Kinesis Dec 1, 1991

Item Metadata


JSON: kinesis-1.0045791.json
JSON-LD: kinesis-1.0045791-ld.json
RDF/XML (Pretty): kinesis-1.0045791-rdf.xml
RDF/JSON: kinesis-1.0045791-rdf.json
Turtle: kinesis-1.0045791-turtle.txt
N-Triples: kinesis-1.0045791-rdf-ntriples.txt
Original Record: kinesis-1.0045791-source.json
Full Text

Full Text

 DEC/JAN. 1992  An interview with PennyS&ftRtyd Collections Ssesi $2.25  Sex trade:  more than patriarchy  ree trade:  competing to be poor  Lovers of  language:  men Berenguer,  _rid MacDonald,  Kate Braid & others  Margaret Dragu:  momz on the air  Florence Lui  dances into VIEW Kinesis welcomes volunteers  to work on all aspects of the  paper. Call us at 255-5499.  Our next Writer's Meetings  are Tues. Jan. 7 and Tues.  Feb. ^ at 7 pm at Kinesis, #301-1720 Grant St. All  women welcome even if you  don't have experience.  PRODUCTION THIS ISSUE:  Marsha Arbour, Susan Bre-  Kelmans, janiSSe browNiNg,  Debbie Bryant, Catherine Burke, chriStine coSby, Cyndia  Cole Sandra Gillespie, Colette  Hogue, Janette Hellmuth, ag-  neS huanG, fAtimA jaFFer,  Sylvia Kinzie, Jill Mandrake,  Candice McClure, Donna McGee, Deborah Mclnnes, Chris  Meyer, Kelly O'Brien, NANcy  Pollak, Heidi Walsh, Frances  Wasserlein, Gladys We, Nina  Wolanski.  FRONT COVER: Dancer Florence Lui. Photo by David  Cooper.  EDITORIAL BOARD: Nancy Pollak, Heidi Walsh, Agnes  Huang, Debbie Bryant, Christine Cosby, Sandra Gillespie,  Lizanne Foster, Gladys We,  Fatima Jaffer.  CIRCULATION AND DISTRIBUTION: Jennifer Johnstone,  Birgit Schinke, Tory Johnstone, Cat L'Hirondelle.  ADVERTISING:  Birgit Schinke  OFFICE: Jennifer Johnstone  Kinesis Is published 10 times  a year by the Vancouver Status of Women. Its objectives  are to be a non-sectarian feminist voice for women and  to work actively for social  change, specifically combatting sexism, racism, homophobia and imperialism.  Views expressed in Kinesis  are those of the writer and  do not necessarily reflect VSW  policy. All unsigned material is  the responsibility of the Kinesis Editorial Board.  SUBSCRIPTIONS: Individual  subscriptions to Kinesis are  $20 per year (+ $1.40 G.S.T.)  or what you can afford. Membership in the Vancouver Status of Women is $30 or what  you can afford, includes subscription to Kinesis.  SUBMISSIONS: Women and  girls are welcome to make submissions. We reserve the right  to edit and submission does  not guarantee publication. If  possible, submissions should  be typed double spaced and  must be signed and include  an address and phone number.  Please note: Kinesis does not  accept poetry or fiction contributions. For material to be  returned, a SASE must be included. Editorial guidelines are  available on request.  ADVERTISING: For information about display advertising  rates, please contact Kinesis.  For information about classifieds, please see the classified  page in this issue.  DEADLINE: For features and  reviews: the 10th of the  month preceding publication;  news copy: 15th; letters and  Bulletin Board listings: 18th.  Display advertising—camera  ready: 18th; design required:  16th.  KINESIS   0ANS tWV£M£HT  ^^IMews About Women That's Not In The Dailies  The bars of Pattaya, Thailand are a cog in the transnational sex trade  wheel 13  Dancer, filmmaker, writer and mother Margaret  Dragu (the one on the right) 17  Penny Priddy: BC's new women's minister 3  as told to Nancy Pollak  Pandora pressed by threats 4  by Agnes Huang  Shoreworkers fishing for extra fins 5  by Karen Duthie  DYEWitness: making a buck? 5  by Alice Macpherson  Free Trade with Mexico: competing to be poor 7  by Heidi Walsh  BC's VAPid approach to violence 8  by Lois Leveen  Remembering the Montreal massacre 9  by rose-marie kennedy  Guatemalan refugees seek support 9  Disability: breaking down the barriers 11  by Bonnie Klein  Sri Lanka: free trade in poor jobs 12  by Shams Allbhal  Sex Trade: more than violence, patriarchy 13  by Jyoti Sanghera  ^yf**Margaret Dragu and Momz Radio 17  A   Y)   I 3S t0ld f°Rene ROdln  Lazara Press digs the legal roots 18  by Erica Hendry  Chilean poet Carmen Berenguer interviewed 19  as told to Cyndi Mellon  Dancing up the ladders 20  by Kaija Pepper  Covering Rough Ground reviewed 21  by Cathy Stonehouse  Fascination and Other Bar Stories reviewed 21  by Jill Mandrake  Picking at the gallery's locks 22  by Zara Suleman  Catherine, Catherine reviewed 23  by Jennifer Catchpole  Opera, or the Undoing of Women reviewed 23  by Nina Westaway  tf<jWtf&  Movement Matters 2  Inside Kinesis 2  What's News? 6  by Karen Duthie  Commentary: 10  Mothers and Others  by Burcu Ozdemir  Letters 24  Bulletin Board .25  compiled by Cathy Griffin  CORRESPONDENCE:  Kinesis, Vancouver Status of  Women, 301-1720 Grant St.,  Vancouver, BC V5L 2Y6  Kinesis is indexed in the  Canadian Women's Periodicals Index, and the Alternative  Press Index.  Kinesis is a member of the  Canadian Magazine Publishers  Association. ISSN 0317-9095  Publications Mail Reg. #6426 Movement Matters  Xxxxxxxx^Sx^^  Movement  Matters  listings information  Movement Matters is designed to be  a network of news, updates and in-  s formation of special interest to the  | women's movement. Submissions to  I 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.  Make resistance  the IWD theme  Women's groups in the United States,  the Caribbean and Latin America are calling upon women throughout the Americas  to make "500 Years of Resistance—Through  Women's Eyes" the theme of International  Women's Day activities in 1992. The theme  of resistance has been adopted by indigenous peoples throughout the Americas in  response to the racist "celebrations" of the  so-called discovery of these continents 500  years ago.  In an open letter to the women's community, the groups write: "On IWD we want to  raise our voices about women's experiences  during these past 500 years of colonialism  and patriarchy. What was happening to indigenous women in 1492? to Black women  in 1592? to women healers and midwives  in 1692? to Mexican women in 1792 and  to Japanese, Chinese and Filipina women  in 1892? How are our realities similar and  different, given the many communities we  come from?"  Women's groups are asked to send information about their IWD plans around  the theme of "500 Years of Resistance" to  the contact group: Women Against Imperialism, 3543 18th St., San Francisco, CA  94110 (Tel: 415-995-4735).  Monument project  now underway  The Capilano College Women's Centre,  working with the Vancouver women's movement, has launched a project to build a  monument in remembrance of the 14 women  murdered in Montreal in 1989 and symbolically to all women affected by violence.  The monument will be located in Vancouver and will stand as a challenge to society  to end violence against women. A nationwide contest open to women students in  Canada is being held, and the chosen design  will be built by December 6,1993. Fundraising is now underway. The organizers hope  to raise $300,000 by December, 1992.  For more information, contact the Women's Monument Project, Capilano College,  The Comptroller, 2055 Purcell Way, North  Vancouver, BC V7J 3H5. Telephone: 251-  C429.  Funding for  lesbian groups  The Kimeta Society provides funds to  projects that have political importance for  lesbian and gay liberation and which have  potential for significant impact within those  communities, in the context of social change  locally or internationally. In the past, they  have funded a lesbian information network  in Brazil, and a lesbian of colour anthology  published by Sistervision Press of Toronto,  to mention a few.  Kimeta provides project (not core) funding, prefers to not be the sole funder, and  makes grants no larger than $4,000. As well,  because their resources are limited, they  are not generally in a position to fund individuals or purely artistic projects. Applications are welcomed from all interested  groups. The next deadline is April 15, 1992.  For a full description of Kimeta's application guidelines, contact them at: Apt. 5—  291 Ontario St., Toronto, ONT. M5A 2V8.  Literature on  women and AIDS  Searching for Women: A Literature  Review on Women, HIV and AIDS in  the United States is a comprehensive, 120  page document designed to fill a void in  the study of how the AIDS epidemic is increasingly affecting women. The review describes which groups of women are most at  risk and why, what the best medical interventions are for those who are infected, and  how to understand the complex set of issues  facing women regarding testing, counselhng  and reproduction.  The review was first compiled for the  Women and AIDS conference in Boston,  April 1991, and has since been updated  twice. It was prepared as a collaborative effort between the University of Boston and  the Multicultural AIDS Coalition of Boston.  To order the review, send $10.50 to the  Multicultural AIDS Coalition, 566 Columbus Ave., Boston MA 02118  Correction  In our November 1991 issue, we misspelled Claudia Colimoro's name, every  chance we got ("Campaigning for prostitute's rights"). Our apologies.  L  VANCOUVER  WOMEN'S  BOOKSTORE  315 Cambie Street  Vancouver, B.C. V6B 2N4  (604) 684-0523  Hours: Monday - Saturday  11:00-5:30 pm  H  J  Kinesis  Women of  Colour  Caucus  Next Meeting:  Thursday, Jan. 30  7 p.m.  301-1720 Grant St.  Contact Agnes at 736-7895  for more information.  Childcare subsidies  available.  Inside  Kinesis  Wielding an exacto knife and blue Une  pencil for the first time at Kinesis was Fatima Jaffer—our brand new Production Coordinator. Fatima brings with her years oi  newspaper experience, as a writer and production worker, and at least one past production coordinator is awed by her wizardry  at sizing headlines. We're really thrilled to  have a woman of Fatima's skill and zani-  ness on board, and we're sure all you wild  and crazy Kinesis volunteers will appreciate her as well.  Although not a newcomer to Kinesis,  Gladys We is the newest member of the Editorial Board. Gladys, a science fiction convention groupie, has previously volunteered  with the paper as a writer, proofreader and  paste-up person (she's got designs on design, too). We finally bagged her for the  Board, and we're glad to add her energy and  ideas to the pot.  Special hollos to Cyndia Cole and Catherine Burke (new production volunteers) and  to Bonnie Klein, Shams Alibhai, Burcu  Ozdemir, Rene Rodin, Jennifer Catchpole,  Nina Westaway and Alice Macpherson—  first time writers for Kinesis.  And now, a shameless pitch. Besides  our two front teeth, what we really want  this time of year are new subscribers. Is  this a cryptic message? Shouldn't we come  right out and say, "how about stuffin' that  stockin' with a sub?" Gee, that felt good.  Our thanks 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 response to our direct mail appeal in  November:  Anonymous • Timothy Agg • Catherine Aikenhead ♦ Robyn Allan • Barbara Bell • Maureen Bendick • Margaret Blight • Alison Bowe • Kate Braid • Linda Bronfman • Ruth  Bullock • Lynn Butler- Kisber • Shauna Butterwick • Janet Calder • Janie Cawley • Jo  Coffey • Melanie Conn • Gail Cryer ♦ Ann Daskal • Veronica Delorme • Emma Dickson  • Valda Dohlen • Anna Dwyer • Elsie Eccles • Valerie Embree • Catharine Esson • Carol  Fairbank ♦ Patricia Feindel • R. Frame • G. Frank • Janet Fraser ♦ Janet Freeman • J.  Fretwell • Marilyn Fuchs ♦ Margaret Fulton • Christopher Gainor • Lynn Giraud • Jill  Gould • Mary Hackney • Patricia Hanna • Valerie Harris • Anne Harvey • Sandra Havell  • Art Hister ♦ Darby Honeyman • Nola Johnston • Cate Jones • Jowsey's • Alicen Kea-  marden • Kathleen Keating • Angela Kelly • Dorothy Kidd • K. Kim • Ann Knight • In-  ger Kronseth • M.K. Louis • Judith Lynne • Leanne MacDonnell • Patricia Maika • Frai-  die Martz • S.J. Matheson • Deborah McDougall • Estelle McLachlan • Arlene McLaren  • Joan Meister • Diane Mercy • Carlin Miroslaw • Barbara Monita • S. Moreau • Leslie  Muir • Andrea Newcombe ♦ Elizabeth Nuse • Eleanor O'Donnell • M. Obery • Lynne  Parisien • Judith Parkin • Janet Patterson • Susan Penfold • Renee Peterson • Helena  Petkau • Janet Pollack • Marilyn Pomfret • Neil Power • Michele Pujol • Mary Read •  Gayla Reid • Shaxie Reithaug • Catherine Revell • Ronni Richards • Rosemarie Rupps •  M. Ryder • Patricia Schwartz • Eva Sharcll • Helen Shore • Sandra Shreve • Margaret  Slight • Lianne South • Jeanne St. Pierre * Coro Strandberg • Carole Tarlington • Penny  Thompson • Diane Thorne • Penelope Tilby • Marlene Triggs • Lezlie Wagman • Helen  Walter • Susan Wendell • Geri Werthner • Andrea Wilson • Jean Wilson • Mary Woo Sims  We would also Uke to thank the foUowing organizations for their generous donations to  VSW and Kinesis:  • Canadian Auto Workers ♦ The Feminist CounseUing Association (Western Canada)  Fearless Girl Reporter***  Scoops to       ^  CONQUER    {  That's one way of looking at a   J^  Kinesis writer's job. You could   Jk  also see it as a chance to learn    ^  reporting skills, to review  books and movies and art,  or to express your politics.  We offer support and advice to  women who want to write,  regardless of experience.  Come to our Writers Meeting (see Bulletin  Board for details) or call 255-5499  KINESIS t yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  //y/yyyyyyyyyyyyyyy/yyyyyyy//yyyyyyyyyyyyyyyyyyyyyy  NEWS  BC's Minister of Women's Equality:  Getting to know you  as told to Nancy Pollak  When the people of Surrey-Newton voted  in the BC election last October, they not  only dumped premier Rita Johnston—an  important enough task—they chose a rookie  MLA who now heads the province's first  Ministry of Women's Equahty.  Penny Priddy is not only new to the  legislative a-ssembly and to cabinet, she is  relatively unknown to women's groups in  BC—a fact she is working hard to change.  In November, Priddy talked with Kinesis'  Nancy PoUak in a "get to know the minister" exchange. What foUows in an edited  version of that exchange.  Nancy Pollak: Could you tell us about  your background and how you got involved in politics.  Penny Priddy: I graduated from nursing over 25 years ago and first worked as  a chUdren's nurse at the Hospital for Sick  ChUdren in Toronto. I was married in 1966  and after that worked in northern Ontario  in a smaU hospital. There, I saw what  health care services were Uke for women who  Uve in smaU and fairly isolated communities, where hospitals are houses—or were in  those days.  At that stage I became involved in community organizations that were advocating for issues involving people with mental  handicaps and their famiUes. I've done that  as an unpaid volunteer and a paid person  for the last 26 years.  In 1976 we left Ontario and went to Nova  Scotia which was quite a wonderful experience. I had the opportunity to work as on^; !  of the first recreation education coordinators in the country and then I spent 5 years  working as the executive director of the  provincial association for people with mental handicaps, now called the Nova Scotia •  Association for Community Living. But one  of the tremendous blessings for me was that  I got a chance to work in the whole province  and to see the very different Ufestyles—  both of people with disabiUties and of  women—than of people I knew in Ontario.  These experiences taught me lessons that  stiU influence the way I work and the values  I bring to my personal Ufe and the community. They taught me about extended famiUes and the tremendous importance of having that circle of support around you. That  safety in the community, or security—and I  mean that in its broadest sense, of belonging  in a community—doesn't come only from  having services avaUable. It comes from that  circle of support of people that surround  you or stand with you in your community.  I've been in BC since 1981 and taught  at Douglas CoUege in two programs, one (a  Community Support Work Program) that  teaches people to work with disabled people  and their famiUes, and one (a Home Support Worker Program) that teaches people  who wUl provide personal care to people Uving in their homes.  I first ran for school board in 1986 in  Surrey. People always tell you that you're  not supposed to win, but go ahead and try  it anyway. I was fortunate enough, blessed  enough, to win. Then I ran again in 1988  and again was fortunate enough to receive  more votes than any pohtician, either counciUor or school board, had ever received in  Surrey. I always perceive those things as a  gift from the pubUc in terms of their trust  for you.  I teU people frequently that candidates  don't win elections. You win elections because of the tremendous number of people  who commit either to the party or to you  or to their community. It's a combination  of those things. I think candidates who beUeve that they have won are both arrogant  and foolish and ought to rethink that.  Nancy: How would you describe your  relationship to the women's movement?  Penny: I'm a chUd of the 40's and 50's,  [for most people] a time of not asking questions, a time of accepting roles and accepting the status quo.  Even when it came to post-secondary education, there were certain paths women  were expected to chose. So my evolution  came later, after years in the nursing profes-  People ask, is this ministry window dressing? The answer I have given is, absolutely  not. Before I said yes [to the portfoUo], I  questioned Mike Harcourt because it's important that this ministry has a real mandate to make change— or there's no point  for any of us being here.  Firstly, I have a mandate to work in  equal partnership with other ministries.  When, for instance, there are changes to  be made within the labour code—because  pay and employment equity are significant  initiatives—I have a mandate to work in  equal partnership with Moe Sihota and the  People ask,  is this ministry  window dressing?  The answer I  have given is,  absolutely not.  Penny Priddy  sion working with really competent women  who had tremendous gifts and talents to  bring to their communities—in some cases  they had opportunities to do that, and in  some cases they were constrained because  of the female-nurse role in which they found  themselves.  I think in part it came to me because I  was part of a movement with women who  were disabled—chUdren and men as weU—  but with women who were labeUed or burdened, if you wUl, with two barriers or labels: one of being disabled and one of being female. As a result, they were denied  access—equal access or access at all— to  economic fairness, to quality health care, to  legal justice and to social justice.  I'm a mother of two chUdren. I have a  22-year old son and a 19-year old daughter  and when my daughter was born, I had a  vision of the world in which she would be  an adult. I thought it would be very different than it is. I thought we would be far,  far, farther along. I didn't think the issues  of access would exist to the degree they exist today.  Nancy: You are a new MLA and a  new cabinet minister in a new portfolio. How do you see being an effective  player in that situation? What will your  levers be?  Penny: One of the strengths with the  newness is that there are a tremendous  number of individuals—women and men—  and organizations who passionately want  this ministry to be successful. So its newness  brings a strength because there is an excitement about the possibiUty and potential for  what this ministry may be able to do.  Ministry of Labour. If there are changes or  guarantees under the Ministry of Health, I  have a mandate to work in equal partnership with Elizabeth CuU. And with the So-  Ucitor General, because there are many issues for women that come under justice.  This is not an advisory role, it's not a con-  sidting role—but an equal working partnership.  Already I have had other ministers, Moe  Sihota is an example, come to me. And I'm  asking the other ministers to identify the issues within their ministry that have a significant impact on women and look at how  we can work together. It doesn't matter who  takes the lead—sometimes I will, sometimes  they may, but we wUl do it together. That's  a very powerful mandate and I think it's a  mandate that we've not seen before.  Secondly, there's the positioning Mike  has given this ministry on committees. I'm  the deputy chair of the Treasury Board, the  Planning Board, the Aboriginal and Constitutional issues committees, and Social Planning. You cannot establish a ministry of  women's equahty and then not have equal  access at the table where the decisions are  made.  Thirdly, this is a new ministry and people know these are going to be four very  tough economic years. We'ye seen the deficit  we have inherited from the past government. It wUl mean that each and every decision around economic spending wiU be reaUy closely looked at and there wiU be some  tremendously tough decisions.  My position as minister is: this is a new  ministry and throughout the campaign and  continuing now, there is a New Democrat  government commitment to women's equality. My strong advocacy position is that we  must, we absolutely must, dehver in this  ministry to be credible.  Nancy: Are you saying that, despite  the fiscal situation, this is an area not  to be sacrificed?  Penny: Yes. Now, that's not to say  there won't be tough decisions. But people who know me know two things: I am  a very strong advocate for the organizations or people I am standing with—I  never talk about standing or speaking for  women. I don't have a responsibiUty to  speak for women because women don't need  it. Women and other groups need people to  stand with them, not for them.  And I never hold back in terms of putting  forth to any of my coUeagues the imperative of what needs to be done. My expectation and my commitment from Mike Harcourt is that there wiU be demonstrations  within the throne speech that this is the  commitment of the government within the  framework of the budget that we've inherited: that the Ministry of Women's Equality wUl get, at the minimum, our fair share  of what's at the table.  The priorities in the election campaign  wUl continue to be focused on by the ministry. One area is cluld care—and there was  a very fine task force headed by Penny  Coates (see Kinesis, May '91). The issues around chUd care [concern] geographic  and financial accessibihty. The cost of daycares is running at a rate that puts it out of  the reach of most women. Also, chUd care  must be culturaUy accessible. For instance,  my riding is 20 percent Indo-Canadian—our  services must reflect those needs.  We must also look at who the players  are and the issues around employer respon-  sibUity and employer initiatives—they have  been very successful working with institutional communities, business communities  as weU. ChUdcare is not a women's issue.  We don't own it, nor should we. Although it  is within this ministry to coordinate chUdcare and how we can we do it better, that  doesn't make a statement that it somehow  belongs to women [only].  The task force on family violence is due  td~report early in 1992, this year, probably February. I've met with them already,  and my message was that I wanted to see  very clear, tough and direct recommendations about the issues that affect family violence.  Nancy: Services for women who have  been battered or raped are an obvious  area of need. What about preventing violence against women?  Penny: Services wiU not ever drop the  statistics. The approach must be two-  pronged. We have to make it safer for  women who are here today, but we also have  to change it down the road. What we absolutely must do is break the cycle of violence, and there's no other way to do that  than to begin with our very young chUdren.  In two ways: to send a very clear message  that violence is unacceptable and intolerable. Secondly, to teach other ways for young  chUdren—and others—to deal with conflict  in their Uves. And that's what we've never  been able to provide. We don't teach about  mediation or conflict resolution.  Actually, the school district I'm part  of [Surrey] has at least one high school  that have conflict resolution training for  both teaches and students, and it's made  See PRIDDY page 6  KINESIS <sssssss*ssss^^  NEWS  Feminist paper harassed:  Pandora pressed by threats  by Agnes Huang  The sUencing of Hahfax's femimst newspaper, Pandora, took a turn for the worse  in November when mainstream media coverage of the human rights complaint against  the paper resulted in a death threat to the  coUective.  The threats are the latest in a round  of attacks on the paper, attacks many say  are supported by the Nova Scotia Human  Rights Commission's decision to pursue a  complaint against Pandora's woman-only  editorial pohcy (see Kinesis September  1991).  In August, a majority of the NSHRC  commissioners found merit in the complaint  of "sex discrimination" filed by Gene Keyes.  A white man with a PhD in pohtical science, Keyes charged he was being discriminated against because Pandora would not  publish his letter. (His letter disputed a  Pandora article on chUd custody. Keyes is  known to have been in a contentious custody battle.) Pandora has an editorial policy of publishing women only.  The decision of the NSHRC brings into  question its role in removing barriers that  disadvantage women's and other equality-  seeking groups.  Because the complaint is stiU before the  board, the NSHRC would not comment  specificaUy on the Pandora case. But a human rights officer with the board, Ed RusseU, told Kinesis he beUeves there is vaUd-  ity to the complaint.  "Pandora probably thinks that the  world would be a better place without  men," says RusseU.  Not aU people with connections to  NSHRC agree with this point of view. For  mer commissioner Brenda Taylor beheves  the decision to pursue the complaint against  Pandora: " isn't sensitive to social and cultural realities. Anybody who flunks this is  discrimination doesn't understand what discrimination is.  "A white male with a PhD who wants  to publish an anti-feminist article in a feminist newspaper is not being discriminated  against." Taylor left NSHRC a few months  after the decision was made.  Shelagh Day, senior editor of the Canadian Human Rights Reporter agrees that  NSHRC isn't analyzing the issue of discrimination properly, but adds that she isn't sur-  The NSHRC commissioners, many of  whom are pohtical appointees with conservative backgrounds, recommended that a  board of inquiry be appointed, even though  only 3-5 percent of complaints ever make it  that far. The board hearing is set for January 1992.  The Hahfax media picked up the Pandora story in early November. When the  women of the editorial collective arrived at  their office the next day, they were greeted  with a message of "Death to aU women—  that means you" on their answering machine. Other threats and negative comments  were also recorded—all left by different  men.  (The threat to Pandora came a few days  after death and rape notes were sent to the  eight women editors of Surface, a student  newspaper at Queen's University. None of  the male editors received threats.)  Initially, Pandora was told by the pohce  that "an answering machine can't be threatened," so there was httle the pohce could do  in response.  "This has sUenced us in a whole bunch  of ways," says a member of Pandora's editorial collective who won't be identified for  fear of being attacked. "Women are terrified  to write for Pandora. A group of women  university students were going to publish  the next issue, but now they're scared to."  Concentrating on women  Since 1985, the Federation of Women  Teachers' Associations of Ontario (FW-  TAO) has been embroiled in three court  cases and a human rights commission hearing aU challenging their right to exist as a  women-only organization.  The federation is clear about why they  are being dragged through the courts.  Says Joan Westcott, executive director of  FWTAO: "We're being challenged because  we're providing some threat to what has historically been the white male privUege to aU  leadership positions in education." As weU,  FWTAO takes public and activist stands  on sexism in education and violence against  l, to mention a few.  FWTAO is one of five teachers' federations under the umbreUa of the Ontario Teachers' Federation. FWTAO membership encompasses aU the women elementary school teachers in Ontario. FWTAO is by far the largest of the federations and the most visible in the community.  The other four federations represent male  primary teachers, Cathohc school teachers,  French school teachers and secondary school  teachers. By provincial legislation, teachers  automaticaUy become members of the federation that reflects their teaching/gender  status.  The men's federation challenged the  structure of teachers' federations in the Ontario Provincial Court. FWTAO successfully won this round at the Appeals Court  level. The Supreme Court of Canada refused  to hear the case.  While the court cases were being heard,  a complaint laid by FWTAO member Margaret Tomen, was investigated by the On-|  tario Human Rights Commission (OHRC).  Tomen claimed she was being discriminated  against because she was required to be a  member of FWTAO and could not be a  member of the men's federation. The men's  federation was a co-complainant in this  case.  The OHRC made httle effort to contact  FWTAO during their investigation, except  to ask them whether they had changed their  minds and would aUow Tomen to join the  men's federation. The OHRC did not ask  FWTAO to submit any information to support their case but FWTAO did so anyway. The federation later discovered that  the commission didn't even look at this material when making their decision.  FWTAO stands firm in its decision to remain a women-only group representing the  interests of aU women primary school teachers. FWTAO has been very active in studying issues of affirmative action, pay equity,  and violence against women and chUdren.  They are concerned that these issues wUl  not be a priority if the structure of FWTAO  is successfuUy challenged.  "If you [compare] a mixed group speaking on behalf of elementary school teachers  and a women's group speaking, the message  won't be the same," says executive director  Joan Westcott.  FWTAO's MarUyn Roycroft adds: "If we  were forced to be a part of a larger organization, we would not be able to concentrate  on issues that, concern us as women."  P  THEM  there's 'all.  THi$ "HlGH-TeC-Hv>  ,£   SK/lCKL-y TURfJlMG-  K11>5   into THE  ►>EXT C=WERATI©a^  'VlPlOTS^  9-v-r X- T"HIMI«. 1  'rue -n>y peP/ttxMeNT  -n» yrResjFOL-  an  WvironM'tnt'    p<*. Y»«-  .At    y°oR     •  x ©Nuy 6«ve:  My ku>s.  ART' SvPPLJeS'^   A  ..ANO JtrST \S>oK*  TUey wSTRE' BoSY '  C-REATJN6 Ai-i-  prised about the conclusion reached by the  majority of its commissioners.  "Human rights commissions are constrained by the language of the acts under which they are created. The neutrality  and the vagueness of the wording encourages the type of interpretation rendered by  NSHRC," says Day.  The use of human rights legislation to attack women-only pohcies is not isolated to  Nova Scotia. WenDo in Ontario and Girl  Guides in BC have also had their pohcies  challenged under human rights legislation.  Both complaints were dismissed.  But the Federation of Women Teachers'  Associations of Ontario (FWTAO) has not  had as easy a time with the Ontario Human  Rights Commission. FWTAO recently surpassed 100 days of a board of inquiry hearing (see box).  The pattern of using human rights legislation to threaten women-only poUcies  and organizations concerns Day: "I'm worried that we'll be seeing more attacks on  women's organizations in the name of equality."  Wayne MacKay, Dalhousie law professor  and a former NSHRC commissioner who  dissented on the decision, says the reason  women's groups receive the brunt of these  challenges is a power issue.  "Women are seen as being powerful,"  says MacKay. "They're in the majority. Not  every man wUl have contact with a Blacx  or First Nations person, but every man wUl  have to deal with a woman at some point."  Pandora finds their situation ironic.  "We have revenues of less than $4,000," says  their spokesperson. "We're not much of a  threat to male power."  While complaints of "reverse discrimination" have primarUy been leveUed at  women's groups, other equality-seeking  groups are not immune to being targeted.  Says Taylor, "NSHRC hasn't realized what  they've done. They've called [the right to  exist of] all equality-seeking groups into  question."  Pandora's reality has already been drastically altered. The collective's energies are  being drained preparing for the board of  inquiry hearing. Their efforts are being directed away from writing and publishing to  fundraising the $12,000-$ 16,000 needed to  support their case.  But the recent death threat might jeopardize their fundraising benefit because a lot  of women have been scared and sUenced.  "Our benefit is a real problem—it's ;.  security issue here. Many of our performers are afraid to come," says the Pandora  spokesperson. "[The threat of violence is] a  way to keep women down, to keep women  from talking and it's an effective way."  The femimst press has reacted to the  attack on Pandora through letters to  NSHRC denouncing their harassment of the  paper. As weU, individuals and groups have  sent financial and moral support to the  collective—in November, the Canadian Research Institute for the Advancement of  Women awarded Pandora its alternative  media prize for 1991.  When credibihty is given to attempts to  sUence women, it allows room for misogynist  attacks on women. The sUencing of the feminist press continues in Hahfax and NSHRC  is helping tighten the gag.  Pandora urgently needs money to support its case. Please send donations to:  Pandora, PO Box 1209 North, Halifax  NS, B3K 5H4- Letters of support are  also welcomed.  KINESIS News  //y////y////y//y///yyyyyyyyyy/yyyyyyy  Against the Free Trade tide:  Fishing for  extra fins  by Karen Duthie  At the close of the Pacific fishing season  this faU, an estimated 2,400 workers in the  fish processing industry—about two-thirds  of them women—found themselves without  enough work weeks to qualify for unemployment insurance benefits.  As a result, shoreworkers are facing a season on welfare. They're also facing an uncertain future with a fishing industry fraught  with economic and pohtical difficulties—  and a federal government which doesn't  seem to give a damn.  Shoreworkers, Uke other seasonal employees, traditionally have enough work to qualify for UI during the off-season. The un-  usuaUy short 1991 fishing season left many  shoreworkers shy of the necessary weeks.  Last year, workers caught in a simUar  bind were able to coUect UI benefits through  an Emergency Response Fisheries (ERF)  program. EssentiaUy, the federal government provided UI top-up dollars for various community-based projects—last year,  Ottawa gave $3 miUion to the coastwide  program which created approximately 1550  work weeks and assisted 200 projects.  Pacific coast shoreworkers are particularly angry that $40 miUion in aid has gone  to the Atlantic fishery whose short 1991 season was largely due to icy conditions. No  such aid has been offered to BC.  Most of the workers affected are women  and they are finding it difficult or impossible to find new jobs. Lower Mainland  Shoreworker Organizer Lila Craig advises  her younger workers to get retraining, and  some women have signed up for computer  and business courses, or to finish highschool.  But, hke other women with inadequate incomes, they can't afford to go to school full-  time and pay for chUd care.  Burma Lockett, president of Steveston  Shore Local 8, says many of the affected  workers are older immigrant women who  have worked 20-40 years in the canneries.  They are skiUed workers who are unable to  find any job retraining because of their age  and sex—and the:fact that many speak Uttle Enghsh and EngUsh as a Second Language courses are not avaUable to them.  In northern BC there is not much to be  retrained for. Joy Thurkelson, Prince Rupert Shore Organizer, describes the "Umited  and depressed economy in the winter"—  even waiters and chambermaids get laid off  in the cold season.  Despite the situation, UFAWU officials  have been unable to raise a reaction from  federal Employment Minister Bernard Val-  court. Says Lockett, "Valcourt is impossible  to reach and seems to be ignoring the problem."  The UFAWU beheves the government is  refusing to give money to the west coast  fishery because it is a "structural" problem  within the industry and not a natural phenomena Uke the ice off the northeast coast  of Newfoundland. According to the union,  the structural problems are largely due to  the Free Trade Agreement (FTA) with the  United States (see page 7).  The FTA aUows fish caught off Canada's  coasts to be processed in either country (formerly, "Canadian" fish went to Canadian  October 31: shoreworkers protest government Inaction  processors). The number of fish being processed in the US where labour costs are  much cheaper has risen astronomicaUy since  1989, leaving the Canadian fish processing  industry with a short season.  The season is also compressed because  the processing sector has become more competitive. Since fishing giant BC Packers  in Steveston transferred the processing of  ground fish and then prepared products to  the US, aU that remains is salmon and herring, says Burma Lockett.  "A large number of people have been  displaced by machines, especially during  herring production," says Lockett. This  very high and competitive production needs  fewer workers to put in more hours per  week. "AU the work comes at once," says  Lockett, "and I only get one unemployment  insurance stamp for working 99-103 hours  a week." She wants to see changes made to  the UI program so that more weight is given  to the amount of hours worked as opposed  to the number of weeks worked.  The UFAWU's Dennis  Brown agrees.  "The workers spend a short time ingesting a  phenomenal amount of raw wealth into th<  country," says Brown, "and they are not being acknowledged."  Brown beUeves Ottawa is foUowing a "serious and dangerous economic strategy" in  its attempt to make the fishing industry less  rehant on UI payments. He fears they wUl  put the industry into the hands of very few  corporate players who wUl pay the workers less in order to send cheaper fish into  the international marketplace. Widespread  unemployment—an inevitable "catch" of  such a strategy—is not being addressed.  At the onset of the FTA, the government promised more employment opportunities for displaced workers. Instead, says  Lila Craig: "Free trade is kiUing us."  And Burma Lockett speaks for hundred:  of women workers when she says: "It's not  the way to be treated after 25 years of service to the industry."  Karen Duthie  lance writer.  Vancouver free-  Self-defense, or  Dying to make a quick buck?  by Alice Macpherson  Violence against women is a hot topic.  Even Maclean's ran it as a cover story in  November—although they twisted it with  the label "Women In Fear." I guess they're  stiU not ready to deal with what is really  "The War Against Women."  The free enterprise system wUl try and  make money on any issue. With the best  and worst of intentions, people develop consumer goods and then attempt to make  their hving off others, often those who are  vulnerable and have the least money. In the  women's self-protection business, there has  always been a plethora of objects on the  market that purport to be the way to ward  off attack: air horns, whistles, sprays, sticks,  knuckle enhancers ...  DYEWitness is the latest product undergoing a big advertising push in Canada.  For $39.95 you get a smaU pressurized aluminum container with a plastic trigger that  "fights back with a 70 lb. blast of foaming  green dye." CaUed "Criminal Identifier,"  the foam leaves a dark green stain on skin  for up to seven days to provide identifica  tion ... "This spray becomes a thick foam  on contact which can obscure an attacker's  vision and help the victim break free," says  the brochure.  While we know from rape crisis centres,  pohce departments and the women who are  attacked that more than three quarters of  attacks on women are by an attacker who  is known to her, the idea persists that it  wUl be a stranger in a dark aUey who wUl  assault. A product hke DYEWitness preys  on this faUacy, and their advertising supports the myth. "... it has been virtuaUy  impossible to identify offenders." The research my self-defense group (Wenhdo) has  collected from women survivors of assault  shows that attacks happen as you are going about hfe in a normal manner—talking,  working, sleeping, sociahzing, eating. After  comparing over 300 descriptions, less than  20 fit the stranger attack scenario where this  product might be used.  In the DYEWitness spray can is a pressurized mix of dyes and detergents that have  separately been approved by the Canada  Health and Welfare, Food, Drug, and Cosmetic Committee. It is not clear what, if  any, synergistic effects their combination  may have, but it is impUed that it wiU  not cause any permanent harm. Seventy  pounds-per-square-inch pressure of anything may cause damage to the eyes—  current Workers Compensation Board regulations insist on the use of face shields and  no more than 10 psi for using a blast of compressed air. You wouldn't want to have it  pointed towards you when it went off.  As with aU objects that you might use to  defend yourself, you have to remember to  bring it with you, have it in your hand, point  it in the right direction and be prepared to  use it. If you leave it in your other coat, or  have it in the bottom of your purse, or can't  bring yourself to "bhnd" the assaulter, even  temporarily, it won't be very useful to you.  DYEWitness has a two year warranty  and then you need to replace it. How about  practicing? The cost makes it prohibitive for  most women to even take one shot so that  they know how to aim it correctly.  If you have enough money to buy the  product, if the unhkely situation happens,  if you remembered to bring it, if you have  it in your hand, if you use it as recom  mended, if it hasn't expired, if it fires, if  you hit him—wiU it stop the attack? The  company can offer no documented evidence,  although one of the Vancouver sales people  said he had heard of four situations where  it had been used.  My concern here is that the attacker may  be angry enough that pain or surprise may  not stop him. In Wenhdo, we teach mechanical damage techniques as weU as assertiveness so that no matter how determined the  creep is, it wUl be physicaUy impossible to  continue the attack. For example, if he has  a dislocated knee he won't be able to foUow  as you escape.  If you do use the spray, could you be  charged with assault? The company who  manufactures and distributed DYEWitness  implies that you won't. However, no poUce  departments have made statements in support of the product and Canadian law defines a weapon as: "a) anything used or intended for use in causing death or injury  See DYE page 6  KINESIS WHAT'S   NEWS?  by Karen Duthie  Midwifery  now legal  Midwifery is now a recognized and regulated profession in Ontario, the first  province in Canada to do so. Before mid-  wives can start attending births in Ontario  with official approval, a coUege wUl be es-  tabhshed and a Ust of standards and practices drawn up, says Martha Forestall, head  of the Ontario Health Ministry's women's  health bureau.  Midwives wUl obtain a Ucence to practice  in Ontario by passing a 36 month course  at an as yet undesignated university or college. The 65 midwives currently practicing  in Ontario wUl be required to take a condensed course.  The newly created CoUege of Midwives  wUl regulate the profession, which doesn't  require a nursing degree and hence has some  independence from the medical establishment. Midwives wiU be Ucenced to attend  both home and hospital births.  Sexual abuse  by doctors  Sexual harassment or abuse by doctors  has affected about 8 percent of Ontario  women, according to a telephone survey  conducted this year with 549 women over  the age of 15.  The study was consistent with claims  made by the task force on sexual abuse by  doctors of the Ontario CoUege of Physicians  and Surgeons, which released its recommendations in late November. The task force,  headed by feminist lawyer MarUou McPhe-  dran, had been under attack for misrepresenting the extent and degree to which  women are sexuaUy harassed or assaulted  by doctors.  The task force's far-reaching recommendations are based on a "zero tolerance"  DYE from page 5  to persons whether designed for such purpose or not, or b) anything used or intended  for use for the purpose of threatening or intimidating any person." (Canadian Criminal Code S.2) In the past there have been  numerous incidents where women have used  objects to defend themselves; sometimes  they were charged (and convicted), sometimes not. There are no guarantees that this  thing wUl be found to be legal in Canada.  You are aUowed to use necessary force to  defend oneself. In most cases this has been  taken to be the force that you felt was :  essary at the time of the assault and it is  tied into declining conflict and/or retreating as far as possible before defending yourself (CCC S.34-37). Since your body isn't  a "weapon," it would appear to be legal to  defend yourself with your hands, feet, head,  elbows, etc.  At this time, DYEWitness is not a prohibited item in Canada. Regardless, I want  something that wUl always be with me, is  legal to use, and can't be used against me. I  will be relying on my body and putting my  money to a better use!  Alice Macpherson has taught self-  defense to women and children since  1972, and at present is the senior instructor of Wenlido with Women Educating in Self-defense Training in Van-  stance towards abuse, and divides sexual offence into two categories. Sexual  impropriety—including verbal harassment,  inappropriate jokes, questions and comments, leering, etc—would result in penalties ranging from an apology to temporary  suspension of a hcense. Sexual violation—  including inappropriate touching, masturbation and rape—would lead to a minimum 5-year suspension and a fine of up to  $20,000.  The coUege and the ministry of health are  now reviewing the recommendations.  In BC, Dr. Mary Donlevy, who heads a  nine-member committee on physician sexual misconduct in BC with lawyer Barbara  Fisher, has been given access to the files  of the CoUege of Physicians and Surgeons  of BC, dating back to 1980, to determine  whether the coUege has dealt fairly and consistently with patients' complaints of sexual  misconduct.  Women can report their negative experiences with the medical profession by calling  a confidential Une at 1-800-661- 9701.  New rules  deny families  In trying to "effectively capture the concept of family as it is generaUy understood in Canada," Ottawa's new immigration rules rendering non-dependent chUdren  over 19 inehgible to immigrate under the  family class faU to recognize Canada's ethnic diversity and discriminates against immigrants whose concept of family is wider.  The Canadian Ethnocultural CouncU, a  non-partisan coaUtion of 37 national organizations, criticized the change, saying  that: "For people who have family members  abroad, this represents a partial slam of the  door in the face."  Refugee advocates are also displeased,  saying that refugees must begin the lengthy  process of acquiring landed immigrant status before they can sponsor their famiUes,  whom they are forcibly separated from for  many years.  The new regulations, due to take effect  in January, are expected to cut the number of people qualifying as famUy-class immigrants by 20,000 a year starting in 1993.  The priority of the new pohcy is to encourage the immigration of business people and  workers with high-tech skiUs.  New rape  shield law?  Women's groups have lobbied the federal  minister of justice for tough new amendments to replace the "rape shield" law  which was struck down on constitutional  grounds in August. The law had protected  women from being interrogated about their  sexual history during a rape trial.  Justice Minister Kim CampbeU plans to  introduce changes to the Criminal Code by  the end of 1991. In November, she heard  from the National Action Committee on  the Status of Women (NAC) and from the  Women's Legal Education and Action Fund  (LEAF), who argued for legislation that  not only restores the protection of the rape  shield, but also removes a man's legal defense that he beheved a woman was consenting when she, in fact, was not.  "We're talking about a law in which 'no'  means 'no' and 'yes' means 'yes', and before you initiate sexual contact it is your responsibiUty to find out whether it's 'yes' or  'no'," says NAC's Judy Rebick.  PRIDDY from page 3  a tremendous difference in terms of how  they settle conflict in their schools. That's  a smaU example, and it's not a simple matter. But we have to provide the tools.  Nancy: What are your thoughts on  the kinds of services that will receive  funding, and whether funding feminist  services or those with a feminist analysis of violence will be a priority?  Penny: It's difficult to talk about what  there wiU be funding for at this stage, because budget estimates are just being prepared. We've been told by Treasury Board  to put aside 3- -4 weeks in January, 7 days a  week, 12 hours a day in order to do the budget. It would be premature for me to speculate on what wUl be funded.  We talked about [funding services] during the campaign and I look at this over  the 4-year term. There has been a priority  stated for core funding for women's centres,  and Mike Harcourt has talked about funding for transition houses—so these are priority areas for funding.  There are two parts to this. One is the  immediate safety [needs], the safe house  network. There are a number of proposals  around the province, including an exceUent  proposal for a free-standing sexual assault  centre in my area. But, beyond the immediate assistance, there are the women's centres, women's groups which provide that  more ongoing support to women in the  community— where are the services, how  do we put a circle of support around individual women who are wanting to take that  action?  There's another ministry priority as weU.  In many ways, women wUl not achieve  equahty and independence in their communities untU they have economic stability in  their Uves. We aU know the statistics. Two-  thirds of the people in this province earning  minimum wage or just above are women;  women earn two-thirds of men's dollars; the  number of women who have had the opportunity to break through the glass ceiling, to use the business term, is virtually  unchanged—indeed, there's lots of research  that shows the number of women in management has dropped over the last 10 years.  So pay equity and employment equity are  really critical initiatives over the long haul.  That isn't to say they won't begin immediately but, in the long term, economic stabU-  ity for women must be, in combination with  labour and business, a critical issue. This  includes the raising of welfare rates and  minimum wage, as weU as access to post-  secondary education. Training, coUege, university, skiU acquisition—it doesn't matter  what it is, but women must be able to access  it. For instance, it must be affordable and  chUdcare must be avaUable in hours that fit  a woman's Ufe.  On the issue of abortion, the NDP  has been pretty clear [about expanding  services]—and reproductive health care in  general. I personally am committed to it, as  is the party.  Nancy: What do you want or need  from the women's movement in order to  be effective in your role ?  Penny: I want people to know this is not  my ministry. It belongs to the women—the  people—of BC. I look at any initiative I undertake as being a team initiative. I want  women's groups to welcome me into my new  role as minister and into the groups, into  the team—that we do this together. I want  these women's groups to be as inclusive as  possible— women from a variety of ethnic  or disabihty backgrounds, for example.  Women's groups [must be] strong advocates, both with me and for me. It's important for me to have the support to do  the job we need to do, but it's also important that there be a strong voice speaking out whenever necessary—I can't imagine that women's groups would never do  these things. Women should know that they  have access—they can call me and talk to  me. This wUl not be a ministry where people get layered out.  If I'm doing a good job, it's important for  women to teU me that—and if this government is not doing a good job, teU me that  Women can be flags for me. They can  alert me to issues that we may not have seen  yet. Women's groups are the ears into their  community and [know] the issues that are  arising—and there are new ones and different ones across the province. Nobody knows  better than the people who hve in communities what the problem is—and they also  know best what the solution ought to be.  I need help knowing, the ministry needs  help knowing what is the individual solution people have said wUl work in Kaslo, or  in Vancouver—because they'll be very different and I'm not so arrogant or presumptive to suggest that I have any sense of what  that should be. The ownership must stay in  the community. Now, legislative and pohcy  changes can happen provincially, but some  of those supports need to be individualized  to communities.  Also, it's important for women to know  that they don't have to come to Victoria  to talk to "the government" — I want to  come and sit in kitchens and hvingrooms  and community halls across the province—  so please ask me. One of the things that wiU  best help me to understand the issues are  personal stories, because they Ulustrate the  issue—and that's what you hear in kitchens  and community halls, not necessarUy the  halls of government.  Thanks to Sandra Gillespie for hours  of transcribing and snacking.  KINESIS MEWS  /y///yyy////y//yyyyyyyyyyyyyyyyyyyyyy  Free trade with Mexico:  Competing to be poor?  by Heidi Walsh  A riddle:  A garment sewer in Canada earns approximately $9 an hour. Her Mexican counterpart earns about $4.75 a day. Who is  most hkely to benefit from a free trade  agreement between Canada, Mexico and the  United States?  H you answered "the owner of the garment company," you are right. It appears  that beyond the corporate few, Canadians and Mexicans are unhkely to reap the  rewards of the proposed trade deal, and  women are hkely to fare particularly badly.  As with the Free Trade Agreement (FTA)  with the US, for some Canadian women, the  most direct consequence of the proposed trilateral deal wUl be loss of jobs. Since March  1989, 435,000 Canadian jobs have been lost  to free trade with the US in the manufacturing industry alone. Particularly vulnerable sectors of the economy employing  large numbers of women include the textUe, garment, electronic and fish processing  industries—workplaces which employ large  numbers of immigrant women.  Noting the lower rate of unionization for  Canadian women compared to men, Lynn  Bueckert of the Vancouver-based Women  and Work society says proposals for free  trade with Mexico have strong implications  for how women do, or do not organize.  "Free trade undermines the union movement and keeps down our demand for higher  wages and better health standards," says  Bueckert. "We wUl have a constant threat  hanging over our heads that we'll lose our  jobs or our jobs wUl move."  There are other issues at stake as weU:  cutbacks to social programs such as health  care, daycare, welfare and education.  "It's part of the economic strategy that  the Tories are adopting to supposedly  make the Canadian economy more competitive," says Denise Nadeau of the Vancouver Woman to Woman Global Strategies  Group. "Someone recently called this 'competitive impoverishment.' We're competing  to impoverish our citizens so that we can  look hke a better investment cUmate."  Bueckert notes that there has been Uttle monitoring of job losses among women  in the various provinces since the FTA  came into effect, although it is acknowledged that Ontario has been hit hardest  so far. Women's groups are seeing a need  to raise awareness of the impact of free  trade on women's work and Uves. The National Action Committee on the Status of  Women recently put forward proposals for  a two-year campaign called "The Future of  Women's Work," which wUl focus on educational material and public forums on issues  related to free trade.  Links are also being made with women  in other countries affected by free trade  agreements. The Woman to Woman Global  Strategies Group was established in Vancouver this September, joining a network  (also known as Mujer a Mujer) which was  originaUy formed to buUd ties between  women activists in the United States and  Mexico (see box).  Although Canadians are often told that  Mexicans wUl benefit from the deal, Mexican women are pointing to a different reality. Under pressure from international lending institutions to service its massive national debt, Mexico's economy is being drastically altered under a Structural Adjustment Program imposed in the 1980's. Some  of the results have been a significant reduction in domestic industries and the displace  ment of families from the land, leading to a  dramatic increase of the urban poor. Much  of the new money coming into the Mexican  economy is used to repay the debt.  Mexican workers labour under extremely  repressive conditions. Real wages have decreased by 60 percent since 1982 and are  some of the lowest in the world. Unions are  typically weak, and health and safety stan  dards are virtuaUy absent. In the flourishing maquiladoras (foreign-owned assembly  plants for export along the border to the  US), the majority of workers are women.  Miriam Palacios of Vancouver's Woman  to Woman group, says that whUe many  women begin work at the plants in their  mid-teens, by their mid-twenties their  health has often deteriorated to the point  say**"  Mujer a Mujer (Woman to Woman) and Mujeres en Accion Sindical (Women for Union  Action) are organizing a series of Global Strategies Schools in Mexico City early in 1992.  Mexican, Canadian and American labour and community activists wUl meet to discuss the  impact of continental economic integration (the North American Free Trade Agreement)  on women's hves.  Here is an excerpt from their Uterature:  "The model offered by the proposed tri-lateral treaty is one which would lock Canada  in as a guarantor of energy and natural resources, Mexico as a permanent source of cheap  labour, and the US as the centre of investment capital, research and development—and  one of the largest consumer markets in the world.  "These changes are having a particular impact on women. WeU-paying ("famUy wage")  industrial jobs which US and Canadian women had struggled to win access to in the 70's are  disappearing, whUe service and maquila (assembly for export) jobs are massively recruiting women into the bottom end of the work force. Cutbacks in social services are returning  women to their traditional roles as caretakers and budget-stretchers. Women forced to immigrate in search of a hving wage are confronting serious threats to their cultural survival.  "New coalitions are emerging in each of our three countries (The Action Canada Network, the US Fair Trade Coalition and MaquUadora CoaUtion, as weU as a new emerging  Grassroots SoUdarity Network, and the Mexican Free Trade Action Network) to confront  the impact of this accelerated model of integration and lay the groundwork for possible  alternatives.  "To date, the international linking among these networks is taking place primarily among  the male union leadership. Yet, women are at the centre of the new strategies of trans-  nationalization—as the primary work force in the low-paid, internationally mobUe, non-  unionized manufacturing and service industries—and in industries undergoing tremendous  technological changes such as banking and telecommunications.  "In these last 15 years, women have taken the leadership in developing innovative forms  of organizing which go beyond the traditional union focus on salaries and benefits to include the relationship between the workplace, community, and family; cultural integrity;  and gender, class and race concerns. Women within Latino, Asian, and Black communities  in the US and Canada—and in the maquiladora industries in Mexico—are serving as pioneers in developing these new models of women's and community self-development in a  transnational context."  where they can no longer work. "There are  no health regulations or safety standards,"  she says, "and their hving conditions are  horrendous."  stresses that exploitation of  workers and resources is not a new phenomenon to Mexico, but that a free trade  agreement wUl formalize the process.  Continental integration is happening  globaUy, and more positive models do exist,  says Bueckert. She points to the model being used by the European Economic Community. "It is my impression that in Europe,  the workers are having more impact on the  EEC discussions. It appears that working  conditions in the southern countries wUl improve because of integration, but not at the  expense of the workers in the north."  "The impetus for a [North American] free  trade agreement is in part coming from the  Bush administration," Palacios says, which  has a vision to "transform the continent into  one trading block to provide cheap labour  and natural resources" to a US-centred  economy. This vision of continental integration does not stop at Mexico, however: free  trade agreements wUl Ukely be made with  the countries of South America as weU.  Multinationals and large corporations are  also pushing the deal, says Nadeau, "and  they use the nation-states behind them."  She says that whUe Canada is already integrated with the US economy to a large  degree, Canada currently retains a significant level of control over economic decisionmaking. "What's at stake now," she warns,  "is that corporations wUl basicaUy be able  to decide economic poUcies in Canada."  Nadeau is not satisfied with the amount  of media coverage of the free trade talks  with Mexico, and beheves the constitutional  crisis is providing a smokescreeen. "I think  the national unity debate is being used by  the Tories to cover up their underlying eco  nomic agenda. There has not been enough  [attention focused] on the economic proposals in the constitution, which are hnked to  the free trade deal." Nadeau says these constitutional proposals also serve to increase  the abihty of large corporations to decide  economic pohcy.  She beheves resistance to the tri-lateral  free trade agreement is growing throughout the three countries involved. Canadians in the labour and popular education  fields have been meeting with Americans  and Mexicans in the last year to study  the impact of the US-Canada free trade  agreement so far. "We've seen an impact  at several levels," she says, "in job losses,  the environment, loss of control and loss of  sovereignty."  Referring to the proposed trade agreement with Mexico, Nadeau adds, "This is  not about trade, it's about something much,  much bigger. It's about the restructuring  of our pohtical, economic and social framework of our countries to meet the needs oi  multinationals."  Resources  Mujer a Mujer/Woman to Woman may  be contacted in Canada at: 606 Shaw St.,  Toronto, Ont., M6G 3L6 (Tel: 416-532-  8584).  To subscribe to their exceUent Spanish/English publication, Corresponden-  cia, send $20 US to: Mujer a Mujer, PO  Box 12322, San Antonio TX 78212.  To contact the Vancouver group, write  to 4340 Carson St., Burnaby BC, V5J 2X9.  (Tel: 604-430-0458.)  Heidi Walsh is a member of the Van-  ouver freelance liberation army.  KINESIS ssssmsssss^^  NEWS  In BC, there's a  VAPid approach to violence  by Lois Leveen  The NDP's victory in the recent BC  election and the party's vocal promise to  address issues of violence against women  have given feminists high hopes. This optimism is tempered by the realization  that government-sponsored programs and  approaches are not always sensitive to  women's needs. The Victim's Assistance  Program, created in the mid-80's and recently expanded under the defeated Social  Credit government, has sometimes been just  such a problematic program.  Since its inception, VAP has been the  BC government's source of support for  women, men and chUdren who are victims  of violence. VAP is administered through  the Ministry of the Attorney General and  the Ministry of the Solicitor General (now  joined into one ministry). The program  provides support to approximately 90 programs and services through local pohce departments, Crown Counsel offices and community agencies. The stated goal of VAP  "to ensure that victims throughout the  •&««»««««««»«  "VAP sees women  as victims of crime  and believes the  solutions are  through the  criminal justice  system."  province have access to the information and  support they need to deal with the immediate and long-term effects of crime."  Unfortunately, this goal is not always  achieved. At both Women Against Violence Against Women (WAVAW) and Battered Women's Support Services (BWSS)—  Vancouver recipients of VAP funding—  there is some unease about VAP's objectives.  B.J. Tyner, a staff worker at WAVAW's  Rape Crisis Centre, beheves VAP's structure is centred on a law and order paradigm.  "VAP sees women as victims of crime and  beUeves the solutions [to the problems these  women face] are through the criminal justice  system," says Tyner. In this view, WAVAW  workers should function only as advocates  and accompaniment for women appearing  in a court setting. Crisis counselhng—one  of WAVAW's prime services—does not faU  under VAP's mandate.  Janet Freeman, of BWSS, is similarly  frustrated. VAP emphasizes working with  women within the criminal justice system  and does not support the counselling services which are so crucial to women recovering from long-term abuse. Although  BWSS strives to include phone and one-on-  one counselhng in their services, Freeman  feels that "at other centres [receiving VAP  money] it's more court-oriented."  VAP grant money comes with certain  requisites: agencies are required to coordinate statistical information and report to  VAP on their work. At WAVAW, staffers  have spent years trying to get their contracts more oriented to serving women who  have been raped, regardless of whether  those women decide to go through the legal  system. But as long as court involvement  is an ehgibihty requirement and statistics  must be regularly reported, other services—  hke counselhng—get backburnered.  The emphasis on statistics and reporting  to government has long been a major source  of conflict for rape crisis centres. Prior to  the creation of VAP, five rape crisis centres, including Vancouver Rape Relief, were  asked in 1982 to provide the government  with statistical information on their chents  as part of the "contractual obligations" of  their funding. Although names were not requested,- information on ethnicity, professions, addresses and family situations were.  The centres refused to provide this information, arguing that most BC towns are  smaU enough to make the required data as  identifying as a name. Says Rape Relief's  Regina Lorek, "We know rape is a potential  for aU women, so why should the government need this information to paint a composite picture of 'the rape victim'? We offered to give them the names and addresses  of the rapists, but that's not what they  wanted."  As a result of their refusal, Rape ReUef and the other four centres lost their  provincial funding. Although this conflict  predated the creation of VAP, "we didn't  even bother applying to Victoria [for funding] after that," says Lorek, "since it was  the same Socred government and the same  policies."  VAP does not promote any particular  analysis of women and violent crime. VAP  has a high turnover of workers and whUe  some VAP Uaisons are sympathetic to feminist organizations, others are not.  A worker at one VAP-funded organization, speaking on condition of anonymity,  described how different VAP-funded agencies can actually be at odds with each  other. "People working with the pohce and  the Crown Counsel basically support the  system but [women's advocates and other  community agencies] often challenge how  the system treats women," she said. VAP-  supported groups are hard-pressed to advocate for women when it means biting the  hand that feeds them.  Lorek agrees: "VAP is just a way of making the pohce's job easier," rather than  making sure women and other survivors  get the immediate and long-term help they  need.  In addition, VAP grants are not enough.  Freeman notes that BWSS's funding has  barely increased since 1987, "but our level  of service has tripled since then. Although  VAP is supposedly core funding, they actuaUy pay less than a third of operating expenses Uke rent."  When BWSS lost its federal funding in  1987, they nearly had to close their doors.  VAP is now a major funding source. WhUe  staffers hke Freeman see VAP's shortcomings, they acknowledge that BWSS and simUar services depend on what they can get  from VAP. While BWSS and WAVAW also  receive funds from the city of Vancouver and  through private fundraising, many community agencies in BC cannot rely on municipal funds or relatively supportive private  donors.  "What we need," Lorek argues, "is reliable core funding." Although additional  grants to write a pamphlet or coordinate a  special event might seem appeaUng, "specified funding forces groups to work on one  project at a time. With secure general funding, we can plan ahead." In addition, guaranteeing that each group's basic expenses  wUl be met aUows them to do what they are  created to do—to serve women in need.  The inadequacies of VAP's approach to  counselhng services is a serious problem.  Women who are deaUng with feehngs of violation, fear and shame in the wake of a  rape need more than just information about  their legal options. Women who have suffered emotional, physical and sexual abuse  at the hands of a batterer need CounseUing  and support before they can even leave a  battering relationship. To abandon these  women if they choose not to prosecute their  attackers—to neglect them when they need  support months or years after the violence  occurs—is to deny them the most crucial  aid they need. To assume that all women  are in a position to seek and win legal action is to ignore the realities about violence  against women and the court system.  Lorek is direct about how funding should  work: "The money should go to grass-roots  groups [which are] women-run and women-  controlled. The money should go right to  the people who talk directly to women, not  an agency that oversees such groups." If  there is any poUcy about directing funds,  it should be to respect what each group is  doing. "Standardizing funding is a problem  because of the diversity of needs in different  areas of BC. A women's centre in a smaUer  community might not have the same programs as a rape crisis centre in a big city."  The NDP wUl need to reconsider the  value of programs hke VAP to determine  how and even if they fit into a comprehensive program to ease and end violence  against women. It is crucial that the women  these programs are designed to help, both  the chents and the community agencies that  serve the cUents, be included in the planning and implementation of governmental  programs.  A government office may not be the most  appropriate place to determine the "solution" to violent crime, or even to define  what comprises such violence. Rather than  stubbornly pursuing a single approach to violence against women, those in office must  hsten to what feminist counsellors and community groups have been doing for years.  Lois Leveen can usually be found  ranting about social issues, cooking  beans and rice, or considering a career  in stand-up comedy.  December 6th  6 Minutes...  CONNECTING MEN'S VIOLENCE WITH WOMEN'S INEQUALITIES  A PROGRAM OF FILM AND VIDEO  FROM THE  NATIONAL FILM BOARD OF CANADA  Stilt Killing Us Softly  For Richer, For Poorer  After the Montreal  "The first thing the advertisers do  A profile of one woman's fight for  Massacre  is surround us with the image of  economic and emotional survival  Selectively choosing women as his  female beauty...based on absolute  after her divorce.  victims in the December 6, 1989  /lawlessness." - from the film.  (29 min. 53 sec.)  massacre. Marc Lepine left a clear  American feminist Jean Kilboume  and lucid message. The impact  exposes the power behind sexist  hit right away; something was  going on here...the dead were  ORDER NUMBER   0187 14S  To a Safer Place  'Through the frank disclosures of  (25 min. 40 sec.)  Shirley and her siblings, (the film)  No Way! Not Me  shows how deep psychic wounds  Canadian activist Rosemary  inflicted on victims of Incest can be  Brown addresses high school  healed." - NOW Magazine  The Burning Times  students with a chilling view of  (58 min. 20 sec.)  'Part of my commitment to  ORDER NUMBER   0187 067  women's spirituality has also been  (29min.39secJ  a very active political commitment.  Sandra's Garden  bring about changes that you  A testament to the courage and  Loved, Honoured and  Bruised  (34 min.)  "/ never told a soul because of the  OROER NUMBER  0190 059  shame and 1 began to think that  because 1 was treated like that 1  (25 min. 23 sec.)  Ibr.H~ orb, «...", trfitTM  ts&Ss-  <=\J               W^'and'li^n'ca  PROMOTING CHANGE THROUGH DIALOGUE  $£j&*zvzm*^  KINESIS , NEWS  yyyyyyyyyyyyy/yyyyyyyyyyyyyyyyyyyyyyy,  m  Remembering Montreal:  For a future without fear  by rose-marie kennedy  November, 1991. Walking up Main Street, on my way home after dark, I keep back  the violence of the streets with a will of fire.  It's a strategic tactic: walking tall, gritting  teeth, mentally peeling the eyes of the guy  at the bus stop off my breasts, gripping my  house keys in the palm of my hand, and just  willing the tangible sense of danger outside  my space.  It's been almost two years since 14  women were massacred at the Polytechnique in Montreal. I think about this now,  as I often do when I walk at night.  Since I first learned to speak about violence against women (and it was a process of  learning because we are not taught to think  that sexual abuse and violence is an acceptable conversation topic) I haven't met a single woman who hasn't had some violent experience—whether it was harassment in the  workplace or on the street, or violation in  her own home by a father, husband, brother  or lover. Violence is perhaps the most basic  feminist issue. Advances in childcare, equal  pay and choice mean nothing if we are not  alive.  The massacre has become a reference  point, a symbol, for that brutality women  live with—a brutality that is fierce, that can  strike as easily and unexpectedly in an engineering classroom as it can, with frightening consistency, in our own bedroom. As a  symbol, it has also become a way of naming our shared, collective experience of violence. Since the massacre, for the first time  in my Ufe, I have seen women everywhere  articulating the terror and anger and pair,  we have lived with. For this reason, the interpretation of the meaning of those murders has become the site of contention.  The political significance of maintaining the feminist meaning of the Montreal  Massacre runs incredibly deep. Those who  would have us beheve that the massacre  was not about violence against women have  a great deal at stake. They want to maintain the myth that the heterosexually organized nuclear family is safe, that women  bring their own misfortune upon themselves  when we participate more fully in public institutions, and that the source of our pain  is individual and not socially organized and  maintained. It's this myth that binds us up,  that makes us doubt ourselves, and prevents  us from challenging the status quo.  Advances in  childcare, equal pay  and choice mean  nothing if we are  not alive.  If the massacre of the 14 women in  Montreal is not about violence against  women then my own experience of sexual  abuse is insignificant. If the massacre of 14  women in Montreal is not about violence  against women then I must be crazy. It's an  interpretation I refuse.  We are fighting for our right to remember and record history as we have hved it,  and to grieve as deeply as we need to for  the wounds that this misogynist society has  inflicted upon us.  On December 6th, I'll be remembering  the 14 women who died at the Polytechnique in 1989 as well as all the women whose  names I don't know who will be murdered  in domestic violence this year. As well as  Shirley Turcott and Elly Danica and Sylvia  Fraser and Sandra's story. As well as my  own story, and every story a woman has ever  told me.  The sharing of these stories becomes  the deeply pohtical act of creating collective memory. Creating a Memory that  goes a long way, stretching back into our  her/stories giving them the significance and  meaning they warrant, and stretching forward to the future, imagining a world where  i need never fear violence—and in the  imagining, creating.  December 6 is a national day of commemoration to mourn all victims of  male violence against women—and to  renew our collective commitment to end  that violence. Please see Bulletin Board.  rose-marie kennedy is an activist, a  popular educator, a writer and a new-  foundlander.  Home to Guatemala:  An urgent message from refugees  Kinesis received the following urgent  letter from Guatemalan refugee women  Mexico. It is addressed to women's  organizations  in North  America  and  Europe:  In October, Guatemalan refugee women  in Mexico gathered in San Cristobal de Las  Casas for a workshop on the human rights  of refugee women.  We have been refugees in Mexico for ten  years and have strong feehngs of the urgent  need to return to our own country.  In our efforts to achieve this goal, we  are confronted with the repressive policies  of the Guatemalan government which, with  terror and scorched-earth pohcies, forced us  to leave our homeland. The Guatemalan  government continues to violate human  rights, forcing men to participate in "civil  self-defense patrols;" and it continues to  carry out abductions, disappearances, torture and assassinations of the leaders of  popular organizations and of the people in  general, including the leaders of women's  groups that are opposed to the repression.  In order to achieve our return to  Guatemala, we demand that the government comply with six points which  the Permanent Commission of Guatemalan  Refugees in Mexico have presented:  • Voluntary, collective and organized return.  • Guarantees of personal safety.  • The right to return freely to our places of  origin and to have access to land.  • The demilitarization of our villages and  the limitation of the army to its functions  as defined by the Constitution.  • Respect for our refugee organizations,  among them, the various women's organizations.  • Free mobility of the Permanent Commissions and of the Guatemalan people in  general, within and outside the country.  To date, the government has refused to  comply with these conditions and does not  recognize our representatives, thereby causing an unjust delay in our return.  For these reasons, we organized refugee  women want to make our voice heard worldwide. We especially ask for the support of  women's organizations because, as women,  you can understand our problems and necessities. Guatemalan refugee women experience the subordination common to all  women. In addition, we are subordinated as  indigenous and poor people who, furthermore, must hve outside of our own country.  Specifically, we ask women's organizations to support us in the following ways:  Please send letters to the President of the  Repubhc and to the Ministry of Defense in  Guatemala, so that they cease the repression and facilitate our return in accordance  with the six points mentioned above. We  ask that you send copies of your letters of  support to: Maricala Lucas, Apartado 222,  Comitan de Dominguez, Chiapas, Mexico.  When our return is achieved, we ask that  women's organizations all over the world accompany us to assure that the government  carries out the just measures that we require to hve once again in our country.  In recognition of your solidarity with uj  as women, we thank you for the support  you can offer us. We send you our regards  in sisterhood—Organization of Guatemalan  Refugee Women (MAMA MAQUIN); and  Association of Guatemalan Refugee Women  (NUEVA UNION).  Please send letters to the president: In-  geniero Jorge Serrano Elias, Presidente de  la Republica, Palacio Nacional, Guatemala,  Guatemala. Fax: 502 537472. And to the  Minister of Defense: General Luis Enrique Mendoza Garcia, Ministro de Defensa  Ministerio de Defensa, Palacio Nacional,  Guatemala, Guatemala. Fax: 502.537472.  KINESIS Commentary  Others,  mothers and  m/othering  by Burcu Ozdemir  Otherness is not a foreign notion to me.  I have tasted the bitter sweetness of being  ridiculous and threatening, as well as exotic  and courageous, as a poor lesbian mother of  sons. Being born Turkish and raised Mushm  easily compound the troubles and joys of my  multiple identities. Although I acknowledge  that we, the female sex, mostly hve in multiple jeopardies, catch 22's, and contradictions, I must confess that 'commitment'—  not 'contradiction'—is especially dear to  me. It is survival, not art which I struggle  with as the number of people I choose to  and have to be. It is survival that I derive  energy and power from. In the numberless  binds of my multiple identities, my art depends on my survival.  The image of any lesbian with a child in  one arm (jealous gods forbid, a daughter)  and a female lover on the other arm is unacceptable and not tolerated without a loss.  The image of a man with a gun in one arm  and a child in the other is seen as heroic, patriotic and even revolutionary. It is not necessarily accepted, but absolutely tolerated  and rarely questioned.  This otherness forces some lesbian mothers into a mode of thinking that is not  an authentic expression of our own self-  understandings or definitions. Not only do  we begin with definitions of lesbian and  mother that are to our detriment, but lesbian mothers also begin with false self-  descriptions. We, too, mostly exist within  terminally-ill patriarchal walls; we, too,  have no givens, beyond that which is 'abnormal,' or 'deviant.' We, too, forget and  deny our real origins in our mothers.  It seems to me that Mushms, wives, ex-  wives, prostitutes and mothers are all by  definition non-lesbians—and may be even  non-feminists. Mythical norms dictate and  insist that they could not possibly be. In  fact, these women are often made to feel  that they especially should not and could  not be dykes. This makes me ask: What is  a Real Lesbian, a Real Wife, a Real Prostitute, a Real Mushm or a Real Feminist?  Is this how so many of us struggle to connect while being invisible, dream of being,  but never quite make it?  When I came out as a lesbian to my  mother in Turkey, she laughed and pointed  out that I had two children and birthing  them proved that I couldn't be a lesbian.  Besides, she told me, "You are a Mushm,  this lesbian thing is a Western thing."  When I first came out to heterosexual  mothers in the single mothers' project housing where I used to hve, many told me it  was all right with them that I was a lesbian and a mother—as though they had  any right to permit me. Soon after, some  of them went further and demanded that  I wouldn't be permitted to show affection  to my female lovers in front of their children (for instance, on the communal lawn).  Some of these mothers added that I should  tone down exposing my breasts while publicly feeding my son Aha. I had a major depression and went into a powerless state of  resignation and self-denial. If this is what I \  got from other mothers, what was awaiting  me from women who did not mother their  own or other children?  After my down, I came up and decided  that I could not let non-lesbian mothers define me, my children and our limitations  for me and my children. How could I alone  have so much power that, they can avoid  discussing the options that their children  have, as long as I alone won't kiss my lovers  in front of their children? Surely, there are \  other lesbian mothers in this building, I  thought. They are probably just not choosing to hve as lesbians right now, for whatever reason. Could they control all of us?  When I looked at lesbian communities for  refuge and safety, intense struggles awaited §  there, too. I began feehng hke a stifled part- f  ner in my own oppression. Some lesbians in 1  our predominantly white communities have  even gone so far as to call upon all lesbians  to "evacuate motherhood ... to abandon  the society of mothers, including one's own  mother as weU as other women, including  lesbians who are mothers" (Jeffner Allen,  Lesbian Philosophy: Exploration).  It is dangerous to demand that we deny  our roots and origins in our mothers. It is  dangerous to mark mothers as victims and  effectively deny them agency by making it  impossible to see them as actors in their own  behalf. How could other lesbians, feminists  or mothers benefit from our visions, stories  and hopes? How did predominantly white  and non-mother lesbians—feminists as well  as heterosexual mothers—become the authority of the definitions and the limita-  Burcu (Front left) with sisters, grandmothers and great aunt - and daughters: a  women-only picnic in Turkey.  sources of strength and support as well as of  oppressions, and to recognize their common  and not-so-common social, cultural, emotional and pohtical interests, it can only  contribute to feminist, mother, lesbian and  women communities as a whole. Defining  myself as a lesbian and a mother at the same  time (along with all my other specificities)  will not prevent or retard the self-definitions  of lesbians and non-lesbians, mothers and  others. We all have a right to agency, free-  ..a culture...where denying our true origins in our  mothers is the norm...  tions of lesbian mothers and their children?  How can we go beyond the society's nai-  row meaning of the word 'mother' (which,  by the way, has the Word 'other' in it) and  expand it's meaning?  Last, but not least threateningly, there  is the "system" which takes away our children, whether they were conceived with a  man or otherwise. This system sometimes  places our children in homes with sexuaUy  and otherwise abusive foster parents or fathers; sometimes, our children leave willingly to hve elsewhere, in a 'normal' home.  If and when lesbian mothers everywhere  try to come together,  to examine their  dom and visibility, and to create a space to  chart out our territories as we see most fit.  H I wish to have my work (my poetry  or my children) considered as real, I must  submit to both the heterosexual sisters' and  lesbian sisters' insistence that I remain in  the closet in front of their children, or away  from events that exclude boy children. If I  wish to be seen as Mushm, I am told by  Mushms and non-Muslims that I just don't  look hke one.  If the system takes away our children, if  heterosexual men and their institutions continue to rape and kill our children as well as  control our hves when alive, if some lesbian  non-mothers do not want to be around our  children (especially the male ones), and set  up rules to insure this, if non-lesbian mothers demand that I tone down my lesbianism, where is the room to make a safe space  for ourselves, children, mothers, lovers and  others?  Taking children away, isolation, hunger,  invisibility, emotional terrorism and the  streets keep me and my children on our toes,  lest we be caught off guard. I taste the violence, the rule by terror and error, the emotional isolation with my lesbian tongue.  In a culture and reaUty where denying  our true origins in our mothers is the norm,  it is no wonder that, when asked where we  come from, whether we are heterosexual,  lesbian or a mother, we usually name a city  or a country. Rarely, do we dare tell the  truth that we all come from our mother's  very real cunt trees, not only our father's  abstract countries. Of all the people that I  have to and/or choose to be everyday, I the  lesbian mother—and I—the mother—have  the least visibUity and the most significant  consequences of it. Whether we sleep with  women, men, both, cats, dogs or dildoes,  this must concern us all. Lesbian mothers of daughters, heterosexual mothers of  sons and daughters, non-mother lesbians, financially secure women, Mushm and non-  Muslim women and my mother just can't  see me sometimes. I am invisible, so they  aren't being rude, they just aren't seeing.  Sometimes, I can't even see my selves.  Burcu Ozdemir is an other mother,  writer and a borderlander.  KINESIS. news  ///////y///////y//yyyyyyyyyy//yyyyyyy  Women and disabilities:  To bring down the barriers  MEETING OUR NEEDS:  Access Manual for Transition Houses  by Shirley Masuda,  with Jilhan Ridington  DAWN Canada, 1991  by Bonnie Klein  "We are women. We are  with disabilities. We are women who  are abused. We are your sisters. We  are just like you. We have the same  thoughts, the same feelings and the  same passions as you have. Your issues  are our issues, and each of our issues  is also your issue. We are who you are.  We are women."  As a feminist who suddenly became disabled in mid-life, this is my chance to spread  the word about Meeting Our Needs: An  Access Manual For Transition Houses.  I used to make documentary films with  Studio D, the feminist unit at the National  Film Board (Not A Love Story, Speaking  Our Peace). In August, 1987, I had a severe stroke caused by a congenital anomaly  in my brain-stem. I am now hving with  many residual disabihties. I get around with  two canes and an electric scooter.  For the first three years after my stroke,  I did not identify myself as disabled—a pattern I have since learned is typical. I thought  THE  CAPILANO  REVIBA/  PROUDLY ANNOUNCES THE  RELEASE OF  STRUGGLE:  Local and Global  FICTION  POETRY  VISUAL ART  BY  B.C. WOMEN  FEATURING:  Visual Art: Margot Butler, Allyson Clay,  Lorna Brown, Skai Fowler, Ingrid  Koenig, Katherine Kortikow, Laiwan,  Diana Li, Haruko Okano, Marianne  Nicholson, Catherine Stewart, Kiki Yee,  Jin-Me Yoon. Poetry: Janisse Browning,  Joanna Beyers, Kate Braid, Ana Chang,  Kirsten Emmott, Annie Frazier, Gail  Harris, jam. ismail, Larissa Lai, Zoe  Landale, Kathryn MacLeod, Vera  Manuel, Daphne Marlatt, Raj Pannu,  Carmen Rodriguez, Grace Sanchez,  Janet Theny, Betsy Warland. Prose:  Claudia Beck, Donna Clark, Susan  Crean, Sandy Frances Duncan, Sharon  Kwik, C. Allyson Lee, L. Martinuik,  Helen Potrebenko, Manisha Singh  $14.98 includes GST  Available at fine  bookstores or by writing:  The Capilano Review, 2055 PurceU Way,  North Vancouver, B.C. V7J 3H5. Tel:  (604) 984-1712.  I was 'just passing through,' until I would  rehabilitate myself back to 'normal' through  hard work and positive thinking. I kept a  friendly distance from the other people—  mostly young male quads—at the hospital  and rehabilitation institute where I stayed  for seven months.  I knew no other women with disabihties  with whom I could identify, from whom I  could learn how to get on with my hfe.  When I connected with DAWN, the national self-help network of women with disabihties, I was finally able to accept that  I am disabled. With my disabihty beyond  my control, feminism reminded me of our  capacity to survive instead of being passive  victims, our collective power to change that  which can be changed. Meeting Our Needs  is a prime example.  "Our disabihties are part of us, we have  " to hve with them, and we cannot  change that reality. It is the quality of our  hves that we want to change. It is our right  to have services, which were created to help  abused women, made accessible to us, because we are those women." (Preface, Meeting Our Needs).  DAWN Canada was born in 1985 out  of frustration with both the disabled person's movement and the women's movement to address the priorities of women  with disabihties. Six priorities were identified: access to the women's movement and  women's services, employment, self-image,  sexuahty, parenting, and—the strongest—  violence against women with disabihties.  Under the leadership of Joan Meister,  Past Chairperson of DAWN and Violence  Projects Supervisor, DAWN undertook the  first major research in Canada on women  with disabihties. DAWN's research with  245 women uncovered shocking information  about abuse against girls and women with  disabihties—as much as double that of our  non-disabled sisters because of our greater  vulnerabUity. The research also revealed our  inabUity to access women's support services, (see Beating the "Odds": Violence  and Women With Disabilities, DAWN,  1989.)  DAWN translated these research findings  to the three-part action project documented  in Meeting Our Needs. Although the book  is addressed primarUy to transition houses,  its audience should be much broader. It is  a valuable resource for aU of the women's  movement to actualize our rhetoric of inclu-  1988 W 4th & Maple  Vancouver, B.C.  V6J 1M5  733-3511  Feminism for the Holidays  Artwork, jewellery, books,  cards, ephemera  Special Artists'  celebration and sale  Friday, December 6, 7-9 p.m.  sion, and for each of us to widen her personal circle of understanding.  Part One, "The Voices Of The Women,"  lets women tell their stories in their own  words. The women represent all seven categories of disabihty: mobility, visual, psychiatric, hearing, learning, developmental, and  hidden disabihties. They describe incest and  cluld abuse, rape and battering. Women disabled at birth or in early chUdhood, and  women with multiple or severe disabilities,  are more hkely to suffer abuse; the greater  the vulnerabUity, the greater the abuse. If  disabihty causes abuse, so does abuse lead  to disabihty, or exacerbate existing disability in a literally vicious cycle.  Who abuses us? Like non-disabled women, we are abused by those whom we  Part Three, "Understanding Our Differences," is a practical how-to guide to becoming accessible. It contains blueprinted  diagrams for wheelchair access, and specific  de-mystifying information for making physi  cal space and resources accessible for women]  in each of the disabihty categories. This in  formation is useful to make any home, work  place and community event more accessible  for aU. Access turns out to be more simpl  and less expensive than people without in  formation imagine.  But women with disabihties face attitu  dinal barriers which are often more diffi  cult than the physical ones. Meeting OuA  Needs addresses common misconceptions  and fears about the various disabihties. It  teaches non-disabled women how we do and  do not hke to be referred to: "We struggle  Access turns out to be more  simple and less  a    expensive than  W^ . people without  information imagine  trust and on wrtom we are dependent: famUy, care-givers, health professionals, as weU  as casual acquaintances and strangers. We  are abused at home and in institutions.  Nowhere is safe. We do not report for the  same reasons as non-disabled women, with  even greater fears of retaliation and fewer  resources. Disabihty magnifies the isolation  and poverty of women.  The authors respectfuUy acknowledge  our debt to the women who share their intimate and painful experiences in the hope  that we can help the women's movement  meet our needs.  Part Two, "Assessing Our Options," investigates the present level of accessibihty  of transition houses, women's shelters, and  rape crisis centres all across the country,  and their history sheltering women with disabihties. The findings were in some cases  better than expected, with progress being  made. In some cases, they were worse. Although there is a desire to become accessible, it is not a priority. DAWN is sympathetic to the financial and emotional  strains of transition house workers, and non-  judgmental. DAWN commits itself to the  long-term process of achieving access by actively participating in both government and  transition house decision-making.  DR. PAULETTE ROSCOE  NATUROPATHIC PHYSICIAN  HOMEOPATHY  COUNSELLING  DETOXIFICATION  HYCROFT MEDICAL CENTER  108-3195 GRANVILLE ST.  VANCOUVER, B.C. V6H 3K2  731-4185  In a practical section called "Specia.  Problems and Common Courtesies," you  learn to sit down at the level of my  wheelchair when talking with me, and no,  to rest your feet on my wheels: "Our chairs  are extensions of ourselves and to touch  our chairs is to physically touch us." L  learned why and how best to communicate  with women with disabihties I am ignorant about: letting a woman who is blin(  know I am there or I am leaving; minimizing background noise and maximizing hght  for women who are hearing impaired; giv  ing a woman with communication problems  the space and time she needs to complete  what she has to say. Most of us have a lo ,  to learn stiU about the needs and capabih  ties of women with psychiatric, developmental, and learning disabihties: "Often we are  talked 'down to' or 'above' both of whicl  are hurtful in different ways."  Meeting Our Needs treats a potentiaUy  overwhelming subject in a non-sensational  inclusive tone: "This book is about women  talking to women, women with disabihties  talking to our sisters. We speak to you from  our hearts, and we speak of our reality. We  have tried to help you understand our needs  and how to be accessible to us so that we  can work together for change. We ask you to  hsten, and we ask you to move over a httle  bit and let us take our places beside you."  Thank you, DAWN.  Meeting Our Needs is available in book\  and tape format. Please include payment with your order. Books are $15,  tapes are $7.50. Send payment and order to DAWN Canada, 4 Warner Ave.,  Toronto, Ont., M4A 1Z3.  Bonnie Klein is a journalist living in\  Montreal.  KINESIS, International  Sri Lanka:  Free trade in poor jobs  by Shams Aiibhai  On a recent trip to Canada, three Sri  Lankan women spoke about their work with  indigenous organizations. Their Vancouver  address in October at the Hope, Seeing  Our World Through New Eyes exhibition,  was part of an 11-day Canadian tour sponsored by Canadian Lutheran World Relief and the Canadian International Development Agency. In their presentations,  Clodagh Fernando and Swinitha Perera described the struggles faced by women from  rural areas and the actions of community  organizations at the grass roots level.  Sri Lanka is a smaU island off the south  eastern coast of India with a population  of approximately 18 million people. Prior  to its independence in 1948, the country was a British colony for almost 150  years and before this, was governed by the  Dutch and Portuguese. For much of its history, the struggle between its two major  peoples—the Sinhalese majority who migrated from northern India around 500 BC  and who practice Theravada Buddhism, and  the TamU majority who came a few centuries later from southern India and practice Hinduism—has been at the forefront of  hfe in Sri Lanka. In addition to the ethnic,  language and religious differences between  these two peoples, the differences in caste  within each ethnic group often accentuates  the complexity within the communal structure, creating many possible points of conflict.  In spite of this, Sri Lanka has endured  and has many positive features which include a level of social services that are comparatively high for a Third World nation.  For example, it has a comprehensive education system which has created one of the  best educated populations in Asia; the hteracy rate is presently 87 percent. The state-  run health system provides free basic care  that has raised average hfe expectancy to  the highest level in South Asia.  A fundamental economic problem in Sri  Lanka since 1950 is the fact that the balance of trade has been in a chronic state of  deficit. The value of the traditional agricultural exports—tea, rubber and coconut—  has continuously declined in the international market place, leading to a critical  shortage of foreign exchange. In an attempt  to deal with this problem, the conservative United National Party (UNP) started  to deregulate the economy, creating investment incentives for domestic and foreign  capital, and liberalizing international trade  pohcy to encourage export-led growth.  One aspect of this new pohcy is the  free trade zones—or "investment promotion zones" as they are called. Governed  by the Greater Colombo Economic Commission, the first zone was established in  1979 at Katunayaka near the Bandaranaike  International Airport and the second in  1986 in the Colombo District, the capital.  Foreign multinational companies, based in  Hong Kong, Japan and as far away as Germany, receive generous tax concessions for  the textUe factories buUt in the free trade  zones. By the end of 1985, 119 businesses  had signed agreements with the commission. The gross export earnings from these  companies was more than 5.5 billion rupees  (20 rupees=$l) in 1986. Clearly, Sri Lanka's  strategy of deregulation has benefited foreign capital.  But what about the people of Sri Lanka—  and the women, in particular?  "Cow sheds are  turned into homes  for these girls"  A profile of the zone indicates that 90  percent of the workers—up to 50,000—are  women, mainly young unmarried women  who migrate from the vUlages. Their reasons for leaving their traditional farming  hves are hnked to the country's economic  difficulties. More and more women are now  part of the paid labour force—in 1980,  females were twenty-five percent but the  figure is steadily increasing. High unemployment overall is one reason for this increase: double digit unemployment is evident in both the poorest urban and rural population—in 1987 the unemployment  rate was 18 percent. Secondly, the country's  rapid population growth has lowered the  average worker's age and the extension of  education has qualified many thousands of  youth for non-existing jobs. Thirdly, many  women come to the large sprawhng cities  with the hope of contributing to household  incomes back in their vUlages, and also with  _-   FOR  Feminist  THE0RY&  ITERATURE  BOOKS  311 W. HASTINGS ST. VANCOUVER  V6B1H6 TEL. 688-6138  the desire to save money for marriage, especially for the prized gold chain which is  essential for even the most simple dowry.  This non-unionized body of women has  become an easy target for exploitative treatment. For example, outside the free trade  zones, there are specific labour laws and  standards: women are officially prohibited  from working between 9 pm and 6 am, and  the work day may not exceed nine hours.  However, in the free trade zones there are  no such rules. Neither the number of hours,  times of day, nor the number of days is regulated. This means women regularly work a  six or seven day work-week doing shift work.  These injustices carry over outside the  work context. One such problem is the lack  of adequate and clean lodging. In Swinitha  Perera's words: "Cow-sheds are turned into  homes for these girls." The increase in migration from the rural to the urban areas has created numerous urban slums. In  the early 80s, almost half of the people in  Greater Colombo were hving in slums and  shanties.  However, there is some hope. There are  a number of vigorous non-profit organizations which address the injustices suffered  by marginalized sectors such as the women  in the free trade zones. The Kantha Shakthi  Organization is one such example. Having  a membership of more than 2,000 women,  this group provides assistance to its members engaged in fishery, industry, mining  and agriculture.  In the free trade zone, Kantha Shakthi  has sought to create an awareness of what  rights the women do have, and to provide  means for increasing general awareness in  specific areas such as health education. After working in the zone for four to five years,  the group identified sexual education for  the young women as requiring special attention. In response, Kantha Shakthi published a book entitled: Woman's Body:  From Myths to Truth. The book describes  a woman's anatomy, her various cycles of  development such as puberty and menstruation as well as personal hygiene and self-  esteem. In a society with many social taboos  and where sex education is dealt with very  superficially, these smaU steps go a long way.  Another sector in which the organization has endeavoured to raise awareness of  specific workplace rights is in the field of  graphite mining. Many, of the men working  Are You Loved And Respected ?  "Assertive Option" -a unique guide  to on assertive living. Whether at  home or at work, this guide will  tlor  your spouse or children to help aj  the house.  ♦Convey pooitve energy during con'  and jnake people listen to you.  •Avoid being taken for granted either by  your spouse or your boss at work.  •Respect and love yourself and in turn  be loved by others.  You  - get t  To get your "Assertive Option" guide  send $19.95 to Info-Research Ltd,  Box 8428, Station "T", Ottawa,ONT. K1G 3L1  in these mines inhale graphite and beconu  very UI. Kantha Shakthi helps women whose  husbands are graphite workers obtain compensation.  Another grassroots organization is Lanka  MahUa Samita. Started in the 1930s, one  of its objectives was to help curb migration to the cities. This umbreUa group now  has more than 3,000 local societies with a  total membership of 50,000 women. Lanka  MahUa Samita works in a variety of sectors  including education, health, raising rural incomes and savings and credit. Clodagh Fernando, one of its representatives, attributes  its success to its non-threatening strategies  and low profile. Since the family is viewed  as the central institution in Sri Lanka, the  organization has sought to provide income  generating projects that are home-based  and encourage the domestic role.  The presentations of Perera and Fernando provided a few examples of the kinds  of abuse and exploitation faced by specific  segments of Sri Lanka society. Yet, they also  showed how women are able to collectively  organize themselves, and that small initiatives can make considerable differences. The  battle in the face of tremendous odds is continuous.  Shams Aiibhai is interested in international development issues and worked  with pre-school education in India in  1989-90.  CCEC Credit Union  Serving cooperatives,  community businesses,  & the non-profit sector.  ► Lower interest rates on  loans to Societies and  cooperatives.  ► Operating loans.  ► Mortgages.  ► Term deposits.  ► Chequing accounts and  other banking services.  A  V* aat! i  2250 Commercial Dr.  Vancouver, B.C. V5N5P9  Mondays & Wei  Fridays  254-4100  1146 Commercial § Phone: 253-0913  12 KINESIS, Sex Trade:  more than  violence, more  than patriarchy  by Jyoti Sanghera  As I lower my eight months pregnant frame into a chair and stare at  the computer screen in front of me, I ask myself, "where do I begin?" A  host of images and faces flit across my mind hke a kaleidoscope, images  and emotions that have seeped into my being over the past year and  a quarter as I traveUed into Thailand, Nepal and India, "looking at"  and "trying to understand" issues such as poverty and prostitution, sex  tourism, and the trafficking of chUdren and women into the sex industry.  And I remember—I remember feehng strangely depressed the day I  learned I was pregnant and the image that kept flashing in my mind.  It was the image of a httle Nepali girl who looked no older than eight  years. She had been rescued from a red hght area in Calcutta and had  been handed over to the pohce authorities at the Central Pohce Station  in Kathmandu, where I met her. She was not unlike many of the young  girls I had met in the red hght districts of Indian cities, girls who had  been trafficked into prostitution from the countryside of Nepal. Terrified  and traumatized, she plastered her diminutive frame against the wall of  that damp room in the pohce station and started at every sound. Mumbling something soft and reassuring as I moved closer and tried to draw  her out of the shadow of the waU, I noticed her httle fingers were entwined across the knot of a tightly tied, smaU cloth bundle holding aU  her worldly possessions. Popping out from one side of this bundle were  the arm and leg of an old plastic doll. I remember being gripped by the  phrase "she's only a chUd" as it reverberated through my head for what  seemed hke an eternity.  It was this image that confronted me when I learned I was pregnant  and I kept repeating to myself, "what a world to bring a chUd into."  Over this last year, the same kind of despair or an equaUy immobilizing anger gripped me when I saw ruddy-faced kids from the Akha or  Hmong hUltribes in the Mae Sai district of Northern Thailand on the  Burmese border and learned that most of them would end up in brothels or sex bars—and that entire hUltribe vUlages were bereft of adolescent girls and young women. The rapidly-expanding sex tour and entertainment industry in Thailand had claimed a whole generation of young  women and was now spreading its tentacles over minor girls and boys.  I remember the insides of my gut revolting as I walked into a go-go  bar and saw a bunch of girls, most of them in their very early teens,  performing some kind of a schoolgirls' drUl before an audience of gaping  men, predominantly Western and some Japanese. The young performers were dancing to the accompaniment of what sounded hke nursery  rhymes and chUdrens' songs. They were dressed in pink and blue school  girl frocks with buckled shoes and socks. Each had a number pinned to  her dress. Every now and then, at the bidding of some man in the audience, a bar hostess would approach one of these numbered perform*  who would then quietly shp away with a man behind a screen door.  ^  I remember growing more and more aghast at meeting a couple of  lesbians from the West, who also claimed to be feminists and who were  in Pattaya, Thailand, to buy sex. My angei and confusion mounted as  Mem and Lek, two bar girls, spoke at length of their lesbian chents and  jokingly concluded, "at least we get to catch some sleep when we get  women customers."  I remember seething with rage when, within a matter of a couple of  hours, I counted over 50 white men above the age of 50 years ambhng  around the streets of Pattaya with young boys in tow who called them  daddy. These white daddies were blatantly flaunting themselves as pedophiles and parading their httle "oriental slaves." My mind immediately jumped to an advertisement which had appeared in the Thailand  Guide published in Germany in 1983 by Jackie Ott. It read, "If you  want extremely young girls or generaUy speaking, if you want something  for which you get 'hanged' in your home country, you can find it in  these places without the risk of being hanged. You can expect a nod of  the head, the Asian clasp of the hands, accompanied by a 'thank you'."  And yet, over these past months I also met a few incredibly clearsighted and dedicated people, and saw the remarkable work of some arduously persevering and committed organizations, and have personaUy  been part of an emerging network around the issue of trafficking. Almost each time I have been confronted by the query, "what a world to  bring a chUd into," I have been able to puU myself forward towards a  hght burning somewhere ahead.  Far More Than "Prostitution"  Increasingly, the women, youth and kids of many countries of the Third  World are being drawn into the vortex of prostitution. "But prostitution is the oldest profession, so what's the big deal?" I have lost count of  the number of times I have been asked this question since I began focusing on the issue. The point is it is a big deal. The magnitude and manner in which the sexual labour of women, young boys and girls of the  Third World is being incorporated into the sex industry—and the way  in which this segment of the service sector is not only being diversified  into a sophisticated industry, but is also being transnationalized and integrated into mass tourism—makes this new form of prostitution qualitatively different. In fact, I have serious reservations about calling this  form of commercialized sex "prostitution."  With the growing globalization of the international economy, sex  tourism has become an integral part of the transnationalized service  sector resulting in the transnationalization of women's sexual labour  as weU. What we are observing then is a borderlessness of prostitution  where women and girls are trafficked across nations and continents.  Recently, the pohce in Thailand rescued 11 Colombian women being  held forcibly in a brothel in Bangkok, en route to Hongkong. An army  ...continued next page  KJNESISc parts of the Third World, young women's  labour is the principal commodity, whether  it be in the micro-chip, garment or sex industry.3  ...from previous page  of largely white coUar, male workers of the corporate labour force from  the industrialized world throng to these "exotic venues" to be sexuaUy  serviced by "soft, subservient and smiling" maidens of the east who, according to Life Travel, a Swiss travel agency, are also "shm, sunburnt  and sweet, and love the white man in an erotic and dedicated way"  and who, according to a Dutch tour agency are "... httle slaves who  give real Thai warmth." A German marriage and travel bureau goes  even further and declares that these women can be pleased "with a kilogramme of grapes when, with our women, even a fur coat doesn't do the  trick."  MiUtary aggressions such as the Vietnam war and the establishment  of military and naval bases aU over Southeast and East Asia during the  cold war drew upon the sexual labour of Asian women to provide rest  and recreation services to large armies of American GIs and other foreign men. Today, in this subtle but pernicious phase of economic aggression, Asian women provide R-and-R services to an army of male workers  from the developed world. It is known that Japanese companies such as  Casio Computers and American multinational companies with overseas  offices treat their personnel to special bonus trips in the form of package  sex tours to the Phihppines, Thailand, Taiwan and South Korea.  Surely, a phenomenon qualitatively different from the traditional kind  of prostitution is unfolding when an entire nation such as ThaUand is labelled the Brothel of Asia, or the Phihppines comes to be designated as  the Sex Capital of the World, and Manila as the City of Manhole on account of rampant avaUabUity of sex in the market for gay men and pe-  dophUes. In the wake of transnationalization of the sex industry, a 600-  page voluminous guide titles More Homosexual Fun in 150 Countries was released and circulated by tour agencies in western Europe a  few years ago. ThaUand, the Phihppines and Sri Lanka topped the hst.  In some circles, an airline or a chartered flight carrying sex tourists—  heterosexual and gay—on package tours to these Asian destinations is  referred to as the "gonorrhoea express," and there is an ever-growing  number of such tours. Studies reveal that after 1987 was declared Visit  ThaUand Year by the Thai government and an all-out effort was made  to lure foreign tourists, the number of HIV-positive cases in the country  doubled. According to statistics compiled in 1984, three out of five Taiwanese women between the ages of 15 and 35 years were involved in the  sex industry catering increasingly to tourists.  I learnt from Yayori Matsui, the weU-known journalist from Japan  who has written extensively on the trafficking of Asian women and is  one of the founding members of the Asian Women's Association, that on  an average, two thousand Japanese men land everyday at Seoul's Kimbo  airport to enjoy the sexual pleasures advertised by the various Japanese  tour agencies. In Seoul, the famihar sight of Japanese male tourists sallying forth to a Kisaeng party in one bus and returning to their hotels  in two buses—each man with a young Kisaeng woman in tow—repeats  itself every night.  Today, whUe the government admits to some 30,000 chUdren under  the age of 16 years working in the sex industry in ThaUand, several organizations assert that 40 percent—800,000—of the two million Thai  prostitutes are chUdren.  In the Phihppines, it is estimated that of the 300,000 sex workers,  over 20,000 are chUdren, many under the age of 12 years. In aU major  tourist areas, as weU as towns surrounding the two US military bases,  Subic Bay and Clark Base, the number of chUdren being used in the sex  industry has increased dramatically. Approximately 30,000 women work  as prostitutes around these two military bases alone. In India, it has  been estimated that of the two miUion women in prostitution, around  400,000 are minors, and approximately 150,000 have been trafficked  from Nepal.  WhUe it is true that many of these women and chUdren cater to a local clientele, each one of these countries is firmly plugged into the nexus  of international tourism: the chentele seeking sexual servicing is rapidly  diversifying. Consequently, a whole tier of sex workers has been created  which caters only or largely to foreign tourists. Significantly, chUdren  comprise a large proportion of this segment. Apart from catering to pe-  dophUes from the industrialized world, chUdren are also being increasingly sought because of the fear of AIDS. It is beheved that young chUdren would be more "fresh and safe" on account of being exposed to  fewer sexual encounters.  Single Largest Foreign Exchange Earner  Almost 75 percent of the visitors arriving in Thailand, the Phihppines  and Nepal are from the West. Consequently, tourism has emerged as the  single largest foreign exchange earner in these countries, leaving traditional items of export such as rice, textUes and tapioca far behind. In  the context of dependent development, the governments of these countries have rehed heavUy on foreign investments and foreign aid for economic development—and tourism as an industry is viewed as a life-  saver. Large tourism revenues are seen as incentive enough to expand  it by attracting foreign investors and offering tax breaks. The World  Band and the International Monetary Fund have actively encouraged  the growth of tourism in these regions by providing massive loans and  aid. EspeciaUy in Thailand and the Phihppines, a large number of sex  establishments are owned by foreigners, mostly from the West or Australia, whUe the Japanese are beginning to have their own exclusive bars  in these countries. The incorporation of sex and entertainment within  the tourism industry has undoubtedly proven to be a tourist attraction  par exceUence—and highly profitable. As a result, even though prostitution is not legal in any of these countries, the authorities not only turn a  bhnd eye to the activity of traffickers and flesh agents, but actively collude in the entire exercise.  Diversification within the sex industry occurs also in terms of the  kinds of services and gimmicks offered. WhUe the local customers seek  more or less straight sex in the traditional sort of brothels, the tourist  from abroad is entertained by a range of raunchy ribaldry and sexual  acrobatics.  "This is far out, man," I heard an American tourist declare won-  drously in a sex bar in Pattaya as he watched a young Thai woman puff  a cigarette through her vagina and then puU out a string of unsheathed  blades. "Yes, accidents do take place", the young entertainer told me  later as she related some cases where sex performers had been seriously  injured. But hke every other industry which must compete in the international market, the sex tour and entertainment industry too must con  stantly rejuvenate itself and offer ever-evo!ving novel and exciting experiences to the blase and alienated worker from the Northern bloc.  What I have outhned are perhaps the lesser-known dimensions of the  sex and tourism industry in some regions of Asia. How is this issue typically characterized by the media or by the average person in the Western world? The words of a CBC anchorman who recently contacted me  best typify a response: "So we hear that poverty-stricken families are  selling their daughters and chUdren into prostitution in parts of Asia.  Is there any hope for the Third World?" My counter question and response would be: "Men from your societies are flocking in droves to  these countries to have sex with young girls and chUdren. What is this  'sickness,' and is there any hope for your part of the world?"  For the first time over the last year, I began to see clearly the circuit of hopelessness and poverty in which both the Third World and  the West/Japan are caught, in many ways the West/Japan more perniciously than the Third World. While the Third World faces the poverty  of material resources which, along with other equaUy tangible factors,  compels families to send their chUdren into the sex industry, in the First  World it is the total poverty of spirit and a disintegration of human relations which pushes adults to covet sex with chUdren and "exotic oriental" women. On the faces of sex tourists, I repeatedly caught ghmpses  of how alienated labour leads to an alienated sexuahty. And this poverty  in the West and in Japan—the poverty of the human spirit—is far more  enervating and difficult to combat than material poverty.  Not only do we need to redefine poverty and view it not merely from  an economic perspective, but as femimsts we also need to redefine prostitution as it exists today in countries such as Thailand, the Philippines, South Korea, Taiwan, Japan, Nepal, and many more which are  being puUed into the nexus. Feminists in the West have largely looked  upon prostitution either within the ambit of violence against women or  as a matter of free choice. Consequently, categories such as "free" and  "forced" are attributed to prostitution and the debate around legahzation and regulation of prostitution has been informed by this dichotomy.  The reality of prostitution, even in the West, is complex enough to  defy being cast into such rigid categories. And it would reflect a gross  bankruptcy of understanding and sensitivity to transpose any one of  the above analyses to explain the sex industry in Asian countries and  the social reality of women and their families within it. Unfortunately,  this has often been done by western feminists and occasionaUy by Asian  women as weU.  The incorporation of women's and chUdren's sexual labour in the sex  industry in the countries of the Third World is much more than a matter of sexual violence against women, and therefore goes far beyond the  realm of patriarchy. To consider it such would be to simplify and mystify the problem. Neither is it an exercise of 'choice' and free wUl. Prostitution as it exists in these Asian countries today is essentiaUy a violation of the basic human rights of those communities, of women and chUdren.  The manner in which the sexual labour of women and chUdren is  plugged into the market in these societies is essentiaUy a function of the  North-South divide in the context of the forces of pohtical economy at  the global level. It is also a function of the path of economic develop  ment these Third World nations have directly or indirectly been coerced  into foUowing. Therefore, both poverty and this new form of prostitution are a consequence of a kind of economic development foisted on the  Third World by powerful blocs in the West and Japan.  This emergent form of prostitution in the Third World cannot be  compared to prostitution elsewhere. Entire communities lose their  daughters to the sex industry, daughters who regularly remit more than  50 percent of their earnings to their families to enable them to buy  or retain their land or build a decent house. In this current phase of  transnationalizing capital, young women's labour in parts of the Third  World is the principal commodity, whether it be in the micro-chip, garment or sex industry. Women are also increasingly becoming the principal and often the only breadwinner.  Given the above understanding, how can feminist groups and activists  of the West show soUdarity with those of the Third World? Certainly  not, I feel, by merely viewing these women and chUdren as victims of  sexual violence and thereby evoking a global sisterhood against the evil  conspiracy of patriarchy. It is crucial for women's groups in the West to  recognize the role of their own governments in the economic and military aggression of the Third World and the subsequent situation of communities, women and chUdren there—and to identify concrete strategies of action. Recognizing the common circuit of poverty, it is also important for feminist groups in the West to acknowledge that the societies within which they hve are spawning warped and dehumanized men  who are violating the basic human rights of children and women in some  Asian countries. Many of these men are chUd abusers in their own societies as weU. For this aU-ecompassing problem, united and active intervention is essential—and the only possible way out.  ***  *&  Resources:  ECPAT (End ChUd Prostitution in Asian Tourism): Founded in 1990,  this international network is engaged in combatting cluld prostitution in  ThaUand, Sri Lanka, the Phihppines and Taiwan. Their international office is: PO Box 178, Klong-Chan, Bangkok, 10240, Thailand.  The Foundation for Women: Engaged in school-based projects to  raise the awareness of young girls and families around the issue of trafficking, this group runs training workshops for women and girls in the  high risk areas of Thailand. Contact them at: PO Box 7-47, Bangkok  10700, Thailand.  For further information on other action-oriented groups, contact Jyoti Sanghera at 8027 Government St., Burnaby, BC V5A 2E1. Tel: 420-  2972.   For the past many years, the issue of trafficking of Asian women  and children into the sex industry has been the focus of Jyoti  Sanghera's personal commitment, active involvement and academic work. She is also completing her PhD thesis on this topic at  the University of California at Berkeley.  KINESIS r.  KINESIS c Arts  4th Annual:  Coming up  and into VIEW  Between January 25 and February 2,  1992, the FirehaU Arts Centre, Tamahnous  Theatre and Station Street Arts Centre wUl  reverberate with the sights and sounds of  the fourth annual Women In VIEW Festival. This year's festival features more than  75 performances of music, poetry, theatre,  comedy, hterary readings, dance and storytelling by some 250 artists from across  Canada. Workshops and networking sessions on a variety of topics round off the bUl.  In the past three years, more than 600  women artists from varying culture^ and  disciplines have participated in the festival. The Women In VIEW Festival presents  work which ranges from outrageous stand-  up comedy to thoughtful explorations of incest and male violence.  This year, the festival opens with a symposium on cross-cultural pohtics in the  arts. This round table discussion wUl be  a day-long exploration of the issues confronting women of colour and First Nations women as they attempt to gain access  to arts organizations and make a hving in  the arts. Invited guest speakers are: Djanet  Sears, (actress/playwright/producer), Lina  de Guevara, (artistic director of Puente  Theatre), Lee Maracle, (writer, poet),  Ellen Gavin, (founder of Brava!), Sunera  Thobani, (writer, poet, and member of Vancouver SATH).  FoUowing the round table discussion, participants wUl divide up and attend workshops on the foUowing topics: 1) the joys  and pitfaUs of cross-cultural programming,  2) racism awareness and conflict resolution  in the workplace, 3) how women of colour  and First Nations women can orchestrate  change in the arts.  The VIEW hne-up also features Lina de  Guevara performing Canadian Tango; local playwright Celeste InseU's Little White  Lies, an exploration of racism and sexism in the arts; and Vera Manuel in The  Strength of Indian Women, about the  abuse inflicted on Native girls in the residential school system. Jackie Crossland and  Nora D. Randall return to this year's festival with a new production.  Country-and-western diva Beverley Elliott and pianist/composer Dorothy Dit-  trich host this year's ever-popular Cabaret  Stir-Fry. Festival workshops this year include: Comic Acting with Gina Bastone,  Butoh for beginners with Barbara Bourget, Music Therapy with Nancy McMas-  ter, "Who says feminists can't be funny?"  with Peggy Piatt, Voice/Body/Image intensive with Jane O'ReUly, and Voice Technique with GaU Murphy.  Actor Tamsin Kelsey (The Occupation  of Heather Rose) appears in a drama  about unexpected pregnancy, and Kate HuU  takes us on a candid and at times surprisingly comical tour through the terrifying world of mental illness. Christine Taylor  journeys from Newfoundland with her caustic performance piece Man on the Moon,  Woman on the Pill. The women of Txi  Whizz (Barbara Hannah and Barbara Bourget), wiU present a multidisciplinary piece  Some of the Women in View: (clockwise from top) Barbara  Bourget, Celeste Instil, Tamsin Kelsey, Val Dudoward, Florence  Lui.  that reflects on their experiences as women,  artists, and mothers. Dance lovers will be  treated to the talents of Labrys Rising, Florence Lui, and the choreography of Karen  Jamieson (see page 20 for more on the dance  program).  Free programming continues this year  with a concert in St. James' Church featuring the Balkan music of Razom Sestre  and the international award-winning Elek-  tra Women's Choir. The Reading Writers  series, also free, includes Quebec's Nicole  Brossard (the highly acclaimed author of  Mauve Dessert), dub poet Ahdri Zhina  Mandiela, KeUy Rebar (whose successful  play Bordertown Cafe has been made into  a feature film recently screened at the Vancouver International Film Festival), local  writer/poet Lucy Ng, and Vancouver-based  short-story writer/poet Surjeet Kalsey.  And for the first time, VIEW wUl present  a morning of performance for chUdren: Budding Artists Kids' Company presents Tell  me Another Story ... Please!  For ticket information, see Bulletin  Board.  Light on Her Feet—an original play by Leaping Thespians—Norma Kilpatrick,  Valerie Laub and Karen White (pictured above) premieres at the 1992 Women in  VIEW Festival. We bring a strong women-loving-women perspective to concerns  of body image, self-esteem and fat oppression. In the real world of the three  lesbian characters we are: a woman who has always been fat, a woman who  became fat and a woman obsessed with being thin. One of us wants to dance,  one wants a job and one wants a decent meal.  Light on Her Feet celebrates the large female form and exorcises our critical voices  and our nightmares. We sing and dance and laugh and cry and throw candies to  the audience. Sounds good? Check out Bulletin Board for details.  veto; ,*...  5766 Fraser    Street  Vancouver. B.C.  U5W 2Z5  Sarah-Jane  C604J  322-0107  KINESIS  Dec/Jan. 92 Arts  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy}.  Don't touch that dial:  Tapping mom's  wavelength...  MOMZ RADIO:  Mothers Talk Back  ed. by Margaret Dragu, Sarah Sheard  and Susan Swan  Toronto: Coach House Press, 1991  Margaret Dragu is a writer, performer,  film-maker, video artist, choreographer and  mother. She hves on the south arm of the  Fraser River. Renee Rodin is a friend and  one of the mothers interviewed in the book.  Renee Rodin: Let's start by acknowledging that, in terms of conflict of interest, there is absolutely none because  we 're both totally biased about the book.  Margaret Dragu: Absolutely. I hke  things that are totally biased.  Renee: Could you describe Momz Radio?  Margaret: The book was the idea of  Sarah Sheard and Susan Swan, who are  writers and mothers in Toronto. When they  heard my radio program [of the same name],  they wanted to do a project hke it, so it's  the book version of the show.  Renee: How did the radio program  come about?  Margaret: When I first had [my daughter] Aretha and was home a lot, I was quite  crazy. I was hstening to a lot of radio—seven  different stations—talking on the phone to_  friends, to nurses, to the La Leche League,  etc., and they aU combined in a jumble in  my head. They'd aU be playing back in my  mind and I'd be having imaginary conversations with them. Even in the depths of my  complete post-natal experience, I thought,  I must do something with all these voices,  make a radio show similar to what I was  hearing.  It was going to be quite fractured, with  lots of editing. I'd splice it aU together,  record mothers, music, poems, in many different languages and have this dense momz  radio. But, once I'd collected the interviews,  the stories were so great, I just wanted to  let them be heard straight. I put them together with poems I'd solicited through the  maU and with some lullabies.  The program—a four part series—played  across Canada and in some parts of the  states. I sent a copy to Susan and Sarah,  who suggested doing a book. We kept some  of the interviews from the original radio  show and they interviewed some of their  favourite mothers too. BasicaUy, it's a book  of interviews.  Renee: What were you wanting to  find out? Revelations [Dragu's previous  book] had to do with some of your life  as a dancer: you wanted to change the  form, so that people could read about it.  What was your impetus for doing this  book?  Margaret: I was very insecure about my  own mothering, very depressed about it. It  was a big shock and change, becoming a  mother, and I didn't know if I could or how  to do it. I decided to talk to a bunch of  mothers I hked, to find out. It was hke going  o>  to oracles, goddesses, witches. I wanted to "5.  hear these women, and in so doing, maybe o  form a loose, non-biological, electronic com- j|  munity, and extended family—even though  °"  we all hadn't and stiU haven't met each       Margaret Dragu  other.  Renee: It was to learn about how it  felt for other women to be mothers ?  Margaret: I wanted to know if and how  it had changed their hfe, how they coped  with their feehngs, dealing with the chUd  every day, their own chUdhood, their economic situations, their sense of self, how  they survived, how they taught the chUd  without recreating "crimes" that had been  inflicted on them, could they make change,  go forward—or were we destined to repeat  history. I wanted to find out if they were  ever as depressed as I was, aU the incredible  emotional things. And pragmatic too, hke  fixing a formula, dealing with diapers, etc.,  Renee: You've obviously read the  book. Were you surprised by what was  in it?  Margaret: I've read almost all of it. It  feels hke it's burning when I touch it. I can  only read httle bits of it at a time. I read  it standing up, hopping from foot to foot,  hke I have to pee, because it's so intense  and I'm so involved with it. Often, after I've  read some of it, I just sit down and have a  big cry. I relate to a lot of the feehngs and  less alarmed about the great lows and highs  I experienced because I realized others had  been there, to those extremes. It was reassuring that I wasn't alone—in fact, lucidly,  I have a partner who really shares the load  with me—going through aU those emotions.  But, it's not an "advice" book and not  everyone talks about the "bad" things. Not  just complaining, although complaining is  okay too. Every woman gave a very balanced picture of what mothering was for her  and they aU had some story that was very  incredible and inspiring.  Mothering is a very sub-conscious, psychic, pelvic, sensuous, religious, spiritual,  deeply transforming experience, that's as  common as pie crust. But it's such a secret.  I had no idea. Nobody ever talked to me  about these things. Maybe I didn't ask. I  could have gone on interviewing people forever. I would love to have done a continuous radio series, across the world. If I had  the money, I would.  Renee: So it was a way to find out the  common experiences women as mothers  had?  Mothering is a very sub-conscious, psychic,  pelvic, sensuous, religious, spiritual, deeply  transforming experience, that's as common  as pie crust. But it's such a secret.  frustrations and am really touched by how  open people were.  There's also so much I wish I'd been  able to do. But, some instruction you can't  absorb—you can be inspired and refer to it,  but can't do it, because it's not you. The  situations are aU different. I used to think I  could get a set of values and raise my chUd  according to those guidelines. But I can't.  Mothering is 24 hours a day and based on  your innate, inner soul, which you can't contrive. You have to be who you are. You can  learn some new things and hopefuUy change  for your sake and the chUd's, but you can't  put them on hke a set of new clothes.  Renee: What, then, was the point of  Momz Radio?  Margaret: Hearing these mothers' stories helped me enormously and I assumed it  would help other women, too. It made me  Margaret: ActuaUy, there is one man in  it, but he considers himself a mother. It was  a way to see the similarities and the differences, that there's more than one way  and that's reassuring too. How we parent  reflects who we are and we need to have  confidence in doing it our own way. Also,  I found out that just because it felt difficult, didn't mean that I was bad at being a  mother. You can't compare—the situations,  economic and social factors are ah diverse  and aU play into it.  But it was really the emotional, gut reactions in the stories that I found so interesting. There's no such thing as a "boring  family." Every mother could be a big, thick  novel, a mini series. It's the stuff that life's  made of, intense beyond behef. This is what  makes the world go round. All the women  and kids were amazing and very individual.  Renee: What was the difference for  you between being the interviewer and  being interviewed for the book?  Margaret: The transcription of my interview was a good tool to refer back to, to  touch bases with because it was a whUe ago,  when I was so vulnerable and I'm stronger  now. I was glad Susan Swan also agreed to  be interviewed. This is what makes feminist  art so different from male art, if you can  make that value judgement, that generalization. There is a sharing of the process in a  lot of what women do, a more equal footing,  less hierarchy. I think it's incredibly important to be in the same position, if you can,  with the people you're working with, so you  don't have more power. It was good for Susan and me, as editors, to also be one of the  moms, so we didn't have to try to imagine  what it was hke to be interviewed. We knew  because we had done it.  Renee: Did making the book affect  your relationship with your daughter?  Margaret: Both the radio show and the  book cooled me out a lot, gave me more  confidence, because people were willing to  talk about things that drove them crazy,  their weaknesses, their fears. I realized I  didn't have to be perfect. I don't know why  I felt that to begin with, but it's a common feehng among mothers. I reaUy hked  what Michele Landsberg wrote [on the back  cover]—that the book is "liberating as a  beUy-laugh ... shattering the saccharine  stereotypes of motherhood ... the voices  are diverse, articulate, honest and funny."  It's the full spectrum. I want people to read  it, it's a special book.  Renee: Whether we have kids or not,  because we've all been kids, we've all  had some part of that relationship.  What's your next project?  Margaret: I'd hke to do either a radio  program, or a book about various women  artists and how having a baby changed their  art, because it changed mine endlessly. My  last performance piece, Secret Kitchen [at  the grunt gaUery this faU in Vancouver, and  in Peterborough, Ontario, last year] was  about being a mother trapped in a country  and western kitchen with a kid.  I've always only shown my hfe. When I  was single, living at night, with sex, drugs,  rock k roU, etc., my art was completely different, in terms of concerns. Not only has  motherhood affected the form and content,  but also the process. I can only find 10, 15  minutes, here and there to write and rehearse, so I have to do everything as if it  were a small quilt, just keep making those  tiny squares, and sewing them together with  See MOMZ page 18  KINESIS, sssass***^**^*^^  Lazara Press:  ARTS  gging up  legal roots  by Erica Hendry  Lazara Press has made its mark as  the purveyor of hterary authors—Helen  Potrebenko, Leshe HaU Pinder and Margaret HoUingsworth—and now publisher  Penny Goldsmith has started a new venture in a somewhat different genre. Goldsmith recently launched a series of chap-  books entitled Discussions About Law,  addressing broad philosophical legal issues,  to in turn broaden our concept of the law  and our place in it. Although this series  brings together her background as a typographer/book designer and her current occupation as a legal education worker, Goldsmith sees it as a break from both her work  and her hterary roots, and a move towards  something altogether new.  Despite the need to take a much-needed  rest from the expensive and exhausting  endeavour of being a one-woman, un-  subsidized publishing company, Goldsmith  started the Discussions series after attending last year's BC Library Association annual general meeting. There, Leshe HaU  Pinder gave a speech about her interpretation of the devastating loss in the Gitksan-Wet'suwet'en Indian land claim decision that had recently come down.  "Leslie's speech was very powerful. I  thought it should be published, and not in a  legal journal. I wanted it to be accessible,"  says Goldsmith.  In the search for accessibihty, Goldsmith  settled on the chapbook format, returning  to her roots as a publisher of poetry chap-  books and broadsides. This format makes  the series affordable, quick to read and thus,  instantly discussable. The two chapbooks  that start the series are highly informative,  never intimidating, and written in a language that is straightforward yet poignant.  Readers wUl not learn everything there is to  know about an issue, but these chapbooks  are entitled Discussions because discussion is just what Goldsmith hopes to inspire.  In the attempt to make real change,  Goldsmith wants to address issues that are:  "not just a question of 'there's something  wrong with a specific judge or a specific  lawyer,' but something wrong in the roots  of the legal system ..." She wants people to "look beyond the law as a system  of rights and punishments ... to something  that governs us aU," and thus affects us ah  in a very profound way. We need, Goldsmith says: "change that goes beyond 'Let's  make this law' and provides information on  'how to get a welfare cheque,' but attempts  to change people's attitudes towards wealth  and poverty so that it won't be necessary  for someone to need a welfare cheque at aU.  We need to start thinking and treating each  other as human beings."  The first in the series is barbara findlay's  With All of Who We Are: A Discussion  of Oppression and Dominance—in particular, internalized dominance. While this  topic does not appear to be overtly legal in  nature, it is. As Goldsmith explains: "We  are taught that justice is objective, that the  courts are fair and objective, and that everyone is on equal ground." Findlay, a white  lesbian lawyer, points out that this premise  is far from true for many women, especially  in the context of racism.  The key for actively "unlearning racism,"  findlay explains, is for us to realize that:  "each of us is located in different ways in relation to the oppressions of this society. In  some ways we are targets of oppression [as  white, heterosexual women]. In other ways  we are in the dominant place [in relation to  women of colour, disabled women, and lesbians]. Findlay elaborates: "Just as I was socialized by sexism when I was growing up, to  beheve that women were inferior, weak ...  and just as I was socialized as a lesbian to  beheve that I was (pick one) bad/evU/crazy,  I also learned that as a white person I was  the norm. And that training is just as powerful, and just as pervasive, as the training  I got as a woman, as a lesbian."  Leshe HaU Pinder's chapbook, the second  in the series, is entitled The Carriers of  No: After the Land Claims Trial. Pinder, who acted as one of the lawyers for the  Gitksan and Wet'suwet'en peoples, presents  a very personal interpretation of the ruling and an appeal to challenge our views of  what "evidence" is and who defines it so.  She urges us to go beyond what the white  male world view accepts as fact and truth.  The judge in the Gitskan and Wet'suwet'en  case was unwilling to do this; he was unable to accept an adaawk ("the oral history which carries the people's stories, their  relationship to their territory, their spirit  songs") as evidence although he did accept  the evidence of a 1822 journal from a Hudson Bay trapper. In reference to her title,  Pinder states: "As lawyers we don't have to  take any responsibihty to construct a world.  MOMZ from page 17  the behef that one day, they'll form something larger.  When I have a concept, it has to be done  in this modular form, because my hfe consists of a lot of interruptions and httle time  for myself—Uke most mothers.  Renee: Is there anything in particular you're working on now?  Margaret: I'm writing a kids' book, a series of smaU pieces, with Maxine Young doing the Ulustrations. Also, I'm writing some  short stories about a cleaning woman who  moves around between Toronto, New York  and Montre'al, and her erotic hfe. It's real  "fiction."  Renee: Are you planning to have  more children?  Margaret: No. I want to have more  books than chUdren. Already, I've accomplished this, but I want to keep making  books. Do you want to hear my dream? It's  to get my aerobics certification and teach  older, larger women, and also women with  chUdren. I want to start a momz and kids  dance company, with big, outside events,  with flags, parades, etc., I want to do another dance film, a sequel to [my film] /  Vant To Be Alone. And, maybe, since  there's been Momz Radio and Momz Radio, the book, maybe Momz TV. Why  not?  Renee: Why not, indeed!  We need  changes that go  beyond, "let's  change this law."  Lazara's Penny Goldsmith  KINESIS,  We only have to destroy another's construction. We say no. We are the civilized, weU-  heeled, carriers of no. We thrive on it, other  races die."  Though Pinder's chapbook discusses a  specific case, it ultimately addresses a much  larger legal issue. As Goldsmith explains:  "Training judges to look at gender bias and  to be more sensitive about other cultures is  insignificant unless you've achieved change  that incorporates people's real beliefs and  which doesn't view things through a very  specific legal system, which is often only one  way of looking at things."  Goldsmith sees this series as a forum,  rather than addressing a specific agenda,  and hopes that feedback wUl provide further  discussion and topics for future chapbooks.  Although she has no specific plans for the  next chapbook, one possibility is looking at  lesbians and the law. "The law is changing  to incorporate sexual orientation into the  equahty section of the Charter, in terms of  'same sex spouse' recognition," says Goldsmith. "What I'm interested in is the larger  issue of: Do we even want to use the term  spouse; how do we want to define our relationships?" Once again the issue has both a  legal and a larger, more personal side, to it.  These chapbooks wUl probably not change the legal system, but Goldsmith hopes  they wiU "give people a sense of power,  sense of making decisions, a sense of who  they are ... and what these structures  we're governed by mean to us."  Discussions About Law chapbooks are  available for $3.50 at Octopus Books, Vancouver Women's Bookstore, Duthie's, Ariel  and R2B2 or by writing to: Lazara Press,  PO Box 2269 VMPO, Vancouver, BC, V6B  3W2. Tel: (604) 872-1134  Erica Hendry is a former associate  editor of (F.)hp and is currently a bookseller.  ISER Books announces  Midwives in Passage  The Modernisation qf Maternity Care  Cecilia Benoit  $24.95       0-919666-70-1  A unique look at the organization of midwifery from  the vantage point of several generations of midwives  In Newfoundland and Labrador.  "... pertinent to... nursing, the allied health professions and women's studies ...for several reasons:  the sociological framework; the discussion of midwifery issues; the relevance to other emerging and  feminized professions; the problems of any profession trying to survive within a bureaucracy..."  -M.K. Matthews, MUN School of Nursing.  To Work and to Weep  Women in Fishing Economies  Jane Nadel-Klein and Dona Lee Davis (editors)  $20.00        0-919666-60-4  A cross-cultural collection of essays that challenges  popular images of women in fishing communities.  This fine coUection questions the assumption  that in fishing communities 'men must work and  women must weep'... consistently interesting, finely  honed chapters..." —American Anthropologist  Blood and Nerves  An Ethnographic Focus on Menopause  Dona Lee Davis  $13.95       0-919666-41-8  What is universal and presumably physiological in  women's experience of menopause? What is variable and cultural? Can status change vs. status  continuity in middle age affect or mediate menopausal symptoms? Davis explores these questions  In a southwest Newfoundland fishing village.  "A fine beginning of what should become a  growing body of Uterature."—Medical Anthropology  Quarterly  Canadian orders only add 7% GST  MIDWIVES  IN  PASSAGE  0  ISER  Institute of Social & Economic Research,  Memorial University of Newfoundland,  St. John's, NF, Canada A1C 5S7  (709)737-8156 FAX (709)737-2041 Arts  yyyyyyyyyyyyyyyyyyyyyy/,  Carmen Berenguer:  "The impossibility of saying"  as told to Cyndi Mellon  Carmen Berenguer is one of Chile's  leading experimental poets and literary activists. She has published several  books of poetry, a play, and is presently  developing a performance piece involving dancers, percussion and the spoken  word.  Berenguer was a featured guest at the  Vancouver International Writers Festival in October. Cyndi Mellon spoke  with her and presents the following interview, translated from Spanish.  Cyndi Mellon: How would you describe your work?  Carmen Berenguer: Mainly I work  with language.  I work with my mother  within hterature and to find yourself within  that space.  I've also worked a lot with orality as a  concept. I would read my poems in a loud  voice, hke a lot of writers during that era.  Later, I began to work more with the written word. I began to sUence myself, and began to work more with writing. I crossed  over from oraUty to writing.  I think my work's been weU-received.  And we, as a group of writers in my country have managed to gain a fairly important  space.  Cyndi: Tell me about this group. Is it  a movement?  Carmen: I would say that we're women  who surfaced at a particular time, where  there was an empty pohtical, cultural space.  These women, these writers decided to write  Chilean poet Carmen Berenguer  tongue. I work by intercutting it, twisting it,  subverting it... not in the sense of subverting the language but, the society, as mother  and as language. I explore the ways that language is violated. How language is changed  and reversed. How the language of society  is turned around.  I also work with certain kinds of  encounters—fortunate encounters that happen between one writer and another. The  impossibihty of communication. The impos-  sibUity of saying what one sets out to say.  For me, the impossibihty of saying is also  the impossibihty of occupying a space. A  space that, in some ways, at certain moments, was crucial. Like during the era of  the dictatorship: how difficult it was to  name things hke they really were. Or to describe things as they were, because reality  was swaUowing us. It was eating us. It is  stiU eating us up, right? Reality is always  stronger.  Therefore the work I did was twisting  words, breaking words, occupying spaces,  sometimes putting more than one poem in  the same place on a page. I looked at the  page as a kind of challenge ... the chaUenge  of breaking through the white space of the  page. Seeing the page as an empty space in  the country.  Cyndi: You decided to work within  this framework and this way.  Carmen: Yes. I had decided to write.  I beheve that to write is a challenge, hke  standing against an opponent. It was a subversion, essentiaUy, and it continues to be,  especially for a woman. Writing is a way  of challenging. It is a fight to find a space  ... not as a movement, because there's  nothing that unites our writing. We simply  write and each one of us writes in a completely different manner.  There are certain points at which some of  us meet, in the sense that some work with  language, some work with exclusively feminist themes, others are more pohtical. But,  that they write more about the contemporary world. Their language and their writing is affected by the fact that they've studied at the university, and by the cultural  medium that surrounds them. They've developed their themes much more than previous women writers.  Cyndi: Who are these people? Are  they academics ? Has it been difficult to  get their work published?  Carmen: Contrary to what one might  think, during the years of the dictatorship  was when they published most. Writing was  a way of surviving. Most of the publishing  was done by the writers themselves. These  women, and men, acted as their own editors.  Everybody was putting out their own books  or forming cooperatives to put out their  books, because there was a cultural vacuum.  The big publishing houses had closed their  doors, so that type of publishing practicaUy  didn't exist.  There was a kind of cultural blackout,  but there was this force, this group of writers who got together within this space, doing their own projects.  Cyndi: This is very interesting, because it doesn't fit the image that some  of us had of Chile. Why do you think  there was this artistic vacuum? Was it  because so many people left the country,  or because they couldn't work?  Carmen: There was a great outpouring  of people from the country immediately after the coup. All the writers from the 60s  generation had to leave the country. Work  at the university stopped and the people  who worked there left the country. They  went to France, the United States, various  places. So this created a sort of generation  vacuum in the country.  Various currents of work started up.  They weren't really currents, in the aesthetic sense, but there were groups of  women, groups of young writers, who gathered around those writers who didn't leave  the country. And they demanded that one  keep writing.  Cyndi: Were the publication houses  forced to close? Did people have to pay  for their own publication ? How did they  manage ?  I looked at the page as a kind of challenge,  the challenge of breaking through the white  space of the page. Seeing the page as an  empty space in the country.  at any rate, aU of these women are coming from a kind of internal democratization  which took place in the country. On the one  hand, there was the dictatorship, but on the  other hand, certain spaces were gained and  continue to be gained. Spaces hke hterary  workshops, for example. In spite of the dictatorship, there were these spaces.  A lot of workshops started up in my country which served a double function. One was  to write and the other was to get together.  In this sense, there was a great advance in  terms of reception for this work, although  there is stiU a lot to be done. It stiU lacks a  certain general recognition, in terms of seeing these writers and their work as important, and seeing that they are completely  different from women writers who came before us. They are different in the sense  Carmen: From the 60s on, there was a  great upsurge of hterary activity in ChUe. A  great deal of work was published. In 1970,  one publishing house claimed that it published 5,000 editions of a single book.  As soon as dictatorship came in, these  publishing houses closed down, especiaUy  those that supported the previous government. Those that remained did not publish  poetry.  So, the new publishing was done in  groups, or people putting out their own  books. This was done a lot. People would  put out 90 or 100 titles a year in this way.  Cyndi: What subjects do you like to  write about?  Carmen: My first book was one I put  out myself. It was caUed Bobby Sands Fell  Against the Wall. The subject related to  what I was going through at the time: isolation, suspicion, repression, emptiness. So  I worked with a metaphor. A metaphor of  death, of a hunger strike, which was a movement that was taking place at the time in  ChUe. A lot of people were beginning hunger  strikes as a way of opposing the government,  especiaUy when people had been arrested.  So tliis book is about that subject, but it's  treated in a very epigrammatic way, because  it was impossible to say things in a direct  way. Not because we were really being persecuted, but because of the fear and paranoia that existed in the country. We were  hving in a certain kind of fear. For a long  time, people were being taken away, and you  were always trying to find out if a friend of  yours had been taken.  Meetings were forbidden. So a hterary  workshop could take the place of a meeting.  My book used Bobby Sands as a metaphor.  Bobby Sands was in jaU in Ireland. He was  a poet who kept a diary.  Writers who used themes against the government were not persecuted, at least you  didn't hear about it, but people practiced  kind of self-censorship which was a product  of fear. One looked for a way to say things.  Later, I wrote another book called Footprints of the Century which also used  fragmented language ... almost hke footprints.  Cyndi: Were the literary workshops  underground?  Carmen: They weren't clandestine. We  just knew that there was someone from  the government at every workshop. A spy.  Sometimes a writer would get arrested, not  for his or her writing, but for their pohtical  involvement or activity.  Bu^t there were also writers who worked  alone, and there were writers involved in  other movements, such as those leaning  more toward performance. Different things  were going on at the same time. In that  sense, things were very rich.  Cyndi: What can you tell me about  the changes that have come to Chile  with the change in government, both in  terms of art and people's lives ?  Carmen: The military government is  supposed to be gone, but its ghost is stiU  alive in the country. It's an important time.  It's a chance to take a breath. We're in  a time of transition. CulturaUy, not much  has happened during this transition period.  They say that not much happens during moments of transition.  A kind of adjustment is being made.  A kind of continuation, in the economic  sense, with a bit of social justice. But, I beheve that everything's being institutionalized. Everything that was marginahzed wiU  now be institutionalized.  For example, women had a very precise  and important [resistance] role during the  dictatorship. Now women are being channeled into an institute called the Women's  House, on a governmental level.  At this moment, ChUe is the economic  model for Latin America. It's where everything is supposed to have changed and is  going weU, economicaUy speaking. But we  know that ChUe is a country of five miUion  poor people. So there's this image in the  media that everything is fine. On the other  hand, there's a lot of violence. And there's  a continuity with the previous government,  with a few smaU adjustments. We hve in  fear, but things are a httle better, in that,  See CHILE page 20  KINESIS, ssasssssssss^^  ARTS  Dancing up the ladders  by Kaija Pepper  The dance element has been doubled for  the upcoming Women In VIEW festival,  running January 25 to February 2, two full  programs at the FirehaU Arts Centre. The  dance program looks exciting and the choreographers and dancers I talked to were looking forward to being a part of the supportive, innovative atmosphere and multi-  disciplinary event the festival has been since  VIEW began organizing in 1989. The audience should not simply be dancers and  dance devotees, but a far more mixed bag,  with a shared interest in women's stories  and concerns.  Dancers at VIEW have httle fear of  dealing with subjects that are unimportant  or incomprehensible to their audience, and  there's confidence in their (woman's) experience resonating to the universal. Dancer  and choreographer Jennifer MascaU appreciates feehng that: "You don't have anything to prove."  When I looked in on one of her rehearsals,  MascaU was beginning work on Keller. A  wooden frame dominated the space in her  studio, a large Tudor-paneUed room in a  west end church. Unfortunately, its comfortable, rather cottage-like proportions wUl  probably need reducing to fit into the quick  set-up and removal process at the festival.  MascaU is working with two dancers,  Ohvia Thorvaldson and Hope Terry, on a  choreography about a student who is deaf,  mute and bhnd, and a teacher who was  bhnd and then gained partial-sight: Helen KeUer and Annie Sullivan. They were  working through improvisation on a scene  in which Terry, taking her turn in the Annie role, is trying to get Thorvaldson, as Helen, dressed. Already, the biographical story  is left behind and together they're getting  to the dance of it—the visceral experience  of communicating completely by touch and  feel. It was fascinating watching Thorvaldson rehearse with her eyes shut. It was obviously an exploration and a very different experience for her—and for me watching. She  was moving as if through a thick ocean of  air, she was feeling it, untU I began to feel  the reality of air, too.  The very physical relationship of the two  women fascinates MascaU: "I realized I'd  never seen two women fighting before." It's  that physical base that gives her something  she can choreograph. "I'm not trying to depict it biographically. I don't think dance  does plot well," says MascaU. "Dance excels in sub-text, it excels with what goes between the hnes, with what goes on in the  way you hand somebody a cup of tea. It's  not about getting the tea, it's about what  your arm does on the way and what does  that say about hfe as you give the tea. What  I'm interested in when I talk to somebody  is what's going on in the space between us."  MascaU began working on the idea last  May, whUe choreographing a duet for two  women. She started exploring work with the  senses "because I think it's a way of getting through physicaUy to the audience." By  having a dancer who moves without a visual  context MascaU hopes to help the audience  realize "where things come from and where  they go."  A relationship between two women is also  the focus of Florence Lui's Root, the first  part of a projected series called Passages.  Through a mother and daughter duality—  the old culture and the new values—Lui,  with dancer Kerry McLaren, is exploring  the conflicting values and social upheaval a  new immigrant often experiences. An immi  grant herself, to Canada via the US from  Hong Kong, Lui now includes multicultural  issues in her dance; in fact, it's given a  new focus to her art. Root is quite different from her previous work, when technique  itself was what the dance was often about.  Now she has something to say.  thought as an artist to what I should be doing." Dance isn't known for tackling such issues, and Lui beheves dance: "has its own  limitations— sometimes I want to talk so  much."  When dance isn't enough, Lui tries: "to  find other ways to get the communication."  Florence Lui  "Before I always indulged myself in dance  because I hked the movement so much,"  says Lui,"but by going through the new  immigrant experience—and also my feelings towards China, about people here,  about people talking about racism, about  multiculturalism—that made me give some  CHILE from page 19  fortunately, the dictatorship is gone. But  another ghost has appeared on the horizon,  and that is, what will ChUe's role be in this  New World Order. What is Latin America,  in this sense? So, with all these questions,  we're in a kind of crisis. There's a lot of confusion. We don't know what we've gained  and what we've lost.  Cyndi: We know that during the  years of the dictatorship there were a  lot of human rights violations. Has anything changed?  Carmen: Shortly after the change in  government, a commission caUed Justice  and Truth was formed. This commission  put out a book in which they coUected accounts of aU the human rights violations.  But when the women from the group representing the families of the disappeared saw  the book, they disagreed with it. They said  things were left out, and that things were  included that shouldn't have been. For example, tldngs that happened to the "other  side:" for instance, a pohceman injured or  kUled whUe making arrests.  Although a lot of pohtical prisoners have  been let out of jaU, there were some marches  a httle whUe ago, demanding that all pohtical prisoners be freed. But there are stiU  pohtical prisoners.  In the Women's Prison, there are eight  such prisoners. My cousin Cecilia Adrigan  Plaza is one of them. She's been incarcerated for 10 years, without being processed. She's spent 10 years of her hfe there  without going through the court system.  She's never been tried, because charges have  never been laid against her. And since she  hasn't been charged with anything, the government can't pardon her.  It's important that people know about  this. It would be good if people would write  the ChUean government, asking that this  woman, and all the pohtical prisoners stiU  in jail, be freed.  To protest the detainment of political  prisoners in Chile, write to: Presidente  de la Republica, Sr. Patricio Alwyn,  Palacio la Moneda, Santiago, Chile.  Cyndi Mellon is a Chicana writer,  translator and musician who uses her  bilingualism to tightrope-walk between  her two cultures.   collaboration with director Gina Stockdale  and composer Michael Bushnell. To give full  expression to ideas, Aloi uses text and, once  you begin working with theatrical elements  such as voice, a director is needed to help  say the words weU. Last One Out... looks  at an unusual midlife crisis—being the last  person on earth. It's part of a series called  Midlife Dances, which Aloi sees extending  indefinitely.  Why? "It's where I'm at now," says Aloi.  "A few years back I started thinking about  what I saw in the dance world—there's a  lot of body-bashing out there, but that's  not my sensibihty. Let's face it—I'm an aging dancer, and there's a contribution older  dancers and choreographers can make."  "... sometimes  I want to talk  so much..."  She sees the arts in general merging together and, with a visual arts background  herself, Root wUl include instaUation art—  on stage, in the audience, and in a space in  the FirehaU's lobby.  Santa Aloi is also working in a multi-  disciplinary way: Last One Out ... is a  Aloi beheves she's at the beginning of  wave of older dance artists and she intends  to make a statement about the midlife sen-  sibUity so long ignored in dance: "There are  issues that come up in a woman's hfe at this  time that need doing."  Florence Lui also beheves it's important  for older dancers to keep performing. "High  extensions and technical tilings are not necessary for me now—[I'm looking for] a different quality."  Dance is one of the few art forms that  has been dominated by women, but Jennifer  MascaU beheves that: "even though there  has been a matriarchy in dance for a long  time, [dance] is stiU about chmbing impossible ladders—there's not enough funding, or  you get the dancer you want and then you  don't get the gig, or you get the gig and you  get the dancer and you don't have the manager ... ." So it's good to know that Women  In VIEW has created an opportunity for a  number of choreographers and dancers to  chmb a ladder that is at least sturdy and  supportive.  Kaija Pepper is a freelance writer/researcher in dance, film and TV.  r*,V    '" DESKTOP PUBLISHING  periodicals      catalogues  | programs      ads      newsletters v;5  ■& customized graphics  tf Deborah Kirkland  S   L   I   D   I   N  KINESIS, Arts  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy  Gripping the  world with words  COVERING ROUGH GROUND  by Kate Braid  Vancouver: Polestar Books, 1991  by Cathy Stonehouse  Covering Rough Ground, Vancouver  writer Kate Braid's first collection of poems, is a warm and welcoming book. The  cover of the book, hke the poetry itself, is  a vibrant and precise representation of the  world of a woman carpenter, who celebrates  her hfe with open words and open hands:  "This is who I am/ This is what I do/ and  these are the scars that I bear."  The poems, hke scars on a hand, map experience, the joy and pain of being a woman  working for her hving in a male-dominated  environment, a woman who challenges as  she creates. Many of Braid's poems take  place on the work site, celebrate in an immediate way her work, her tools, her body  itself, their magical interaction: "Tool belt  cares for me, hugs/ my hips with arms/  that adjust to anything." As a woman entering a world of men, she breaks down  traditional boundaries between body and  tool, craft and art, the mundane and the  spiritual—work becomes sacred, sensuous,  the wood itself "forgiving." This theme extends metaphoricaUy to include the labour  of writing, the poem itself a sacred and  mundane tool, and instrument with which  "to get a grip on the world."  In the section Sister in the Brotherhood,  Braid opens her focus out to address the  collectivity of work, the man/womanness  of her body: "smaU, strong hips/ buUt for  the birth/ of buUdings" as placed in relation to her feUow workers. Her poems confront and challenge the divide between men  and women, plain words that deconstruct  and opposition between "woman" and "construction worker" through her loyalty to  both. She writes of feUow workers, both  women and men, with humour, frustration  and love, her pohtics that of: "contradictions/ so onion sweet/ they make my eyes  water."  In later sections of the book, Braid extends her vjsion to the strength and bravery  of other women, both intimate and imagined. She celebrates the labour of chUdbirth,  a paraUel mystery to the birth of poems  or buUdings, felt in her body: "I am exhausted/ by your effort,/ thriUed by your  daughter/ and the thing is done." She writes  of ancestors, relatives, women who have inspired her, from a woman bush pUot to her  masseuse. She writes in particular of EmUy  Carr: "another woman who knows wood."  The Carr poems, which end the book, embody Braid's respect for the trees and land,  seen through the painter's eyes, and thus  subtly break down the opposition between  environmentalist or artist and worker: both  are in touch with a certain space or mystery, "the spirit of the tree."  Braid's poems lose some of their power  when she writes outside of her own direct  experience, takes up the position of passive  observer (for example in "Nanaimo Cross-  Kate Braid  ing") or imposes relevance and profundity  instead of drawing it out (as in "Song of Myself as Creator" and parts of "In Honour ol'  Sasha"). It is in the fresh detaU, the questions, that I found inspiration, rather than  statements such as "people always find the  seed that brings the flower," when writing  of joy that surfaces despite horrors such as  the Jewish holocaust.  The strength and beauty of Braid's poems act hke a scar, which records and heals  across differences. Their language is that  of the everyday, of conversation, anecdote  and prayer, clean ringing hnes finished with  a craftswoman's care. Braid's poems are a  celebration of doing, of the here and now,  which focus the reader on the world outside  of the page, whUst hving gracefuUy on it.  I felt empowered after reading these words,  moved by Braid's honesty, 'What you see/  my hands say for me/ is what you get.' I  wanted to take hold of those hands.  Cathy Stonehouse is a poet who admires wood from a distance.  Thirteen excursions:  Love in the dingy basement bars  FASCINATION AND OTHER BAR  STORIES  by Jackie Manthorne  Charlottetown: gynergy books, 1991  by Jill Mandrake  When I first started reading Fascination and other bar stories, thirteen excursions through the scattered sites of lesbian  bars in Montre'al, I thought I wouldn't want  to finish it; that it would lack any insight  past the immediate surroundings and just  sound hke superficial gossip about "who's  zoomin' who." By the time I was halfway  through these fast-moving narratives, despite my first impression, I felt the kind of  joy we feel when, facing the harsh obstacles  of reality-land, we find that love really does  conquer aU.  Some readers might object to the word  love here, since we're talking about what  amounts to a chain of one-night stands and  graphic scenes of sex. But as Blue—one of  the characters in the collection—says, "You  gotta start somewhere."  The women in Fascination start mostly  at a club called L'Entr'acte, another called  VisioneUe, a no-name basement bar and a  really divey upstairs cubbyhole which also  doesn't appear to have a name (this last,  in a tale called "Blind Date"). The whole  scene is a bit hke performance art—you're  not supposed to understand it, just sit back  and enjoy. Failing that, sit back and watch.  While some of these never-ending escapades get a bit tedious, there is one  encounter that transcends the circuit of  alcohol-fueled monotony. It takes place in  the best story of the collection, "Return  to Love." A woman recovering from breast  cancer decides to get involved again. When  is an appropriate time, she wonders, to tell  the woman she just met that she's missing  a breast?  "This must be something hke disclosing your HIV positive status; when's the  right time to tell? The first date? When  you can see it's getting serious and hkely  to end up in bed? Or just before you take  your clothes off? It's a big responsibihty,  and it's not always easy or pleasant to act  on it. Sometimes people become angry  with you because of their own fadings,  their own inabUity to deal with unpleasant necessities, with UI health, with dis  abihty, with disfigurement, with death.  We're aU going to die someday, but some  of us have more first-hand experience  than others, and some of us can even  pretty accurately predict the date."  The narrator's feehngs of despair and apprehension give way to a more positive solution by the end of the story.  In a general way, I had some difficulty  perceiving when these stories take place.  They can definitely be contemporary, but  I'm inchned to picture them in the late  70's—when disco music was forgotten but  not gone; when it outstayed its welcome  and hung around the clubs hke a bad  smeU. While the author acknowledges in her  stories that such loud and repetitive music completely destroys any possibiUties for  conversation, she conveniently forgets this  (and maybe she has to, or nothing could get  said at aU) in hnes such as these, where the  two women in "Return to Love" are getting  to know one another:  "I take pity on her and start talking  about nothing much; the weather, current trends in music, movies I've seen,  others I'd hke to see. She quickly real  izes that I'm being cautious, and doesn't  try to steer our conversation to a more  personal level. I feel a sense of rehef that  she's satisfied with chit-chat, at least for  the moment, and I start to relax."  Unless my memory of clubs in the disco  era is faulty, it was no mean feat to successfully "chit-chat" whUe Born to Be Alive  was blaring in the background.  While Jackie Manthorne's coUection is ultimately confident and optimistic, I'd hke  to see her do a sequel which moves beyond  the claustrophobic confines of subterranean  watering holes, hke we never have anything  better to do. The intro to the title-story  "Fascination," sums this up another way,  even if I'm putting it in a shghtly different  context: "I watch you. And wonder what  you're doing sitting there at the other end  of this dingy basement bar aU by yourself at  two o'clock in the morning on this particular Friday night."  Jill Mandrake has reviews and short  stories in the B.C. Monthly, B.C.L.A.  Journal, Canadian Fiction Magazine, event,  and Words We CaU Home (UBC Press:  1990).  KINESIS c •sssssssss^^  Arts  Race and representation:  Picking at  the gallery's locks' Ki^1  by Zara Suleman  Scene 1: Desh Pradesh, Toronto  Desh Pradesh (Home Out of Home): a conference on South Asian arts and culture in  the diaspora is held in Toronto from November 5-10th. Visual artists, film-makers, actors, writers and dancers of South Asian  heritage gather at the Euchd Theatre to create dialogues, raise criticisms and encourage  comment.  During the five day event, artists from  many disciplines show-cased their work.  Pratibha Parmai a UK-based South Asian  lesbian filmmaker, screened Kush (Ecstatic Pleasure), an exploration of racism,  sexism and homophobia from the herstori-  cal perspective of South Asian lesbian culture.  Toronto based playwright and poet Ramabai Espinet presented Beyond The Kala  Pani, a play tracing four generations  of struggle and soUdarity among Indo-  Caribbean women. Beyond The Kala  Pani   was  a  brUhant  production,  link-  how active these multi-talented women of  colour are iu both the South Asian and local art communities.  Issues of sexism, homophobia, violence  against women and racism were only a few  of the topics raised at Desh Pradesh. South  Asian artists also discussed concerns around  funding, accessibihty to display one's work  and issues of what the dominant culture  expects from South Asian artists. Desh  Pradesh aUowed South Asians to come together to share and celebrate our heritage,  our art and our struggles.  Scene 2: The Vancouver Art Gallery  It's mid-November and the Vancouver Art  GaUery is preparing to open a visual art  exhibit by South Asian artists from London, England. The exhibit, Fabled Territories, was created in response to the exclusion of South Asian artists from the British  art gallery system.  Fabled Territories has been brought" to  Vancouver by VAG hasion Judith Mastai.  Sutupa Biswas, a woman artist whose visual art is featured in Fabled Territories,  mutmm*********  By creating "the other" and looking outside  the country for artists of colour, the  Vancouver Art Gallery ignores the incredible  talent of numerous local artists.  11111111 liiTT"  ing generations of womens' experience and  showing how these generations shared and  passed on their culture and tradition.  Art-video maker and South Asian lesbian activist Gita Saxena and gay poet  Ian Rashid screened their film Bolo, Bolo  (Speak, Speak), about HIV/AIDS in the  South Asian gay and lesbian communities.  Their film encouraged safe sex practice and  candidly discussed issues of support, access  and visibUity in both the South Asian and  gay and lesbian communities.  Vancouver writers Raj Panu and Man-  isha Singh presented their poems and short  stories on issues of racism and identity in  the West. A host of women artists from  Vancouver attended Desh Pradesh: Shani  Mootoo (visual artist/writer), Zainub Verjee (director of the Western Front/writer/cultural worker), Sher-Azad Jamal (visual artist/writer) and Sunera Thobani  (writer/cultural worker).Their work proves  has been invited to Vancouver for the show  and to meet with other artists of colour.  Biswas expresses her desire to meet with  other women artists of colour and Mastai  sets up the meetings. The process Biswas  initiates leads to workshops being organized  to parallel the exhibit. A few of the local  artists invited to contribute to the workshops are Shani Mootoo, Haruko Okano and  Ana Chang. The work created in the workshops wUl be exhibited at a later date and  then taken on tour—although negotiations  are stiU underway at the VAG.  Once Fabled Territories is instaUed and  the workshops scheduled, the VAG is ready  to open the exhibit. There are no definite  statements from either Mastai or VAG director WUlard Holmes about an opening,  but rumours are surfacing about the VAG's  secrecy—rumours of a public opening, rumours of a private opening spread through  the art community, yet stiU no confirmation  or comment from the VAG.  Behind the scenes, artists of colour meet  to discuss what—if anything—is going on  with the VAG's opening of Fabled Territories. There is confusion: was/is there an  opening? Was it/is it private? Who is/is not  invited? Why were artists of colour involved  in the exhibit—the workshop facilitators—  not contacted?  In fact, Fabled Territories opens, without  an opening, a day ahead of schedule.  Anger at the VAG over the Fabled Territories exhibit is rooted in anger at the  gaUery's traditional agenda of being exclusionary and racist. The VAG's persistent  faUure to recognize local artists—especially  artists of colour—has made the VAG inaccessible. Exhibits by artists of colour that  do appear at the gaUery are often by artists  outside BC and even outside Canada.  By creating "the other" and looking outside one's country for artists of colour, the  VAG ignores the incredible talent of numerous local artists. Artists of colour have  long argued with the VAG on its pohcies  and structure, but this time local artists of  colour are going to be heard.  Scene 3: Fabled Territories Opens  A group of local artists of colour quickly  organize the Artists' Coalition for Local  Colour, a coahtion "concerned about the  exclusion of artists of colour from Canadian art institutions. The group is made  up of artists from all disciplines and many  racial/cultural backgrounds." The main  points of the coahtion on the issue of Fabled Territories and the VAG are: to "support and congratulate" the artists and the  exhibit of Fabled Territories; to hold an  opening for Fabled Territories accessible to  artists of colour and local artists in general;  and to challenge the systematic racism, inaccessibility, and lack of accountabUity of  the VAG.  On November 19, on the rainy front steps  ji the gallery, with placards in hand and  chants of "Fabled Territories supports Local  Colour, Local Colour supports Fabled Territories" and "What do we want from the  VAG....ACCESS," artists of colour and allies come together to demand recognition.  FoUowing the raUy, Local Colour stages  the only opening Fabled Territories has had.  In the dark basement space of Video In,  artists of colour from a variety of disciphnes  present their work: video, painting, poetry,  performance art, and music. Sutupa Biswas  shares some of her experiences battling the  British GaUery system and expresses her  solidarity with Local Colour. The VAG's  Mastai and Holmes also attend and quietly  fade into the background as artists of colour  and their allies celebrate Fabled Territories  by opening it in the manner it deserves: with  respect, appreciation and solidarity.  Throughout the opening and raUy, women of colour artists play major roles in  speaking out  against  the white patriar  chal systems of the VAG. Local Colour's  spokespersons, Zainub Verjee and Sher-  Azad Jamal comment on the issue of gender in the coahtion.  As Verjee says: "As the coahtion comes  together and the discourse on race continues, issues of gender and sexuahty need to  be grounded in the agenda. Women in this  coahtion should play the foremost role in  empowering [our] community because, while  it talks about race, gender has taken a backseat."  Jamal continues: "Women of colour have  to battle a two-tier system of oppression.  We have to struggle to be taken seriously,  not just us, but our work. White, patriarchal expectations put us into categories as  the 'exotic women from the east.' Our work  is not just traditionally-based 'folk art' or  an inward looking art practice.  "The second tier is gender oppression  within our communities of colour and the  community at large. In our raising as  women, our role has been prescribed as be-,  ing submissive and voiceless within a patriarchy." And Verjee adds, "For some women  there is in fact a third tier—lesbian women  of colour face further oppression."  Visual artist Shani Mootoo says: "The  gallery scene here is controlled by the dominant culture. The only time people of colour  have had their work shown is when they initiated it—for example YeUow PerU, and Self  Not Whole at the Chinese Cultural Centre,  which is outside the mainstream gallery system.  "I want [the VAG] to go and search  out the artists of colour, especiaUy women  artists, and show their work. They don't  have to show aU artists of colour, only the  ones who meet particular standards. There  are indeed women artists of colour who  pass the criteria and should have had major  shows by now."  Mootoo describes the raUy/opening as:  "A phenomenal success. The people came  together in solidarity and it felt hke there  was a common front."  Scene 4: The Dialogue Continues  From Toronto's Desh Pradesh to the Fabled Territories' opening organized by Vancouver's Local Colour, it is apparent the  dialogue on race and representation must  continue. Pohcies in cultural institutions  hke the Vancouver Art GaUery—hke all  institutions—must be challenged on their  systematic racism, exclusion and inaccessi-  bUity. People of colour are demanding that  their voices be heard and their issues addressed—and women of colour are in the  forefront with their demands.  See Bulletin Board for information  about Local Colour's public meeting on  December 5th.  Zara Suleman is a Vancouver freelance writer,, cultural activist and  member of Local Colour.  KINESIS, ARTS  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy/  Ingrid MacDonald:  In love with language  CATHERINE, CATHERINE:  Lesbian Short Stories  by Ingrid MacDonald  Toronto: Women's Press, 1991  by Jennifer Catchpole  Some of you may be famihar with Ingrid  MacDonald's work, particularly an earlier  version of her speUbinding story "Catherine, Catherine," which appeared in last  year's Women's Press anthology, Dyke-  words. The Women's Press has now published her first collection of short stories,  also entitled Catherine, Catherine. With  this book, MacDonald proves herself to be a  versatUe writer weU on her way to entrancing us with her insightful, poetic fiction. The  stories in tlds book revolve around themes  of imperfect human love and loss, and the  natural world as a reflection of lesbian hves,  past and present.  I am not fond of overly hterary writers  who seem to write more for each other than  for their reading public, whose work is full  of obscure references, or who torture the  Enghsh language in search of new meaning untU it faUs apart altogether. For the  most part, MacDonald avoids these intellectual pretensions, although at times she  walks close to the line. She is a writer who  is both in love with and in command of lan  guage, carefully choosing her words to create specific tones and moods. And she is  skiUed at exploring the freedoms to be found  in tightly dehneated structures.  For instance, in "Overwintering," MacDonald uses the seasons and particular, repeating natural elements (weather, birds) to  explore the waning of a relationship. Yet,  within the story's exacting construction, her  prose is flowing and impressionistic, full of  lucid metaphors:  "What would we teU someone? That love  used to saturate us. Like two fish brU-  hant and opalescent in ethyl alcohol, love  gave us bright round eyes, floated our  hair hke feathery fins. Ethyl alcohol evaporates. Every ichthyologist soon learns, if  you don't top off the jars regularly, you  get wrinkly fish."  She uses some of these devices less effectively in her Prism International Contest  winner, "TraveUing West." Here, she provides a format of snapshot-hke vignettes titled The Dog, True North, and Eating Soup,  each a paragraph long. These captured moments seem random, their progression unclear. To give her credit, perhaps this is exactly the point. The surprise ending, however, wUl subtly chUl your bones.  This author seems fond of surprise or ambiguous endings. In "Want for Nothing," a  wry tale about the vagaries of modern romance, we axe left hanging: which is the  real ending, which the dream? The struggle  between the protagonist's wishful thinking  and the real dehghts of this limited relationship are Ulustrated in a way we can aU understand. This story is probably the easiest  good-time read in the book.  "The Second Language," however, is  ambiguous from beginning to end. It is  Opera:  The undoing of women  OPERA, OR THE UNDOING  OF WOMEN  by Catherine Clement  translated by Betsy Wing  Minneapohs:  Univ.   of Minnesota  Press,  1988  by Nina Westaway  The ideology of classical Western music—  opera, in particular—is examined in a  ground-breaking study by the French phU-  osopher Catherine Clement. Opera, or the  Undoing of Women is Clement's femimst  critique of opera. A recent collaborative effort by two American scholars, Betsy Wing  (translator) and Susan McClary (a teacher  of women's studies and music at the University of Minnesota,) brings this 1979 work to  the English-speaking public.  In her preface, McClary describes how  feminist criticism, central to hterary, art  and film studies for nearly 20 years, has  been absent from musicology's purview.  Clement, an opera lover herself, exposes  the reader to aU the pohtical contradictions  inherent in a musical style that emerged  from aristocratic origins, as a particularly  middle-class art form at the end of the eighteenth century.  Clement employs the tools of anthropology, sociology and psychology to explore her  subject. She shows how anthropology was  first used to shape an understanding of—  and control—non-European cultures—and  then examines European middle-class consciousness and its constructs of gender, sexuality, class and race.  Clement questions the plots of typical operas that see women dying of tuberculosis,  sacrificing their hves for their country or  their love, being dependent on male characters who fail them, going mad, being punished, being seduced. Many opera lovers and  musicologists behttle the plot and text of  operas: audiences are not expected to comprehend the foreign words or convoluted  plots. To musical scholars, opera is viewed  as transcendent, seductive, above and beyond rational scrutiny. Clement refutes this  view, claiming there is no such thing as "Ab  solute Music." In fact, the tide of music  and the text of opera brain-wash audiences  about the hves of women, especiaUy in the  bourgeois state and family.  Contemporary remountings of masterpieces have recast or deconstructed their  messages. McClary, commenting on Clement's studies, cites a production of Mozart's opera, Don Giovanni "where the audience was repeatedly ruptured by discussions that forced [them] to focus on the patriarchal violence perpetrated by that beautiful musical text."  Clement emphasizes that women are often the strong, decisive characters in traditional operas—they step out of conventional gender roles—but in the final scene  are punished for their sexuahty, for breaking the rules and pushing the boundaries allowed by famUy, church and state. In real  hfe the prima donnas of the opera stage are  treated in a similar manner. Greek soprano  Maria CaUas was humUiated for being fat  (untU she starved herself thin) for losing  her voice, and for loving unwisely (Onas-  sis—a man who cruelly abused her). Her  early death created an industry for male  music lovers who immortalized her in a way  she couldn't possibly have imagined at her  death. Although she was considered to be  the opera's greatest singer of the day—revered for the dramatic qualities she brought  to her roles—in hfe she was exploited and  aware of how she walked a very fine hne in  the critics' esteem.  Although Clement's style is eUiptical, often jumping from topic to topic in a kind  of stream of consciousness, McClary's preface summarizes the threads of the book and  Uluminates some of Clement's influences.  McClary comments on Clement's style: "the  strategy of patterning intellectual prose after musical structures is a homage to Claude  Levi-Strauss. Clement's body of cultural  references are European, of course, and as  a North American reader, I feel that some  of the references are not that famihar. On  the other hand, she deals mainly with the  text of about 30 operas, aUowing the reader  to know both the original plot of the opera  and her reading of it. Occasionally she ventures into the 'semiotics of music', with the  observation that chromatic music is often  equated with female eroticism, as in the role  of Carmen [from Bizet's Carmen]."  Not always an easy book to read, there is  much to chew on or even question. Clement  dehvers a visceral reaction to her experience with opera. The reader experiences the  identification of both subject and object—  the pain of an opera character, the suffering of a famous diva, but has the recognition that it doesn't have to be this way  in hfe or art. In her final chapter, Clement  suggests a new dawn (after having mourned  the old), where women wUl celebrate themselves in music as in a great pagan festival  where men have learned their undoing and  re-education. Clement's imagery is strongly  felt and wUl provoke much discussion. Sometimes her dipping into the bag of world  mythology seems to be a bit too loosely tied  to the opera being discussed and not tied  enough to historical materialism.  Often disturbing and difficult, the book is  nevertheless a vital contribution to the understanding of what is happening in the production of culture and its underlying myths.  Nina Westaway is a middle-aged a  ateur singer who loves music.  Ingrid MacDonald  too flowing, with not enough structure. It  seems somehow evocative of chUdhood, but  whose? In fact, I just don't get it. I have  a feehng it's one of those pieces that goes  over my hterary head. I hope and trust that  it wUl become more clear to me in the context of her novel of the same title, now in  the writing.  Another chUdhood story, "Aardvark to  Annalida," works better. It detaUs a young  girl's experience of her parents' breakup.  The new hippie ideals of the 60s are coming between the budding flower-child sensi-  bUity of mom and the Dale Carnegie salesman's ethic of dad. As father and daughter  drive through the countryside selling encyclopedias, the girl comes to understand her  family is falling apart, and she grows up a  httle in that process.  But the masterpiece in this collection is  the "Catherine Trilogy," here revised and  expanded to three stories, telling of the  same events from three points of view. The  trUogy is based on the true story of an 18th  century cross-dressing lesbian in Germany.  MacDonald took actual trial documents and  historical research on one Catherina Mar-  garetha Linck and wove from these sparse  facts a compelling account of the Ufe and  death of a long-ago lesbian. She set herself  the considerable challenge of using contemporary Enghsh to evoke the cadences of another, archaic language. And she succeeds  fabulously. For example:  "I longed to see my Catherine and found  her in the back room feehng greatly relieved from her ailments. I caUed out  'Catherine, Catherine, it is me, the one  who loves you who comes near.' And  she called me to her, and together we  amended our grief and gave our promise  to each other. We kissed and vowed that  aU that was ever intimate between us b<  forgotten from Catherine's memory, and  our joy as much as our grief be lapsed  from her thoughts."  With her meticulous attention to the  physical and social detaUs of the era, MacDonald brings Catherine to hfe. The second  story of the trUogy, "True Natures," highlights the social attitudes toward lesbians  in the form of a letter from her judge to a  priest friend. That the author is able to so  utterly switch perspective is a true indicator of her skiU. The third story, "Seven Miracles," from the point of view of Catherine's lover (also named Catherine) rounds  out this trUogy and makes the story complete. What these women went through wUl  break your modern woman's heart.  I am looking forward to Ingrid MacDonald's future work. In this coUection, she has  shown herself to be a writer of heart, mind  and craft.  Jennifer Catchpole's first published  short story will appear in the upcoming Women's Press anthology, Tales of  Seduction.  KINESIS, LETTERS  Dear Reader,  Kinesis loves receiving mail. Please get  your letter to us by the 18th of the  month.  If you can, keep the length to about 599  words (if you go way over, we might  edit for space).  Hope to hear from you soon.  love,  Kinesis  UBC: stop  complaining  Kinesis:  The divisive nature of Erin Soros's article  in your November issue ("University of British Columbia Women Students' Office: Advocacy or Window-dressing?") disappoints  me acutely. It's far too deep in the trees to  give a picture of the forest.  Soros quotes a student leader as saying  that when staff in the UBC student counselhng office talk to students, their work  is "not feminist counselhng. It's quite weU  known in the underground women's network that you don't go to student CounseUing. It's also quite weU known that if you  are a lesbian you don't go to student counselhng. So that's a serious problem." A former staff member agrees.  It certainly is a serious problem. What  kind of leadership did the women students  office give in the past if it cannot guarantee feminist standards in the counselhng department? Doesn't that faUure call for the  kind of cross-departmental work and advocacy on which Marsha Trew has been focusing for the short period of her tenure? To me  it certainly suggests that if there, has been  a fault in leadership, it occurred before she  came on the scene.  BC women (alumnae hke me, women's  studies teachers, therapists' organizations,  student reps, lesbian spokeswomen, everyone,) should get behind the idea of a feminist UBC student counselling office and absolutely insist on it. UBC is a provincial resource. Sexual abuse is a province-wide epidemic whose symptoms arise when women  are making discoveries about their sexuaUty; those discoveries often happen with  women of university age. Think of the extent of teaching and learning resources that  go to waste when women's minds are half  on their university subjects and half on how  lousy they feel about themselves as survivors (knowing or unknowing) of sexual  abuse. If our education system is to be efficient, it must open minds and free them,  not force them to work when half shut down  with emotional pain.  Some women are wUUng to improve their  mental functioning by facing the frightening  spectre of abuse. At all three universities,  counselhng specialists should give them a  generous welcome. If the Women Students'  Office were intended to be a therapy centre,  neither Marsha Trew nor any other compassionate person would withhold such a wel-  At Capilano CoUege, Marsha Trew shone  as one of the most dedicated and weU informed feminists in Vancouver. About a  year ago she accepted a directorship for  which she was chosen by a large committee of women's representatives on the UBC  campus. Now, by imphcation, she is poUti-  cally out to lunch and they hadn't noticed.  How can this be so?  Let's stop complaining that the world is  imperfect and the new gal on the block  must be to blame. The women quoted on  both sides of the issue are good women who  care about women. We victimize ourselves  when we draw a hne down the middle of the  group and say to ourselves, "It's either/or;  we can't approve of them both. We must  attack one and canonize another." What a  waste of time and energy!  Let's figure out instead how to get some  magnificent counseUing facUities onto our  campuses, ideaUy open to both university  and non-university women. H I were a  fundraiser I'd be looking for female benefactors. The thing is to look outward, and  not for scapegoats or excuses.  Catherine Kerr,  Vancouver, BC  Ad maddens  every time  Kinesis:  I read your paper with great interest and  delight in your coverage of women's issues.  I read it from cover to cover. Now I know  this is picky, but every time I read it, I  see a notice in the classifieds by a feminist  counsellor—Delyse Ledgard. She advertises  that she works with women and lesbians. I  dearly wish to know why she so classifies her  chents.  Are lesbians not women? Can't women  be lesbians? If I were having identity problems relating to my sexual preference or  preferences, Ms. Ledgard is the last person  I would look to for aid and comfort because  she obviously is in a state of confusion herself.  Eastside DataGraphics  1460 Commercial Drive  tel: 255-9559 fax: 253-3073  New! Artist's Starter Sets  Acrylics, Oils, Watercolours and more...  Unique gift ideas for the holiday  season.  *>- Union Shop  Call or fax and we'll send you our monthly  flyer of great office supply specials.  Free next-day delivery.  I know Kinesis is not confused, I just  had to let you know that this ad pisses me  off every time I read it. Thanks.  Sincerely,  Jeanne Morouney  SackviUe, NB  Thanks from  T-shirt gang  Kinesis:  We would Uke to thank aU those who attended and helped us celebrate our 5th anniversary at our studio on Saturday Nov.  2nd. Festivities included great munchies  prepared with the assistance of Lori's  mother, Anne, and were served along with  a T-shirt cake decorated by Sarah, Lori's  daughter. Thank you to the friends, family,  and guests who came to enjoy and admire  our various shirts. Some brought donations  for our growing T-shirt Archive CoUection,  which is presently on view.  Thank you to Sue McGowan for sharing  her music. And thank you to Diane Levings  of FuU Bloom Flowers for the spectacular  exotic flower arrangement!  The T-shirt Archive CoUection is still on  view and stiU receiving shirt donations.  Sincerely yours,  Lori WaU and Carol Weaver  Women's Work Screen Print  k Design Studio  North Vancouver, BC  What's your  definition?  Kinesis:  [The foUowing letter was sent to the Red  and Black Books CoUective in Seattle]:  It is my understanding that Red and  Black Books organized the "Resistance and  Self-Recovery: an afternoon with beU hooks,  for people of colour" workshop held on Saturday, November 2, 1991.  As a woman of colour, I was dismayed  and disheartened to be with white people in  the space called the Broadway Performance  HaU, when my expectation was to be with  people of colour only for those two hours.  My question is this: what is the collective's definition of, "people of colour?"  I await your reply.  Sincerely,  Terrie Akemi Hamazaki  Vancouver, BC  ROBIN  QOLDFARB rm  Registered   Massage   Therapist  !r=^r^r^r^r^r=Jr=Jr=Jf=lr=Jr=Jr=Jr=JfS3r  ♦ Magazines galore ♦  Read much?  Well, the Vancouver Status of Women has news for you. VSWs resource centre  Includes fascinating feminist and progressive magazines from across the  country and around the world. Women are welcome to read, browse and  research in the centre, which is open Monday—Thursday, 9:30—5:00 pm. (Sorry,  we can't let you take the magazines home, but a photocopier is available.)  Here's a sampling of the VSW resource centre collection:  ♦ Aquelarre: Latin American Women's  Magazine/Revista de la Mujer  Laahoamericana (Vancouver, BC)  ♦ ArchType: Defending the Rights of  People with Disabilities (Toronto, ONT)  ♦ Atlantis: A Women's Studies Journal  — Revue d'etudes sur la femme (Halifax,  NS)  ♦ Briarpatch: Saskatchewan's  Independent Newsmagazine (Regina,  SASK)  ♦ Broadsheet: New Zealand's Feminist  Magazine (Aukland, New Zealand)  ♦ Canadian Dimension: A Socialist  Magazine of Information and Analysis  (Winnipeg, MAN)  ♦ Canadian Women's Studiesfles  cahiers de la femme (North York, ONT)  ♦ Chronique feministe: Bimestriel  realise et edite par I'equipe de  I'Universite des Femmes (Brussels,  Belgium)  ♦ Common Ground: News and Views of  PEI Women (Charlottetown. PEI)  ♦ Emma: Das Magazin von Frauen fur  Frauen (Stuttgart, Germany)  ♦ Fireweed: A Feminist Quarterly  (Toronto, ONT)  ♦ FUSE Magazine (Toronto, ONT)  ♦ Gay Community News: The National  Lesbian and Gay Weekly (Boston. MA  USA)  ♦ Healthsharing: A Canadian Women's  Health Quarterly (Toronto, ONT)  ♦ Images: West Kootenay Women's  Paper (Nelson, BC)  ♦ Jurisfemme: National Association of  Women and the Law (Ottawa, ONT.)  ♦ Lesbian Contradiction: A Journal of  Irreverent Feminism (San Francisco, CA  USA)  ♦ L'une a Vautre: la revue de  naissance-renaissance (Montreal, PQ)  ♦ Maize: A Lesbian Country Magazine  (Minneapolis, MN USA)  ♦ Manushi: A Journal about Women  and Society (New Dehli. India)  ♦ Ms. (New York. NY USA)  ♦ Network of Saskatchewan Women  (Regina. SASK)  ♦ New Directions for Women  (Englewood. NJ USA)  ♦ off our backs: a women's  newsjoumal (Washington. DC USA)  ♦ The Optimst: A Voice for Yukon  Women (Whitehorse. Yukon)  ♦ Our Times: Independent Canadian  Labour Magazine (Toronto, ONT)  ♦ Pandora: Lifting the Lid Off (Halifax,  NS)  ♦ Radiance: The Magazine for Large  Women (Oakland, CA USA)  ♦ Rites: For Lesbian and Gay Liberation  (Toronto, ONT)  ♦ Room of One's Own (Vancouver, BC)  ♦ Sauti Ya Siti: A Publication of the  Tanzania Media Women's Association  (Dar es Salaam, Tanzania)  ♦ Sojourner: The Women's Forum  (Jamaica Plain. MA USA)  ♦ Spare Rib Magazine (London,  England)  ♦ Welfare Mothers Voice: A Paper By.  For and About Welfare Mothers  (Milwaulkee, WI USA)  ♦ Women and Environments (Toronto,  ONT)  ♦ Women's Education des femmes  (Toronto. ONT)  ♦ Women in Action: Isis International  (Quezon City, The Philippines)  ♦ Womyn's Press (Eugene OR USA)  KINESIS, ///yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^^  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  BULLETIN BOARD  READ THIS  AU Ustings 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 wiU be items  of general pubhc interest and wUl 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 thereot DeadUne for classifieds is the 18th of the month preceding  pubhcation. Kinesis wUl not accept classifieds over the telephone. AU classifieds must  be prepaid.  For Bulletin Board submissions send  copy to Kinesis Attn: BuUetin Board,  #301-1720 Grant Street, Vancouver, B.C.  V5L 2Y6. For more information caU 255-  5499.  EVENT  WANNA GET INVOLVED?  With Kinesis? We want to get involved  with you too. Help plan our next issues.  Come to the Writers' Meetings on Tues.  Jan. 7 (for the Feb. issue) and Tues.  Feb. 4 (for the March Issue) at 7 pm  at our office, #301-1720 Grant St. If you  can't make the meeting, call 255-5499.  No experience necessary, all women welcome  WOMEN OF COLOUR CAUCUS  Women of Colour are organizing at Kinesis and we welcome all volunteers past,  present and future to our next meeting  Thurs. Jan. 30 at 7:30 pm at #301-1720  Grant St. For more info, please call Agnes  Huang at 736-7895. To arrange childcare subsidies contact Agnes or Janisse  Browning at 255-5499  VSW WANTS YOU!  Want to get more involved but not sure  where to begin? Join us ... become a volunteer at Vancouver Status of Women!  VSW volunteers plan events, lead groups,  raise funds, answer the phone lines and  help to connect women with the community resources they need, organize the library and other exciting tasks! The next  volunteer orientation will be on Jan. 14,  7-9 pm at VSW #301-1720 Grant Street.  Or how about joining us for a potluck on  Jan. 23 at 7:30 pm ... all VSW volunteers welcome! For more info call Jennifer  at 255-5511  NO MAKE UP  Thirteen young women (ages 11 to 16)  present No Make Up, an original play  about growing up female. With drama,  dance and movement, this Vancouver  Youth Theatre production runs Dec. 5-  7 (doors open 7:30 pm) at the Freddy  Wood Theatre, 6354 Crescent Rd., at  UBC campus. Also on the bill is Canadian Stories, a musical play about young  people who have moved to Canada from  other countries. Tix $10 (adult), $6  (youth and seniors). Call VYT at 738-  8030 for reservations  ICHIM  77V^ TJQA <S^Z? VCJS=A*^Z3J5r4  by Jackie Crossland  VANCOUVER EAST CULTURAL CENTRE  1895 Venables at Victoria /  8 p.m. December 11 -14,1991     Reservations: 254-9578   /C  Presented by Random Acts and Concerted Elton Productions      /J^P"  KINESIS    p-FAME   EMM     /^^  I  CANDLELIGHT VIGIL  In memory of all women who are victims of male violence against women.  Fri. Dec. 6, 1991, 7 pm at the Vancouver Art Gallery, Georgia Street side.  Women will be speaking out against violence against women. Unite with us! Organized by WAVAW/Rape Crisis Centre.  For more info call 875-1328  MIDWIFERY MATTERS  The Int'l Congress of Midwives presents a  benefit evening and 4-star dinner on Dec.  5 at 7:30 pm at the Raintree Restaurant,  1630 Alberni St. Featured are speakers  Margaret Peters (Australia), Lee Saxel  and Carol Hird, as well as a screening  of the video Midwifery and the Law.  Proceeds to the 1993 international conference in Vancouver. Tix: $25 at Ariel  Books, the Book Mantel and through the  Midwifery Assoc, of BC (Tel. 420-3379).  LOCAL COLOUR  The Artists' Coalition for Local Colour is  a group of lower mainland artists concerned about the exclusion of artists of  colour from Canadian arts institutions.  We are made up of artists from all disciplines and many racial/cultural backgrounds—everyone is welcome to join.  Local Colour is holding a public meeting at: 101 Powell St., Thurs. Dec. 5,  8 pm to discuss our problems with the  Fabled Territories exhibit at the Vancouver Art Gallery and the larger issues of  systemic racism, access, community outreach and accountability at the VAG. For  further info call: Sher-Azad Jamal (254-  1762) or Zainub Verjee (736-1146)  WOMEN IN VIEW  Women in VIEW presents its fourth annual festival, from Jan. 25 to Feb. 2,  1992. The festival features workshops, a  public forum, theatre, dance, music, readings, and much more. Events take place  at the Firehall Arts Centre and surrounding venues. Tix go on sale Dec. 9, 1991.  For program and box office info call 685-  6684 or 685-6201  CALLING ALL WOMEN  Women at Langara are organizing in response to the lack of action by the principal of Langara concerning the rape threat  printed in the student paper. Rape threats  and harassment have increased on campus since the paper came out. We invite  women in the community who want to  support us to get involved. Call Kirsten  for more info: 324-3881  WYNTER SOLSTYCE CELYBRA-  TION  Come celebrate and share winter warmth  with Wyse Womyn Wyld Womyn; Myr-  iam Fougere—videos; "Sacred Space:  Womyn Only Space" & Lesbian Art; Pat  Hogan & Sue McGowan—sharing deeper  understandings of witches' winter solstice, words, drumming and chanting,  BYO Drums; Katz Pillar—poetic erotica;  Sue McGowan—feminist dyke survivor,  singer-songwriter; Sylvi—ecofeminist lesbian singer-songwriter. Dec. 20, 8-11  pm, $4-6 at LaQuena, 1111 Commercial  Dr. Alcohol free space. Info: 253-1240  Jill  !Pli$  JWfe^antel  j|jfJL#l  new and  gently used books  I^^fe^B  Feminist  Philosophy - Poetry  Native - General  if 'v'lfl  no GST  |v JW  Open daily 11am -7pm  Coffee Bar  1020 Commercial Drive  Vancouver BC V5L 3W9  (604) 253-1099  Bonnie Murray  Cynthia Brooke  FOR COLOURED GIRLS...  Sepia Players presents For Coloured Girls  Who Have Considered Suicide When The  Rainbow Is Enuf, written by Ntozake  Shange, directed by Lovie Eli. Dec. 15-  21, 26-30, 8 pm. $10 general, $8 student/senior. At the Van. East Cultural  Centre. Reservations: 254-9578  KK»««M*«W«««»»«  KHHHKH-KHHHHHM  UPRISING BREADS  BAKERY  Makers of Vancouver's Finest Wholegrain Breads.  Season's Best Wishes  • All Natural Wholewheat Fruitcake  • Danielle's Tourtiere - small 4": large 8"  • Cranberry Muffin  • Vegetarian Mincemeat & Mincemeat Tarts  • Shortbread: Butter, Wholewheat, Walnut, Pecan Slice  • Nanaimo Bars, Rum Balls, Wholewheat Cranberry Loaves  • Large Gingerbread People - Dec. 2nd  • Seasonal Stollen - Dec. 9th  Mon.-Fri. 8:30 am - 5:40 pm • Sat. 9:00 am - 5:30 pm  1697 Venables Street Vancouver 254-5635  A part of CRS Workers' Co-op  KINESIS, BULLETIN BOARD  EVENT SIE V E N  GROUP SIG ROUPS  HEATHER BISHOP  Heather Bishop will be singing at the York  Theatre on Sat. Jan. 18. Tix on sale  mid-December. Open to the public. Co-  produced by Sound & Furies and Point  Roberts Concert Productions. Info 253-  7189  FABLED TERRITORIES  Artist Sutupa Biswas reviews her work in  an illustrated talk at the Vancouver Art  Gallery, 750 Homer St., on Wed. Dec.  4, at 7:30 pm. Part of Fabled Territories,  an exhibit of works by photographers of  South Asian heritage living in England.  To Jan. 26  HOT FLASHES  Drive on down to Hot Flashes Women's  Cafe, 106 Superior St., Victoria on Fri.  Jan. 24, for their open mike evening  starting at 8:30 pm. Enjoy tantalizing  desserts and fresh coffees. For info call  Wendy (604) 479-7909  BENEFIT CONCERT  Sanctuary Foundation's benefit concert  and art show presents music by Amanda  Hughes and Oh Yeah, Art works by  Joanne Parker and Ronaye, Sun. Feb. 9,  1992, 7 pm, at the Hyatt Regency 655  Burrard St., Van. Tix $12 at Ticketmaster, or charge by phone: 280-4444. Proceeds to the Sanctuary Foundation which  intends to establish a second stage transition house  DATING VIOLENCE WORKSHOP  Richmond Women's Resource Centre is  sponsoring a dating violence workshop  on Thurs. Dec. 5, 7-10 pm at Cambie  Jr. High. 3751 Sexsmith Road, Rich. A  panel discussion, self defense workshop,  and video presentation will highlight the  evening. Everyone welcome. For more info  call 270-6182  WOMANCARE CONFERENCE '92  Women's Health Clinic presents Women  and Cancer: "Trends, Issues and Attitudes," with a feature session on Sexuality and Self Image. Guest speaker: Leslee  Thompson. Sat. April 25, 1992, 9 am-  4 pm, Union Centre, 275 Broadway Ave,  Winnipeg, Man. For info call Nori at  (204) 947-1517  WOMYN WANTED  Wyse Womyn, Wyld Womyn Concerts, is  a monthly series featuring womyn musicians, song writers, poets, performance  artists, and speakers. Women interested  in presenting group goals, organizational  objectives, earthy experiences, body beliefs, soul sensations and artistic expressions are welcome to attend. Burn the  stage with grace or rage. If you are interested we meet the 3rd Friday of each  month at La Quena, 1111 Commercial  Dr., or call 253-1240. Alcohol free space.  WOMEN IN TRADES  Women in Trades and Technology ...  (WITT): Surviving and Thriving II ...  The Sequel. A conference in Ottawa,  Ont., on Feb. 2-5, 1992. Sponsored by  Women in Trades, Technology Operations and Blue Collar Work (WITT). For  a registration brochure call Sharon Mar-  gison, WITT conference organizer (613)  238-6560  LION IN THE STREETS  Firehall Arts Centre, 280 E. Cordova St.,  will be showing "Lion in the Streets" by  Judith .Thompson. Two for one Sat. matinee Dec. 7. Tues.-Sun runs to Dec. 8 (8  pm). To reserve call 689-0926  WAKE-UP WITH ASTARTE!  Early morning stretch and stuff classes:  stretching, self-massage, moving meditations, vocal work ... At VLC 876 Commercial Dr. Ongoing—Tues., Thurs., and  Fri.'s 8-9 am. $3 drop-in or $25/month.  Phone 251-5409 for info  CAMPAIGN APPEAL  Centre of Co-operation with El Salvador  is requesting donations for the campaign  against cholera. In co-operation with 17  other organizations they are attempting  to bring education and medical assistance  to affected communities. To donate or  obtain more info contact Myra Johnson  (604) 325-1094, or write: #12-404 E.  43rd Ave., Van., BC, V5W 1T4  AUTHORS READ  Betsy Warland and J.A. Hamilton will  read at LaQuena, 1111 Commercial Dr.  on Mon. Dec. 2, at 8 pm. Free. Hosted  by West Coast Women and Words.  "LIGHT ON HER FEET"  An original musical play by Leaping Thespians at the Women in VIEW Festival,  plays at the Firehall Theatre in Vancouver on Fri. Jan. 31 at 10:45 pm; Sat.  Feb. 1 at 4 pm and Sun. Feb. 2 at 1  pm. Ph. 665-6684 for festival info  BABY VIDEO  Video In presents: Oh, Baby Baby! Dec.  7 at 9 pm. An evening of videos by artists  on pregnancy, birth and child rearing. Curators: Sara Diamond and Karen Knights.  1102 Homer St., Van. 688-4336  SALE SALE SALE!!!  25 to 75 percent off at Women's Work  Screen Print & Design Studio. Creative  designs hand-screened onto quality cotton shirts. Themes of the 'Goddess,  Peace, the Moon, Amazon', etc. And,  original airbrushed activewear. All sizes,  infant to 4XLg. T-shirt Archives will be  on view. Sale hours 11-4 Mon. thru Sat.  'til Dec. 21st at 261 E. 1st St. North Van,  5 blocks from Seabus, 2 blocks east of  Lonsdale  VISIBLE MENDING  A 10 week art therapy group for women  on a healing path. An opportunity to  deepen self-awareness and explore our  unique self-expression through art. No  art experience necessary. Basic materials  will be supplied. Starts January 13. Preregistration required. For info call Anne  Beesack. 874-8716  FEMALE SURVIVORS OF INCEST  Support group starting Wed. Jan. 22.  Facilitated sharing and healing with  women like yourself who are: learning  to cope with memories; needing reassurance that they're not alone; willing  to explore recovery strategies. $180 for  18 hours. Individual counselling available.  Reisa Stone, feminist therapist. 254-4816  SCIATIC PAIN?  Since giving birth to my daughter 6  months ago, I have been experiencing increasing pain in my hip and foot, numbness due to damage to my sciatic nerve.  I would appreciate talking to any woman  who's dealt with sciatic pain. I'm looking for mutual support and learning what  heals. Donna 322-9411  INT'L LESBIAN WEEK '92  Next I.L.W. planning meeting Dec. 7 at 7  pm at the Gay and Lesbian Centre (1170  Bute St.) All welcome, come with ideas  for events and/or desire to help facilitate  events. For more info, call Mary (VGLC)  at 684-6869  MET. COMMUNITY CHURCH  Metropolitan Community Church, 1170  Bute St. Van., is offering study sessions  on the following topics: "From the Crying  Child to the Adult at Peace," and "Homosexuality, the Bible and how it relates  to women." Everyone welcome. For registration & info call 581-2836  VOLUNTEERS IN VIEW  Volunteers needed now for the 4th annual Women in VIEW Festival, (Jan. 25  to Feb. 2, 1992), a multimedia event  highlighting the creative work of women  in the performing arts. Contact Natalie,  685-6684 for details  CR GROUP  Feminist popular educators and activists:  are you interested in forming a consciousness raising group to critically re-view our  work and lives?—potentially focusing on  how we can deal with racism, sexism, economic injustice, and homophobia in our  methods and experience. Call Rose-Marie  at 879-0095  FEMINIST LIBRARY  If you find yourself travelling through  London, England drop by The Feminist  Library, 5 Westminster Bridge Road, SW1  7XW, London, Eng. A wide variety of  women's books are available from light  lesbian romance to radical feminist theory. To subscribe to the newsletter, write  to the above address.  FEELING ISOLATED?  If you are lesbian and have chronic fatigue syndrome (CFS) and would like to  form a support group where sharing feelings, emotions, and knowledge are-important, then please call Patty at 420-7238  SELF-HEALING CIRCLE  The Indian Homemakers' Assoc, is sponsoring a weekly Eagle Women's Self-  Healing Circle on Thursdays from 3:30  pm-5:30 pm, Suite 201-640 W. Broadway. Elders will share their traditional  ways. Please contact Florence Hackett at  876-0944 or 876-1468.  PARKINSON'S NETWORK  I'm 45, living in Vancouver and want to  establish a supportive network of women  like myself who have Early Onset Parkinson's Disease. Please write to: Box 517,  545 E. Broadway, Vancouver, BC, V5T  1X4  VOLUNTEERS NEEDED  Vancouver Rape Relief and Women's  Shelter has a volunteer training group  beginning in January. Women who are  interested in volunteering on the crisis  line, in the transition house, in fundraising events, or in any other part of the  women's organizing centre are invited to  call us for a training interview. Volunteers  for reception, with access to Word Perfect, are also needed, Mon. to Fri. 9-5.  For further info phone 872-8212  get your own oobl  off our backs  a women's newsjournal  Join us for our third decade of news, reviews,  commentaries - the best in feminist journalist!  subscribe today  11 Issues a year $19  Conlribuling $22  Canada, Mexico $20  Overseas, all airmail: US $28, UKflG  Trial sub: 3 issues for $5  NAME   ADDRESS_  CITY   WOMEN WRITERS  Are you interested in starting an informal writers' group that meets regularly to  read and discuss our writing? The focus  would be on fiction, poetry and experimental forms. Published or unpublished  writers welcome. If you would like to be  part of this, or want more info, please call  Helene at 254-1038  VLC SERVES YOU  You're not only wanted, you're needed at  the Vancouver Lesbian Centre. Help keep  the centre open, put on events or workshops, update resources, organize the library or clean up the filing system. Call  Ginger 11 am-4 pm, Wed. and Fri., at  254-8458 for details. Group meetings at  the VLC now include: a support group for  lesbians who have been involved in psychiatry; a group for lesbians who want  casual social contact and discussion; a  women of colour support group; legal advice; free massage and counselling; a Sex,  Love and Addiction support group, and  Coming Out groups for women exploring  their sexuality and trying to accept themselves as lesbians. Call 254-8458 to sign  up for these or to find out about other  lesbian groups and events  oob,2423 18lh St.NW,Wasli.UC,20009  SOLID  ENTERTAINMENT  Lesbians in View  1992 WOMEN IN VIEW Festival  Light on Her Feet  Leaping Thespians  Three lesbians, one fat all her life, one  recently fat and one obsessed with  being thin, explore body image and  celebrate the large female form.  Out of This World - Pleasel  Random Acts (Nora D. Randall & Jackie  Crossland)  Storytelling based on the lives of  working women and lesbians. A  quixotic search for perspective, as  women on the edge try to get  centered.  Watch for us in your WOMEN IN VIEW  program (available January 6, 1992).  Information: 685-6684  KINESIS , yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^  yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy^/yyyy  Bulletin Board  ►VJSJA  ISSIONSISUBMISSIONS  CALL FOR PAPERS  Canadian Women Studies (CWS), plans  to commit the Spring 1992 issue to an inquiry into equity issues, and how these issues are being addressed in gov't policy,  the workplace, in educational settings and  within our communities. Deadline is Dec.  31, 1991. The Summer 1992 issue will  investigate the feminization of poverty.  Deadline is March 31, 1992. Articles  should be typed and double spaced (7-12  pages long). A short abstract of the article and brief bio should accompany each  submission. Preference given to unpublished material. Write to CWS as soon as  possible if you intend to submit to either  issue. CWS, 212 Founders College, York  University, 4700 Keele St., Downsview,  ON, M3J 1P3 (416) 736-5356  CALL FOR ENTRIES  Forbidden Subjects: Self-Portraits by Lesbian Artists. Please send self-portrait(s)  (slides or black and white photos) along  with statement (1-3 pages) discussing  the process and importance of making  a self-portrait. Include some biographical info and a SASE. Deadline: postmarked June 1, 1992. Mail only to Gallerie Publications, Box 2901 Panorama  Dr., North Vancouver, BC, Canada, V7G  2A4. Phone (604) 929-8706  ILW LOGO DESIGN  Design a logo for International Lesbian  Week! Feb. 22-Mar. 1. To be displayed  on all ILW literature and possibly t-shirts.  Deadline: must be received at GLC (1170  Bute St.) by Sat. Dec. 14. So Hurry! Address all submissions to ILW Committee  Also, call for volunteers and submissions  to help organize the Lesbian Art Show  for ILW. All lesbians are welcome to submit up to 3 slides of their work. Dead-  Jan. 15. Limited space available. Call  Anne (874-2329) or Carol (253-6190).  Send slides and SASE to 3391 Victoria  Dr., Vancouver BC V3N 4M3.  COMMUNITY GRANTS PROGRAM  The Seniors Health Network is designed  to support healthy aging in BC. The Seniors' Health Network Community Grants  Program provides up to $5,000 for health  and wellness projects that are designed  and managed by senior groups in the  community. A wide variety of projects can  be considered. For more info call Susan  Stevenson at the Seniors Health Network  733-2310. Applicants will be asked to describe their project before receiving an application. Completed proposals must be  submitted prior to Jan. 31, 1992  Subscribe!  $24.00 for 2 years- 8 issues  Single issues: $5.00 each  order from  Gallerie Publications  2901 Panorama Drive  North Vancouver, BC  Canada V7G 2A4  LESBIAN SISTERS  Two lesbian sisters are conducting research into the relationships between lesbian sisters, their family of origin stories,  coming out stories and their place in the  wider lesbian community. They would like  lesbian sisters to complete a questionnaire which will be published as part of  an anthology called Bloodlines: Writings by Lesbian Sisters. The anthology is to be published by Gynergy Books.  Canadian material will be given preference. Payment upon publication. Deadline for submissions is Jan. 31, 1992. For  further info write to: Jan and Lynn Andrews, Editors, P.O. Box 4273 Station E,  Ottawa Ont., K1S 5B3  NEW SURVIVORS JOURNAL  For women healing from childhood sexual  abuse. A place for women to share our  stories, poems, thoughts, drawings, theories and resources. Write for more info  or send copies of work to: 925 Victoria  Dr., Vancouver. BC V5L 4G1.  CALL FOR VIDEOTAPES  The 8th Annual International Women's  Day Video Festival invites women from  around the world to submit videotapes  that explore the theme: Women and  Discovery. All tapes are welcome from  novice to professional. Submissions in languages other than English are encouraged. Deadline for international entries is  Jan. 1, 1992. For entry forms and submission info write: International Women's  Day Video Festival, P.O. Box 390438,  Cambridge MA., USA, 02239, or call  Somerville Community Access TV (617)  628-8826  INTUITIVE READINGS  Women's moonrune readings by Pat in  the gentle atmosphere of Ariel Books.  Sliding scale $30-45/hr, $15-25/half hr.  Call 733-3511 to book appointments or  drop in Thursdays between 12 and 4  pm. Other readers available Tuesdays and  Wednesdays  FABRIC BANNERS  Strong colourful long-lasting banners for  indoors and out. Made to order by well-  known Vancouver artist Sima Elizabeth  Shefrin. From the maker of the beautiful  banners for Kinesis, Angles, Ariel Books,  AIDS Vancouver, Tools for Peace & many  other organizations directly to you. Reasonable prices. 734-9395  The Last Supper (pictured above)-a still from the film segment of Christlnel  Taylor's multimedia performance piece, Man on the Moon, Woman on the\  Pill. Coming in Janurary to the Women In VIEW Festival.  r«r.wi jin.i riy.vMi jm»  COUNSELLOR-HYPNOTHERAPIST  Judy Forester, BPE. Certified Hypnotherapist. Individual counselling and hypnosis  for women. My approach to therapy, unlike traditional hypnosis, is non-directive  and is designed to empower women and  to respect their individual uniqueness.  Member of Feminist Counselling Association and Canadian Hypnosis Association.  For an appointment call 873-5477  SOLSTICE GIFTS  Give music! Do you have a friend who  sings in the shower and secretly longs to  strut her stuff? Help her explore the 'inner  singer' through breath release, creative  exercises. Technique + Selfconfidence=  A performer! Gift certificates $80 for four  sessions, $145 for eight. Reisa Stone 254-  4816  OPENING IN DECEMBER  Josephine's, 1716 Charles Street, (right  off Commercial Drive) is opening her  doors the first week of December.  Womyn-made jewelry, cards, clothes, artwork, masks, candles, leather, lace ...  and more. A cappuccino bar, music, a  relaxing atmosphere will make your seasonal shopping simply bewitching. 253-  7189 info  HOUSING  What do you need to buy your own? How  much will it cost per month? How much  of a downpayment do you need? Where  can you afford to buy? 1 Bdrm City View:  VANCOUVER EAST CULTURAL CENTRE  AND VANCOUVER FOLK MUSIC FESTIVAL  THE FLIRTATIONS  Openly gay with a grand social consciousness.  Promoting pride in all.  Terrific a cappella singers, definitely hot stuff. . . the Flirts sing beautifully —  50's doo-wop, jazz standards, rock 'n' roll, gospel, lullabys, folksongs, they do it all."  — R. Doruyter, The Province  December 3 - 7   8pm       Special children's show December 7   2pm  Vancouver East Cultural Centre   1895 Venables  Tickets 254-9578 TicketMaster 280-3311  $89,500. 2 Bdrm, 2 Bthrm, 880 Sq. Ft.  End Unit: $119,000. 2 Yr. old, 3 Bdrm  1305 Sq. Ft., Maple Ridge: $127,500. Let  me put 12 years of experience to work  for you. Linda McNeill: 298-0795. Seasons Realty: 435-8893  FREE THE SINGER WITHIN!  Singers of all levels can increase range  tone and power while developing confidence to sing out and speak up! Expert  vocal coaching in a supportive, accepting environment. A holistic and effective  method for personal empowerment, joyful creative expression and a great voice  On Commercial Drive. $30/session or 6  sessions $150. Penny Sidor 251-4715  VILLA DE HERMANAS  All women's Caribbean Beachfront Guesthouse: Beautiful spacious L/F owned  guesthouse on long, secluded beach in the  Dominican Republic. Tropical gardens  pool, large, private guestrooms, sumptu  ous meals, massages, and crystal heal  ings. Room rates: $330 single; $440 dou  ble per week. Call our Toronto friend, Su  san, at (416) 463-6138 between 9 am-10|  pm  jPlilllllllllllllllllllllllll.llllillllllllijg  JOB OPENINGS  Vancouver Status of Women  Starting Feb. 1st, 1992, VSW plans to  H    run a project employing four women  H    under a Section 25 Job Creation Grant  for seven months. All applicants must  be on unemployment insurance.  The four positions are:  1. A worker to reorganize and i  VSW resource centre books and files.  2. A researcher/writer to expand our Single  Mothers' Resource Guide to include a new  section on education and training opportunities,  and to organize the reprinting and distribution of  the Guide.  3. A worker to develop and coordinate a training  program for volunteer writers at Kinesis.  4. A researcher/writer to gather information and  write a report on the problems women face in  child custody and access disputes.  Call 255-5511 or drop by our office  after Jan. 6th for job descriptions (no  sooner, please) - Suite 310,1720  Grant Street, Vancouver BC V5L 2Y6.  Applications must be received by 4 pm  on Jan. 23rd.  KINESIS: LIB1286RL 4/92  Litimi  mitbbiWa CTR - btKlALti  2206 EAST HALL, U.B.C.  VANCUUVhK,  BC    Vb>   1Z8  Our  paper won't clip you.  So subscribe.  rship (includes Kinesis subscription): $30 plus $1.40 GST  KINESIS Subscription:  Bl year: $20 plus $1.40 GST Q2 years: $36 plus $2.52 GST □institutions/Groups: $45 plus $3.1S GST  Cheque enclosed       □Biil me Q]New fj Renewal OGift fjDonation  8  8  i  Please nt  te: ir you can't afford the fall amount, send us what you can. Kinesis is free t  Add $8 per year far outside Canada  o prisoners.  Address  Postal Code                     Phone


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items