack of access, in the  broader societal sense. One does not get  Kathy March: Are there challenges  that are specific to you, as a Black  woman, engaging in the revolutionary  process ?  Lillian: Racism separates us from those  people who are part of the racist culture.  As far as I'm concerned this is the biggest  barrier; it goes into every aspect of hfe. In  negotiating this, even in hberal situations  (situations where people are in support of  you), one has to struggle with the emotional  and psychological stuff. All of this in combination with being a woman who is outspoken and is trying to deal with the T.V.  image of what women should be, intensifies  the struggle.  music and whiten it up and capitalize on it;  this is the history of the music industry in  North America.  Kathy: Can you envision strategies to  turn this around?  Lillian: We do not have the resources,  and we are denied access from institutions.  I am constantly trying to catch up—I am  trying to make money and support other  artists. It's a cycle, it's a tough thing. There  are att sorts of strategies, but the barriers  are always there. Rap is breaking through  only because rap has gone to the people.  Canada has missed rap and the music industry does not want to critique what has happened. When they are unable to ignore the  biUions of doUars which it brings in, then  every one wants a piece of the action. It's  opening a httle for the rap artist.  The young rap artists—that I work  with—their perception of making it is to  whiten up, hghten up and be sexy. That's  the message that comes from the industry.  Andrea: It seems as if young Canadian rap artists have to leave the country before they are recognized here,  for example Dream Warriors. And the  ones who gain recognition are generally  male.  Lillian: The industry is controUed by  males and they are not interested in having an inclusive vision of society. They are  looking at the easiest ways to make money.  They do not want to hear from anyone who  wiU rock the boat. What one says to rock  the boat changes from time to time. The decision makers do not base their decisions on  art, social responsibiUty or equahty.  Andrea: Perhaps a strategy to address  these inequities is to operate outside of  the established institutions.  Lillian: Yes, it has to be; if your art  is generated from a culture and generated  from inside of you, it cannot be kept down.  One has to find ways to get it out and bring  it to the people. We have to network and  the community has to become a part of it.  Andrea: How does the community become a part of the process, not merely  consuming the finished product?  Lillian: There has to be a dialectic between the community and the artist. It's a  larger process and there is no single answer,  it's a pohtical process that needs to happen. We are looking at a community that's  been exploited, underdeveloped in terms of  an accumulation process. We need a whole  pohtical and community process.  Andrea: Do you want to recap what  you think the revolution is about?  Lillian: The revolution, as far as I am  concerned, is about normalcy. And that  is defined as: there is nobody that is inferior and nobody that is superior. As  such, [the revolution] is a dynamic struggle that involves those that have been exploited/oppressed and the fight to empower  themselves against exploitation and to work  ...if your art is generated from  a culture and is from inside of you,  it cannot be kept down.  Kathy: Marlene Nourbese Phillip [a  Toronto-based writer] talks about the  racism involved in the publishing industry. What about the recording industry?  Lillian: It's just as bad. I have had some  experience with the publishing industry; I  started writing a long time ago and tried  to get published but no one would do it as  they did not have the market for it. It's  closed shop in the recording industry. It's  very insidious in the way the whole industry is buUt on Black music and Black music culture. They take Black art form and  at those that have privUege and power.  And those that come to consciousness about  their power, continuaUy divest themselves of  power and fight their machinery of exploitation. It is for us to unite with those folks  and fight the structure and the power base.  Andrea Fatona is a Black woman living in Vancouver. Kathy March is a  Black woman who is empowered by her  contact with the work of other Black  women.  KINESIS .^^^^^^^^^^5^^^  Arts  Words that ache v^£vS^  & ignite & hum  by Cathy Stonehouse  HANGING FIRE  by PhylUs Webb  Toronto: Coach House Press, 1990  "The proper response to a poem is another poem," writes PhylUs Webb, and after reading her recent coUection, Hanging  Fire, the reader's own poetic imagination  may indeed ignite.  In this, her eleventh book, Webb's writing covers wide geographic territory—from  her Salt Spring home to Krakatoa and  Leningrad—yet always the drama resides  on the page, or rather in the meeting of  mind and language, where synapses spark.  Words, meanings and ideas criss-cross beneath the surface logic or narrative—erupt  out of it. Her poems often start with particular phrases or words that "arrive unbidden  in [her] head," chronicling with acute sensi-  bUity a writer's response to the world.  Often chaUenging in her range of vocabulary, and the rapidity with which her connections take flight, Webb never loses her  pohtical edge, her playfulness. She writes of  old Hitchcock films, the abuses of animal  experimentation, her own writers' community, always keenly aware of her art's limits  and possibilities.  As readers we experience the excitement  of "Words/ jumping the gun/ on soundless-  ness," of language as a "River on which we  move undulant,/ forsaking aU else for this  infectious cruise," as weU as how we "burrow into the paper to court...Something to  talk to, for God's sake, something to love  that wUl never hit back." Hanging Fire is  a coUection to return to for an infusion of  warmth, clarity and hght.  SKY:  A poem in four pieces  by Libby Scheier  Stratford, Ont: The Mercury Press, 1990  In Sky, Libby Scheier's extended poem  in four pieces, fire holds the power to transform sUence/amnesia into courageous truth.  The Ontario-based poet, author of two previous coUections, uses language as a knife  to carve out the raw elements of a universe  that contains both "cherry trees heavy with  black juice" and the rape of chUdren.  Scheier's language is taut and vibrates  with energy, as if spoken, not a syUable  wasted. White-space sUence has its own  voice too, heard often between words, pages,  sections. The poem's four parts—Sky Narratives, Ocean, Earth Per Verse, and Fire—  aU display both cosmic breadth and stunning specificity.  Sky Narratives explores the human relationship to time: "the long haul of day-  hght...the neutral, permanent night," and  aU points between. It is also about mor-  taUty: this sky/heaven "we can put our  hand right through," the otherness of death.  Ocean takes us into the push/puU motion of  "the time when mother/ surrounded me and  betrayal/ was not possible," before reaching Earth, "a large hand on a tiny vagina,"  a spiralling of dreams, memory fragments,  the telling and retelling of the experience of  being oraUy raped as a child.  The power of this work comes from the  unspoken ever-present "why?" of it aU, the  wonder and frustration of trying to "pierce  the skin of the truth," then watching it explode into a million pieces. Scheier's poem  presents her complex truth in aU its naked  horror and blunt beauty, opening up channels of rage and joy. Her words left me  aching, angry, deeply empowered.  WOMAN  SITTING  AT THE  MACHINE, THINKING  By Karen Brodine  Seattle: Red Letter Press, 1990  As Karen Brodine writes in Woman Sitting at the Machine, Thinking, "those  most pushed down have the most to say."  The urgency of writing these words down  underhnes the whole coUection, published  three years after her death from cancer in  1987.  Brodine's words are, to her, very concrete "crisp black ants on the galleys." They  are also a direct means of reaching out, hke  touch: "the idea, the letter, the word, the  labour that puts them into action." Her language is loose, open, often conversational,  always grounded, a response to the terseness of labels, to the matter-of-fact words.  Her poems record a hfe—in letters, anecdotes, vivid imagery and dreams—always  questioning, always connecting.  Her writing reveals the seU she was at  home in, meshes her experiences as daughter, lover, worker, pohtical activist and  proud lesbian, into the "repetitive process"  of survival. She bravely contrasts the power  of white, capitalist, patriarchal society to  dehumanize, toxify, dismiss or even end our  Uves with her experience of the bond between women, as lovers ("never a clear separation of power because it is both our power  at once") or coUectively ("shouting out we  belong—knowing we must take power aU together/ in the long run.")  new and  gently used books  Feminist  I Philosophy - Poetry  Native - General  I Open daily 11am-7pm  Coffee Bar  il Drive  Vancouver BC V5L 3W9  (604)253-1099  Bonnie Murray  Cynthia Brook  faROLMG DAWN ORGANIC FOODS)  Make Donations of Food,  Clothing, Tools, Camping  Gear, Office Supplies &  Rummage Saleable Things  'ALL  v&Hang  For the LU'Wat People at /ORGANIC  RESTAURA1  Circling Dawn. \No meat, dairy or eggs  LU'Wat Support Group  Co-ordination Meeting  here every Tuesday  @ 10 am  Store Hours  Mon-Sat 10-9  Sun 10-7  WS  Juke Bar Hours  Mon-Thurs 10-9  Fri-Sat 10-12:30  Sun 10-7  Supporting Non-Toxic Agriculture Only  Bfrtrc      Supporting Native  Sovereignty    ph.255-2326^  Karen Brodine  She records her mother's and grandmother's deaths with grace and simUarly  faces her own, candidly describing her mastectomy, chemotherapy, the inner struggle  to survive. Survive she does, in her words,  in her tangible effect on other people's hves.  Her poems refuse death its power to nullify  a Ufe, to remove its richness and ordinariness. "AU my Ufe," Brodine wrote, she felt  "the urgency to speak, the puU toward silence." The sUence she leaves us with stiU  hums with hfe and possibility.  Cathy Stonehouse is a writer and  part-time typesetter who loves to get  free review copies to add to her book collection.  , KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^^^^^  y/yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  LETTERS  Honouring each  woman's vision  Kinesis:  I have difficulty understanding Morgan  McGuigan's critique of BOA's presentation  of Women Surviving Oppression ("Wanting more than surviving oppression," May  1991). Although she appears not to have  attended any of the poetry and music  nights, she writes that the show gave a  one-dimensional view of women's hves, in  that women are portrayed as victims and  survivors only, never actors in deterrnining  their own hves.  I attended BOA's opening night of poetry, music and art, discussing the experience with several other women afterwards. Our reaction was the opposite  to McGuigan's. During the evening we  laughed, we cried, we were uplifted by the  women who danced, talked and sang of how  they cope with the oppression aU around  us, and how they fight back. P.J. Flaming, frothing with curls and curves, mc'd  the show and kept us aU in stitches with  her wicked portrayal of Tammy Whynot.  This was a multi-dimensional, not a one-  dimensional show.  And whUe McGuigan was puzzled by  BOA's hanging the work of established  artists beside those of amateurs, those of  us familiar with BOA would have been surprised had they not done this. BOA is  not ehtist. They have never edited women's  work, pontificating "This is good," or "This  is bad." Instead, they honour each woman's  individual vision, without restricting or  ghettoizing her by tagging her work "amateur" or "professional."  As for McGuigan's statement that "...this  exhibit presents women as victims and survivors only, never actors in determining  their own hves. Women react, they don't  act," McGuigan should remember that expressing pain and rage is an essential step  towards healing, towards a woman reclaiming her own power. A woman is entitled  to work through her feehngs at her own  pace, without others imposing their own  time frame upon her. Only when all the  rage and pain is expressed wiU healing start  to take place. The last thing women need  is someone inferring, "Come on, you guys,  buck up. Time you snapped out of it."  But McGuigan herseU sends contradictory messages. A few paragraphs before,  claiming the show had a one-dimensional  viewpoint, she mentioned the "celebratory,  joyous pieces at the FirehaU." H the show  depicted everything from the oppressive to  the joyous, how can it possibly have been  one-dimensional? I, and many others, are  grateful to the organizers of BOA, who  gave so freely and so very generously of  themselves, and provided us with a rich  panorama of women surviving oppression.  Sincerely yours,  Jancis M. Andrews  West Vancouver, BC  Our feelings are  constantly denied  Kinesis:  Morgan McGuigan's review of the BOA  art exhibition omitted an important point  about Women Surviving Oppression. It  takes a lot of strength to express our feelings when they are constantly denied.  Images and attitudes that misrepresent  us, sUence us.  Women who don't want to hear about our  pain, sUence us.  H the feminist movement wants to liberate women it must meet the chaUenge to accept aU women's experiences.  Thanks BOA for the opportunity to share  our experiences.  M. McPherson  Vancouver, BC  This is not  Whiteboy Art  In response to Morgan McGuigan's review of BOA's art exhibit:  It's too bad that Women Surviving Oppression offends your middle-class sensi-  biUties after having, as you say, worked  hard to develop a feminist analysis. Perhaps you should work harder to overcome  your bourgeois aesthetic values. And you've  grown impatient with the raw expression of  our shucks. What do you  want—homogenized expression? Modified,  sanitized, deodorized expression? Should we  package it? Put pink ribbons on it? What  are you saying: "Be a feminist but don't be  rude? You're so unattractive when you're  in pain?" Where have we heard ah this before? What are the positive aspects of sexual abuse? You hear "Women Surviving Oppression" and hear a feminist slogan. What  Keeping our money in our community...  CCEC Credit Union  lORTGAGES  * Purchase Made Possible *  Our knowledgable staff at CCEC  will take the time to answer your  questions and help you choose the  mortgage that best suits you.  Pre-Approved Mortgages • Open or Fixed • One or Two Year Terms • Flexible Payment Options  No Renewal Fees • Optional Life Insurance • Automatic Deduction Plan  Approved lenders for CMHC Mortgage Insurance and the B.C. Mortgage Assistance Plan  Let's talk about us at 254-4100  do you want us to caU it? Women Celebrating Oppression Tra La Tra La?  "...extremely hard to get into?" For  whom? The Downtown Eastside Women's  Centre is used by 100 women every day.  Where would you have hked us to hold it?  At the Vancouver Art GaUery? In the lobby  of the Bank of Montreal? The VAG is inaccessible to poor women except for Thursday  evenings, and that's when I have my therapy group.  Is what offends you that we spUt up  the show and you had to walk two blocks?  That must have been scary. It was spUt because there wasn't enough space for aU the  work. You want it to hang in a big white  gaUery with 10 feet between each piece, not  crowded over bookcases and sleeping sex  trade workers. We don't have access to huge  white warehouses, and we didn't edit or censor because it's important that aU women be  heard. The Whiteboy Aesthetic would have  streamlined the show (for Streamlined read:  Censored, Judged) and hung it in the sanitized sUent space of a gaUery. The Whiteboy Aesthetic is about exclusion rather than  inclusion. It separates "True Art" from the  community, from our hves, and creates it in  the academic void. It reveres the finished  product over the process of hving.  Is what offends you that we didn't make  it Easy and we didn't make it Nice? You  said these women have enough pain in their  hves. So what should they/we see? Images  of suburbia? Other people's wealth? Hey,  that'U cheer them up. Decorate. Keeping it  Easy and Nice is how we stay trapped in  traditional female roles and our denial.  What I find so offensive is your term  "amateur" which tells me to measure my  success by being "legitimate." This is Victory you're talking about when you want  us to leave our abuse/oppression behind in  therapy groups, coUectives and alternative  venues. Victory to me is being able to speak  in my own voice and be heard by other  women. Who do we need approval from to  make it good, Acceptable art? Men? Bourgeois feminists?  And we're not gonna get it if we don't  stop whining?  Yes, Morgan, we are saying that art-  making belongs to us aU. This is not Whiteboy Art. This is not an academic exercise.  This is my hfe, this is me. Overcoming the  ghettoization of women's art is important,  but not at the expense of the raw power and  honesty of our imagery.  Ann Ravin  Diane Wood  Vancouver, BC  In response to  classist review  CCEC Credit Union  , B.C. V5N 5P9  Kinesis:  In response to Morgan McGuigan's classist review of BOA's "Women Surviving  Oppression" cultural event, I would hke to  quote:  "One reviewer complained that 'with few  exceptions...the poems are despairing, why,  agonised. The subjects chosen are suffering,  dark, hurt, lonely. There is very httle joy.  One wonders why.' I think one knows why.  This is the world we hve in, the world from  which women must free themselves."  —Dorothy Livesay  ...and...  "There are no personal exceptions. Freedom can't exist in exclusivity, or in a vacuum, in the face of someone else's suffering, and certainly not at the cost of that  suffering."  —Robin Morgan, The Demon Lover  ...and...  "The thing you have to remember about  scar tissue is that it is stronger than the skin  it replaced."  —anonymous  ...and...  "sur-vive v. -vived, -viving. 1. to remain  alive or in existence; continue hfe or activity. 2. To hve longer than; outlive. —sur-  viv'al n.—sur-vi'vor n."  —American Heritage Dictionary  Christine Cumming  Vancouver, BC  Morgan McGuigan responds:  The women responding to my review  of "Women Surviving Oppression" miss  the point of the review. They suggest  that I was saying women should be silenced, give up the strength of their images, prettify their work, stop expressing their feelings or be silenced. This  is not so. Nor was I offended by the  art work. I found it beautiful and moving. What I was saying was that I  agreed with the issues—the oppression  exists and was well portrayed—but hey,  haven't we been saying that for years?  When does the next step come? Is there  a next step?  In the context of 1991, where in many  ways the women's movement which I  have been a part of has died, I think my  questions are legitimate. I have a right  to ask them, and the place to ask them  is in Kinesis, not the mainstream media.  Viewing the art exhibition raised  those questions for me, and in that  sense the show was a success. My review gave more attention and respect to  the exhibition than many rave reviews  because I took the issues seriously and  thought about what the show was actually saying in the context of a movement Kinesis represents.  Do Kinesis readers want thinking,  questioning articles to read, or are they  interested in moribund reviews that  obvious, unthinking and keep to the  party line? Do they want debate and social criticism or do they want to read  only party approved propaganda ?  Is there no place for this type of productive debate and disagreement? We  never talk to those who disagree with  us. I was hoping Kinesis might provide  a venue for such a dialogue. However,  the letters seem to indicate an unwillingness to provide a respectful, thinking  response, and in fact fall back into knee-  jerk, name-calling diatribes that do not  help.  I find that very sad.  Electoral process  violates charter  Kinesis:  It is this citizen's contention that the  spirit of the electoral process of Canada is  in conflict with the spirit of the Charter of  Rights of Canada when any pohtical party is  entitled by to run, for example, nine-tenths  of its official candidates as men and one-  tenth as women in any given election.  What has precedence in Canada—the intent, spirit and interpretive understanding  of the Charter of Rights or the right of any  pohtical party to run whatever gender proportion of official candidates it chooses in  any given election?  Sincerely yours,  Ronald Douglas Mime  Toronto, Ont.  .Daughters of Promise j  A workshop on  . Saltspring Island with  ?    LOUISA TEISCH  June 14-18  $250 incl. food & billeting  (604) 653-9406  celebrate the erotic  in nature and human nature  KINESIS Bulletin Board  READ THIS  AU listings 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 wiU not be accepted  over the telephone. Groups, organizations  and individuals eligible for free space in the  BuUetin Board must be, or have, non-profit  objectives. Other free notices will be items  of general pubUc interest and wiU 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 wiU not accept classifieds over the telephone. AU classifieds must  be prepaid.  For BuUetin Board submissions send  copy to Kinesis Attn: BuUetin Board,  #301-1720 Grant Street, Vancouver, B.C.  V5L 2Y6. For more information caU 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' Meeting on Wed.  June 5 (for the July/August issue) at  7pm at our office, #301-1720 Grant St.  If you can't make the meeting, call 255-  5499. No experience necessary, all women  welcome.  WOMEN OF COLOUR CAUCUS  Women of Colour are organizing at Kinesis and we welcome all volunteers past,  present and future to our next meeting.  For info about the next meeting, please  call Farhat Khan at 734-7885.  SINGER MAUREEN FIELD  Singer/songwriter Maureen Field will be  performing original music in a smoke and  alcohol free space at Kewal Cafe, 235 E.  Broadway on Sun. June 9, 8pm. $3-$5  sliding scale.  GRAB YOUR ECO MUG  And come on down to the Annual Kinesis Raffle and Benefit, Mon. June 10,  at La Quena Coffee House, 1111 Commercial Dr. Doors open at 7pm, entertainment begins at 7:30 sharp. Entertainers include Raj Pannu (poet); Helga (fan  dancer); singer-songwriters Oline Luinen-  burg, Diane Levings and Sue McGowan,  and Random Acts. Tickets $2-$6 at the  door. Women and children invited. Refreshments will be available. This is going to sell out, so don't dawdle. For more  info, to volunteer with the benefit, or for  raffle tix, call 255-5499 or Christine 255-  1937..  LIES AND LABELS  A forum on race, ethnicity and the performing arts. This free to the public all  day forum will bring together artists, presenters and audience to examine timely  and important issues concerning diversity in Vancouver's performing arts. Presented by Vancouver East Cultural Centre, Vancouver Folk Music Festival and  Powell Street Festival. Call 254-9578 for  a detailed brochure. Sun. June 2 at the  Vancouver East Cultural Centre.  DONDE ESTAN?  Where are they? An evening of literature, poetry and music from and about  Latin America. Guatemalan novelist Ar-  turo Arias, Salvadorean poet Alfonso Qui-  jada Urias, The Folkloric Group of the Assoc, of the Relatives of Desparecidos and  various musicians. Mon. June 10, 8pm.  Vancouver East Cultural Centre, tix $13  at usual outlets or to reserve tix's 254-  9578.  LESBIAN AND GAY CHOIR  The debut concert by Vancouver's newest  choir includes madrigals, Canadian folk  songs, pop tunes and community spirit,  featuring the four-women a cappella  group, AYA. Sun. June 9 at 8pm at  the Vancouver East Cultural Centre. For  reservations call 254-9578.  PUBLIC DOMAIN  Artists Sara Diamond and Anne Ramsden, among others, showing June 14-  Aug. 3. Opening Fri. June 14 at 8pm.  Contemporary Art Gallery, 555 Hamilton  St. 681-2700.  ^y^C^AyrK   screen print  f^dM^K " DESKS"  (fif      /»]    ^    (604) 980-1  Eastside DataCraphics  Office Supplies  1460 Commercial Drive  tel: 255-9559  fax: 253-3073  Call or fax for free  next-day delivery!  The members of the DataGraphic's collective are pleased  to announce that we have joined the Communication  Workers of America, Local 226.  .KINESIS  ANTI-FREE TRADE RALLY  Canada-U.S.-Mexico Free Trade? We say  no dice. Brian Mulroney wants to throw  away Canada's future with another bad  deal. Can you live on $3.50 a day? Mexican workers in "free" trade zones have  to. Rally and march Sat. June 1, noon.  Meet at Vancouver Trade and Convention Centre at Canada Place.  ENVIRONMENT FILMS  "Mars Is No Option," an international  film festival on the environment and development. Showing June 7-9 at Pacific Cinematheque, 1131 Howe St. Fri.  7-8pm, Sat. noon-6pm and 8- 11pm, and  Sun. noon-6pm. Tix are limited, $5 employed, $3 unemployed, festival passes  $30 and $24. Contact Faith Moosang  732-9058 or 688-3456.  A MESSAGE OF HOPE  "Un Mensaje De Esperanza" from Chile.  Info panel with members of the Folkloric  Group of the Association of the Relatives  of "Desaparecidos" (detained and missing persons) of Chile. La Quena Coffee  House, 1111 Commercial Dr., Wed. June  5, 8pm. (See next entry)  HISPANIC WOMEN'S CONF.  Canadian Hispanic Congress presents  Breaking Barriers: Hispanic Women's National Conference. Fri.-Sat. June 7-8.  Holiday Inn Hotel, 711 W. Broadway.  Registration fees: general - $30, seniors,  students and unemployed - $10. Subsidy  available for women with limited income.  For more info call 682-2363.  LITTLE WHITE LIES  Written by Celeste Insell, Little White  Lies is a play that deals with some of the  problems women of colour face as performers. The script is still evolving—in its  present form it's a dance/theatre piece.  Little White Lies will be presented as a  work in progress at the Developmental  Arts Society Festival, Heritage Hall, 3102  Main St., June 8, 13 and 15 at 8pm. Tix  $6-$8. For info call DAS at 253-2015.  DRAWING THE LINE  Lesbian Sexual Politics on the Wall by  Kiss & Tell just released as a postcard  book from Press Gang Publishers. Join us  for an evening of fun and celebration Fri.  June 21 at The Lotus, 455 Abbott St.,  Vancouver. (For more info 253-2537).  DRAWING THE LINE: Lesbian Sexual Politics on the Wall  by Kiss & Tell  Just released as a postcard book  by Press Gang Publishers  Susan Stewart  Join us for an evening of  fun & celebration  Friday, June 21, 8- 10:30 pm  @ The Lotus, 455 Abbott Street  Vancouver  Kiss & Tell presentation, book signing  and "Loony Auction"  For more information 253-2537  cws/cf  Canadian Woman Studies  The Best in Feminist Publishing  CWS/cf is a feminist quarterly packed  with accessible writing on current issues, advocacy, action and theory. Each  issue is dedicated to a theme you care  about. Recent issues include: Women &  Housing, Feminism & the Visual Arts,  Native Women, Soviet Women and  Women & Literacy. Subscribe now!  Name    PostaJCode  Country —-  Subscriptions  CANADA  Individual   $30 +GST $3Z10  Institution   $40 + GST $42.80  Single copy   $8 + GST + postage $956  FOREIGN  Individual   $30 + $6 postage $36.00  Institution   $40 + $6 postage $46.00  Single copy   $8 + $2 postage $10.00  All orders must be prepaid. Enclose  cheque or money order and send to:  Canadian Woman Studies  212 Founders College  York University  4700 Keele Street  Downsview, Ontario M3J 1P3 yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  BULLETIN BOARD  SALTSPRING DANCE  First Annual Saltspring Island Women's  Dance and Social. Sat. June 22, at  Beaver Point Hall. Food and beverages,  chemical free event. Tix's available at  Ariel Books, Lil' Sisters, Everywoman's  Book (Victoria) and Rare Find (Salt-  spring). For more info call 1-537-9874.  Limited child care and billeting.  SUMMER SOLSTICE  Summer Solstice Celebration for women  and children. Circle 7-8pm. Bring small  gift or treasure to share. Open stage and  entertainment featuring Sue McGowan  8pm onwards. Sat. June 22 at the  Errington Hall, near Parksville on Vancouver Island. $4-$8 admission. Info 752-  2583.  YARD SALE  Wed. June 26, 2-8pm. Sounds & Furies yard sale. Interesting books, fascinating clothes, prized furnishings...and more.  Come on over and hang out. CofFee,  desserts, and more. Your donations to  sale welcomed. 2130 Parker (btwn. Templeton and Lakewood). Info: 253-7189.  YELLOW PERIL RECONSIDERED  Showing of Asian-Canadian art in various mediums, including artists Melanie  Boyle, Laiwan, Midi Onodera, Chick Rice,  Ruby Truly and Jin-me Yoon. Showing  to June 8 at Contemporary Art Gallery,  555 Hamilton St.; Or Gallery, 110-314 W.  Hastings; and Artspeak Gallery, 3-311 W.  Hastings.  AMY DENLO  Multi-instrumentalist Amy Denio, veteran of the Seattle Tone Dogs plugs into  Don Ritter's computer graphics for a collaborative musical and visual experience.  Tues. June 25, 5:30pm at the Western  Front. Tix at Blackswan, Highlife, Jazz  Hotline or Ticket Master.  QUEER PRIDE MARCH  Queer Pride: Out Living, Out Loving,  Out Fighting. Queer Planet invites all lesbians, gays, queers to attend a march on  Sat. June 22 (to coincide with Stonewall  Festival). March leaves Nelson Park at  lpm through downtown and ends back at  the park.  WOMYN'S COFFEEHOUSE  Monthly evening coffeehouses at La  Quena, 1111 Commercial Dr. Featuring  womyn artists. For dates and line ups,  check La Quena calendars and events listings in newspapers. $4-$6 or what you  can afford. Performers, volunteers and information: 253-1240 or 253-1101.  LEADER TRAINING  Vancouver Status of Women is looking  for women interested in training to facilitate assertiveness groups. The next three-  day training will be offered on Thurs.  June 20, 5:30-10pm, and all day Sat.  and Sun. June 22-23. The training is  provided free of charge with the expectation that trained facilitators will lead one  group for VSW afterwards. Any women  interested please call Trisha at 255-6554  before June 17 to register.  du Maurier Ltd.*  INTERNATIONAL  JAZZ      FESTIVAL     VANCOUVER    JUNE   21   TO  JULY   1,   1991    Featuring WOMEN OF THE WORLD  June 28    Commodore  June 22    VECC  June 22  June 22  June 23  June 21  Glass Slipper  Gastown  Granville Isl.  Commodore  June 22    Commodore  Yale  ASTER AWEKE  The Aretha Franklin of Ethiopia...  SUSANNAH McCORKLE  Gorgeous sultry singing ...  JANE BUNNETT  Outstanding soprano saxophonist/  composer...  KATHY KIDD  Serious Afro-Latin fun...  JUSTINE  Fresh, contemporary Quebecois sounds ...  ELLEN MclLWAINE June 21/22  Electrifying blues and slide guitar...  AMANDA HUGHES June 29  Shakes your soul with R&B, jazz and reggae...  AMY DENIO June 25  New Music interacting with video ...  SHELLEY HIRSCH June 27  Evocative vocalist, urban storyteller...  plus... Glenna Powrie, Kulintang Arts, The Happy End,  Garbo's Hat, Lori Freedman, Babayaga, June Katz, Jennifer  Scott, Dee Daniels, Pam Henry, Karen Graves, and more!  Jazz Hotline • 682-0706  Festival program available with complete details at all ticket outlets, plus  music stores, bookstores, libraries. Tickets available at all Ticketmaster  locations, Eaton's, Black Swan, Highlife, Uhuru.  Charge by Phone 280-4444  Commodore  Western Front  Western Front  WOMEN IN MUSIC  Thurs. June 20 Women In Music is  having a fundraiser at La Quena, 1111  Commercial Dr., 8-llpm. Performing are  Rhodea Merol, Lyncaster, Gail Bowen,  Violette DuBeau, Cynthia Rose Grant,  Lori Freedman among others. Admission  $7 employed, $5 unemployed.  DISPUTED IDENTITIES  Disputed Identities is a mixed survey of  works by multicultural video and image  makers from Britain and the U.S. Photography works by Ingrid Pollard, Diane  Tani, Carrie Mae Weems. Video works by  Sharon Jue, Valerie Soe among others.  Showing till June 16 at the Presentation  House Gallery, 333 Chesterfield Ave., N.  Van. Hrs. Wed.-Sun. 12-5pm and Thurs.  12-9pm. 986-1351.  YWCA REUNION  Calling all past Vancouver YWCA volunteer fitness instructors. The Van. YWCA  is planning a reunion of volunteer fitness instructors on June 6. If this is you,  please call Program Registration at the  YWCA, 683-2531.  SUBURBAN IMMIGRANT SENIORS  The Burnaby Multicultural Society invites  you to the launching of their report Hidden Faces: A Survey of Suburban Immigrant Seniors. Taking place at the Bonsoi  Recreation Complex, 6550 Bonsor Ave.  in the "Multi-use Rm." June 13, l-4pm.  Further info: 299-4808.  GLC VIDEO NIGHTS  The Gay and Lesbian Centre, 1170 Bute,  is showing The Colour Purple, Thurs.  June 20, 7:30pm. GLC members free,  non- members $2.  STONEWALL FESTIVAL  The 1st Annual Vancouver Stonewall Festival In The Park will be held 12-6pm  Sat. June 22 in Nelson Park (Nelson &  Thurlow). Performances include theatre,  dance troupes, choirs, bands and sports  demo's. The Gay/Lesbian Centre and the  Pacific Foundation for the Advancement  of Minority Equality (PFAME) are hosting this event. Call 684-5307 for more  info.  ASTER AWEKE  Performs at the Commodore on Fri. June  28, 10pm as part of the International  Jazz Festival. Tix available at Highlife,  Blackswan, Jazz Hotline and Ticket Master.  SOUNDS & FURIES NIGHT  A Sounds & Furies night for women on  Sat. July 6 at the W.I.S.E. Club. Poetry  and lesbian erotica readings by Chrystos, original music by Sue McGowan and  Jackie Parker-Snedker, bassist, womyn's  craft market, cappucino, desserts, dinner,  dancing, fun, fun, fun. Crafts and cappucino at 5pm, dinner avail, from 6pm,  show begins at 8:30pm. Sliding scale $6-  12, tix avail from Ariel and Bookmantel.  Smoke and alcohol free. Info: 253-7189.  Ariel Books  With' &qtffos 0bster9<&fam  has moved to  1988 W 4th & Maple  Vancouver, B.C.  V6J 1M5  733-3511  \IRHEART  Jnternational Travel Jl  call  251-2282  for travel arrangements  and information on the  16th Michigan  Womyn's Music  Festival  August 13-18, 1991  2149 COMMERCIAL DRIVE  VANCOUVER  y£"fy      CUPE AGENCY  Astarte's Branching Out!  Astarte Sands is pleased to  announce that she's moving her  Shiatsu practice from her  home to a small studio:  1-509 Carrall St.  (at Pender)  June 1st 1991 - same phone 251-5409  KINESIS Bulletin Board  XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX  >XX<XX^^XX^XXX^XX^^  \xxx***xx*xx*xx^xx^^  FOR MIDDLE EAST REFUGEES  The Student Assoc, of King Edward  Campus is organizing a giant garage  sale/auction with live music, food and  more on Sun. June 30. The public and  merchants are urged to make donations  to the event, which will benefit Middle  East refugees. Please call 875-8219 to arrange donations or for more info. The  event will be at King Edward Campus,  1155 E. Broadway.  HARRISON FESTIVAL  Come celebrate the traditional and contemporary cultures of Africa and the  Caribbean at the Harrison Festival of the  Arts July 6-14 at Harrison Hot Springs.  Enjoy music, poetry, dance, Art Market, workshops and children's day. On  July 13-14 there will be a symposium  "So Where To." Topics include Women  Against Apartheid and Racism in Canadian Society. Anna Riopel is coordinat-  ng the symposium and hosting a workshop on Unlearning Racism. For further  info contact the Harrison Festival of the  Arts, P.O. Box 399, Harrison Hot Springs,  BC VOM IKO. (604) 796-3664.  FOLK MUSIC FESTIVAL  The 14th Annual Vancouver Folk Music  Festival is July 19-21 at Jericho Beach  Park. Women performers this year include Lillian Allen and the Revolutionary Tea Party, Four The Moment, Ronnie  Gilbert, Heartbeats, Patty Larkin, Christine Lavin, Lee Maracle and friends, Sensible Footwear, and Kathleen Yearwood  and Cheval de Guerre. For tix in person,  phone or mail, contact Vancouver Folk  Music Festival. 3271 Main St., Vancouver, BC, V5V 3M6. (604) 879-2931.  CRIAW CONFERENCE  The 1991 Canadian Research Institute for  the Advancement of Women Conference  will be held Nov. 8-10 at the Westin Hotel, Edmonton, Alta. on the theme Global  Vision/Local Action. Further info (403)  492-8950 (leave message).  VLC MONTHLY COFFEEHOUSE  The Vancouver Lesbian Connection has a  monthly coffeehouse the last Sunday of  every month. This month's coffeehouse  will be held on Sun. June 30 at 7:30pm.  Phone 254-8458 for entertainment lineup and other information. The VLC is located at 876 Commercial Dr.  HIV TESTING FOR LESBIANS  Beginning Tues. June 11, the VLC is offering free and anonymous HIV, hepatitis  and syphilis testing for lesbians. This service will be offered the 2nd and 4th Tuesday of every month from 7-10pm. Testing, pre- and post-test counselling services, test results and referrals to lesbian  doctors and specialists will be available.  Test will be done by RN Patrick Loftus  of Safe Company. Lesbians interested in  volunteering for pre- and post-test counselling services are welcome to attend the  training session Sun. June 9, 4-7pm.  For more info call 254-8458.  LEGAL WORKSHOP F/ LESBIANS  Lawyer Ruth Lea Taylor will be hosting the fourth in her series of six workshops on legal issues effecting lesbians on  Tues. June 18, 7pm at the Vancouver  Lesbian Connection, 876 Commercial Dr.  This workshop will address concerns facing lesbian couples with children. Free.  For more info call 254-8458.  FOR WOMEN ON WELFARE  Massage Therapist Jo Fairweather is offering whole or partial body massage  free of charge to women on welfare and  other low-income women. Every Monday, 9am-4pm at the VLC, 876 Commercial Dr. Treat yourself to a luxury you  deserve at a price you can afford. Drop in  or call 254-8458 for an appointment.  COME ALIVE  in the August Women's Intensive at the  Institute for Transformational Movement.  With the tools of movement therapy,  transform tense muscles into spontaneity, free your emotional energy to empower you. August 5-23, Mon-Fri 6-  10pm $475. For more info and free intro  sessions, contact I.T.M., 1607 13th Ave.,  Seattle, WA 98122. (206) 329-8680.  WOMEN AND LEISURE  Submissions are invited to "Feminist Perspectives on Leisure," an upcoming issue  of Society and Leisure. The issue will focus on the impact of gender on leisure  and the need to understand women's  leisure behaviour. Contact: The Editor,  Society and Leisure, Dept. des sciences  du loisir, Universite du Quebec a Trois-  Rivieres, C.P. 500, Trois-Rivieres, Quebec  G9A5H7 for further info.  SHORT FICTION  Submissions are now being accepted for  Short Fiction By Women, a new magazine publishing literature by women writers. All women, published and unpublished, are invited to submit short stories, novellas and novel excerpts, submit  one typed, double-spaced manuscript and  include SASE for return of manuscript  to Rachel Whalen, editor, Short Fiction  By Women, Box 1276, Stuyvesant Stn.,  New York, NY 10009. Payment based on  length and funds available. First issue fall  '91.  VLC MUMS & KIDS GROUP  Beginning in June The Vancouver Lesbian Connection Mums and Kids group  will be meeting the 1st and 3rd Sunday of every month from l-4pm. Child  care activities and family activities will be  planned for participation. Drop in at the  VLC, 876 Commercial Dr. or phone 254-  8458 for more info.  VAN. LESBIAN CONNECTION  Beginning in June the VLC will be changing their Saturday hours to noon-5pm.  The centre is also open Tues and Thurs  12-7pm. Drop in services, referrals and library. Volunteers always welcome. Phone  Ginger at 254-8458.  RAPE RELIEF  Rape Relief and Women's Shelter has  volunteer training sessions starting every  month. Any women who are interested in  volunteering on the telephone lines and  in the shelter can call 872-8212 Mon-Fri  from 9am-5pm for a training interview.  We also have a volunteer position available for a receptionist. The hours are any  weekday 9am-5pm. Experience on WordPerfect 5.1 and switchboard is part of the  job description.  TAXES FOR PEACE  We are a new peace group responding to  Canada's active role in the Gulf War. We  feel we can no longer pay for war through  our taxes. We feel the government owes  an 8.6% refund that went towards military spending in 1990 to those who opposed this war. We are asking your help in  distribution of our pamphlets and any donations. Speakers also available. Contact  3091 W. Broadway, #203, Van., V6K  2G9. (604) 737-0691 for further info.  GAY & LESBIAN CLUB  Capilano Student Union's newest club.  An opportunity to meet other gay and  lesbian students and discuss the issues  facing the community. For info call 986-  1813 or drop in at N116 next to Student  Lounge.  CUSTODY AND ACCESS  Custody and access orders made by our  courts allow violent men to continue  abusing women and children. For a copy  of our newsletter write: YWCA Custody and Access Support Group, Munroe  House, P.O. Box 33904, Stn. D, Van,  V6J 4L7. Let's network. Donations for our  work appreciated. (604) 734-5722.  CLASS FIE  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  SEEKING EMPLOYMENT  Feminist university student (Women's  Studies major at the University of California, Santa Cruz; Canadian citizen) seeks  summer employment June 15-Sept. 20.  Please call 733-6445  revista  AqucUnc  magazine  Who Are We?  We are a group of Canadian and Latin  American women. With the passing of  time, the Latin Americans among us have  experienced a blending of the two cultures. We belong both here and there. The  Canadian women among us share an interest in Latin American issues.  Why A Magazine?  We want to open a dialogue with all  women who share our interest in Latin  American women's issues.  Aquelarre means "illegal gathering of  witches." They used to call us witches.  What do they call us now? Arpilleristas,  weavers, union leaders, women in exile,  political prisoners, mothers of the disappeared, artists...  |^   Please send me subscription(s) to  Aquelarre magazine.  1 year $18.00  2 year $35.00  1 year/institutions      $25.00  Backissues    $2.50  Above prices are for Canada only.  Name      Send cheque or money order to:  Aquelarre, P.O. Box 65535, Su. F,  Vancouver, B.C. Canada V5N 5K6  .KINESIS yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  BULLETIN BOARD  CLASSIFIED  FREE THE SINGER WITHIN  Emotional and creative release through  breath and song with Penny Sidor.  Singers of all levels can increase range,  tone and power while developing the confidence to speak up and sing out! Expert  vocal coaching and personal counselling  in a supportive, accepting environment.  A wholistic and effective method for empowerment, joyful creative expression and  a great voice! On the drive. $30/session.  251-4715  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.  SAILING FOR WOMEN  Are you the confident, competent sailor  you want to be on land and sea? Now is  the time to have what you want through  HERIZEN New Age Sailing, a personalized sailing and self-awareness course for  women in BC, Calif., and Mexico. Call  Captain Trish Birdsell at (604) 662-8016  FEMINIST COUNSELLING  Special interests: childhood trauma, womyn's issues, substance abuse, and internalized homophobia. Sliding scale. Karen  Lewis, MSW: 254-4644.  The Most Colourful  Beats Under The Sun  Harriso.H  f  Arts  JULY 6 - 14  HARRISON HOT SPRINGS, B.C.  1991 Festival S  "So Where To" July 12 - 14di  "South Africa Today"  "Women Against Apartheid"  "Racism Issues in Canadian Society"  Celebrate the traditional and  contemporary cultures  of Africa & the Caribbean  Concerts, Theatre, Workshops, Art Exhibit  Children's Day, Art Market and much more!  FOR TICKETS CONTACT:  HARRISON FESTIVAL OF THE ARTS  (604) 796-3664  Box 399, Harrison Hot Springs, B.C.  VOM IKO  Super, Natural Southwestern B.C.  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  VILLA DE HERMANAS  Our ail women's Caribbean beachfront  guesthouse awaits you. Beautiful, LF  owned Spanish style villa on long, secluded beach in the Dominican Republic. Small tropical gardens, oceanside  pool, spacious comfortable common areas with large balconies and magnificent tfcean view. Private, large, airy guestrooms, sumptuous meals and drinks,  relaxing massages and healing crystals.  Room rates: $330 single; $440 double per  week. For reservations call our Toronto  friend Suzi, at (416) 462-0046 between 9  am and 10 pm.  JEWS FOR A JUST PEACE  Limited edition prints based on a fabric  applique piece done by Sima Elizabeth  Shefrin entitled "Iraqi Woman Buying  Vegetables" and hand silkscreened by Bill  Home. Prints are being offered at $100.  (Unframed) until August 26. Money will  be used to provide aid to Palestinian families in the occupied territories in Israel.  To purchase or for more info contact Elizabeth 734-9395 or Bill 251-5314.  WOMEN'S RETREAT  Spinstervale offers women's retreat. Rustic cabin—$5 per person, or work exchange in herb gardens. Also camping.  Call (604) 248-8809 or write C-20, Site  260, RR2, Qualicum Beach, BC VOR  2T0.  COUNTRY HOUSE FOR RENT  From Sept 1, 91 thru June 15, 92.  Furnished, two bedroom home with large  garden and fenced yard, washer and dryer.  At Whiskey Creek, west of Parksville, near  Coombes. $600 per month, non-smokers  only. Telephone: 752-2583.  SUMMER SUBLET  June, July and August or part. Two  bedroom   co-op   apartment   downtown  eastside. Furnished, secure, parking. Close  to harbour,  Gastown, buses. $600  per  month  including utilities.  Call  Patricia  682-7515.  HOLISTIC BODY WORK  If you would like to become aware of  your physical/emotional "holding" patterns through bodysage, aromatherapy,  hydrotherapy, music, I'd like to assist  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.  POWELL RIVER  Secluded 2 bedroom waterfront cottage  for rent, south of Powell River. Easy access for kayaking in Desolation Sound, canoeing the Powell Lake circuit or cycling  the Sunshine Coast. Daily and weekly  rate. Phone 1-487-9994.  Alison Field, Wendy Vonsden, Alex Dallas.  From the U.K. conies Sensible Footwear, a feminist musical comedy trio who  combine theatre and song. They appear this summer at the 14th Annual Vancouver  Folk Music Festival, July 19, 20 and 21 at Jericho Beach Park alongside over 200  performers from around the world. For complete details contact the Vancouver Folk  Music Festival 879-2931.  m^vmi jug riy.vHi jh»;  MENSTRUAL SPONGES  from the sea are the comfortable, ecological alternative to tampons. Reusable and  natural. Easy to use and much cheaper  than traditional methods. Also excellent  for travellers and outdoor women. You'll  be pleasantly surprised. $6.95 includes  sample and guide. Feminine Nature Products, RR #4 Sampson C-10, Ganges, BC  VOS 1E0.  CROSSLAND CONSULTING  Personal Management  Services for Artists  Individuals Resumes  Art* Organizations Career Counselling  Grant and Proposal Writing Bookkeeping Services  FIRST CONSULTATION FREE  Jackie Crossland  By Appointment Only 435-2273  VACATION SPOT  One bedroom plus loft. Cabin on waterfront property. Sunshine Coast. Private. Kayak, fishing and snorkeling gear  available. $275 per week thru summer.  Reduced rates for long-term fall rental.  Phone 1-886-4584 or leave message at  254-4748.  COUNSELLOR  Are you experiencing difficulties? Counselling provided in a safe, confidential  atmosphere. For crisis, parent/teen, gay  and lesbian issues, personal growth, and  women's life passages, call for consultation/information. Locations: Burnaby  and West Broadway. Sliding scale from  $20. Eleanor Brockenshire, MSW, RSW.  A WOMEN'S PLACE  Join our community. The Brambles Housing Co-op has a mandate to provide affordable housing for mature women. Pets  OK. High level participation expected. 1  & 2 bedroom units. Now accepting applications for 2 bedroom market units,  monthly housing charge $723 plus utilities. Refundable share purchase $1430.  Call 521-6760 for info.  HOLLYHOCK FARM PROGRAMS  June 3-8 Come Home To Your Body  (Marcia and Bill Hutchinson); June 24-  29 The Wild Woman (Connie Martin);  July 8-13 The Divine Feminine (Joyce  Irving and Kate Harling); July 8-13  Women, Rhythm and the Frame Drum  (Layne Redmond); July 22-27 Basket  Weaving (Cynthia Minden); Sept. 2-7  Descent To The Goddess (Marcia Jacobs  and Sharon Hanley); Oct. 7-12 Healing The Wounded Heart (Ingrid Pacey  and Wendy Barrett). Hollyhock Farm is  a holiday and learning centre on beautiful  Cortes Island, 100 miles north of Vancouver. For more info phone or write: Hollyhock, Box 127, Manson's Landing, Cortes  Island, BC V0P 1K0 (604) 935-6465.  GAY/LESBIAN HOUSING  Roommate required for beautiful 2 bedroom Richmond townhome with fireplace, washer/dryer, dishwasher, solar-  ium/sunroom, 2 bathrooms, private patio, central location, congenial roommate. You must see this gorgeous home.  $450 per month, available immediately or  July 1. Denise 279-0034.  SALT SPRING RETREAT  Escape to the country on Salt Spring Island. Fully equipped women's guest cabin  close to sea, lakes and hiking trails. Available July and August only. $35 single  $50 double. Special rates for week or  month. Gillian Smith, C 85, King Rd., RR  1, Fulford Harbour, BC, VOS 1C0, 653-  9475  KINESIS LIB1ZSGRL 4/92  LIBRARY PROCESSING CTR - SERIALS  1 2206 EAST MALL, U.B.C.  VANCOUVER, BC %J U  Monday, June 10th 7pm at La Quena 1111 Commercial Dr.  FEATURING * Raj Pannu * Helga * Oline Luinenberg  Diane Levings * Sue McGowan * Random Acts  ership (includes Kinesis subscription): $30 plus $1.40 GST  KINESIS Subscription:  pi year: $20 plus $1.40 GST ^2 years: $36 plus $2.52 GST □institutions/Groups: $45 plus $3.15 GST  □Cheque enclosed      □Bill me QNew QRenewal CJGift QDonalion  Please note: IT you can't afford the full amount, send us what you can. Kinesis is free to  Add $R per year for outside Canada  risoners.  Address  Country                                Postal Code                     Phone


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