Kinesis Mar 1, 1983

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  KtMMJiS  Feminist culture:  a powerful protest  In the midst of these 'hard times' when women every-?  where are experiencing both the harsh realities of  sweeping unemployment and an unabashed increase in the  level of violence against themselves and their children, the celebratory nature of International Women's  Day is almost lost.  Almost, but not quite; for as we march through the  streets of downtown Vancouver this year declaring  'Hard Times Won't Stop Us', we know that as a movement  we are stronger and more enduring than we have ever  been. No longer is our protest most visible in a symbolic demonstration once a year. Rather, it is an ever  present challenge expressed through the amazing cultural alternatives we have managed to build.  Dynamic, experimental, varied and thoroughly informed  by own own images and experiences of womanhood, our  protest is visible in the clothese we wear, the songs  we sing, the art we make and the networks we've formed.  It is evident in all the ways we are choosing to live  our lives.  When the first rumblings of a revitalized women's  movement sounded more than a decade ago, we developed  an alternative vision of ourselves and our place in  the world. Since then, we have succeeded in realizing  that vision in such a variety of forms that by now it  is apparant our ideas have exploded into life.  Women-owned presses, art co-operatives, newspapers,  literary journals, women-run exhibits, festivals,  and galleries, abound. Unlike their mainstream counterparts, our alternative cultural structures are close  to our lives. Firmly rooted in a new and evolving  feminist consciousness they exists as a major challenge  to dominant, removed, mainstream culture. Undoubtedly  they are our loudest political statement.  What is provided in this issue of Kinesis  is not a  definitive or comprehensive look at women.and the arts.  Instead, it is a sampling of the various ways women  are redefining their cultural involvement and  aesthetic expressions.  It is true that not all women artists are feminists  and not all feminist artists directly express their  politic in their art. However, most articles in this  issue show women consciously reshaping themselves  through their art, consciously extending and deepening  women's ideas about the world in cultural terms.  We have also looked at mainstream popular culture,  feminist influences in a broader alternative culture  that includes men, and women's art that is experimental, but not necessarily feminist. We hope this issue  will stimulate discussion and awareness of the import-  £ ance of the work that so many women are doing in a  cultural sphere. ^^^^m  Anti cruise organisers step up activity  The federal government's controversial  signing of an "umbrella agreement" with  the United States, that would allow the  testing of U.S. war weaponry in northern  Alberta, brought 500 protesters to Robson  Square February 19. Although federal officials insist the umbrella agreement is  only a statement of intent, and that a  specific agreement is necessary for the  testing of the cruise missile, it has become clear that Canada's autonomy on this  issue is in serious jeopardy.  Not only was the umbrella agreement signed  without parliamentary debate, a fact which  drew major flak from opposition MPs (most  notably New Democrat Pauline Jewett), but  a preface to the agreement had been signed  in secret as early as 1981.  The agreement itself, the secrecy surrounding it, and the silencing of parliamentary  opposition are all indicators that Canada  is about to seriously escalate its role in  the arms race. Not that it hasn't been a  player all along.  Litton Industries, which is currently  building the Cruise missile guidance system received an outright grant of $24 million from the Canadian government as well  as a $26 million loan, interest free. Now,  the Cold Lake area of northern Alberta has  been cited as a viable testing ground for  the cruise missile due to the environment  al and climatic similarities this area has  with the Soviet Union.  The message at Robson Square was one of  urgency. Protesters were told that the  cruise missile is scheduled to be deployed  throughout Britain, Belgium, Italy and the  Netherlands as early as December of this  year. That means the testing of the cruise  missle here would happen in a matter of  months unless massive opposition is able  to stop it.  The cruise missile is a first-strike weapon that threatens to end any practical  ability to control arms. Why? Because this  type of missile can sneak undetected under  radar and is not verifiable by satellite.  A major focus of the rally, which included  theatre, music, poetry, and a speech from  a representative of Britains Campaign for  Nuclear Disarmament (CND), was a message  of solidarity with and support for the  European peace movements. The message of  solidarity was a huge piece of paper upon  which people attending the rally could  place their own graffiti and symbols.  In the past few months it has become clear  that the European protest movement is going  all out to stop the deployment of the  cruise. This fall, the CND for the. first  time in its history agreed to employ mass  civil disobedience as a major tactic in  fighting missile development. The maior  issue in West Germany's March election  centred on the deployment of cruise  missiles on West German soil.  In Canada, the Cruise Missile Conversion  Project in Toronto has been leafletting  the gates at Litton for almost three years  and in November 70 people were arrested in  a non-violent act of civil disobedience  while 2,000 supporters looked on. Those  trials are now in progress. A peace camp  has now been established in the Cold Lake  area; it takes the form of a house in Grand  Centre dedicated to stopping the testing  of the cruise missile.  As the level of support for anti-cruise  organizing escalates, however, so has  government opposition to it. In Britian,  Margaret Thatcher has announced a $2 million ad campaign to counter anti-nuke  organizing. Recently, the U.S. Ambassador  to Canada told the government not to listen  to anti-nuclear demonstrators because the  U.S. government doesn't listen to theirs.  Because of the urgency surrounding the  issue, and the daily change of events,  people are urged to keep themselves informed through the commercial media as well  as alternative sources. Radio Peace, a  Co-op Radio program at 6:30 on Tuesdays,is  a good source of information. Kinesis March '83  MOVEMENT MATTERS  Vancouver prostitution  by-law destroyed  Vancouver's controversial street prostitution by-law may have been destroyed by a  Supreme Court of Canada decision that threw  out a similar Calgary by-law, says the B.C.  Attorney-General, Allan Williams.  Williams is appealing to Ottawa for amendments to the Criminal Code, since the  Supreme Court ruling on the Calgary by-law  leads to the conclusion that only the federal Parliament has the power to legislate  in this area.  The decision has prompted Vancouver officials to stop prosecutions until it has  been thoroughly studied.  Lesbian mothers  have video resource  The Lesbian Mothers Defense Fund has a  video-tape of a recent seminar in which two  women lawyers discussed separation and  custory issues from the lesbian perspective,  The seminar dealt with preparation for  separation, separation and custody agreements, curtailing harassment, the court's  view of lesbians, test cases and the  probabilities of winning contests.  The video tape is available to interested  . groups and may be of interest to gay men  involved in similar disputes.  LMDF is also compiling a list of people  who would be willing to be expert resources  in court cases. The organization is also  trying to raise $3000 to assist in legal  costs in test cases.  KiMMJiJ  KINESIS is published ten times a year  by Vancouver Status of Women. Its  objectives are to enhance understanding about the changing position  of women in society and work actively  towards achieving social change.  VIEWS EXPRESSED IN KINESIS are  those of the writer and do not necessarily reflect VSW policy. All unsigned  material is the responsibility of the  Kinesis editorial group.  CORRESPONDENCE: Kinesis, Vancouver Status of Women, 400 A West  5th Ave., Vancouver, B.C. V5Y 1J8.  MEMBERSHIP in Vancouver Status of  Women is $20/year (or what you can  afford). This includes a subscription  to Kinesis. Individual subscriptions  to Kinesis are $13/year.  SUBMISSIONS are welcome. We reserve the right to edit, and submission  does not guarantee publication.  WORKERS THIS ISSUE: Jan Berry,  Jan DeGrass, Cole Dudley, Patty  Gibson, Emma Kivisild, Barbaba  Kuhne, Debra Lewis, Claudia Mac-  Donald, Rosemarie Rups, Michele  Wollstonecroft, Penny Goldsmith,  Esther Shannon, Isla Patterson,  Marianna Van Loon.  DEADLINE FOR NEXT ISSUE: March  15 for April 1 publication. All copy  must be typewritten and double-  spaced.  KINESIS is a member of the Canadian  Periodical Publishers' Association.  \. '%  Women call for fair trial  A group of more than 150 people rallied  outside the courthouse February 21, demanding the five young people accused of  conspiracy charges be given a fair trial.  Many of them were women.  Much of the interest in and support for  the five; Julie Belmas, Gerald Hannah, Ann  Hansen, Doug Stewart and Brent Taylor,  comes from the-initial inflammatory media  coverage surrounding the arrests.  Various speakers from women's and community  groups expressed their outrage at what  they believe is unfair treatment of the  flve-themselvesy^as well as other political  activists in the Vancouver community.  Since the arrest it has become clear that  several people, most of them women, have  been harassed by the police in their effort  to solve the Red Hot Video and B.C. Hydro  station bombings. Four women in the community recently had their homes raided by the  police, who carried warrants seeking specific evidence surrounding the case. The  homes were visited simultaneously at 8:30  one morning and thoroughly searched. The  women were detained for several hours while  the search was conducted.  Other examples of harassment include a  situation where a woman was taken out of  her women's studies class, driven around  and questioned for several hours, and then  let go.  It is this type of activity, compounded with the initial coverage and  dramatic arrest of the five accused, that  has raised serious concerns about political  freedoms in the community.  Following the rally people jammed the courtroom to hear the prosecution put forward  its evidence as to why the five should not  receive bail. A March 1 hearing was also  jammed with supporters who heard defense  lawyers present a two and one half hour  case in defense of the five. After a  court adjournment of 40 minutes the judge  denied bail and set a hearing to fix a  date for the preliminary hearing for March  ninth. Court officials estimate that a preliminary hearing could last five months if  the evidence is ruled as admissable.  According to Jill Bend of the Defense  Committee several homes were offered as  bail and several people are contributing  support to the defense. Anyone wishing to  make a donation to the defense work can  send it directly to an account (#91740-1)  c/o CCEC Credit Union, 205 E. 6th Ave.,  Vancouver. Letters can be sent to any of  the five incarcerated at the following  address: Oakalla Prison, Drawer "0",  Burnaby.  Porn publisher buys  into nuclear project  A recent article in the London Sunday Times  says the founder and publisher of Penthouse  magazine has joined forces with a leading  Israeli arms dealer and a former colonel in  Israeli intelligence to tackle a puzzle that  has baffled scientists for 30 years. "Should|  they solve it, they will make Israel preeminent in nuclear-energy tecnology and  provide the country with the means to earn  billions of dollars in exports," said the  Times.  The attempt is to build a nuclear reactor  using fusion energy.  Penthouse publisher Bob Guccione has put  up $14.7 million as an intial stake in  the California company, Inesco(which is  funded by Guccione), and has pioneered  technology in this area.  The Penthouse  publisher is prepared to invest a further  $61.1 in the project to build a live  reactor in Isreal.  VSW plans new programs  VSW is now planning for its spring programming. There will be assertiveness training  Courses in the evening at no charge and  a feminist discussion series is currently  being developed.  On March 20 VSW is holding a feminist forum on pornography at Robson Square Theatre.  The forum is an all day session and focuses  on a feminist analysis of pornography as  well as strategies. Tickets are $2 and $4  and are available at Vancouver Women's  Bookstore, Ariel Books, Sister's, Port  Coquitlam's women's centre, the North  Shore Women's Centre and Vancouver Status  of Women.  Childcare will be available if you pre-  register before March 17. Gall 873-1427 or  876-2849.  VSW is also organizing speakers to go out  to women's groups in the Lower Mainland.  If you are interested in participating  call Heather Wells at VSW. This is a volunteer activity, but if you have time to  spare we think it would be most worthwhile  and helpful in extending community outreach.  VSW member runs  for VanCity board  Mary Rawson, a longtime member of the Vancouver Status of Women, is running as part  of a reform group for the Board of Directors of VanCity Savings Credit Union. Jo-  Anne Lee and Bob Williams are with her.  There are three vacancies on the nine-  member board. The elections are being held  March 11 to 19, when members of VanCity  must cast votes in their own branch of the  Credit Union.  The Say No' poster included in this issue is  bv Dot Productions. March'83  Kinesis    3  Pornography  This is the first in a series of discussion  articles,  written by Megan Ellis and Jan  Barnsley,  of the Working Group on Sexual  Violence.  Challenges to the introduction of Playboy  to Canadian television and "Red Hot"  videos are the latest battles in feminists'  longstanding opposition to pornography.  Women have protested against pornography  and its portrayal of degrading images of  women - from sexist advertising, strip  joints and record covers to "Deep Throat"  and "Snuff" films.  We have become increasingly aware and angry  as we've seen the content and consequences  of pornography through many years of feminist work with victims of violence against  women. And, we've witnessed the impact and  growth of a huge industry that produces  and promotes the degradation and exploitation of: women, lies about our sexuality  and incites violence against us.  Both the dimension of the pornography industry (over $500 million in Canada annually) and the increasing numbers of women  involved in fighting against it, give  greater urgency than ever to the question,  "What can we do about pornography?"  Pressure by women's groups on local, provincial and federal governments has resulted  in turn in pressure from the governments  to present some simple formula for control.  Politicians ask, rhetorically, if we are  really in favour of. censorship. Bureaucrats  invite those they believe to be the "sensible elements" of the women's movement (!)  to help formulate the basis for legal restrictions.. Prosecutors and others in the  criminal justice system ask us to understand why it is difficult for them to take  action.  The women's movement has experienced this  kind of pressure before and very recently.  In our article "Bill C-127: How did we  get there? Where do we go from here?"  (KINESIS, Oct/82) we attempted to document the processes by which the discussion of feminist perspective on rape was  funnelled into a legalistic debate with  the government. S£r1f^  The development of a feminist analysis of  sexual violence was frozen when the government got into the act and we were all  expected to put our efforts into the  battles, which took place on government-  defined ground. Women working at the  grassroots level were excluded.  The "sensible elements" - those who agreed  most with the dominant legal view - were  siphoned off as "experts". And the government claimed they were meeting the demands  of women's groups. While there were some  victories, the end product is riddled with  hangovers of the patriarchal view of rape.  And, feminists are being blamed for the  inadequacies of the new legislation. (In  the Vancouver Sun, Jan. 13/83, a Vancouver  crown prosecutor, Jessie MacNeil, is  quoted as saying, "The amendments are a  typical knee-jerk response by the federal  government to a very loud self-interest  group, the feminist movement.")  How do we ensure that what happened with  the issue of rape does not happen with respect to the pornography issue? How do we  develop and maintain a feminist analysis  of the issue, and avoid slotting our  wider view of the reality of pornography  into the narrow confines of the legislative  debate? %^S^M  The issue of pornography raises, for feminists, a wide range of related issues.  How do we define pornography? If we limit  our definition (perhaps for strategic  reasons) to deal only with "hard-core  violent porn" aren't we taking a serious  risk that the other danger aspects of pornography - namely the degradation and  sexual objectification of women, which are  How do we develop a feminist  analysis of the issue, and avoid  slotting the reality of pornography  into the narrow confines of the  legislative debate?  the precursors of violence against women -  will be ignored?  Is there a difference between pornography  and erotica? How far can we go in defining  women's sexuality in positive terms when,  in this society, sexuality seems always to  be defined in relation to (or reaction  against) male sexuality.  Once we define pornography, what kind of  controls against it do we really want? How  do we ensure that those controls are not  used against women? How do we explain our  apparent "alliance" with the moralists?  And, how do we deal with the challenges to  us as feminists to explain the motivation  of women who work in the industry - a  challenge designed to undermine and divide  us as women and as feminists?  In the urgency we all feel to take advantage of increased public attention and  growing numbers of angry women wanting to  do something about pornography, we have to  grapple with these questions and yet avoid  being immobilized by them. We have to set  our own agenda and schedules - as we should  have done in the case of the rape legislation - rather than responding to the  state's timetables and definitions. We must  continue to analyse the issue and educate  each other at the,same time as we press  for an end to the hate propaganda that  pornography is for women.  We do have a basis to build on: what we  know about porn from our own experience,  from working with women - battered women,  rape victims, incest survivors - and what  we continue to learn from feminist analysis  can ground us in developing strategies.  Andrea Dworkin (Pornography: Men Possessing  Women,   1979) has traced the word pornography back to its usage in ancient Greece:  "The word pornography, derived from the  ancient Greek pome and graphos, means  'writing about whores'. Pome means  whore, specifically and exclusively the  lowest class of whore, which in ancient  Greece was the brothel slut available  to all male citizens. The pome was the  cheapest (in the literal sense), least  regarded, least protected of all women,  including slaves. She was, simply and  clearly and absolutely a sexual slave.  writing, etching or  Graphos means,  drawing.'  The word pornography does not mean  'writing about sex', or 'depiction of  sexual acts' or 'depiction of nude bodies' or 'sexual representations' or any  'other such euphimism. It means the  graphic depiction of women as vile  whores. In ancient Greece, not all prostitutes were considered vile, only the  pornea."  Modern pornography is clearly not just  depiction of women who are prostitutes,  but it is depictions of women who are  defined solely in terms of their sexual  value. The women depicted are for the  buying and selling, use and abuse by any  male.  The women in pornography have all traces  of their humanity removed. Their wrinkles,  moles, and other "imperfections" are often  removed by photographic technology. Their  faces are either without expression, or  shown as collaboration in their own sale,  coyly or brazenly inviting the buyer to  consume. They have no character; only  function. They are commodities, the only  role of which is the pleasure of men.  Such depictions of women aare not confined  to triple X-rated films or magazines  wrapped in plain brown paper. We see  women portrayed this way in advertisements  for practically anything from stereos to  cars. The message attached to the woman  draped over the product is that the purchase of the product demonstrates the  necessary power to purchase or otherwise  obtain the adjacent woman.  In other words, what is being sold is  power; for a mere $29.95 one acquires control of the product and the masculine  potency to gain possession of the woman.  Possession of the woman is acquired by  the sexual taking of her. So the ad promises gratification on two levels,  economic and sexual. •v;t^?;-#  The depiction of women as sexual commodities is a continuum, the end-point of  which is Snuff. Snuff also tells us that  women are simply for the sexual use by  men; their very existence is worth absolutely no more, no less. While certain  points on this continuum can be delineated  by the overt combination of sexual degradation and violence, all images on the  continuum imply a power imbalance.  This imbalance is ultimately maintained  and enforced by threats and acts of violence. Just as the threat of rape serves  to keep women ,in fear, pornography pro-r  vides the (political) justification for  the act. Pornography is the expression of  the ideology which underlines the sex/  class relations in our society.  All heterosexual relations can be situated on a continuum which reaches,■in ideal  terms from consensual•to forced. Likewise,  images of women, in similarly ideal terms,  extend from self-expression to silence  and death. One of the defining factors in  reference;to both is the context; the  present context, in the largest sense of  the word, is sexism.  While the present anger directed by feminists towards pornography, its perpetrators and its followers, is fuelled by the  drastic increase of overt violence against  women, to narrow the defiiiition of pornography to that which combines sex and  explicit violence is to disguise its real  continued on page 8 Kinesis March'83  Women's  unemployment:  rising rapidly  by Marion Pollack and Susan O'Donnell        »V- -  . In January 1983, more than 1.6 million  Canadians were unemployed. That's one out  of every ten people who are out of work.  Although the increase in unemployment  over the last year has officially affected  men and women equally, the percentage of  unemployed women is always higher.  Statistics seriously under-represent female unemployment. They do not take into  consideration the thousands of women who  have tried, unsuccessfully, to find work  and then have given up or postponed the  search.  In addition, the general unavailability  of jobs is compounded for women by periodic labour force withdrawal for child-  rearing, the lack of paid maternity leave  protection, inadequate daycare facilities,  inflexible working hours and the inaccessibility of training/retraining opportunities to facilitate re-entry into the  labour force.  Women are still often considered by employers as expendable secondary wage earners. They are usually the last hired and  first fired, making any gains made by  affirmative action programs impossible to  hold in a time of high unemployment. Moreover, the impending impact of technology  on the office and service sectors of the  labour market, where most owmen are concentrated, could create massive female  unemployment.  Unemployment is more than the inability of  individuals to find owrk, it is the deliberate result of an unplanned economy where  profits are more important than people.  The government attempts to control inflation by increasing interest rates. This is  done for three reasons: to encourage  people to save more and buy less, to curtail credit spending, and to keep investment within the country. The direct result  of this economic policy is unemployment,  as'it creates a reduction in the demand  for products, leading to less production  by the industrial sector and a reduction  in consumer purchases.  This scaling down of the internal market  results in plants operating below capacity  and the laying off of workers. Unemployment itself leads to even more reduction  in demand.  Unemployment is critical to the policy of  controlling labour, breaking unions, dividing workers and eroding their hard won  rights* Fear of unemployment and wage ^ v^I  controls work together to reduce working  people's share of the national product  by pushing wages down. Employers carry the  notion that the lower the wages, the more  the profit, and therefore jobs will be  created. But it doesn't work that way.  For example* at the outset of the liberal  government's 1975 Wage Control Program,  unemployment stood at 643,000. By the end  of the program in April of 1978, there  were 999,000 jobless, and inflation had  not been curbed.  As government revenues decrease, social  services such as welfare, education and  health services are slashed, increasing  unemployment yet again. And as unemployment intensifies in the service sector,  working women are more acutely affected,  Labour  due to the large concentration of  these areas of work.  Women's lew wages mean that UIC payments  are low. It is difficult to survive on  59% of men's pay at the best of times; in  times of recession and unemployment, the  fraction offered to women through UIC,  which is based on a percentage of actual  wages, becomes almost impossible.  The fact that women are less unionized  than men makes■us more vulnerable to unemployment. Unionization provides the possibility of attaining equal pay for work of  equal value.  It is imperative that women become a part  of the unemployed movement that is starting to develop in Vancouver. This year's  International Women's Day theme, "Hard  Times Won't Stop Us", is directed at women  and unemployment. The recognition of this  issue by a diversity of women's groups  is one indication that women's involvement  in organizing the unemployed must be a  priority. jgSSj^  Unemployment is a women's issue, and the  fight against unemployment is our fight.  And yet, as the unemployed begin to organize in Vancouver, there is a noticeable,  lack of feminist participation. Meetings  of the unemployed are largely comprised of  men. This situation needs to change.  The unemployed are starting to become a  visible force here in Vancouver. In a  first major action organized by the Vancouver and District Labour Council, more  than 300 jobless, and their supporters  marched from Robson Square to the Regional  Offices of the Unemployment Insurance  Commis s ion.  , ;||£^f^  Led by Kim Zander, coordinator of the newly organized Vancouver Unemployment Action  Centre, a small delegation presented UIC  officials with a casebook full of complaints of delays in UIC processing. While  waiting for their return, a rally was held  in the Plaza in front of the UIC building.  George Hewison, chairperson of the Unemployed Committee, got a rousing response  from the crowd when he demanded jobs not  welfare, jobs not UI. &>"">  The Action Centre itself, located at 138  East Cordova, (Fisherman's Hall) is establishing support for unemployed people at  an amazing rate. Over 40 volunteer advocates have been trained to assist with UIC  and welfare claims, and organized the  first public meeting for the unemployed  on February 17, at the Swedish Hall.  The Action Centre works in conjunction with  the Vancouver and District Labour Council's  Committee which is comprised of both  affiliated and non-affiliated unions,  community groups and unemployed. The Vancouver Status of Women participates in  this committee and was recently able to  train some of the advocates for the Action  Centre.  The Lower Mainland Coalition for the Unemployed is another organization that has  recognized the need to organize around unemployment. The Coalition itself is comprised of representatives of community  groups, unions, women's groups, etc., and  is committed to being a resource group for  a future centre for unemployed people.  Support groups become affiliate members to  the coalition, and in turn the lower mainland group is affiliated to the B.C. Coalition of the Unemployed. This group meets  at Grace Church every second Thursday, and  meetings are open..  One of the sure signs that unemployment has  reached the proportions of the 1930's  depression is the emergence of the Food  Bank in Vancouver. Located at 1410 West 12  Avenue, it is sponsored jointly by Canadian  Ecumenical Action and the Federated Anti-  Poverty Groups of B.C.  Food depots are staffed by volunteers from  the community, and administration is provided by funding from UIC, from the provincial government and private donations. The  way it works is, that food is donated by  people through churches, schools, community  groups, etc., and then packaged into grocery bags for emergency aid to people who  need it. At present, there is only one  depot in Vancouver, but the Food Bank Society is working towards setting up more. March "83   Kinesis     5  Labour  Muckamuck decision handed down  At long last the Service, Office and Retail Workers Union of Canada (SORWUC) has  received the Labour Relations Board decision on the Muckamuck strike. It has been  three and one half years since SORWUC  charged the Muckamuck employer with refusal to bargain; at least two years too  late to make any difference, but for .what  it's worth, Muckamuck has been ordered to  pay SORWUC $10,000.  "We have concluded," states the decision,  "that some compensation is appropriate at  a level which is more than nominal, but  perhaps not more than symbolic."  The employees of the Muckamuck restaurant  joined SORWUC and attempted to bargain  with their employer (Doug Chrismas and  Jane Erickson, owners of the Muckamuck  restaurant) in the spring of 1978. Five  people were fired. This action and the  owner's subsequent refusal to discuss the  firings at the bargaining table led to a  strike which began June 1, 1978.  Instead of bargaining, the employer reopened the restaurant with scab labour.  Goons were sent to beat and spit on pick-  eters. People walking the picket line  were pushed, called vile names, and posters denouncing SORWUC were put up all over  town. In October 1979, SORWUC complained  to the Labour Relations Board about the  owners' refusal to bargain and the tactics  they had resorted to.  Several people worked to perfect the original submission on the complaint and to  prepare for the hearings. The first  hearing did not begin until five months  after the complaint was laid. A summary  of the relevant dates:  October 1979 - complaint submitted  May 1980 - one hearing held (started in  March and was postponed)  April 1981 - first half of decision  December 1981 - more hearings  February 1983 - last part of decision  The Board said the first delays in 1979  and 1980 were because they had to consider  decertification applications from the  scabs. In one of its decisions on this,  the Board stated that the Muckamuck owners  were using the decertification applications to avoid their legal obligation to  bargain. And yet the Board let them continue in doing this. SORWUC won each of  the decertification bids, laid their complaint, and walked on the picket line.  The Board ran out of excuses for  why it was taking so long and just  refused to talk about it  After 1981, the Board ran out of excuses  for why it was taking so long and simply  refused to talk about it. SORWUC believes  it was clear to the Board that they would  have to make a decision against an employer and it pained them a great deal to do  it.  In the April 1981 decision, the Board  ruled that the employer had refused to  bargain after some date in 1978. They  commented on the assaults, threats, and  slanders but said this was for SORWUC to  deal with in criminal court.  Then there was the question of remedies.  SORWUC asked for the employer to be  ordered to bargain, to apologize and to  repay the union for the expense of the  unnecessary strike as well as the employees the wages they had lost for the strike  being unnecessarily prolonged. The total  was never added up, but it was much closer  to $100,000 than the $10,000 the Board  has now awarded.  In this present and last decision, the  Board says it can't grant the remedies  asked for because the restaurant is  closed. They say there was a "life and  death struggle" which the employer lost.  Poor them, they keep saying, oh poor  them.  SORWUC sees it this way: they can't order  poor them to bargain, nor even to apologize. While they call the monetary claims  "legitimate" they can't grant the financial compensation due because 'poor them'  can't pay. The Board thinks this would be  an unnecessary punishment considering  'poor them' already lost. It's really a  sad story. Any order they give, they say,  should be to prevent the employer who engages in illegal behaviour from harvesting  the fruits of this illegal behaviour. But  in this case, they say, there were no  fruits to harvest. Oh poor them.  Still, you know, even if you go through  all the work of half-killing somebody and  don't get their money anyway (harvest no  fruits; as it were), you are still guilty  of illegal behaviour. So the Board had to  order some compensation and the figure  they chose was $10,000. Since it's unlikely after all this time that we will  get anything, we'd rather not collect  $100,000 than not collect $10,000.  The restaurant closed in the fall of 1981.  It appears that the owners may have left  town for good (to California). Doug Chrismas has been calling the union office to  make a deal - a $3,000 or $5,000 donation  to SORWUC in return for signing something  saying the strike is over. He won't put  his offer in writing. He says he hasn't  been able to sell the restaurant because  of SORWUC. He says he lost a lot of money  over the strike.  It would have been cheaper to negotiate  and sign a contract. But Doug Chrismas  says life is itself an expensive lesson.  This was before the $10,000 decision.  Yan's Variety Company has written the  Labour Relations Board saying they wish to  buy the building, not the business, to  open a Chinese Restaurant.  "Our only victory was shutting  down the restaurant."  The members of SORWUC at the Muckamuck  joined a union, abided by its laws and expected to have jobs and a union contract.  The employer violated all. the laws. Very  early in the strike the employees said the  employer would either negotiate or leave  town. Our only victory in this case is  shutting down the restaurant and it was  the picket line which had this effect,  not the legal complaints.  It is for the  employers to flout the law and sneer^ at  the courts; it is for us .to try to avoid  them.  Perhaps the only lesson from this is for  the employers. Trying to trash your employees is way more expensive than negotiating with them.  by Helen Potrebenko  SORWUC convention  recaps issues  Nowhere in this decision is there any  tion, not even the teeniest reference, to  the fact that it took 3^ years to make.  They say the restaurant is closed and  never mention that it was open when the  complaint was made and that it stayed open  for two years and that an order at that  time would have had some effect.  SORWUC's annual convention on February 13  marked the 11th year of the union's committment to organize women workers.  The convention recapped an extremely busy  year, a year which welcomed five new  bargaining units into the union and realized a victory in an arbitration on technological change. In addition, the Restaurant Workers Organizing Committe, the Daycare Workers Committee, and the Clerical  Workers Organizing Committee all began meeting and taking on new activities.  Employment standards  include Domestics  The Manitoba government recently amended its  employment standards law to include coverage  for domestic workers. Maids, cooks, housekeepers, child-minders and all domestic  workers in that province must now be paid  the minimum wage ($4 an hour). Other employment standards relating to matters like  hours of work, days off, vacation time  and notice of dismissal Will also now apply  to domestics.  ti.C,  like most other provinces, still  exempt domestics from their labour codes.  Officials at the Manitoba Employment Standards Branch say they received 43,000  calls from individuals last year seeking  information about their rights. They believe domestic workers will use the changes  in the law in order to attain their rights  as workers.   (United Nurses of Alberta  News Bulletin) 6   Kinesis  March'83  Midwifery  L  abour of Love:  organizing to legitimize midwifery  by Mia Stark  The art of midwifery as a method of maternal health care  has existed seemingly from the  beginning of time. Historically, birthing was considered  to be the business of women  and women alone.  But the societal role of mid-  wives, particularly in North  America, ultimately was eclipsed by what is commonly known  in the profession as the "med-  icalization of birth."  While the medical establishment recognized, and even  borrowed from the expertise of  midwives, it did not accept  midwifery in practice. What  had formerly been a primary  source of health care for women came to be seen as a  backward and dated method.  Recent history has seen the  re-emergence of the midwife  in various capacities in many  countries; however the stigma  of backwardness attached to  the profession remains to some  extent.  According to the Midwives  Association of British Columbia  (MABC), "of the 210 countries  in the World Health Organization only nine countries are  without provision of midwifery  services. Of these nine, Canada is. the only industrialized  nation."  For the most part, midwives  who practice in Canada do so  at the risk of being prosecu  ted for practicing medicine  without a licence. In B.C.,  such charges may be laid under  s. 72 of the Medical Practitioners Act. Nurse-midwives  have received some allowances  for operating in hospitals,  but these are limited.  However, the MABC claims that,  despite the illegality of the  profession inside or outside  hospitals, interest In midwifery "continues to grow as  people become more willing to  accept responsibility for their  health care by making knowledgeable choices."  In response to this demand for  responsible alternative health  care, midwives and their  allies in this country currently are organizing in earnest  to establish midwifery as a  legal, independent profession,  covered by its own Midwives  Act.  They are formulating methods  for standardizing, through education and certification, the  service they provide. And they  want the medical establishment,  the public, and the legal system to be aware of this.  Midwives are a safe, high-  quality health-care option.  The  problem is convincing other  professionals that is true.  —Ava Vosu Campbell, Ontario  Association of Midwives  Many of the more than 100 delegates who attended the '2nd  Over 100 delegates gathered for the second Labour of Love Conference in Vancouver  Labour of Love Conference1 held  at the Hotel Vancouver Feb. 18  to 20 came bearing some of the  best evidence in support of  midwifery as a "safe healthcare option."  They brought their children.  The conference, sponsored by  MABC, concentrated on the formidable task of unifying mid-  wives across Canada through  discussion of common concerns  and goals. These are expected  to provide the basis for the  standardization and subsequent  legalization of midwifery.  Speakers representing various  organizations across the country related their progress to  date, as well as the state of  the art in their different  provinces. Representatives of  groups from the United States  also offered support and advice as to what factors to consider in pursuit of legislation.  The conference culminated with  the unanimous approval by the  delegates for an outline of  goals put foward T>y the conference coordinators. These  include: unifying in support  of the legalization of midwifery "to develop a safe and  humane system of maternity  care in Canada"; forming a  'National Association of Mid-  wives '; developing cooperation  and communication between mid-  wives across the country, and  endorsing the 'International  Definition of the Midwife'.  That definition was the result  of a joint study conducted by  the International Federation  of Gynaecology and Obstetrics  and the International Confederation of midwives in 1972.  Included in literature supplied  by the MABC, the duties and  responsibilities of practicing  midwives is summarized as  follows:  "A midwife is a person who,  having beein regularly admitted to a Midwifery educational  program, duly recognized in  the country in which it is located, has successfully completed the prescribed course  of studies and has acquired  the requisite qualifications to  be registered and/or legally  licensed to practice midwifery.  "She must be able to give necessary supervision, care and  advice to women during pregnancy, labour and postpartum  period, to conduct deliveries  on her own responsibility and  to care for the newborn:' infant.  This! care includes preventative measures, the detection  of abnormal conditions in  mother and child, the procurement of medical assistance, and  the execution of emergency  measures in the absence of  medical help.  "She has an important task in  counselling and education, not  only for patients but also  within the family and the community. The work should involve antenatal education and  preparation for parenthood and  extends to certain areas of  gynaecology, family planning  and childcare."  While doctors who oppose the  legalization of midwifery cite  lack of skill and ability in  dealing with emergency situations, the credentials required by the International  Definition of Midwifery indicate a high degree of training  and responsibility.  As Elizabeth Davis, a California lay-midwife, stated before  delegates: "Training and education for midwives start from  the centre, breaking ground  for a whole new profession,  paralleling personal growth  with technological expertise.  "We, as women, traditional  healers of families, are at the  helm of a health care revival  based on receptivity ... and  intuition. Midwifery is not  just another technical, profession."  In the spirit of unity with  other midwives in Canada,  support was given to three  women in Nova Scotia who currently are facing criminal  charges in connection with  home birth after which the  infant was hospitalized in  continued next page March'83  Kinesis    7  Midwifery  Delegates came  bearing some of the  best evidence in  support of  midwifery as a safe  healthcare option.  They brought their  children.  serious condition. Delegates  donated $340 through the  course of the conference to  aid the legal defence of the  Halifax midwives.  "It could happen to any of us,"  said Carol Bullock, vice-  president of the MABC. "We  welcome scrutiny and debate."  Norma iFoster, chairperson of  Vancouver's Midwifery Task  Force, later confirmed the  desirability of increased  publicity. "It's time to go  public," she challenged. "The  fact that we're right alone is  not going to make any progress." H  She added that by "spreading  the word" and clarifying for  the public the issues surrounding midwifery "we hope  we can accomplish what we set  out to do, and that is to  legalize midwifery in B.C."  A few delegates expressed concern about the effects of  legislation on the status of  so-called lay-midwives who  have little or no formal medical training and primarily  attend home births. They fear  • being "squeezed out" of practice should legislation give  initial preference to registered nurse midwives.  While admitting the existence  of traditional rivalries between nurse and non-nurse  midwives, speakers overwhelmingly confirmed that the  object of any new legislation  would be to standardize the  profession, thereby accepting  the diverse backgrounds of  those wishing to enter it.  "We are sensitive (to the concerns of lay-midwives) when  looking at legislation," said  Bullock. "We each have an extremely unique contribution  to make toward legislation.  We really hope that legislation will fill the needs of  everyone involved."  Fear was diminished further  by agreement that current  Improved access of nurse-mid-  wives to the medical establishment could foster positive relations between the  two groups, leading to a more  favourable view of midwifery  on the whole.  WKtS^SU^ttk^y  Filippa Lugtenberg, speaking at the Second  Labour of Love Conference, talked about the  years she spent between 1958 and 1964 as a  medical missionary in Ethiopia. But after  contracting typhoid and suffering heart  muscle and liver damage as a result, she  was considered to be a "poor health risk"  for placement over seas, and that career  ended.  The next step, she says, was an easy decision to make. She packed up her troubles,  and her aspirations and went to England to  study midwifery. In the eight and one half  years since that decision was made,  Filippa has delivered 2,886 babies. Her  home base now is in Zwolle, Holland and as  far as she is concerned, there is no better  occupation for her than midwifery. "I feel  like a round peg in a round hole," she  says.  Midwifery in Holland has been legal since  1885 but Filippa maintains that she and  her colleagues still are fighting for certain concessions. They wish, for example,  that the heads of training programs be  midwives rather than doctors and that  immediate access to a physician is ensured  in the event of an emergency.  They also would appreciate a higher rate  of pay (Filippa currently receives 540  guilders per client which she says amounts  to about half of that in dollars) and more  than a mere 40 days vacation per year  (less than one day per week).  According to Filippa, 33% of all births in  Holland are attended by midwives in and  outside hospitals. Midwives are, whatever  the setting, self-supporting and medically  responsible for all stages of a pregnancy.  If a client wishes to give birth in a  hospital or if conditions dictate a hospital birth, the midwife is allowed to  perform her duties, unassisted, there.  There also are the options of clinics and  maternal health centres which combine the  services of all medical professions. They  all have their place, says Filippa, "as  long as we remember we are midwives."  "We train medical men to show them that  you can't possibly combine medical practice with midwifery."   ''*"■ ' ■A^\  Currently it takes three years to train  as a midwife in Holland and university  entrance qualifications are necessary for  those wishing to apply to any of the  three programs available. Only 20 positions  • are offered by each.  Filippa admits "it's a pretty stiff education" but adds, "we want four years so  people get a chance to get acquainted with  new developments and to"work with their  colleagues in a domiciliary (or home)  setting. After their three years of training, graduates may choose the setting in  which they want to practice.  "You aren't properly prepared for practicing at home (so) you learn the hard  way," says Filippa.  Ninety-six per cent of her clients choose  to give birth at home. For the remaining  four per cent, Filippa cites various  reasons for their not wanting to deliver  at home including the perception of hospitals as being "fashionable", fear among  husbands who would rather not take the  responsibility for a home birth, and a  chronic traffic-congestion-problem suffered in the country which adds the fear of  hindered access to hospitals, should an  emergency arise.  Filippa says there also is a shortage of  domiciliary midwives in Holland as many  either prefer to stay in cities or go to  third-world countries to practice.  Despite the high percentage of clients who  choose it, home births are not always  optional. "If there is anything wrong at  all, we do not deliver at home," says  Filippa. "I think it is a misrepresentation that we always deliver at home."  •The age of the mother-to-be may, depending  - on the individual, determine the birth  setting. If a woman is too.old, she endangers the health of her baby and herself  and if she is too young, she may be emotionally unprepared to deal with a home  delivery.  If the latter is the case, Filippa still  would provide counselling, if requested.  "(A young girl) talks better to us than  some doctor up on his throne in a white  coat ... These girls (usually) are scared  spitless," she says.  Detection of problems arising through  labour or delivery may also mean moving to  a hospital. Filippa stresses the importance of a midwife's timing in such situations. Another factor is whether the  home has an accessible route to a hospital, should complications occur. Finally,  Filippa does not attend home births where  the baby is to be given up for adoption.  While Filippa is quick to point out the  risks possible in home births, she is  just as quick to advocate them, for emotional as well as physical reasons.  "The only thing I can press on your  heart is to keep fighting. Go to the  government with proof that your  work is good."  "At home you are the hostess and we are  the guest ... you can be yourself (and) .  do what you want to do with the people  you like around you. Emotional relationships are so much better at home," she  says. "It is marvellous to see the way  the baby relaxes on the mother's turn ...  sometimes you can see them smile."  Filippa also cites the more active role  taken by the father at home. "I've never  seen a father faint yet. I've seen them  turn pale, (then you) just ask them to  get you a cup of tea because you are  thirsty." Inexperienced fathers often try  to influence their wive's decisions.  According to Filippa, "husbands from pure  love will say 'listen girl, you get the  best - you go to a hospital.' As far as  educating the public is concerned, "I  always said we should go to boys' schools,  not girls' schools," says Filippa.  She also attributes her low rate of epis-  iotomies to a high rate of home births  which lend to a relaxation of otherwise  tense muscles due to the "complete trust  the client places in us."  As she speaks of the issue that is closest  to her heart, Filippa Lugtenberg's eyes  sparkle with intensity - and curiosity.  She says she notices many delegates to  the conference live alternative lifestyles. "How far off has civilization  gone that we have to live alternatively  to get back the things that were meant to  be in the first place?" she asks.  "The only thing I can press on your heart  is keep fighting," she says. "Go to the  government with proof that your work is  good, with (support from) the public.  Get into medical circles ... tell them  • you are midwives and keep rubbing it in."  The delegates literally rose to the  suggestion. Kinesis March TO  ACROSS CANADA  PEI daycare services  in critical shape  A presentation made by a four-woman committee representing interests in Prince  Edward Island's daycare issue presented  the province's Health and Social Services  Minister with a brief calling for action  to improve the economic crisis facing many  Island centres. Ten centres in PEI have  closed, further reducing access to quality  and affordable daycare in the province.  At present PEI has an annual budget of just  $400,000 for daycare services. No grants  are provided to daycare centres. The  women called for a greater committment to  to provide adequate child care services at  costs within the budgets of Island people.  They stressed that the present daycare  budget is totally inadequate and that PEI  is the only province in Canada without  some form of grant to assist daycare cen-r  tres.  The case was made by an advocacy group  that formed after the second National  Daycare Conference held in Winnipeg last  September. In addition to presenting the  brieg the childcare group distributed  fliers to various women's and parents'  groups calling for their support.  Charges laid against  Nova Scotia midwives  A mid-February demonstration in support of  home births in Nova Scotia brought a core  of supporters to the provincial court  where Donna Carpenter of Halifax and  Charlene MacLellan and Linda Wheeldon of  King's County elected trial by judge on  a charge of criminal negligence leading  to bodily harm.  The charges were laid after the women  attended the birth of a baby who is now  on a life-support system after birth  difficulties were encountered.  Since then a support committee has been  formed and funds are being raised for the  'ñ†women's defense. A preliminary hearing  has been set for June 2.  The charge of criminal negligence does not  arise from the homebirth itself, but rather  from the legality of attending a home  birth.  The three women charged represent two  trained midwives and a nurse. Legal authorities day it is the first time in Canada  that criminal charges have been laid against  midwives in connection with a home birth.  Although women are pressing for the licenc- .  ing of midwives, the Canadian Medical Association has been able to successfully block  their efforts to date. The B.C. Midwives  Association sent their message of support  to the demonstration saying in a telegram  that "The outcome of this tragic incident  only brings into very sharp focus the need  for legalization and standardization of  midwifery in this country."  Alberta women spin  a brand new web  The first issue of a brand new women's  paper in Alberta was published out of  a four-day workshop at Every Woman's  Place in Edmonton, February 12-15.  Webspinner was put together by fifteen  women with varying degrees of skill,  two of whom have made a commitment to take  the workshop on the road. They plan to  publish every two months, with a goal of  reaching monthly publication within a year.  The first issue was made possible by a  grant from the Secretary of State Women's  Program to the Calgary Status of Women  Action Committee.  If you are interested in subscribing  send $10 to Webspinner, Box 1573,  Edmonton; the address of the Alberta  Status of Women Action Committee. ASWAC  has lent Webspinner its address until it  settles down in a permanent home..  Family planning  groups lose funds  The federal government is cutting back its  grants to family planning groups beginning April 1. The current $1.1 million  budget will be cut to $712,000.  Health Minister Monique Begin says the  cuts are being made because other programs  in the health department come first. The  grants help defray the operating expenses  of organizations such as the Planned Parenthood Federation of Canada. Ottawa has  been steadily reducing its sustaining  grants to groups like Planned Parenthood  for some time, attempting to pass responsibility on to provincial governments.  Women In Action  founded in N.W.X  Women in Action, an organization resolved  to alleviating poverty and promoting women's  rights in the Northwest Territories held  its founding convention the weekend of  February 12.  The driving force behind the group is to  unite women of all cultures in the N.W.T.  and to serve as a combination resource library and goods service for women and child-  According to Cheif Cece McCauley of Inuvik  the immediate goal is to establish information centres in Inuvik and Yellowknife.  continued from page 31  meaning. To limit the definition of pornography to that which is sexually explicit  is also to miss its real intention. While  sexual degradation is a normal component  of the control of women, that control is  also sometimes exerted without the actual  use of sexual assault.  The threat of sexual violence operates  upon the lives of women in such a way as  to influence our actions even when a  "rapist" is not obviously present. When  we step outside our homes at night, open  the door to a male stranger, find ourselves alone with a male casual acquaintance, or reject the sexual demands of a  lover or husband, we are aware of becoming  vulnerable to sexual violence.  Similarly, the actual presence of a man in  a pornographic picture of a woman is.not  necessary for the implication of violence  or a power imbalance to be present. Even  the "soft" stylized photographs of semi-  dressed women in magazines such as Play  boy create a role for the (male) reader.  The message to him is to intrude and take  possession; to use.  The apologists for pornography argue that  these images serve to release the pent-up  sexual frustrations of the readers or the  viewers, that the images do not encourage  men to act out their fantasies, but to  dispel them. How can that be true?  There is, in this country, a multi-billion  dollar a year system which is built on the  assumption that people learn from and imitate images from books, films and example  and testifies to the importance of images  in the learning process.  This system is the education system, and  is funded by tax dollars. Governments  also fund, although inadequately, rape  prevention education programs, but in  dollar terms these are outnumbered by  pornographic counter-education, more than  five hundred to one.  Given the enormity of the industry which  makes its profits from selling women,  and the wide range of imagery which it  uses, how can we define, in legal terms,  those which contribute directly to violence against women? Would this serve to  grant licence to those who produce images  which lead to the same end in a more indirect way? If the context in which  images of women must be examined is that  of a sexist society, how can we assess  which images are not silencing, but are  expressive of women's selves, views and  desires?  Although the women's movement is under  increasing pressure from many fronts to  define "what we want" in terms of legislative changes to deal with pornography,  it is clear that simple solutions do not  exist. Strategies based on our own continually developing analysis will be a  greater source of strength than small,  short-term victories. March TJ3 Kinesis  Visual Art  B.C.  Native  Women  Artists  Button Blanket by Doreen Jensen  Doreen Jensen demonstrates her skills  From February 8th until llth,  Women in Focus hosted an exhibition "B.C.  Native Women  Artists".  Freda Diesing,  Dorothy Grant and Doreen Jensen presented a unique collection  of wood carvings, spruce root weaving and silk screen prints using N. W.  Coast Indian  Design.  There were two events.  Freda Diesing gave a presentation of her work using slides  and video. All three artists gave a wood-carving and weaving demonstration. 10 Kinesis March '83  B.C. Herstory  You are cordially invited  by Jill Pollack  YOU ARE CORDIALLY INVITED  Date: Tuesday,  March 5,   1957  Time: 8:30 p.m.  Place: The Vancouver Art Gallery  - Refreshments will be served -  Social convener for the evening will be  Wbs. Neville Reid,  assisted by Miss Margaret Williams.  Invited to pour tea are Mrs.  Ruth Patrick McPherson, Mrs.  Charles Stege-  man,  and Mrs.  Bruce Boyd.  At first glance, the above information  seems like the usual innocuous piece of  frivolity one expects to read in the "what  people are doing" section of a newspaper.  Upon closer inspection however, it is clear  that the article is as misleading as it is  ironic. The event it advertises was the  opening of the 47th annual exhibition of  the B.C. Society of Artists. And the women  pouring tea were artists.  The Society was formed in 1909, its purpose  being to provide a focus for both 'serious  artists' and 'hobby painters' in the Lower  Mainland, women as well as men. The Society's first showings were group exhibitions  held in halls and churches. By 1957, their  annual exhibitions had moved to the Vancouver Art Gallery. The 'invitation' appearing in the Vancouver Province on Feb.  27, 1957, indicates the changing role of  women in the B.C. Society of Artists.  In the early 1900's, middle and upper-  class women had leisure time they were  expected to fill in ways befitting their  • social status. Some women did stitchery  and needlepoint; some played a musical  instrument; others painted. Making art  was considered socially acceptable but not  a way of life - it was a hobby. The women  concentrated on portraitures and landscapes, usually in oils. When the B.C.  Society of Artists was formed, women joined j£ just as they did church auxiliaries  or hospital volunteer committees. There  were exceptions, but this was the norm.  According to the 1909 exhibition catalogue,  fifteen women hung their work at a one  week exhibition at the old Dominion Hall.  Each woman displayed between two and ten  pieces. Prices ranged from $7.00 (Portrait  of Boy by Alice M. Hamilton) to $1000.  (Weaving Nets by Mary Mason). It appears  there were no criteria for accepting works  for the exhibition.  As the Society grew, the exibitions  changed. In time, invitations were sent  out, reviews were written and the exhibitions became established events. The  Society had a formal structure, and as  such was one of the only definable arts  organizations in B.C.  Women seemed to fit into three catagories  in the Society: 'hobby' a'rtists (women  who did not place art making foremost in  their lives); 'serious' artists (like  Emily Carr and Beatrice Lennie); and those  who can be referred to as 'interested in  the arts' (primarily art appreciators).  Women were not only participating in the  actual exhibitions, they were also encouraged to organize the accoutrements of  each annual show. Thus we note that in  1957 Mrs. Neville Reid was the social convenor for the opening. In truth, she was  also Irene Hoffar Reid, a painter and one  of the first graduates of the Vancouver  School of Art (July 1929), who was later  to become the Society's president. Yet  she, along with the four other 'tea  pourers', was being publicly identified  by her marital status rather than for her  creative achievements.  Are we suprised?  Why did the author of the article choose  to portray these women as she did? Was  the reference to their marital status a  deliberate choice? Where these women  aware of how they were being negated?  There is a history of women in the arts  having a direct link to recognized male  artists - husbands, brothers, fathers.  The women in the B.C. Society of Arts  were no exception.  Francoise Andre was the artist referred to  above as Mrs. Charles Stegeman. It is significant that even the MacDonald Dictionary of Canadian Artists lists her as  'Francoise Andre (Mrs. Charles Stegeman)',  lest we forget who she was if we didn't  have her husband's name to go by.  her painting.  Mrs. Bruce Boyd faired better. Two years  before that fateful tea social in 1957,  Joan Boyd was described as an artist who  "proved how effective the watercolour  medium can be' by a reviewer named Palette (the name leads me to believe that  Palette, too, was a woman who wanted to  be taken seriously and thought a pseudonym would protect her anonymity and lend  credibility). Joan Boyd's work was given  an accolade in one breath but reduced to  'female' stereotypes in the next: her  work was "sensitive, tender, poetic".  Given the male-defined art jargon prevalent in the 1950's those terms were prob-  'We may  have to dig  to find it, but  the information about  women  artists in B.C.  exists and is  waiting to be  brought to  photo by Hannah Maynard c.  Was it not enough that she had studied at  the Academie Royale Des Beaux Arts in  Brussels, the Academie St. Josse Te Noode  in Brussels, the Institut National Super-  ieur des Beaux Arts in Antwerp, and the. .  Ecole Nationale Superieure Des Arts  Decoratifs in Paris? Was it not significant that she worked in oils, water-  colours, tempera and mixed and graphic  media? And waa it not relevant that she  had done large commission works such as  a mural in an Edmonton chapel (Christos  Pneuma) and had taught art at UBC, Banff  School of Fine Arts and the Vancouver Art  Gallery? It seems that what was of utmost  importance was that she was the wife of  the artist Charles Stegeman.  Some women were aware that their sex influenced how they were treated in the  art world (in all the world), and they  chose to de-sex their art by the manner  in which they signed their creations. It  was a tactic which sometimes worked  against them: good work by some women,  failed to get exhibited. The reputation  of a male spouse or relative might have  helped these women get exposure.  Mrs. Ruth Patrick McPherson used another  approach for identifying her work: she  signed simply as 'Patric'. Reviews and  other publications then referred to her  as Mrs. Ruth 'Patric' McPherson! Try as  she might to disguise her sex, she was  still publicly defined by her marital  status. Disclosing the fact that she was  a woman and wife apparently was more  important than mentioning the quality of  light.'  ably meant to be complimentary, but they  translate essentially as "nice, pretty  and not serious."  The last of the five women mentioned in  the 1957 announcement is introduced as  Miss Margaret Williams, assistant to the  social convenor. In fact, she was one of  the first four graduates from the Vancouver School of Art, and a painter who went  on to become one of the original staff at  the Vancouver School of Art.  Re-reading the initial announcement, it  is obvious that there is more to these  women than we are told. Their 'secret  lives' as artists have been, as in other  sectors of society, hidden behind trivial  aspects of their whole being.  Regardless of the quality of their art  work, regardless of their marital status,  they were actively involved in the arts  in B.C. They were expressing their creativity and helping to build and feed into  the body of information of art-making by  women that we have available to us today.  We may have to dig to find it, but the  information exists and is waiting to be  brought to light.  You are cordially invited to seek it  out. Some good places to start are: the  Vancouver Art Gallery library, .the Emily  Carr College of Art library, the UBC Fine  Arts Library, the Vancouver Archives,  the Vancouver Public Library, the Vancouver Province and Vancouver Sun and the •>"  MacDonald Dictionary of Canadian Artists. Visual Arts  15 Women Artists: East Coast comes West  MIRRORINGS: Women Artists of the Atlantic  Provinces was curated by Vancouver freelance art -critic,  historian,  and curator  Avis Lang Rosenberg at the invitation of  the Art Gallery at Mount Saint Vincent  University in Halifax,  Nova Scotia.   The  exhibition and its cross-Canada tour were'  funded by a National Museums grant.  MIRRORINGS will be shown at Women in Focus  (456 West Broadway,   2nd floor) March 22  through April 9.   Gallery hours are Mon-  Fri,   10 to 5; Sat.   12-5.   Everyone is wel- .  come to attend the opening party on Monday evening, March 21,  8-10 p.m.  The following is an explanation of the  show's theme. It is taken from Rosenberg's  introduction to the catalogue:  "Body Image/Self Image" was the provisional title for this thematic group show  of women artists from the four easternmost provinces of Canada. When I was invited to curate it, I decided to discard  the specific reference to 'body' and to  interpret 'self in the plural as well as  the singular, by so doing I could include  work with a wide range of content and as  strong a sense of 'us' as of 'me'. I came  to think of the exhibition as illuminations of our lives.  The theme seemed to provide a suitable  opportunity to reappropriate the mirror  that has for so long been thrust into our  hands and before our eyes as an emblem of  our vanity, triviality, self-absorption,  and carnal doom, and to reinvest it with  one of its primary emblematic meanings:  truth. There is inherent and special value  in illuminations of the lives of girls and  women issuing from those who live them;  truth is likelier to emerge from proximity  than distance.  Some artists find that thematic shows tend  to violate or ignore the real content of  their work; some artists believe that  everyone's work suffers both visually and  conceptually in large group shows; some  artists feel it's very risky to send slides  of their work to unabashedly democratic  open-submission situations that result in  group shows with unpredictable aggregations  of artists; and some women artists feel  that all-women shows are so problematic,  insular, or bankrupt of rationale that participation in them is a form of professional self-destructiveness.  Obviously, none of the above would have  been likely to respond to the call for submissions circulated by the Mount's gallery,  which included the following description of  my curatorial intentions:  MIRRORINGS will be an exhibition of  women seeing, knowing, narrating, and  describing ourselves. It will be concerned with the multiple personal,  physical, and social selves that women  project, inhabit, and experience. It is  hoped that this  exhibition will gather  together many modes and many media,  including video and fabric, and that it  will cover the spectrum of content from  the individual, intimate, and personalised to the collective and public ...  One hundred and two artists responded to  this invitation; the final selection could  number no more than fifteen. The end result : nine artists from Nova Scotia (60%),  four from New Brunswick, and one each from  Newfoundland and Prince Edward Island.  There are drawings by five artists, the  fibre/fabric/textile area is represented  by the same number, there are four contributions in painting and three extended  photographic series. In a number of cases,  artists are represented by a single major  work.  One filmmaker is showing two films; almost  everything else hangs on walls. Sizes range  from tiny to grand, and although the figurative mode is of course preponderant, the  styles are as various as the media.  Charlotte Wilson Hammond Self-Portraits  with Fuschia & Mirror (Tiresias)  Charlotte Wilson Hammond lives and works  in Clam. Harbour,  Nova Scotia.  Pictured  above is the first of four panels in her  exhibit.   Talking about her work,  she  writes:  In the self-portrait with the fuschia and  mirror, the flower and the bud and youth,  age, and hope are all muddled together.  The fuschia is sexual - the opening of  the tiny contained bud revealing all the  things that are inside, which are really  quite spectacular.  Age is a major component in this piece.  My kids freaked out at that part of it,  saying I was a witch. I've always felt I  was a witch. The eyes are left out, which  has to do with far-seeing, all-seeing.  Anne C. Morrell Seasons of My Life  Anne Morrell's quilt for this exhibition  exemplifies the time-honoured art of quilting vihich has long been a form of creative  expression in rural Atlantic Canada.  She  writes:  I am a self-taught quiltmaker/fibre artist,  drawing my inspiration from life and nature  as experienced on a Cape Breton farm. I  have learned my sewing skills from my  mother and the local women; I hold no degree in the fine arts although I put much  emphasis on the arts in high school (private) . I started making quilts in 1970 and  have gradually turned it into a small cottage industry, the idea being to have a  cash source along with a small-scale  farming operation.  The quilt I've done for this exhibition  shows my life as I see it in relation to  my role as farm wife and the similarities  it shows to women's work in the early days  of Atlantic Canada where quilting was one  of the few. forms of creative artistic  expression easily available and affordable.  Hilda Woolnough Another Spring (after  Botticelli's Primavera)  Hilda Woolnough's work on exhibit is a 3-  part piece in acrylic on masonite.  Explaining her motive for this work that  "women in traditional paintings are sort  of vapid",  she goes on to say:  I've been drawing ever since I can remember. Drawing is still considered a minor  art as opposed to the 'major' arts of  painting and sculpture.  I like the precision, the purity of line, and I enjoy  making those sorts of marks.  ...My themes have always been concerned  with images drawn from a feminine' point  of view. How could they be otherwise,  since I am a woman? They are about the  cyclical universe. Sometimes they are  symbolic; sometimes ironic; often erotic;  occasionally frightening - usually powerful. 12   Kinesis March '83  An art as old  as nature spirits  by Karen Henry  This article is based on an interview with  three women in the Katari Taiko drummers:  Lucy Komori,  Connie Kadota and Linda Hilts,  to whom I am grateful for their interest  and co-operation.  The Legend of Amaterasu  Amaterasu, the legendary goddess of the  sun, was knitting outdoors one tranquil  day by a stream. A short distance away,  her brother, a violent and cruel scoundrel, was skinning a horse. To vex his  sister, he deliberately threw the bloody  hide into her knitting basket. The outraged goddess stormed away and withdrew  to the heavens, closing a solid stone  door which divided heaven from earth.  Suddenly the skies darkened, and several  days passed without sunlight.  The distraught mortals below decided on  a plan to trick the goddess back to  earth. They sent a hyottoko (village  clown) and a giant to the stone door.  The hyottoko brought along a wooden tub  which he turned upside down and merrily  danced upon. His commotion attracted the  attention of the goddess. She slid the  door ajar to take a peek outside. No  sooner has she moved the stone than the  giant grabbed the heavy door and flung  it aside. In that instant a flood of  light came pouring down to shine again  upon the earth.  The dancing on the tub became the beating of the taiko, and taiko has been  used for centuries as an appeasement to  the gods.  Reprinted by permission from the  Katari Taiko brochure  don doro tsuku tsuku   don kara don kara  don doro tsuku tsuku    su don    su don  Don resounds with a deliberate thump and  doro follows short and hard, tsuku speaks  softly and kara clacks upon the wooden  edge; intricate rhythms resounding over  and through each other while a persistent  tap on hard metal plays around the edges  of voluminous sound ...  The atmosphere vibrates with the rhythm  of the drums and the energy of the performers. It is an art as old as nature  spirits.  The Katari Taiko are a Vancouver-based  troup of twelve primarily third generation Asian Canadian women and men who use  this ancient drumming tradition to appease  and revitalize their own sense of their  Asian heritage. Their performance combines  graceful and dynamic poses with intricate  rhythm and diverse tones ranging from the  booming Taiko (big drum) to the spontaneous, stylized vocal expressions which  enhance the resonant beats.  As a performing art it has developed a  long way from its mythological roots in  Asian culture at a time when people and  nature and spirits interacted as a cohesive whole.  The drums originally expressed the joy of  the people as well as their dilemmas and  were a way of communicating with the gods.  As the culture became more sophisticated  and complex the drums were adapted to fit  various rituals and celebrations. More  recently in the long history of drumming  it has become an established performing  art. In Japan, one Daihachi Oguchi, a  revered drummer, has been designated as a  natural treasure (the mode of national  recognition of artists in Japan).  Taiko means the same in both Japanese and  Chinese and is a part of the shared heritage of both of these Asian cultures. As  such it is an apt focus for the Asian  identity in North America and one of the  happy coincidences in the inspiration of  the local group.  Katari Taiko began tenatively in 1979 a-  round a small group of friends who knew  each other from past associations in Asian  Canadian organizations. They have always  been predominently women, and they were  originally inspired by a group from San  Jose which included women. -*:•££/>') March "S3 Kinesis   13  Because their original image comes from  an Asian American context they were not  inhibited by the traditional notion of all  male drummers. It was not until recent  excursions to Japan that they realized  women who practice drumming in Japan rarely take on the rigorous discipline to  become performers in the troup, except as  dancers.  Women are relatively new to the tradition  and have not established a form of their  own although there is an all women's  group in Okinawa.  The routines used by Katari Taiko are influenced by the Sukeroku Taiko group in  Tokyo and by a San Francisco based teacher,  Seiici Tanaka, who worked with them in the  early stages of the group. Two of the men  with musical backgrounds arrange most of  the music, but the group works without a  leader or teacher. Their process involves  constant interaction, all members contributing their expertise and insight to the  discussion.  The group has chosen the Shinto myth above  to characterize their relationship with  the Asian folk community and the place  that drumming has held in expressing the  spirit of the people.  Performing Arts  But, as member Lucy Komori pointed out,  they are only minimally influenced by  pure Asian culture, "maybe 10%". Their  primary allegiance is to the particular  blend of Asian and Canadian experience  which is their own community. One of the  major influences on an Asian child growing  up alongside anglo neighbours is the  overriding sense of being looked upon as  the "other".  For Connie Kadota, another member of the  group, memories of this were a main motive  for seeking a satisfying way to express  her cultural identity. The Taiko drummers  have found a way to distinguish their  reality by contributing both to the pride  of their people and to the cultural exchange, emphasizing the process of giving  as well as receiving. In this regard they  will accept non-Asians into their training group but they require a commitment to  and interest in the Asian Canadian  community.  Having begun as an unstructured association of friends with similar experiences  and political beliefs, they are by nature  a collective of equals. They operate by  discussion and consensus, rotating the  responsibility for coordinating activities  on a monthly basis.  In this way they accent their egalitarian  values and encourage the critical and  organizational skills of every member.  Having watched their process evolve and  change, they expect that it will continue  to do so as the influx of new members  makes new organizational demands.  As with any group, there are internal  dilemmas, differences in skill levels and  in commitment to professional performing  or to nurturing the group consciousness.  Despite this, the group has maintained a  good rapport and a strong set of principles. They are dedicated to their own  Asian Canadian community, to a non-sexist  egalitarian organization, conscious political choice and the development of personal strength and musical creativity.  When watching Katari Taiko  perform, one is struck by the  strength and grace inherent in  the movements.   From a fairly innocent initial captivation  with the art, they have come to realize  its potential expressive value in their  lives and have refined and honed their  ideals around it. Their experience as  Asians in a North American context and the  predominance of women in the group has  strongly influenced the articulation of  these values.  When watching the Katari Taiko perform  one is struck by the strength and grace  inherent in the movements and the stamina  needed to pound the big drums through an  entire performance. The peformers move  equally around the floor and address the  various instruments. The women in the  group have become increasingly aware of  their unique powerful image as performing  drummers.  Connie says this image of strength serves  to undermine the stereotype of Japanese  women as being quiet and passive. The  Taiko women have come to appreciate their  importance as role models for other women  who can relate to their strength.  Though each member of the group has outside demands of work and family, Taiko is  a social and expressive base to which they  are wholistically committed and which demands a great deal of energy.  They practice three times a week, incorporating teaching and a rigorous routine of  strengthening and rhythm exercises. Their  physical discipline emphasizes strong hand  and arm muscles, but they also encourage  their members to run and to develop the  overall fitness and stamina required for  performing.  They make all their own costumes and organize work parties to build the Taiko drums  from large oak casts and rawhide. Only the  shime, a strung, high-pitched drum, comes  from Japan.  Aside from practices, work parties, regular monthly meetings, ongoing discussions  and occasional social events, there are the  performances. Since they began performing  in 1981 they have performed in many places  throughout the lower mainland and as far  away as Winnipeg (where they are helping  to start another Taiko group) and the  Yukon. During the summer they may perform  as many as five times in one month.  In line with their political goals, they  are conscientious about giving priority to  performing for the Asian Canadian community  (the Powell Street Festival being a favourite regular event), and they often do  benefit performances for causes with which  they sympathize, i.e. the Peace Arch Rally  1 and Hiroshima Day. Their endeavours are  ■^ supported by private funding and through  £ proceeds from the performances. They will  | be performing at the UBC Anthropology  a Museum on Sunday, March 13, at 1 p.m. 14    Kinesis   March TO  Popular Culture  Harlequin. The name conjures up images of  virginal heroines and macho heroes, consummating undying passion in a single kiss.  That brand name alone (and there are nine  other lines of romance novels in Canada)  represents 26 of every 100 books sold in  this country. The average romance reader  spends $25 a month on her addiction, and  $75 a month is not  Harlequins and their imitators are big    i  business, representing nearly $250 million  annually in North America. But their importance is not purely financial. Those  figures reflect readers, usually women,  who are obviously interested in perpetuating the publishers' success. Certainly,  it is ridiculous, or at least simplistic,  to dismiss these women as brainwashed or  lack of literary acumen.  Who are these women? And why do they read  formula fiction?  The soaring popularity of the Harlequin  genre has recently given rise to all manner of research and speculation. We do  know that virtually 100% of readers are  women, 91.5% are white, and 30% are college graduates. They are usually married,  with at least 2 children, living primarily  in the suburbs or small towns on incomes  ranging from $22,000 to $24,000 per annum.  These romances, it seems, are not universally appealing, they are class and race  specific.  Interpretations of the stories themselves  and why they are read are as numerous as  they are varied. In her article in Fire-  weed's  issue on popular culture, Janet  Patterson outlines the basic three-part  storyline as follows:  "The Pre-Conscious Romance, the Realization of Love, and the Conscious  Romance. The plot always has a Complication which prevents the hero and the  heroine from getting together. It can  arise either before or after the Realization of Love."  The key to the story is the Complication,  a plot twist involving rivalry, jealousy,  or a hopeless series of misunderstandings.  The complication is resolved by woman  loves man loves woman and the happy ending. The woman is always submissive in  the end, %ven if these liberated times :  have enabled her to be a non-virgin or a  career woman entertaining foolhardy  notions of independence and self-  sufficiency at the beginning of the book.  Publishers tout the long-awaited return  of 'true love1 and romance as the major  reason for their success. Psychologists  and therapists posit escapism and Oedipal  complexes. Ms. Patterson's conclusions  are perhaps the most plausible. She says  that the heroine/narrator/ reader all-  woman bond in Harlequins allow their  readers to use fantasized versions of  paternalistic romance to repeatedly resolve real-life emotional conflicts  encountered in the patriarchy.  Through the hero's emotions, the Harlequin  world can change from one of misogyny and  denigration of women to one of richness,  human warmth and sexual fulfillment, says  Patterson.  "Thus the stylized form of the Harlequin  reflects the constant emotional structure  of women's experience; the variations  reflect the basic instability of the  paternalistic bond and the need for constant ideological reinforcement for women  through the ritualistic reliving of the  bond as 'solution' to the conflict."  When we' consfder that the vast majority of  the readership is white, another aspect  of the traditional formula becomes clear.  Invariably, the heroine is white. She  finds herself away from home, in a disadvantaged position, in a foreign land  full of strange exotic customs which the  This business of love  by Emma Kivisild  hero fully understands.  What is important is that she is a woman  in a man's world, quintessentially vulnerable in the face of all the foreign so  very non-white goings on. This otherness  is necessary to the plot, to her sense of  alienation and final acceptance.  Romance novels are also a rare acceptable  form of written titillation for women.  They are also an effective model of social  control because they do not ignore women's  internal conflicts, but rather present  them and then resolve them. Over and over  again. With the patriarchy as solution.  The formula fiction publishing companies  are no less intriguing than the books  themselves. The writers and publishers of  romance novels play a role in the lives  of their readership that is unparalleled  elsewhere in the book industry.  Individual writers have become veritable  celebrities. It appears that the closeness of the narrator/reader bond is such  that these authors are sometimes seen as  romance heroines themselves. The companies  certainly advertise them as such.  "I have been reading their promotional  material. All have elements of the typical  biography of a heroine. I found my man and  moved with him to Montana, that sort of  thing," says Margo Dunn, who is currently  co-teaching a women's studies course on  popular culture.  There are readers' clubs and innumerable  luncheons, dinners and conferences where  formula fiction afficionados can meet  their favourite writers or editors. It  is worth noting that these gatherings  must manage to break down some of the  isolation experienced by most women in  North America. Another problem, this time  loneliness, is conquered by the magic of  Harlequin.  This is not to say that Harlequin and its  sister companies are all staffed by ogres  determined to co-opt women's disatisfaction with the choices offered them. Or  that the only women who read the books  are those who have not yet seen the light .  of feminism.  What is going on is a high demand for  formula fiction because it satisfies,  however temporarily, certain needs. The  companies are using the best in market  research to capitalize on that.  The industry is adapting to that research.  Every house is putting out new lines.  Soon a conservatively estimated 125 books  will be out each month.  The new books are aimed more specifically  at the actual readership. "Reality is the  new thing," says Dunn. "Harlequin is  coming out with a line that is a real  change - it will be set in North America."  Moreover, heroines can now be over 26,  looking for their 'second chance at love.'  They can also be teens (the 'Sweet Dreams'  line). Dunn believes this particular line,  aimed at young women, i.s dangerous.  "Their life is settled at sixteen, when  they have found their true love. Now  that's frightening."  The promotion is also quite something.  Loveswept is giving out a paperback that  contains the six first chapters of the  first six books in their new line. It is  magenta and pink, and marked "WARNING -  this is bait..."  Avon has T-shirts. "I'm looking for Mr.  Right", for women. And for men? "Mr.  Right". Succinct, isn't it.  Of Harlequin's advertising budget for  their new books, 75% is going to television commercials, and of the remaining  25%, only 12.5% is slated for print  media beyond the in-trade journals. They  are not-looking for readership among  people who read. They are looking for a  specific sort of woman.  "The formula fiction industry is at a  critical time right now," points out Dunn.  "Not all of these new lines can possibly  last."  It is the readers - women - who will  decide what survives and what doesn't.  Women write most formula fiction, and know  all too well the isolation and unfulfilled  expectations that women experience. As a  result they are able to use popular cultural expression to convincingly present  solutions (however inadequate) to those  problems. Their readers' choices over the  next few months will reveal which of these  . solutions meet their present needs. The  books they buy will tell us about themselves . Popular Culture  March's^   Kinesis    15  Soaps: birth, death and love in the afternoon  on the soaps frequently provides the  character with the opportunity to do just  that - if only for a limited period of  time. In the long run, of course, a few  weeks (or months or years) of amnesia  simply provides the writers with a forum  for a whole new set of complications.  by Debra Lewis  About once a month, I have a long distance  chat with Martha in Ottawa. After running  through the latest news of the movement  there and here, and generally gossiping  about what's been happening, the conversation inevitably moves to who has the  latest update of Another World.  Now for many of those reading this account, it may mean very little that Steven  Frame is dead, or that Rachel is now blind  as a result of the same accident, or that  Cecile continues to make life unbearable  for all concerned by announcing that Jamie  and not Sandy is the real father of her  child.  Admittedly, none of this is of great political importance. But the fact remains  that even some feminists have come out of  the cultural closet and admitted a minor  addiction to soap opera. And, probably  more importantly, that addiction is  shared by over 55 million viewers (most  of us women) in North. America.  In our very real need to create a viable-  alternative culture that actually reflects  our view of the world, there is too often  a tendency to simply write off a good  deal of what might be termed 'popular  - culture' as mere garbage. To do so, however, is a mistake.  In the first place, to simply ignore a  cultural phenomenon such as the soap  opera that' is currently consumed by far  more women than our alternative feminist  culture, is to effectively cut ourselves  off from other women. Furthermore, if we  assume women, consume these cultural forms  simply because we are too stupid to know  any better, we are taking a stance that  is elitist and that blinds us to the  positive reasons for which soap opera is  appealing.  There is nothing inherently reactionary  in the soap opera form per se. Rather,  the conventional media uses a cultural  form that is attractive to many women to  transmit messages that in many cases  are definitely not in our interests.  So exactly what is the hook that attracts  women to soaps? Let's look at the issues  that are central to the plot lines. Soaps  deal at great length with births, deaths,  marriages, affairs - all of the areas of  "life for which women have traditionally  been given primary responsibility. The  issues involved are portrayed as being  important - more important than what  It is a mistake to write off  popular culture as mere  garbage."   goes on in the 'outside' public world.  And men, interestingly enough, are portrayed as seeing those issues as important as well.  Take the character of Mac Cory in Another  World.  Mac is the very wealthy head of  Cory Publishing. However Mac spends very  little time concerning himself with the  works of what is obviously a fairly major  corporate concern. Instead, most of his  time is spent openly worrying about precisely the kinds of issues women often  wonder if men care about at all: will  Rachel ever accept him back, would his  daughter Amanda be better off if he gave  over custody to her mother, will his son  Sandy get custody of little Maggie from  the evil Cecile. And not only does he  worry about these issues, he talks about  them!  Moreover, men express real pain over  these kinds of emotional concerns. Just  last week, Mac left Rachel's hospital  room in tears after she angrily told him  she would never forgive him for coming to  see her when she was blind and helpless.  Pretty heady stuff in a world where men  are generally portrayed as 'rational',  while women are left to do emotional  garbage collecting.  The fact that men give such a clear priority to emotional issues means, of  course, that when the female characters  talk about what they think and feel, men  listen.  In a world where our concerns  are often seen by men to be trivial, demanding or just plain neurotic, this is  certainly a breath of fresh air.  In this and other ways, women in the soaps  experience life in a very different way  than those of us watching. We are certainly taken much more seriously by men. In  addition, women are seldom portrayed as  being isolated or powerless in dealing with  problems. There is always somewhere to go,  someone to turn to, except occasionally  for those characters portrayed in blatantly  negative terms who get what they apparently  deserve.  Furthermore, we are having  the ability to act and effect change in  our lives.  The major themes of soaps generally revolve  around these emotional issues - even if  they are handled in a way we as feminists  do not find ideal. The question of biological paternity is almost always present.  From the negative point of view, of course,  the primary importance put on this factor  is hardly encouraging. We know that, in  the real world, men are generally more  likely to renege on their commitments to  their children than to fight for them.  But of cousre, this is precisely what  makes the fantasy world of soaps so  appealing.  Soaps incorporate other fantasy themes  that are equally seductive. The whole  world of sex, for example, is portrayed in  many ways that seem outdated and anachronistic to more "modern" viewpoints.  There is little or no casual sex on the  soaps. Sexual encounters are inevitably  accompanied by emotional commitments that  may not be permanent, but are nevertheless  an integral part of the liaison. At a time  when many women are recognizing the negative impact of the "sexual revolution" on  our lives, such assurances can be a comforting, if somewhat quaint, counterbalance  to the sexploitation contained in other  media forms, and in much of the real world.  Another common occurrence on soap operas  is amnesia, which provides a fantasy outlet of its own. There are few of us, I  suspect, who at one time or another would  not simply like to escape from our problems and "start a whole new life". Amnesia  Unfortunately, of course, the hooks used  to lure our attention to soap operas are  often used to transmit negative messages.  The characters are often portrayed in  traditional stereotypes: the woman as rival for another woman's man, the meddlesome older woman, the good-old-fashioned  'bitch'. Yet some characters do develop  a more realistic complexity that manages  to transcend the stereotypes.  To again use an example from Another World  (you may have guessed by now it is my personal favourite), the character of Rachel  Davis over the years has grown from a  scheming, manipulative rival type to a  more realistic, and likeable, woman with  both faults and positive attributes. Not  that Rachel's transformation has left  Another World  lacking more unsavory female  images.  At one point her place was taken by Blaine  Ewing (who has now undergone a similar  change to Rachel) and more recently by  Cecile Cory. Both, coincidentally. were  once married to Rachel's son Jamie.  All of this, of course, sounds very confusing, and it is true that the plot lines  of soaps contain many twists and turns.  However, the format of the soap opera as  a continuing story is appealing.  In situation comedies and most evening  drama (with the exception of the evening  'soaps' such as Dallas or Dynasty) each  episode contains a problem or dilemma  which is neatly solved in the course of  thirty or sixty minutes. As such, these  shows can be seen as modern morality  "In soaps, as in life, solutions are  seldom neat, tidy, or permanent."  plays, teaching that virtually any problem  can be neatly and tidily solved. Soaps,  on the other hand, at least more accurately reflect real life in that problems  are seldom neat or tidy, and solutions  are often impermanent.  Television has offered at least one attempt to both satirize the soap opera  while using the form to offer social criticism, Norman Lear's Mary Hartman Mary  Hartman.  The show uses the soap format to  criticize the idealized image of the typical American housewife and mother and to  suggest that there is really something  quite wrong with our society and the structure of the family within it.  Unfortunately, the series was unable to  sustain the quality of the first year,  primarily because it was unable to offer  long term solutions to the dilemmas it  presented. When the series went off the  air after the second year, Mary was portrayed as recreating the same way of life  with her new lover.  Clearly there are limitations on how far  the soap opera (or any other format) can  be pushed within the constraints of television networks. This does not mean,  however, that we should ignore the positive aspects that do exist (while criticizing the negative) and look for ways to  adapt the successes of conventional media  forms to our own purposes. As a cultural  form that is probably viewed by the  greatest number of women, soap opera seems  ripe for a feminist redefinition.  ^* 16  Kinesis March TO  Photography  Lorraine Gilbert:  White night and bizarre realism  by Michele Wollstonecrof t  Through the work of women artists we see  the emergence of a female symbolism and  an account of feminine development, as well  as seeing what the artist has found in her  particular search for personal meaning.  Lorraine Gilbert's photographs tell us of  her own quest, through landscapes both  untamed and urban. Her series, Nuits  Blanches: Night for Day  is on exhibit at  the Coburg Gallery in Vancouver for the  entire month of March.  Taken in Vancouver's East End, Nuits  Blanches  reflects Lorraine's sense of the  beautiful and the unusual within the mundane. These photographs (11x14 and 16x20  colour prints) are uninhibited by conceptual concerns. This is the work of an  artist who is interested in making good  pictures.  Nuits Blanches  translates as white night  and means sleepless night. This series  pictures neighbourhoods at night, photographed alternately by time exposures and  by electronic flash. The time exposures  cause interesting colour shifts in the  negative, which print as dream-like surreal environments. The flash photographs  give bright flat exposure to nearby objects, while unlit things disappear into  dark pools of shadow.  These prints have lush colours that flatten out the scene, giving distortion to  the picture. Depth is no longer apparent,  ilia  Nuits Blanche; colour print  but is created by the light/dark relationships. The light areas and bright colours  jump forward, giving the picture an almost  abstract image. Yet, we do not lose sight  of the bizarre realism.  "These are pictures of familiar places  in my life, but not about familiar places. I want to see behind the regular  functioning of normal perception - to  know more about the interaction of past,  present and future in every photographic  moment and I use the camera in a way  which symbolizes this concern.  The photographic record of a place, by  means of flash or time exposures, shows  colours unseen by the eye and traces of ,  movement un-remembered by the mind.  The results appear as artificial stage  sets, a condition of tension which gives  either the expected feeling that something is about to happen (as in the  earlier gardens and houses) or the evidence that something has happened (the  more recent cars and commercial street  corners).  My subject matter is as much this sense  of drama (the presentation of real time)  as it is the particular attributes of a  locale." (artist's statement, March /83)  Upon first glance, these photographs portray warm houses lit like beacons, but  upon further study we see portraits of  urban forests, growing one tree at a time.  Many pieces show one huge bush or tree,  centred in the frame, almost hiding or  benevolently protecting the house or  street behind. Some prints show groups of  trees dressed in gala blossoms, radiant  with colour (perhaps having a garden  party?).  One outstanding piece shows trees, flowers  and shrubs surrounding a chair and a roomlike porch. The scene is ambiguous: is  this indoors or outdoors? Is it a garden  for the chair or a living room for the  plants?  The peculiar colours and flash.  that lights up some areas and not others  lead to strange relationships between the  1/   Mt  . *^&y.^^ !&  Nuits Blanche; colour print  plants. One print highlights three bushes  growing beside one another. A tree behind  the tallest bush appears to be antlers or  a huge head piece. These three bushes  look like three sisters, with the one in  the head-dress being the proverbial family eccentric.  Lorraine found that shooting the same  scene in daylight did not portray her  feelings for the subject. All of the  scenes in this series are places that  Lorraine passes regularly. Nuits  tells of  her fondness for these places and of the  beauty she sees in them.  Some of the later works in Nuits  are from  more recent shooting, done at dusk  (Lorraine is trying to work back to shooting in daylight). These twilight shots  show the magic of the hour when sunlight  leaves and darkness arrives.  These photographs are more preoccupied  with buildings, roads, and concrete than  the night shots, and retain the lush colours with more subtle hues. One print  showing a truck parked by Joe's on Commercial and William will arouse fond memories  in many East End Residents.  These pictures imply that this is indeed  what things do and how they see each other  while people sleep. Nuits Blanches  shows  a faith in the world, faith that the  houses, streets, plants, alleys are not  swallowed up in the night, faith that all  will exist tomorrow.  Lorraine has also produced a beautiful  series of SX70 polaroid nature prints.  These photographs (3x3) are 'little gems'  showing a love of nature's patterns,  texture, volume and linear form. Shadows,  reflections and rich colours dominate this  series. They show undisturbed landscapes:  rock forms lounging on a hill; leafy  foregrounds veiling distant places, hills,  woodlands and rustic toadways.  To work with the SX70 polaroid, Lorraine  slightly modified the front of her camera  so that it would take gelatin filters.  She was then able to control the colour  balance at the time of shooting.  Later, Lorraine copied these prints onto  colour negative film and printed 11 X 14  enlargements of the landscapes. This  A familiar corner:    From Nuits Blanche;  translated the highly saturated unreal  colour relationships of polaroid film onto print.  These pictures have a slightly  diffused, dreamy quality. Like Nuits  Blanches,  the scene is transformed from  a documentary shot into a personal expression of the beauty seen.  Lorraine has also done Polaroid manipulation, a technique that is popular with  artists who use the SX70 camera. The  SX70 instant print lends itself to many  effects that no other medium can duplicate.  After seeing the British film The War  Game,  a fictional drama about nuclear  bomb destruction of a town in England,  Lorraine photographed Vancouver with the  SX70 and then tampered with the shots.  The results are blurred, bent buildings,  plants and horizons. It is a powerful  series, telling us of the fragility of  human civilization when turned on itself.  Lorraine is compiling a series of colour  prints of women ice hockey players. A  member of the East End Women's Ice Hockey  Team herself, Lorraine has photographed  the players on the ice, as well as in the  locker room. This series tells us that it  is within the capacity of the feminine to  be rough and fast and competitive.  Lorraine Gilbert did not set out to 'be a  photographer', although she received her  first camera at age 12, and was encouraged  by her father to take photographs and use  his darkroom. More than ten years later,  and part way through a Masters in Forestry program at UBC, she attended a summer  course in photography at the Banff Centre.  Lorraine excelled in the medium and continued at the Banff Centre until the art  school was struck by fire in December '79.  She went on to study at the Apeiron  Workshop in Millerton, New York and at the  Visual Studies Workshop in Rochester, New  York.  Since she began at the Banff School five  years ago, Lorraine has. been extremely  successful within the established art  milieu. The National Film Board has  toured her work and the Art Bank has purchased it. Lorraine has had a number of  group and solo shows including: The Alberta Selection  (group) Edmonton, Alberta;  Flora  (group) Optica Gallery, Montreal;  Galerie Photo Vu  (solo) Quebec City; and  New Canadian Photography  (group) at the  Centre of Photography, Toronto.  Nuits Blanches: Night for Day will be on  exhibit at the Coburg Gallery from March  2 until April 2. The Coburg Gallery is a  new exhibition space, at present the only  commercial photography gallery in Vancouver. It is also one of the few galleries  dedicated to showing local artists who  are contemporary.  The Coburg Gallery is open Tuesday -  Saturday from 12-5 pm. It is located at  314 West Cordova. ^FEMINIST!  CU LTU RFJ  In these times of economic recession, under the ever-present and ominous threat of nuclear destruction  and the looming possibility of having no bus service at all by summer except to the Terry Fox Plaza, we  feminists are in need of an ever greater sense of community, of connectedness.  What is, where is the Women's Community you may ask? Aha! Further proof of the alienation and social  fragmentation that is so destructive to our Feminist Identity. Oh! You don't belong to the Women's Community?  We're not so sure.  Our lay-volunteer research collective has compiled an indepth survey of the lifestyle most typical of the  Women's Community, reflecting the many common threads and range of diversity in the life of a truly  Stereotypical feminist.  Is there really such a person? Yes! And she is more obvious and visible than her infamous counterpart the  Politically Correct Feminist, whom we suspect is actually a modern-day women's movement mythical beast,  existing most vividly (perhaps solely) in the minds and paranoias of us all.  We understand that this survey is most relevant to Vancouver feminists, a fact for which we have indulged in  relentless self-criticism and expect to be flooded with critical letters. Or, worse still, have our volunteer labour  rejected by feminist organizing committees.  Note: We would like to stress that despite ardent protest no man fits the category of stereotypical feminist.  You wouldn't be caught dead:  □ buying Nestle's Quick  □ watching the Blue Lagoon  □ in the Birthright office (SC party)  □ in rollers  You know your standing in the  Women's community is in  | jeopardy if you were to:  □ check out the Love Shop  □ have your old boyfriend come  over to fix your car  □ not know what IWD, CCCA,  or CPCML mean  □ hate cats  □ wear a dog collar IP  Instead  of a plaid  shirt why  not try  a "mac"  jacket?  Perfect  over  T-shirts &  jeans!  FASHIOJ^^M'faisMoii, style, mode, vogue, iferniet drt(F'),'tbrf'(F:%'^on tbn{F)j tile.  ^^^^|iEfig, the rage, craze, fadvprevaiiiiig taster ciiit,'-cul!isiri, faddism. .  !]«..society/ bon ton (ft?)', monde (F.)t beau monde ^rv^.jfashidnable society; haufmoft^  ^^^fashionable world; elite, sri^^%"^Sst^^p> four hundred (eolloq.); Vanity Falf^  Mayfair.  Adj. fashioipble, ehie^'-^p^^^T^arrent modish* Newfangled (derogatory), popitlai||  fffipjl, stylish|i||ashion, a la mode (F.), all the rage (colloq.); faddish, faxJdjst.  dapper, dashiong, ]Bimif^]^^^^ty-fvolloqJ, rakish, saubyrlmug, sjpojrty,' spruce^  ^^0^^^coUoq.),tnm'r\x\g.   •  FEMINIST FASHIONS  Eccentrics will love this  unique outfit. Remember,  with feminist fashions  anything goes if worn with  runners.  Revealing!  ■jfeCut the sleeves off your  T-shirts for a  powerful look!  The  classic  overalls—  dress them  up with  a soft shirt  and  mocassins  and you're  all set  for the  benefit!  Trendsetting hairdo for the  '80s feminist. Requires  patience but it's well worth  the wait!  Down to  basics! A  knapsack is  the perfect  accessory for  the feminist  on the go!  Further comment  on this dynamic  ensemble could be  incriminating!  i laid shirts go  well with more  than jeans.  Try  wearing one  untucked overj  loose-fitting  pants.  Dress up for parties  and still be  politically correct!  Feminists! Don't throw  away your jewellery! Share  your earrings with a friend.  Wool tarns add a  stylish touch to  these rain-  worthy  outfits.  There's i  messing around  in these army  fatigues! Soften the  impact with light weight ankle boots.  Try  matching  your jacket  and pants for a  new twist to the  tailored look.  Photos by Claudia MacDonald with assistance, from Mary Howard, Anita Roberts and all the fun lovers in tl 3  ■  vM  S^L s 'Wff'  TS^Snr»i;  JI&L  *rrtlR'«l  ||  ~i\\  ;u*  "#  I Your distinctive wardrobe  | comes from:  i □ second hand stores  I D birthday presents from  your parents  D from your roommate's closet  I □ mountain equipment co-op  ! □ your high school wardrobe  Your conception of jewellery is:  □ a button and a woman's symbol  J □ a button and a labrys  I □ a button, a labrys and a woman's  symbol  □ a man's watch  | D 3 earrings in one ear  { A wonderful holiday would be:  I □ a weekend conference out of town  I  □ a one-month work/study tour of  Nicaragua, China, Grenada  or Cuba  | □ a week in San Francisco checking  out the women's bookstores  j  □ helping friends build their cabin  on Galiano.  Your idea of a "mental health"  break is:  □ spending "alone" time  □ having a peer counselling session  □ going to Mayne Island  □ a Wen-do class  D a week without meetings  □ settling into a good murder  mystery  Most typical social rituals are:  □ talking in kitchens  □ frequenting the Britannia Centre  sauna  □ belonging to a study or support  group  □ attending benefits  □ going to potlucks  □ joining organizing committees  J  □ trying to find a good place to dance  j Your favourite location for  j a benefit is:  □ oddfellow's hall (you love the  women's bathroom)  □ fisherman's halt (the hall belongs  to a union)  □ west-end community centre  (you're out by midnight)  |   □ Britannia cafeteria (no comment)  □ Hyatt Regency Ballroom (you're  ambitious)  Your favourite location for  a rally is:  j □ Robson Square  i □ Victory Square  j  □ all of the above  □ any suggestions?  FEMINiSt COLTUrlEi  A SURVEY  Your most common form of  communication with other  women in the community is:  □ constructive criticism  □ rounds (including temperature  readings, held resentments and  appreciations)  □ speaker's lists  □ cold shouldering for political  reasons/for person reasons  □ rumours  [  □ letters to Kinesis  Burning philosophical questions  j for you are:  □ is it really possible to be bisexual?  □ can non-monogomy survive the  economic recession?  | □ is meat-eating male-identified?  □ can a socialist feminist and an  autonomous feminist wrap cheese  together at the co-op?  □ is it possible to choose music for  a benefit that will satisfy all?  Your reaction t» this survey is:  □ you plan to write a nasty letter  □ you want to seal it in a time  capsule for posterity        ,  □ you think you could have done  a better job yourself  □ you believe we must have better  things to do with our time  □ you like it because you found your  face in the photo March'83   Kinesis   21  Spiderwoman:  Five women's experiences  define a common oppression  by Heather Wells  Spiderwoman is big medicine. These five  New York performers take a stage and shake  the most powerful of female imageries out  of it.  Where does their amazing strength lie? In  the mixture of race, age and experience?  In their well developed skill as actors?  Perhaps all of these. The powerful impact  of their theatre hit Vancouver last month  when these five women performed two plays  - Lysistrata  at SFU, and Sun,  Moon and  Feathers  at Women in Focus.  Between these show's, Lisa Mayo, Sylvia  Robinson, Gloria Miguel, Muriel Miguel and  Kashake Snipe sat down with a small audience in the SFU theatre to do a lecture  demonstration and to talk about their work.  As a feminist and as a performer I was inspired by both their hilarious sexual  "assertiveness" and their control over  their bodies and senses. In Lysistrata,  they don't fool around as they delve into  their investigation (quite literally, showing hand techniques) of sex, power, control  and women's sensuality. Taking back control  over our own bodies is precisely what  Spiderwoman exemplifies.  Perhaps they most pointedly question women's control of their sexuality in the  "Hoisting Her Sandals" scene in Lysistrata.  In their lecture-demo, Spiderwoman took  this scene as an example and attempted to  break down the "storytelling" process they  use to develop this type of gesture. Each  of the five women retold an experience  from her own heterosexual life that left  her with a feeling of powerlessness. It  was quite something sitting in the audience listening to these women describe  very personal and soul-bearing experiences  they'd had. There were some very tense  moments.  Gloria's story, for example, involved a  time in her life when she was trying hard  to keep a busy social life after breaking  up with her husband ... she describes a  Saturday evening, waiting for her date to  call up or drop by and isolates the  waiting-for-action-from-the-man feeling as  the point where she felt loss of control  over herself.  Muriel described one of the many arguments  - often violent - that she had with her  husband and the moment when, after threatening her earlier with a gun, he would  crawl into bed for love-making and making  up.  "And I saw his 'lil pinkie making its way  toward the crack in my vagina. GRRR"  finishes Muriel. It was this presumption  that she would just accept his earlier  violence that Muriel isolated as power-  lessness.  The other Spiderwomen tell their own versions of losing control in the heterosexual  game.  Finally, there are five scenarios  or gestures that can be woven together.  The weaving in the play occurs as all five  women repeat their gesture-stories at once,  overlapping yet connecting so that beyond  the cacophony of five strong female voices,  there are five separate women's experiences  defining a common oppression.  One man interjected during the question  period, "You've probably noticed that you  can hear a pin drop in here ... do you ever  do quiet pieces?" Everyone laughs.  Their stage presence is loose  and informal, but their casual  come-ons are undercut by  powerful dramatic delivery and  smooth transtitions from raw  comedy to deadly serious  human tragedy.  Spiderwoman comes across as loud and "boisterous" using lots of rousing colour in  costume and language but they are not entirely vaudevillian. These women actors  are strongly trained, their acting vocabulary broad, and their control over their  craft exacting. Their stage presence comes  across as loose and informal, seeming to  flow out of strong improvisational skills,  but their casual come-on are undercut by  powerful dramatic delivery and smooth  transitions from raw comedy to deadly  serious human tragedy.  The three sisters form what Muriel calls  the "steady enders" of Spiderwoman. New  women have come into the group at different times and Kashaka and Sylvia related  what it was like to enter the company's  repertoire. "At first they expected me to  do what Pam did," explained Sylvia of com  ing into Lysistrata. "Then I just started  doing what I thought worked in that scene  and it was more me and everyone accepted  the changes."  "I took over from a really big woman,"  explains Kashaka. "I had to play a Spartan  woman who was 150 lbs. to my 95 lbs. It  was good because usually in theatre I end  up playing the young ingenue and such because of my small build. In this play I  get into a song called 'Stand By Your Man'  and I get to portray a powerful Tina  Turner type of woman."  Muriel Miguel, a one time member of Joe  Chaikin's group The Open Theatre,  talks  about how she explored storytelling techniques in that group and her own experiences with Indian storytelling. She says  that it was impossible for Indians to  teach history through storytelling because  of the resistance from local boards of  education who wouldn't recognize the  storytelling tradition unless it was  accompanied by high school diplomas, if  not college degrees. Muriel takes on the  role of director for the company, although  the creative process itself is collective.  The tension mounted in the SFU theatre as  one woman in the audience asked about the  'negative feeling towards men' coming out  of their work. "Yes," said Gloria, "the  men in our lives, if we do have men in  our lives, have to be very strong because  if we have an argument or something he'll  say 'I guess you're going to talk to  Spiderwoman about that' or 'is this whole  thing going to show up on stage?' And  sometimes it does come out on the stage  because that's how we work things out."  Returning now to New York, Spiderwoman  begins work on a piece about women and  aging (the group's age range is 25 years  to 50 years). They will tour again in  Europe this year, returning to west Germany where they are very popular.  Their role in evolving women's theatre  obviously continues to be very strong ...  an ex-member of Spiderwoman, Lois Weaver,  is one of the organisers of the Women 's  One World Festival  now in its third year,  held in New York and hostessing feminist  and women's theatre groups from all over  the world. Vive the hoisting of the  feminist sandals! 2   Kinesis   March'83  Art Collectives  3520 MAIN  The Fifth Floor  Studio: studio,  storefront, gallery  space, workshops,  benefits..  Postcard: Dot Productions collage, Eli Grin  nyEverywear.SheHaftnnis  by Emma Kivisild    1111111  What the Fifth Floor Studio  is_ is a collective of five women artists doing similarly oriented work who decided a couple  of years ago to "get out of the living  room and work together". They started out  in a 6000 square foot studio downtown,  but were evicted from the space by the  city (there is no zoning in Vancouver for  artists and as a result they are getting  evicted all over the place). They were  forced to move up to Main Street to a  1400 sq. ft. storefront, a move which  resulted in a reaffirmation and re-  evaluation of goals.  "Having all that space had been a luxury.  For the new space we needed a definite  commitment." The result is a core of  four women - Chris, Eli, Jan and Sheila -  who work in the studio, and one "honour-  ary member', Robin. The studio is open as  a store on Saturdays (11 to 6), there is  a gallery in the back, and other than  that it is a workspace, except for the  occasional collectively organized fashion  show, workshop or event.  Some events have been veritable extravaganzas. The "Midwinter Extravaganza' of  1982 was on a tropical theme, featuring  cardboard palm trees, balloons, live  music, food, a fair with 25 different  artists, a fashion show and kitsch galore.  Although each of the women does her own,  undeniably individual work, their styles  are definitely complementary. One common  thread is 'fashion art', that is jewelry,  clothing, costumes. The individual artwork is feminist in the sense that it is  art by politically aware women, arising  directly from their experiences. The expressions vary enormously. In Eli's work,  for instance, sex roles are challenged  through satirical postcards and posters:  "My collages attack images that are already in our media. I switch them around.  I question assumptions. I like to work  with the cliches and the platitudes, to  turn them around."  Jan makes jewellery that breaks with trad  itional ideas of ornamentation for women.  She experiments with all sorts of materials: "gold, silver, brass, copper, plastics, sequins, pill capsules, whatever I  think might look good." The designs are  definitely unusual.  A woman identified message ?  How about a  silver woman's symbol with a submachine  gun as crossbar ?  Sheila uses clothing to offer an alternative to traditional stereotypes:  "I make a lot of things that can do for  either men or women. They're functional  and non-boring. My idea is to make clothes  that are comfortable and androgynous, that  are not feminine or masculine."  A definite political message may not always be the pre-dominant or even conscious aim, but it is usually part of the  overall product. "A lot of art is communication, and any kind of communication  is political, especially in art. You are  talking something you see, some realization, and sharing it."  "So much unspoken stuff comes out in your  work, even though you can't always see it.  Other people will point it out. They'll  say, 'Hey, are you one of those women's  libbers?' or, 'That's really feminist!'  Art is communication and requires someone  to communicate with. For most artists,  especially women, gaining access to an  audience is a continual struggle. By  involving other artists, by providing  gallery space and opportunities to perform, the group provides a forum for artists other than themselves. At present,  it is primarily women are involved in  Fifth Floor Studio events, but there are  no hard and fast rules.  "We involve as many other women artists  in town as we can. Some of our events  include only female artists and female  performers, but we feel quite open to  having men. Mostly, we have contact with  women."  Because men have more opportunities to March 13 Kinesis   23  Art Collectives  From left to right: Chris Courts (Undercover— photography, fabric painting, costumes on  ' order); Jan Berman (Mercury Metals jewellery, music (bass), collage); Eli Grin (Oof Productions—collage, graphics, photography, colour xerox); Robin McDonald (textiles—soft  sculpture, quilt covers on commission, airbrushed shirts and dresses, designs that move  around); Sheila Annis (Everywear clothes in natural fibres, textile art, music (drums)).  Photo by Anne Knowlson.  show their work, it is primarily women  who stand to gain from something so grass  roots as the Fifth Floor Studio.  Each woman in the studio markets something  -jewellery, clothes, postcards, quilts-  to keep the whole.operation going.  Designing costumes for a rock band may  not represent a long-term aesthetic  achievement, but it does keep one from  starving. \  Art is often not seen as work,as something that requires time, effort and  expertise. The group is keenly aware of  the need to respect the labour of artists  working with them, but it has taken  longer to expect the same for themselves.  "If someone keeps sending a poster back,  and they're hardly paying you anything,  you reach a turning point where you say to  yourself, 'No, this is work, it isn't  fun.'"  "Women's work is also more easily accessible, because we make our work as available as possible. We have a tendency to  say, 'You like that one? I'll do you  another one!"  "We've always tried to pay everyone involved. They're working people just like  us, and as artists they need to be paid.  It's harder to demand respect for what we  do, especially when people say, 'OK,  you're an artist, but what else do you  do?' You have to make sure you value  yourself, and that you get paid."  (Don't think these are purely mainstream  attitudes. How many times have you expected a band to play for free or a pittance  for a benefit? Or asked a supporter to  design a poster for free and then added  to the design indiscriminately?)  Within the art world women encounter  special difficulties, especially if they  work in traditionally female media - like  fashion textiles and jewellery.  "I think as artists we have something to  say about our experiences as women. But  unless you put it in a traditional art  context, make it metaphorical, unless  you'll make that kind of compromise, it's  not accepted as art. And if you do compromise, then it's not feminist enough."  "One of the most immediate examples I can  think of is having my work defined as  craft by the male staff at the art school.  For survival I work with the female staff  at the school, which is limited. It  affects me as an artist and it's not  easy. I don't necessarily feel that just  because she's a woman, an art teacher is  going to be a better teacher."  These women note that sheer economics is  at least partly responsible for the devaluation of women's art by the arbitrary  assignation of the label 'craft.'  "It has to do with marketting and the  value of unavailability, the economic position of the piece.  If it's accessible,  it's called a craft, not art. Take a  piece of cloth, stretch it over some wood  and gesso it, that's art. Painting  dresses ? Craft.  If it's not functional, it's a rarity, but  if you're making rare, one of a kind  things, you also have to know a wealthy  class of people to buy those things."  But the atmosphere at the studio is nothing if not energetic, confident and fun.  Working with each other provides support,  and community response has been overwhelming .  "Our work overlaps a lot, so we help each  other out. It's great to be in the deepest  darkest despair and have someone come  along and say "Why don't you try this?"  "And we've always had a lot of support  from other people. At the eviction party  for instance, it was incredible. It was  great, we had a real feeling of solidarity, of help in solving a common problem.  It gave us more of a sense of keeping  going on."  A great deal of encouragement comes from  the 'fringe', but it is the diversity of  people interested in. coming out that is  most remarkable.  "It's a real cross-section, not any one  group of people. We throw great parties  because we get the weirdest combinations  of people, all in the same room, and all  of them finding out that they're not that  bad!"  Like the whole idea? Want to meet these  women and see what they do? The next Fifth  Floor Studio event is on June 24 at  Oddfellows Hall. Keep a lookout for  posters!  Fifth Floor Studio work is available at  various stores around Vancouver:  Beckwoman 's on Commercial; Cargo Canada,  57 Water St.,  and 1994 W,   4th; Ginger  Barton,  826 Howe; Lines Boutique,^ 2742  W.  4th; Octopus Books on Commercial,and ;  2250, W.  4th; Toucan,  1433 Commercial;  Ya Ya's,  224 Abbott;  Zo Originals,  4437  W.  10th. 24   Kinesis   March 13  Music  A look at  Vancouver's  women musicians  prt their HTfc%» Cit>" is-*-. ,  by Janie Newton-Moss  and Joy Thompson  Contrary to the facade represented by  this city's music press and commercial  radio stations, the Vancouver music scene  is not completely dominated by L.A. rocker soundalikes.  Nor is the bullying bouncer whom one may  be unfortunate enough to encounter at the  Commodore, the sole custodian of all that  is happening in terms of live gigs. Somewhere behind this solid wall of misrepresentation lie real talent and innovative musicians. It's just that they are  women so one has to look harder and  listen more carefully.  The number of women who have contributed  to Vancouver's musical identity is impressive. There are female rock critics,  radio programmers, disc jockeys, technicians, promoters, organizers, managers,  roadies and, of course, musicians.  Some identify with the women's community,  but a greater number have opted for survival in the competitive world of mainstream entertainment. That some women  like Mary Jo Kopekne of the Modernettes  or Judy of Tunnel Canary  can go completely  unnoticed is representative of some  feminists' attitude toward non-feminists.  The women's community is not known for  its enthusiasm or support for electronic  contemporary music; indeed at times it  has seemed strangely conservative with  regard to new forms of cultural expres-  Perhaps this explains why Mary Jo Kopekne  whose name indicates early punk origins,  (being the namesake of the woman whose  mysterious death at Chappaquidick Bridge  is still the source of controversy for  the Kennedy family), has never been seen  as an important musician. Or perhaps it  is because she and other non-feminist  women musicians still seem to identify  primarily with men's ideas of how women  should be as performers that so few  feminists feel comfortable supporting  them.  However, let's face it, being an electronic musician is a non-traditional job and  the isolation for these women can be  tremendous.  On the other hand, there are many performers who are associated with the women's  movement either directly as activists or  less directly as supporters. The Moral  Lepers,  who before the formation of the  ■ Persisters  last year were the only performing women's band in Vancouver, are a  prime example.  "Turn to Stone", their pre-Christmas  album was recorded just before they  temporarily disbanded and it marked the  culmination of a successful career both  within and outside the women's community.  One reason for this group's success was  their ability to mix explictly feminist  material with a contemporary sound.  Are we likely to see the Lepers again?  The I.W.D. benefit this year will hear  The Leftover Lepers,  not their real name  but an indication that the essence of  their music remains.  But with a strong following and a debut  record why split up? Marion Lydbrook said  in an interview with Co-op Radio that:  "The need to develop in different directions at that time were really quite  strong and re-grouping with other bands  could possibly provide the needed stimulus." Not to mention the extra stress of  recording and pressing a record on low  income, a particular problem for women,  time restraints, hiring a studio, sound  techs and all the other requirements to  cut a disc. fSlllli:  All accomplished musicians individually,  they have each played in mixed bands.  Rachel Melas and one-time vocalist Naomi  recorded with Magic Dragon.  Rachel has  also recorded, and now appears with,  Animal Slaves   (with another woman, Elizabeth Fisher, who is a lyricist and vocalist). Drummer Connie Nowe and guitarist  Elaine Stef are now with Junco Run, Connie  returning to the band, and Elaine joining  for the first time. Unfortunately, the  disbanding of the Moral Lepers  meant that  two of its five members, Marion Lydbrook  and Bonnie Williams, would be lost at  least temporarily to the local music  scene. Playing with the Lepers  at I.W.D.  will be Janet Lumb, the sax player with  the Persisters  and Ad Hoc.  Jory Cedroff -  and Wendy Solloway who all appeared in an  early women's band Contagious  together  with Janet plus Doreen Allen and Mona  Arens make up the Persisters.  The Persisters  played a gig to raise funds  for the Women's Programming Caucus of  Co-op Radio last year under the name of  Mystery Guest.   Later in the summer they  appeared at the Women's Arts Festival at  Robson Square. They play a mixture of  cover and original material that's quite  different from the Lepers,   reflecting a  variety of musical forms and tastes.  Last year's I.W.D. dance introduced us to  a trio calling themselves Quantum Leap  who utilised a lot of synthesizer effects  and all original material. They have expanded to a line up of Yvonne Daley on  drums, Pam Braithwaite on guitar, Judy March '83   . Kinesis  Music  "... lets face it, being an  electronic musician is a non-  traditional job and the isolation  for these women can be  tremendous.''  Quantum Leap  Ferraro on bass, Diane Keenlyside on keyboards (mini moog synthesiser) with a  temporary sax player, Michelle Basonby.  Quantum Leap  played last fall at John  Barley's. This is, incidentally, one of  the few clubs in town that's showcasing  new local bands. It's a place where you  won't have to contend with the aforementioned bouncer or receive the usual  barrage of suggestive and attention-  grabbing behaviour typical of night club  hackers.  All of the women in Quantum Leap  are full  time hospital workers, either Nurses  Aides, Practical Nurses or Nursing Unit  Clerks. Understanding that women already  have a double work day normally, add  another for practising and performing and  there you have it—women trying to pursue  creative endeavours have a triple  work  day.  Lugging your equipment home after a late  night gig for a few hours sleep before  getting up for an early work shift requires not only dedication but stamina  too.  So why is there little media coverage of  these musicians and no airplay of their  recorded sounds? The problem is twofold.  Firstly, local bands are not usually  commercially viable, which is why they  are ignored by mainstream media. Secondly,  unless women's bands conform to stereotypes which both the rock establishment  and the male record buying public feel  safe with, they will be ignored.  A band like the Go Gos  from L.A. can be  allowed to succeed because their lyrics  are non-threatening and their image is  cute. Women experimenting with new  musical forms or projecting a strong nonconformist stage presence' while singing  about an aspect of women's experience is  likely to send your average male rock fan  home to listen to the latest offering by  Loverboy.  Unfortunately, one of the few experienced  critics and radio programmers who could  be an ally, Ellie O'Day, has let us down  as feminists and as critical music fans.-  She'll gush about girlie groups and "cock  rock" equally naively, commenting on how  women look, more than on the content of  their performance. Should she review a  performance by a local women's band she's  unlikely to provide any coverage of the  insightful social commentary either of  the lyrics or the imagery.  Someone a little more reliable is Darlene  St. Peters who writes a music column in  The Westender.  Although she does not seek  out women musicians, her reviews are  generally well researched and written  with a more critical sense than Ellie  O'Day's.  Fortunately, there are a few programmers  and writers who are portraying local women  musicians in a fairly accurate and  complimentary light.  One of these is Connie Smith, the producer  and presenter of Rubymusic  on Co-op Radio.  She is a woman after our own hearts, who  sees that the documentation of women's  contribution to the history of rock is of  utmost importance. Co-op Radio also is  the home for other programmers who give  airplay to a wide variety of sounds made  by  CITR (U.B.C.'s radio station) offers an  excellent jazz show on Monday evenings  hosted by Shelly Freedman. She has a  sophisticated understanding of her subject material, providing background information on the music she selects.  Last but not least, no musician can produce their music for an audience without  the involvement of a number, of other  people. The final live performance is  merely the tip of the iceberg. Gin Hong  is a woman in an unusual situation: as a  sound engineer she has waded her way  through a traditional male job training,  learning her skills"out in the field.  No mean feat!  When you next want to listen to some live  music in this city look out for these  bands and when you get to a gig have fun!  It's not hard, in fact if it doesn't  appeal to you immediately, just practise.  That's what the musicians themselves have  done.  ^flPsll  Judy of Tunnel Canary 26  Kinesis March '83  Five women:  Savannah Wailing  Savannah Walling, originally from Oklahoma, began her dance career at the Simon  Fraser Dance workshop in her early twenties. From there, she joined with five  other dancers to form the Terminal City  Dance Company. The group was primarily  interested in exploring new dance forms.  Walling uses a combination of dance, mime  and theatre, but she is always working  from a movement base. Her dances are an  expression of who she is and her attempt  to find her place in the world.  Working with a net, a broom, a baby doll  and using song and dance, Walling's "Mommy, Mommy" explored various female relationships; mother/child, woman alone. In  this piece she also found differing responses from the audiences.  A new performance, "Banana Split", inquires into the tension that plays between  two people, in this case a woman and a  mani Dressed in formal attire, the two  people explicate their relationship while  on a piano bench. Walling has thought of  using different combinations of performers  (I.e., two women or two men) to further  explore relationships in this performance.  Elyra Campbell composed the score which  exists solely of voice arrangements.  Walling has maintained her connection with  Terminal City since its inception. In the  first three years there was no funding and  therefore no salaries. Slowly, they have  grown to the point where funding and  grants have been made available, making  an administrator possible. Given the  nature of grants, however, future funding  is not necessarily secure.  Over the years, Terminal City Dance worked  as a collective with each member developing individual interests and eventually  moving in different directions. The group  has now grown into Terminal-City Dance  Research Centre, an umbrella organization  with three main areas of dance: exchange  performances, a dance company directed by  Karen Rimmer and dance collaborations by  Savannah Walling and Terry Hunter.  Currently, Walling is involved with a  'work in progress', "Pandora's Box", which  has been developed by herself and Philip  Warren. Walling has choreographed this  piece using imagery from pre-Christian  rock sculptures and a soundtrack from  Weren of live and pre-recorded vocalisations with electronic sound.  Also, look for Walling and Hunter in their  role reversal costumes as "Drum Mother"  and "Drum Warrior" at this year's Children's Festival.  experimenting with dance  Jennifer Mascal  Jennifer Mascal decided to become a dancer at the outset of her four year dance  program at York University in Toronto  more than eight years ago. She now divides  her time performing between Toronto and  Vancouver as well as touring outside  the country.  Mascal's use of costume is very important  in her dance work. By removing different  materials from their normal situations  and using them in new movements, she is  able to change or expand their range of  associations. Using this technique, a  garbage bag wrapped around a person can  look chic.  During a women's dance conference in Copenhagen, Mascal's performance was considered sexist by some women viewing her  improvisation. Through the ensuing discussion regarding sexism in dance, she  defined for herself what was 'sex' and  what was 'sexism'.  Mascal believes sex motivates movement.  However, she points out that a performer  can end up relying on sex to carry a dance  rather than as an impetus for movement.  A performer must be conscious of making  her own choices of movement so she does  not become manipulated-by those same  moves. Sex has a role in dance, she says,  and making use of it can be one of choice.  Following a performance, Mascal finds it  is common for an audience to forget most  of the dance and focus on the last few  moments of the piece they have seen performed. By using repetition and variations  on a theme she believes more images of^.  the movements will stay with an audience.  In her newest piece, where she ties branches to her arms, she uses repetition in  an attempt to show the possibilities of  movement out of constriction; fluidity out  of tenseness.  Currently, Mascal is involved with the  newly formed EDAM - Experimental Dance  And Music performing group. This co-op  of seven women and men now has an explorations grant and will be working together  on several pieces throughout April, May  and June. Apart from this, they teach  daily at the Western Front with classes  in technique, improvisation and contact  improvisation.  Mascal's next performance in Vancouver  will be March 21 and 22 at the Firehall  Theatre. She will also be choreographing  "Sid's Kids", a punk rock musical, for  a Toronto theatre company.  by Cole Dudley  Mary Craig  Mary Craig teaches and co-ordinates the  classes at the Synergy Movement Workshop  as well as still finding time to work on  her own choreography. Synergy has been in  existence for 12 years and Craig has been  involved for 10 of those years. The classes at Synergy combine physical movement  training with personal awareness and self-  expression, and over the years has advanced the work of improvisational dance.  Craig describes her work as experimental.  When performing, she concentrates on  giving something of herself to her audience - "a sharing of life experience and  emotions". The theatrical use of props  and lights feature prominently in her  dance which ranges from serious works to  <:omedic pieces. Notably, "The Elvis Suite"  was a spoof on sixties groups whose  performances always included a stylized  line dance.  Another piece, "Absorbing Shock", came  from a personal experience in a mountaineering accident. Craig wanted to  present her feelings and make a statement  about the occurance through dance.  Currently, Craig is re-working "Absorbing  Shock"; it will be performed at the end  of March at the Paula Ross studios by  the Pacific Motion Dance Company, This  company of four dancers (one of whom is  Craig) has been in existence for three  years, working mainly with experimental  and improvisational material. March'83 Kinesis 27  Dance  Dance has always been an appropriate and  acceptable form of artistic expression  for women.  Little girls were (and still are)  encouraged to take dance  lessons which  promoted their development as  "ladies".  The grace and style of dance paralleled  the common stereotype of women.  A girl's  ultimate romantic dream was supposed to  be the ballet dancer - petite,-flat belly  and light enough to be lifted by a man.  Most traditional dance styles are very  rigid,  with defined roles for men and  women.  However,   this is not true of all  dance today.   Experimentation in movement  has accelerated in the past decade.  Modern dance,  improvisation,  contact improvisation and performance art are forms  of experimental dance which are now accepted and are being performed all over North  America and Europe.  There are many women performing in Vancouver whose priority has been to develop the  unchartered areas of dance,  exploring body  movement and the use of space rather than  manipulating learned technique.  The dancers profiled here   prefer to choreograph  personal statements and use their life  experiences,  expressing these with experi-'  mentation in movement.  Always grappling j  with the lack of funding,  they have carried on with their work,  continuing to  produce pieces which reflect and influence  the changing dimensions of performance, and  movement.  Jane Ellison  Jane Ellison became involved with performance art through exposure to the Western  Front. She began her career in dance with  lessons from established companies in  Vancouver but found dance to be too literal and limited in terms of the ideas  which could be explored. Performance art  seemed more layered because of its use of  different media.  Ellison is particularly interested in  technology, Since it is already such a  part of our culture, she believes it is  important for artists to learn and understand the new technology in order to  appropriate it for use in art.  One of Ellison's solo performances, "The  Quick and Dead", featured her walking  repeatedly up and down a short set of  steps with a microphone underneath. She  used a delay in the playback which produced many interesting rhythms.  "Unfit for Paradise" was Ellison's most  recent collaboration. It was based on a  book by Susan Swan and directed by Margaret Dragu. The story concerned privileged  Canadians who travel abroad to sunny Third  World countries looking for paradise. The  ambiguities of the situation were presented, but no overt political statement  was made. This all-woman performance  used the elements of many media - dance,  theatre, slides and music. It premiered  in Vancouver and was then altered and  taken to Toronto for a three week run.  Another important part of Ellison's work  is teaching exercise classes at the Western Front. She has spent much time researching the body and how it moves,  studying different systems and techniques  of bodywork. She tries to integrate all  the gathered information into a unique  program for each person with whom she  works. Individual programs are important  she believes, as each person must find "a  way of exercising for themselves.  The Western Front Lodge, where Ellison  is the building manager and dance co- .  ordinator, is an artist-run studio which  presents works from new and experimental  artists. This job consumes almost all. pj&',:\;  her time. A leave of absence may be  :^j\|,  necessary to allow Ellison the time she  needs for choreography work.  Helen Clarke  Helen Clarke was born in Australia and  came to Vancouver via Japan and the USA.  Through all these moves as a child,  Clarke became interested in movement.  Frequently, she understood people in new  cultures through body gesture before  learning the language.  "P-Disobutylphenoxpolyethoxethanol 1%" was  the name of a, piece Clarke choreographed  because she wanted to make a statement  about the lack of experimentation in the  area of birth control. The title is the  name of the active ingredient in spermicidal jelly. In her upcoming work, "Oeufs  Fragile", Clarke also deals with women's  fertility. But in this instance, it is  women's powerful urge to conceive with  which she is concerned.  When Clarke works on a performance, she  generally choses to dance with people who  are familiar to her, not consciously  choosing women or. men. However, since she  sees dance as traditionally a woman's  milieu, the use of men in her pieces is a  poltical statement.  As well as making men visible in dance,  Clarke is interested in presenting different ways for women and men to work  together. In "Oeufs Fragile", Clarke has  developed a "faux pas de deux" which is a  take-off on the ballet duet which displays  a woman and man in defined romantic roles.  Contact improvisation provides an interesting use of space as well as the subtlety  in movement which Clarke enjoys using in  her choreography. However, this subtlety  is difficult to reproduce for an audience.  Nevertheless, she prefers to use some  improvisation in her work as there is not  enough seriousness given to this quality  of dance. There always lingers the thought  that perhaps a well-executed movement was  not intended - only a fluke.  Clarke does not support herself with her  performances and prefers not to. For one  year she toured with two others in a group  called Fulcrum. They had obtained a  Canada Council grant to perform contact  improvisation at dance centres in Canada.  Clarke felt she really had to hussle to  sell herself and found it easy to get  drawn into "entertaining". Creating  constantly while on tour was exhausting  for her, as she does not usually manage  to develop more than a couple of pieces  a year. She discovered that being a full  time dancer does not allow many chances  for pursuit of her other interests, which  are important to her as well.  '-,f '\  Currently, Clarke is working with three  actors, teaching them contact improvisation for a play to be performed at the Du  Maurier Festival. The play, called "Alone"  by Patricia Ludwick, concerns a pregnant  woman stuck in a cabin in .Alaska.  UPCOMING PERFORMANCES  Helen Clarke-March 21 and 22 at Fireball Theatre; Mary Craig-  March 25 to 27 at Paula Ross Studios; Jennifer Mascal—March 21  and 22 at Firehall Theatre; Savannah Walling-April 14 to 16 at  Firehall Theatre. For more information call the Western Front at  13, Terminal City Dance at 683-1843 and Synergy at 738-7425. 28    Kinesis March'83  Cultural Organizing  Woman to Woman Two, A Festival of Lesbian  Art and Culture, took place from- October  4 to November 4,   1982 in Vancouver.  This  second annual show included two gallery  installations  (hangings), a lesbian artists herstory evening presented by Frances  Rooney of Toronto,  a literary evening,  music evening, and several workshops.  The workshops included Artists' Workshops  (a chance for artists who participated  in the show to discuss their work) as well  as topical workshops such as  "Censorship  from within and without" and "Erotic  images" which were open to all women.  Ellen Woodsworth,  Cheryl Sourkes, Lorraine  Chisholm and Betsy Warland were the members of this organizing collective.   The  following is an excerpted conversation  which we taped a month after the show.  This particular conversation reveals some  of the underpinning philosophy and ongoing  thought process of each of us which collectively shaped this festival.  Cheryl: I wanted to keep the show very  big: anything that a lesbian was making  that she felt was relevant ... but from  the experience of the show, what was relevant was the lesbian experience. It was  a lot more focused than I had imagined.-.  The bulk of the images were around being  work I've ever seen but it was inspiring  to see that it could be there ... the form  and forum were strong: it's a place for us  to germinate work tftet&s closer to what we  want our work to be.  B_:  The workshops indicated that not only  was it a show but a learning situation. »  The workshops not only responded to our ■£  needs as artists but also nurtured the w  audience to view the work. By having £•  workshops we've acknowledged the audience §  needs this, needs to be brought along be- £  cause it doesn't really exist as a Concrete £  well-informed and established audience. 2  L:  It's a show which answers the needs^o-f;,,I  the community that is viewing as well as,r  the community which is making ...  B_: The literary evening was very exciting  for me, it gave me the chance of seeing  what the landscape of lesbian work is in  Vancouver. Because it involved the full  spectrum - from young to well established  writers - it allowed me to get a sense of  what's going on. If it weren't for the  show, I wouldn't have_had that opportunity.  Most other writers can take this perspective for granted because they fit into  the operating structures of society, the  literary systems.  E_: Most lesbians are and continue to be  by Betsy Warland  Woman to Woman Two  women and residing in it in a certain  way that we recognize as soon as we see  it.  Lorraine: One of the most important  things for me is the kind of discussion  that came out of the show; the fact that  there was a place to show our work and  also talk about it was proof to me that  the culture you produce can be intimately  connected with the people who are seeing  it and not just artsjjpjbfessionals.  It's the first time the experience of my  life as a lesbian was wed with my experience as an artist. Working on the show  gave me a certain confidence as an artist.  In the last couple of years I've been  involved in political activities that  have to do with feminism and lesbianism.  The show gave me confidence about being  an artist - that we have a certain role  of informing the political community, a  kind of vision different from political  analysis.  My art is a political activity but my  work doesn't have to follow a political  line to be important. Both the lesbian  and feminist communities have a lot to  learn from artists.  Ellen: The show gave me the power to continue at art school; I don't think I could  have without it, yet now that it's over  (the show) I'm already feeling weak and  starting to censor myself at school - it's  amazing how fast it happens ...  Betsy: One of the outcomes of the show  for me has been to risk reading some of  my explicit lesbian poems in readings outside the lesbian community. What has intrigued me is how deeply a number of men  have responded to these poems. It's made  me realize that it's not only lesbians  who need these images right now ... our  society's images of women have become so  arid - it's a desert out there, and if we  speak authentically from ourselves (as  lesbians) we tap into a universal pool  which has the potential to touch and move  everyone.  L: I had a lot of criticism about work  that was in the show ... of individual  work, but I still think it is important  that the work was there and that it could  be talked about in a critical way.  It wasn't the most inspiring showing of  in that absolute state of denial, of invisibility.  0}     So by becoming visible, we've been  crass ... tasteless, we've broken the  rules.  E_: For me, it's been an emotional birthing of something that I theoretically/  politically birthed in 1969/70 ... I never  went through the- birth - I did it on a  theoretical level.  C_:  ... and it was a double birth because  you also came into your identity as an  artist at the very same time.  E: That's the authenticity ... that's the  coming to a truth about myself that has  freed up my sexuality which is my art.  C_: Right in there is the trickiness about  what we're tackling ... to have opened up  both those places and the difficulty in  naming them, acknowledging and talking  about them. We're presenting a forum for  the interaction of identity and creation,  to be viewed and there's hardly any skill  in reviewing it. It was the experiences of  creation of love making,  ideation and  The Dark of the Moon  by Lorraine Oades and Cheryl Sourkes  birthing which were really central to what  the art show was about.  B_: As a young culture it's logical that  our images would focus on those three you  just mentioned ... I wonder what the images will be in twenty years from now. Will  we still be focused on those three or will  we move on to others... I guess as long as  we're oppressed, we'll have to constantly  affirm love making as a major image.  As long as we're being given messages that  who we are is "unnatural and disgusting",  we are compelled to answer, "no it's not,  this is great, this is natural!" That  interaction, that dialogue, will have to  go on.  C_: There's one thing you said in the  course of our meetings that stuck in my  head - that we think in images and that is  why images are so important. I don't think  so much that we have to find iconic images  through all of this but that we have to  let our images out.  Li It seems to me that we have to go  through some kind of process where as  lesbians we can deal with the images of  being lesbian and being lesbian in the  world and come through that into making  images about absolutely everything that  interests us.  If we make those images after we've been  able to identify certain kinds of lesbian  experiences and images - that's a process  of freeing ourselves. Once we've done  that, the other images will be different  and informed by having addressed our experience as lesbians. Then our art won't  be limited but will always include having  had that experience.  C_: Or that' s something we will always have  to go back to.  3_: Yes! Other artists' lifestyles are most  often reflected by their society, they  don't have to go back and reaffirm it.  There are exceptions but generally speaking it's not a necessity. March T53  Kinesis  Publishing  In Our Own Words  by Jan DeGrass  In 1917 when Virginia Woolf founded Hogarth Press and published her own works,  she invoked a great feminist literary  tradition - the shoestring publisher who  emphasizes content in their selections.  Small, and run on the simplest of lines,  the first two years of Hogarth's operation saw only five books published, one  of them Woolf's own experimental novel.  Later, in 1929 when she sat down to write  Room of One's Own,  tagged her 'feminist'  work, she could scarcely have realised  that the strength of that image would  have an impact on women writers half a  century later.  Women have, and continue to be, rooted in  firm ground in print media, more so than  in f:Llm> television or any other media  form. The instruments of the trade have  been cheaper and more accessible: pen,  paper, room and an atmosphere that fosters  the creative.  Even as women writers had to change their  name, wear men's clothing, and'do outrageous things to capture the attention of  the literati, the stigma of women as  intellectual and writer became socially  acceptable in a way that a woman film  producer is still not.  The transition from writer to publisher is  not only made by the unique, like Virginia  Woolf, but also by the contemporary. Local  publishers like Press Gang, Talonbooks,  Pulp Press, Harbour Publishers, and New  Star Books carry on in the Hogarth style  of the small, impecunious, content-  oriented publisher.  Publishing and printing, though often  occupying the same building, are not the  same process. According to Nancy Pollak,  ex of Press Gang Publishers, Press Gang  maintains a formal, friendly separation  between the two.  Though they are both concerned with the  production of words, a publisher takes  economic, aesthetic and marketing respon-jj  sibility for the product of the press. A  publisher turns out a cultural product  in a printed form. A publisher is quite  often a writer; and almost always a reader,  "A publishing industry  controlled by feminists,  producing periodicals, newspapers and books, is itself a  potentially powerful force...  We have the tools, the  challenge is to make them  work more effectively for us.'  Margie Wolfe, Women's Press  If you are bookstore addict  you may have seen broadsheets of Helen Potreben-  ko's poems: Dictatyping  and Displacement or the  recent 35 Stones  by  Leslie Pinder, and  have wondered which  publishing house  would feature  these works so  elegantly and  graphically.  They are all  produced by Lazara  Publications"not, as  might suspect, a  subsidiary of McClelland & Stewart.  "I'm it," said Penny Goldsmith. "Right now  I'm Lazara, with help from my friends."  Penny's involvement began with another  Potrebenko poem too long for an anthology,  too short for a book format - the story  of the Muckamuck strike. It emerged as a  kind of chapbook, orchestrated by Penny  and was rushed hot off the press to be  sold at an evening of women writers while  the Muckamuck battle was still live in the  daily papers. Literature meets life, if  you like.  The Lazara broadsheets use fine, rich  paper; the style is self-consciously  artistic and visual. "I'm using a beautiful and creative format," said Penny,  "but really it's no different than that  used in the more traditional literary  journals. The difference is in the  content."  "To reach a mass market is  desirable, but if a market  survey showed that a certain  book wouldn't sell, and we  liked it, wed probably publish  it anyway."  Penny Goldsmith, Lazara  That feminist publishers exist to take  risks with content is a recurring premise.  Hogarth Press had to take those risks  when Virginia Woolf was published. The  large publishing houses may also take  risks - with unknown poets for example.  But only a handful of publishers would  have risked a text like Women Look at  Psychiatry (Press Gang, 1975), simply  because they felt that it needed to be  published. Nancy Pollak perceives it as  a vital work with a certain rawness about  it.  "There are mainstream publishers issuing  solid feminist titles of course. They're  clever, they're capitalist - they know  that women make up the majority of the  book buying and book reading market. But  would they do anything like Women Look at  Psychiatry?"  When Press Gang published An Account to  Settle, they did it partly because they  felt it needed to be in the hands of every  bank worker in the country. It was published on newsprint; it was cheap and had  a colourful, eye-catching cover; presumably to appeal to the bookstore browser.  "... Kinesis is a feminist  newspaper. The paper  believes in certain things and  promotes them with all the  objectivity of a mother bear."  Gay la Reid, Ex-Kinesis editor  The concept of publishing almost anything  but mainstream best sellers involves perseverance, as well as content. Seven  years ago, when the Toronto Women's Press'  non-sexist children's books were thrown  out of Coles, there was a lot of talk  about content.  The books were supposedly too "moralistic".  What that really meant was that they  weren't teaching the kinds the "right kind"  of morals. Eventually it was conceded that  there might just be a market for stories  about kids growing up in single parent  families^J^g^ontent was not so far re-  pippji^frbm real life.  Similarly, when Common Ground  (Press Gang,  1981) appeared, it was dubious as to what  sales a short story anthology would  generate - short stories about women, yet.  Anthologies of original Canadian writers  rarely climb the best seller lists which  are generally reserved for cats, quiche  and novels of terror and suspense. Common  Ground's  success is a tribute to the care  and, once again, content of its pages.  Small publishers devoted to alternate/  feminist press are characterized by a  "this-needs-to-be-said" outlook on their  choice of titles. The same holds true for  the forgotten sister of the Big Book  industry - the little periodical.  In spite of the tightrope economics of  magazine publishing, feminist periodical  publishers continue to thrive, broke but  happy. I count at least fifteen feminist  magazines across the country - three of  which are published in Vancouver. That  - should be good news to those of you still  waiting for Chatelaine  to improve.  The first one, Kinesis,  you're holding  right now. We're in our twelfth year.  The Radical Reviewer,  a journal of feminist  criticism, is described elsewhere in this  issue. The third, Room of One's Own  published by the Growing Room Collective,  is practically a venerable institution.  I confess that I had always thought that  literary journals had a certain limited  appeal. I have tended to lump journals  that publish poetry, short fiction and  critical scholarly articles together in  the bag and label the ensuing jumble as  all "literary" - an area adequately cover-  Room  of One's Ov?n  ed by at least two feminist journals -  Fireweed  and Room of One 's Own.   But personalities differ and I found the two  "literaries" to be vastly disparate.  On the surface they look similar; they  feel the same in your hand. But they are  as different as the east and west in which  they are published. One calls itself "A  Feminist Journal of Literature and Criticism" specifically and the other "A  Feminist Quarterly". Room  provides a display case for discrete compositions; it  declines editorial comment and rests  heavily on the excellence of its selected  authors. Thus we find the Nootka legends  by Cam Hubert (Anne Cameron) published in  Room  five years before Daughters of Copper  Woman  appeared.  By contrast, Fireweed wraps itself around  a theme dynamically and extravagantly utilizing all forms to explore content. In  the Fall '82 issue, poetry, playlet,  scholarly essay and cartoon are all used  to portray the central theme: fear and  violence. The cumulative effect leaves  the reader horrified and quaking.  Book publishers read periodicals like these  just to see who's writing what, what names  are current, what the trends are. "I think  some of the women who read Room would  probably be secretly scribbling themselves," says editor Gayla Reid. They  are precursors of the successes-to-be.  Witness the final incarnation of the same  Nootka legends in Daughters of Copper  Woman  (Press Gang, 1981) which has sold  8,000 copies so far, more than the 5,000  copy average for the Canadian book market. 30   Kinesis March *83  Publishing  Women and Words  in the works  by Sally Ireland  It all began in January of 1982 when Betsy  Warland phoned up six other women and  said, "I have this idea. What do you  think?" The result is a four-day conference on Women and Words to be held here  in Vancouver June 30 to July 3, 1983.  The conference will include women from  across Canada, reflecting all levels of  experience and specialities relating to  the written word: writers, editors, printers, booksellers, academics, teachers,  critics, broadcasters, librarians and  publishers. It will also provide an opportunity for an exchange among women from  diverse cultural backgrounds - Native and  Quebecoise, to name only two. It is the  first time such a conference has been  held in Canada, and judging by the response of women from coast to coast it  will answer a widely experienced need.  At an initial meeting February 10, 1982,  plans for the conference were born. Word  spread and the nucleus of women quickly  expanded into an organization called The  West Coast Women and Words Society which  became incorporated as a non-profit  society in June of 1982. Its membership  now stands at 400 strong and is growing  daily.  The idea for the conference did not come  out of the blue. Betsy had a great deal  of experience organizing support groups  and literary events for women in Toronto,  notably the Women's Writing Collective,  Landscape, and Writers in Dialogue. These,  and other forerunners of the Women and  Words Conference such as the Feminist  Print Media Conference, the Bilingual  Conference on Feminist Criticism and  Festival '82, had focussed primarily on  regional and speciality needs. Clearly  it was time for a country-wide event to  bring together women from differing cultures and specialities.  Three reports commissioned by the federal  government on women artists had all arrived at similar conclusions. Women were  suffering from serious work-related prob^  lems because of their isolation and lack  of network support. From the outset, the  West Coast Women and Words Society decided  to focus the conference on establishing a  country-wide network for women involved  in all areas of the literary industry.  It takes a lot of work to set up such a  broad-based event. Letters of support had  to be solicited from across Canada. Grant  applications had to be filled out. A site  had to be found. And the conference needed  to be publicized. Committees were struck  to take care of the specifics of planning,"  but before long it became clear that the  Society required a central office and  two full time co-ordinators to deal with  the intricacies of conference-creating.  A $10,000 grant from the Secretary of  State Women's Program enabled Women and  Words to hire Betsy Warland and Victoria  Freeman, a freelance writer and editor of  Room of One's Own.  In October of 1982 the  Society at last acquired office space in  the unlikely surroundings of the B.C.  Sport and Fitness Building at the corner  of Davie and Hornby streets.  Meanwhile the Program Committee was busy  sifting through workshop suggestions, the  Site Committee was negotiating for space  at UBC, the Publicity Committee was busy  mailing out 1500 brochures, and the Anthology Committee was soliciting unpublished  manuscripts.  On November 25, 1982 the Fundraising  Committee held its first money-raising  event, a benefit reading, which took  place at the Women in Focus Gallery. The  readers, well-known poets and prose writers, included Aritha Van Herk, Dorothy  Livesay, Erin Moure', Helen Potrebenko,  Rona Murray and Betsy Warland.  In January the Fundraising'Committee organized a benefit brunch at Sisters Restaurant. Afterwards, an open reading gave  both beginning and more advanced writers  an opportunity to read their work. Not  only did the event bring in money for the  conference, but it also helped set up the  beginnings of a network as women found  themselves talking shop over coffee and  quiche, having been introduced to other  women who share their interests.  Other fundraising activities will include  a second hand book and record sale to be  held at the end of March, and either a  concert or a film in late April or early  May. At present Women and Words is selling  t-shirts to publicize the conference as  well as to raise funds. They cost $7.00  and are available from the Women and Words  office (684-2454).  For months memberships have been flowing  in from across Canada, and women in other  cities have been preparing for the conference too. Women and Words now has  area representatives for every part of  Canada, including the Yukon. Because  travel costs in Canada are so high, and  because many women have relatively low  incomes, a lot of energy is being devoted  to raising funds for travel. Some money  will come from government grants and Canada Council, but most will have to come  from private sources. Already women in  Toronto, Montreal and Winnipeg have organized benefit readings to raise travel  funds.  The Program of Events for the conference  is gradually taking shape. On each of the  three days a different theme will be highlighted. The theme for Day One is - Women  and Words: Tradition and Context; for Day  Two - Doing it! Power and Alternative  Structures; for Day Three - New Directions. There will also be two networking  sessions. In one, women from across the  country will gather together according to  their areas of interest. In the other,  women from all specialities will assemble  by region. The purpose is to cross-reference skills and opportunities for the  whole of Canada.  On the evening of Thursday, June 30, there  will be a multi-media event which will  serve as an introduction to the themes of  the conference. It will be followed by a  wine and cheese reception. During the  next three days, besides scheduled workshops and panel discussions there will be  space available for impromptu sessions. A  cafe will create an informal environment  for open readings and get-togethers.  continued on page 31  Betty Baxter M.C.'s benefit brunch at Sister's.  Betsy Warland and Dorothy Livesay at Benefit Reading, Nov. 25. March'83   Kinesis    31  Publishing  The following is a dialogue between  Barbara Herringer and Cy-Thea Sand of  The Radical Reviewer  Cy-Thea:  When Patty talked to me about  Kinesis  doing a special issue on women's  culture, I thought that it was important  for us, Barbara, to talk about the evolution of The Radical Reviewer  and its role  in critiquing women's culture. I was doing  a lot of critical work, and as I started  talking to you and other women in the  Lesbian Literary Collective,  it seemed  really important that we begin writing  our reactions to the literature coming  out of the feminist presses. I think  that's why we started The Radical Reviewer.   Women do not have a strong history  of critical thought and debate. It has  been systematically denied us. This is  expressed in a very pedestrian way by  women finding it hard to accept or give  criticism.  It's been hard for me to get good constructive criticism on my writing from ;  friends and other women. And yet I think  that criticism is crucial for our cultural  development, as well as an expression of  taking ourselves seriously.  Barb:  From talking with other women involved with periodicals I've found that  something like The Radical Reviewer  is  really needed. I went to the "Women In  Print Conference" in Seattle recently and  women were coming up to me and saying:  we wish we had something like this in the  States! Why haven't we heard about you?  It's really vital that The Radical Reviewer  continue and have criticism as its  main focus—criticism in the sense of  genuine, honest critical'feedback of  what's going on in the women's presses.  Each of us who writes has an obligation  tq^^pritical of our work. There is an  unhealthy attitude in the women's movement that women's writing should be accepted unquestioningly—that feminist periodicals should not reject women's writing.  I think we've got a responsibility to our  readers, to anybody we expect to read our  work, whether it's poetry or fiction or  reviews, to polish our craft.  C.-T.:  There has been a great silence  around women's writing. Recently, there  has been a renaissance of women's culture,  and I think within that, there has been  an assumption that everything a woman  writes is okay and should be accepted.  I think it's probably a more insidious  kind of silencer to send your work off and  expect it to be accepted just because it's  a feminist editor reading it.  I have always put a lot of energy into  writing constructive letters of rejection.  Ultimately, they are still rejection  letters, but I was really pleased to receive a response from a poet in the United  States, who said that it was the most  constructive rejection letter she had ever  received, and that it actually inspired  her to go on and write more poetry. She  has since sent us new work that has been  published in The Radical Reviewer.   In the  male literary world, in the established  literary world, criticism has been a very  destructive experience. There has been so  much competition.  B.:     The whole idea is to outsmart someone else. The sign of an intelligent reviewer has been one who can smash another  artist as cleverly as he can, and that  isn't what we're trying to do.  C-T:   I was asked also, if as editors, we  had any sense of trends in themes and  forms in lesbian writing. I don't know if  you have any clear thoughts on it, but it  seems to me that lesbians are writing a  lot of poetry. Perhaps poetry is something  that can be done in shorter periods of  time, and I would imagine that is especially true for working class lesbian poets.  The Critical Point  Cy-Thea Sand, Barbara Herringer (above) and Connie Smith were  the three founding editors of 'The Radical Reviewer'. There are now  many more women involved with the paper.   B.:  Lesbian writing seems to be getting  away from the over self-consciousness of:  "I am a lesbian and this has to be defined  and I have to define my sexuality." It's  a woman writing, she happens to be a  lesbian, and her writing will have that  tone, just as if she were a woman of  colour. Her sexual preference is coming  from a place of her own experience; it's  not something that has to be defined to  the culture at large, and I really like  that. It's powerful.  Many of the novels I've read in the last  little while are not as self-consciously  lesbian. I started reading lesbian literature five years ago and It's become more  and more sophisticated not in the sense  that it's inaccessible, but that it's  not necessarily spouting theory. It's  writing about women's lives. About the  choices we've made. It is writing coming  to maturity. It feels very solid to me.  C.T. : One of the signs that we have come  of age was the recent publication of  Audre Lourde's ZAMI, A New Spelling of  My Name,(Persephone Press, 1982) which  is an autobiography of a black lesbian  poet. I think this is one expression of  ■ our literary progress.  Let's get back to the art of reviewing.  One of the articles I hope to write in  the next while, will be entitled "The  Perils of Political Reviewing". The idea  raises a lot of questions for me about  what I'm doing, as a literary critic, and  specifically, as a feminist literary  critic. In other words, what I'm doing  and what we are doing, at the Radical  Reviewer  is putting literature and all  other forms of creative expression in a  political context, and saying that'it's  a political realm in which literature is  written.  B.:  Is that how you're defining political?  How would you define a political review?  C.-T.:  I would say as I sit down to   critique a work that my feminist consciousness is operative in the process.  As I read a biography, poem or a short  story, I search for the consciousness of  the artist, of where she is in the world,  what she sees and doesn't see. And so it  seems to me that as a feminist working  class woman I have a sense as to whether  or not I am alienated from that text.  A specific kind of political awareness,  which comes from me being a woman, as  well as a woman from the working class,  is integral to my work as a critical  reader.  There seem to be serious perils in the  political critical process. I felt it  most acutely when I was reviewing Alice  Munro's latest collection of short  stories, Moons of Jupiter.   I felt myself  alienated from her work. Even though her  technique was excellent and highly  developed, it seemed to me to be socially  isolated writing, that it didn't speak to  any of the concerns and very real life  struggles that most of us are having.  It was centred so specifically on the  romantic trials of the heroine, who seemed to be the same character in all the  stories.  B.:  An author is going to write from  where she is—if she doesn't have any  political consciousness, that's what it's  going to be, and certainly you can review  it from where you stand in the world, but  where does that put an author who is  writing from her particular place in the  world as well? Not all women who write  dynamite books are feminist or womanist  as Alice Walker calls herself—not all  women are going to define themselves that  way—but they're going to- be writing from  a particular perspective which is theirs.  C.-T.: I think that one of the responsibilities of the critic is to articulate  the differing perspectives of herself and  the artist whose work she is critiquing.  With traditional reviews, the critic has  not felt any particular pressure to  identify his bias.  B.: I think this is one of the things  The Radical Reviewer has tried to do; to  encourage women who are reviewing to put  aside objective criticism and criticize  from a subjective point of view: "This is  where I stand in the world, and this is  how I view that book."  The Radical Reviewer has an obligation  to review from a subjective place, not  denying standards of writing or anything  like that, or the need to analyze language.  I think that there are all sorts of things  that can be included in a subjective review, and not necessarily have I - I - I  throughout the whole review or a plot outline of the book.  C.-T: The revolutionary potential of women's culture must be reflected in the  critiquing of that culture. Our work is  to inspire new forms as well as to articulate the concerns, issues and perspectives that women's creative expressions  are raising.  Thanks to Marlyn MacDonald and Ani Arnott  for transcribing this dialogue.  continued from page 30  In addition, women from across the country  will set up information booths on professional organizations, publications, funding and grant resources, publishers, etc.  The first lot of invitations have already  gone out to prospective participants.  Some of the women who have written back  and agreed to give workshops or lead  panel discussions are: Linda McKnight,  president of McClelland and Stewart;  science fiction writer Judith Merril;  Libby Oughton of Ragweed Press and head  of the Atlantic Publishers Association;  Margaret Atwood; Sharon Nelson; Donna  Smyth of Atlantis',  Joy Kogawa; Marian  alist Madeleine Ouelette-  Engel; and joui  Michalska.  The Anthology Committee which is responsible for the publication of a bilingual  anthology of previously unpublished  women's writing will be hard at work long  after the conference is over. Now that  the deadline for submissions is past, the  committee members have to apply themselves  to the task of reading several hundred  manuscripts. The Anthology will be published in the Spring of 1984 and will include works of fiction, poetry, one-act  plays and criticism in both French and  English. 32    Kinesis   March TO  LETTERS  insulted by Ms. Kivisild's statements and  believe that an apology is due, from both  her and Kinesis.  Bonnie Ramsay, A FAT WOMAN.  Ed.  note: An apology is certainly in order.  Thank you for pointing out our error  in using ''big but agile". A slur was not  intended, but we do apologize for the  statement. As for your other criticisms  of the article in question, we should  point out that the description comes  directly from Spiderwoman's own media kit.  Sharing health info  gives us strength  Thank you for printing the insert on irregular pap smears and cervical cancer.  Five years ago, when I first was told by  my doctor in sombre tones that I had an  irregular pap smear, and therefore would  have cancer if I didn't have a conical  biopsy, I panicked, and didn't see a  doctor for two years.  When I was finally convinced, pressured,  and offered support by women friends to go  and get another pap smear I was told that  we were talking about a Class III by one  doctor, a Class II by another, and I still  had the original diagnosis of cancer from  my family doctor in Quebec.  I did not choose surgery, because I did  not believe that my life was at stake,  nor did I have much faith that the doc*  tors or the medical system knew what they  were talking about.  Instead I chose to go to a massage therapist, and a naturopath. I changed my diet  etc...etc...many of the things Robin described in her article ... and I was sick  as a dog, and miserable for about a year  and a half.  But my last pap smear did read Class II,  mild, and I am back to eating what I want  (or what I can afford) and I'm probably  in better physical shape than I have ever  been.  If I had had access to an article like the  one you printed when I was first told that  I had cancer, I think I would have been  much less afraid, much more angry, and  much more able to make decisions about  what I  wanted, not what the doctors >or  anyone else for that matter wanted for  Regina Lorek  Taking back the  3-letter word  Kinesis:  "We see big BUT agile women" was the most  insulting and' outrageous statement I have  ever seen in a feminist publication. It  appears in the article on Spiderwoman in  your February issue. The statement is akin  to saying "beautiful BUT intelligent" or  "a lesbian BUT feminine" or any number of  insulting myths.  Earlier in the article by Emma Kivisild,  she states "a mixture of races, ages and  APPEARANCES." What does she mean by appearances? It becomes obvious when we  look at the accompanying photography. She  means that some of the women are FAT  WOMEN. Why does Ms. Kivisild use this  veiled reference? Is she afraid of the  word fat?  Further in the article appears the statement "making use of the diversity of their  experiences as women, as American Indian  women, as lesbians, as scorpios, as women  over 50 and women under 25, as sisters  and mothers, and grandmothers." As a FAT  WOMAN I cannot believe that Spiderwoman  does not also make use of their exper- -  iences (aka oppression) as FAT WOMEN in  their productions.  As FAT WOMEN we are denied employment,  clothing, housing, and medical care. We  are seen as fair game in any public place  for taunts and jeers, not to mention  patronizing, supposedly well-meaning  comments.  FAT is a fact of life, with weight loss diets having a proven five year, 99% failure rate. In fact someone who has never  been on a diet is generally in better  health than someone who has been on them  repeatedly.  Yet doctors almost always prescribe them  for every ailment. Weight loss is a  multi-million dollar industry, most of  which is directed at women and is no less  insidious than Nestle's baby formula  genocide.  Fear, prejudice and ignorance of FAT is  rampant in this society, so much so that  even some feminists still drink diet  colas, and are amazed at the ability of  FAT WOMEN on the dance floor. Not to mention discomfort with the fact that sipg are  sexual beings. Believe it or not it is  not just those greyhound-looking women  in diet pepsi commercials that have sex  appeal.  We have reclaimed and given new meaning  and pride to many words such as woman,  black, lesbian, dyke, etc. It is now  time to take back that three letter word  FAT and give it its rightful place in our  vocabulary. We have been terrorized by  its false implications for too long; you  will not have love and you will be unhealthy. Both are lies and just scratch  the surface of the FAT LIES.  I am a FAT WOMAN, not a big girl, not  plump, chubby or large. I have such a  pretty face and a BEAUTIFUL BODY. A body  that has strong muscles, the marks of  being ripe with child, large beautiful  breasts. A body that glides through the  water when I swim and is agile and expressive on the dance floor. A body that does  not poke my lover in the heat of passion.  My body is not a euphemism. My body is  strong and vital, and definitely three  dimensional.  What I have stated about my body may not  be true of all FAT WOMEN, but neither  would it be true of all women of any size  group. My body has some failings, but then  don't we all?  I for one am personally (is political)  LI [J I     laf    +t<"S P    I  Jon'f £V£"   know  Doctor responds  on abnormal paps  I would like to make a few comments about  your article on Pap smears and cervix  cancer.  I found it surprising that there was no  mention at all of laser cautery. The  Cancer Control Agency of B.C. has a carbon-dioxide laser which can be used in  the office to destroy cervical abnormalities.  It is much less traumatic than  electric cautery and has the advantage of  being faster than cryotherapy, painless,  and it does not cause prolonged mucky  discharge. It vaporizes the abnormal cells  and heals quickly. Unfortunately, these  machines cost over $80,000 and are not  readily available.  If I had a cervix abnormality I would be  happy to put my trust in the handful of  specials its in B.C. who have great experience ii colposcopy and interpretation.  Contrary to American doctors who have  office colposcopes and use them without  supervision, our doctors publish their  results and are able to show that while  they occasionally "over call" a lesion -  i.e., the biopsy shows less disease than  the colposcopy expected - they practically never "under call" one. In other words,  they never miss a severe lesion which  goes on to be improperly treated. Women  contemplating colposcopy in the USA  should bear this in mind.  There is no doubt that social class, education and so on are related to the risk  of cervix cancer. In my mind it all boils  down to one thing - money. People with  less money get more illnesses because of  poorer nutrition throughout life, I  believe.  I also think that some classes of women  have so few economic opportunities that  they tend to marry young, and thus have  earlier intercourse, the common factor  in most epidemiological studies. While it  is a serious mistake to blame women for  getting cancer because of so-called  "promiscuity", it does make sense to point  out clear-cut associations.  Some of the Class III smears show dysplasia, meaning abnormal growth; some show  incomplete maturation of the cells, but  it is incorrect to define this as dyskar-1  yosis, which means abnormal looking nuclei. The more abnormal looking the nuclei,  the more closely they resemble the abnormal cells of other cancers.  It is worth noting that the very high  rate of regression from abnormal back to  normal may result from the biopsy used to  diagnose the abnormality. These early  lesions are likely to be tiny and it  seems the little biopsy - at colposcopy,  or during another exam in the past -  removes the entire lesion, 'curing' the  patient.  It sounds like this is what happened to  Robin. On the other hand, it is not impossible that the lab missed a few abnormal  cells on her smear submitted under a  false name. Anyone with a history of  problems in the past gets her smear seen,  not only by the screener, but by a whole  slew of other people - head technicians,  perhaps a resident, very often by a pathologist and a whole group of pathologists  and residents who give up their lunch hour  every day at the CCABC to look over the  noteworthy slides.  Laser cautery and cryotherapy cannot be  reliably used if the lesion extends up the  cervical canal, out of sight. The older  the woman, the more likely is this situation. If Robin was urged to have a cone  biopsy, it was possibly urged for diagnosis as well as for treatment (i.e. to rule  out cancer up inside the cervix).  There is very little difference between a  Class II and Class III reading, especially  done at two different labs, in some patients. Different people might read the  same abnormality as "mild" or "moderate"  dysplasia. In B.C. some people with Class  II have a minor change related to infection and some have carcinoma in situ. In  B.C. people who are read as Class III  usually have severe dysplasia or carcinoma  in situ (which look rather similar under  the microscope). continued on next page March TO Kinesis   33  LETTERS  This leads me to my main point:  (such as Robin) seem to respond with extreme anxiety to cervical abnormalities.  They want something done. They want to  get rid of it, and fast.  You should realize that many people who  do not want further pregnancies ask for a  hysterectomy just to get rid of their  lesion. Such women should be counselled  as to the dangers of surgery, but nevertheless that's what they ask for.  Doctors tread a fine line between attacking women's bodies, (removing their organs  without justification) and taking action  to get rid of a condition which, in a  fair percentage of cases, goes on to  invasive cancer. Naturally they find it  difficult to deal with the fear Robin expresses (getting PID from a D&C, of which  the risk is probably one in two or three  thousand, if that) when it is a question  of diagnosing cancer!  Robin's anxiety about her cervix might be  calmed if she were to ask herself exactly  what she wants. Avoid the risks of surgery? Get rid of the lesion quickly? Put  her faith in natural treatments?  I think it is possible to wait and see  what the natural course of one's lesion  may be, helped along with whatever natural healing regimen one believes in*  without simply denying illness and saying  the system is faulty. The system offers  what has worked pretty well in the past.  If you want to try something different  you can do that.  One last point: cryotherapy is unsuitable  for people who are transient because they  must be followed up carefully. In the USA  particularly, people may go on to invasive  cancer if disease is left in the deep  glands and no follow-up is done. There is  nothing imaginary about the problem of  transient and irresponsible patients.  Believe it or not, here and there in  this world there are some irresponsible  patients.  Also, adenosis of the vagina and cervix  in DES daughters does not need major surgery. In fact, it does not need any treatment at all. There is only one recorded  case of cancer arising de novo in previously diagnosed adenosis.  DES causes abnormalities in the squamous  epithelium of the cervix all right, but  most specialists say that the feared epidemic of squamous cancer of the cervix in  DES daughters has failed to materialize.  The risk of adenocarcinoma of the vagina  in DES daughters is thought to be less  than 1 in 10,000. THe whole DES tragedy 'Ģ  has cost many lives, but the risk of cancer is a lot smaller than previously  thought (thank heavens). I am extremely  surprised to see figures that 4% of DES  daughters "may" have carcinoma in situ  by age 30. How does this compare to those  of us who are not DES daughters? Is it  any higher? iSNJSwfe  Kirsten Emmott, M.D.  Affirmation of  life over death  The following letter the  Voice of Women newsletter and was passed  on to Kinesis readers by Maud Vant.  Dear Deeno, I just want to wish you a  happy Christmas and a peaceful New Year  and to share, quickly and briefly with  you, some of the marvellous feeling of.  the Greenham Common demo.  We shared a coach on Sunday with women  from Harrogate. Our 25 ranged from me at  57 (the oldest) to V and Vl-formers  (grades 10 to 12) from Ilkley Grammar  School. We set off at 7:15 a.m. and got  back at 11;30 p.m.  It was 1 p.m. when we got to Newbury and  the traffic crawled so we walked 3 miles .  to the base. Some of us went to the Construction Gate (the Christian Gate) where  the great concrete silos are being built.  There were lots of women there, and the  high green fence was filled with colour  from the many symbols which had been tied  on. I fixed on, with orange wool, 8 pictures of families dear to me - my own,  others in Britain and in Germany.  Then I added a poem about my country,  Walesm and the Voice of Women newsletter  from Canada. Then many of us started  weaving, with wool we had brought. We  made spiders' webs of mohair and wool on  the fence and then an arbour of wool  stretching from the wire to the birch  trees, all decorated with multi-coloured  balloons.  Then the message to join hands spread  along and we formed two great circles  round the nine mile perimeter fence and  cheered and sang and in the distance I  heard the ululating cry qf women which  you hear at Greek funerals.  A friend and I walked, like many others,  through the mud, the puddles, across  streams, up hill and down dale past birch  trees, hazels and bracken, to the main  gate.  All along that fence was the affirmation  of life over death - babyclothes, knitting  patterns, jeans and jumpers, pictures  everywhere, collages, messages in bracken,  tinsel and fabric, children's toys, banners, a Somerville College, Oxford Centenary photograph with the caption 'One  century is not enough. LIFE over DEATH.'  There was no overt organization, much  friendliness. It was serious but not  solemn. At night candles flickered everywhere and you detected a quiet sense of  unity and resolve. It was a great place to  be.  Mary Fitzgerald,  England.  Ilkley Peace Action,  Can BCFW rise  from the dead?  Kinesis:  It is with great interest I read the last  two issues of Kinesis containing an article and a letter re BCFW. As a former  "executive" member of the federation, I  can agree with a number of points Pat  Feindel raised in her article.  Even though I have not been involved in  BCFW for probably three years, it would  appear the"group Is still asking itself  the same questions we used to ask -  structure, internal philosophical differences and policy (too much passed at  convention in the heat of the moment).  When I attended meetings it seemed to me  we bogged down always on those three  things - and never spent enough time on  action. As a member of a group from Prince  Rupert, impossible demands were made on us  - such as a request for a parade in downtown Prince Rupert for lesbian rights.  While we all understood and agreed with  BCFW policy, we received little understanding from BCFW about how that parade  would have cost us credibility in a community we were just struggling to keep  alive in.  As well, there always appeared to be a  BCFW "uniform" and a BCFW "lifestyle" and  if one didn't have the right clothes, or  refused to be billeted, then somehow one  was just not a "true and real feminist".  On the other side, Miriam Azrael was president of BCFW when I was involved, and  although we had our political differences,  I have to admire her for the sheer determination she has brought to the federation. I agree with her aims. B.C. needs a  strong group like BCFW. I only hope it  can be raised from the dead!  Stephanie Hudson  Six years of  circular thinking  Kinesis:  If it hadn't been for the date on the  cover (Kinesis, Dec. 1976) I would have  sworn that I was reading a report on the  BCFW convention that I attended, as an  observer, this past November. The four  page supplement contained comments from  the participants, an interview with a  member of the planning committee, and an  article by an observer.  Johanna Den Hertog's "BCFW observations of  an observer: where are we going?" contained the following 'timeless' statement:  ,"I am painfully aware though of the dangers inherent in 'contemplating one's  navel' or analyzing things to their  death: we can easily become directed inward, analyzing always ourselves rather  than the outside world and system, and in  so doing direct energies from action and  organizing and constructive work to con-*  templation, discussion and non-ending  self-criticism...which often unfortunately  contributes to feelings of malaise,  disillusionment and anomie."  "The assumption seems to be now (in  contrast to a few years ago) that we have  all the time in the world...and thus can  afford to organize into this Federation  in a logical and year by year building  way. I wonder."  It makes me wonder if much progress has  actually happened in the last six years. .  Perhaps 'navel gazing' and 'self-criticisms' are more important to the member  groups than combined, provincial actions  towards the advancement of the women in  B.C.  One could be led to the, perhaps naive,  assumption that many of the groups who  have left the Federation have done so to  extend their energies to outward actions,  without the worries of having to be  'accountable' to the supposed umbrella  group of the entire women's movement.  I felt this to be a rather bleak thought  and proceeded to read the Dec/Jan issue  from '76 to '83 to prove myself wrong.  It didn't work. The overriding theme in  most of the articles (reports) on BCFW  annual conventions was internal structure  and what is the focus of BCFW;  The question'"What exactly is BCFW?"  raised in the 1980 report is something  that the remaining member groups should  think about: Is it an ego booster or a  depressant! Who is it Intended to serve -  all women, or just the 'elite' member  groups.  I would like to think of BCFW as a broad  based effective lobbying tool> encompassing women's groups with a multitute of  different political ideologies.  Casey Crawford 34 Kinesis  March TO  BULLETIN BOARD  ON THE AIR  THE LESBIAN SHOW ON CO-OP RADIO, 102.7  FM, every Thursday night from 7:30 to  8:30 pm.  March 3-Lesbians and their Cats-What  is it with lesbians and cats, mystic  bond, or disgusting indulgence? Tune  in and find out.  March ^-International Women's Day-k  look at Vancouver's 1983 International  Women's Day activities.  March 17-Pat's Faves-Get  to know the  Lesbian Show Collective by their music.  March 2k-Lesbians in the Cinema-Row are  ' lesbians dealt with in the movies?  March 31-A Tour Through our Community-  What's going on for lesbians in Van-  WOMAN VISION ON CO-OP RADIO, 102.7 FM.  Listen out on Mondays, 7-8 pm. News,  views, music on WomanVision, the program  that focuses on women.  RUBYMUSIC ON CO-OP RADIO, 102.7 FM from  7-7:30 each Friday. Join host Connie  Smith for half an hour of the finest  in women's music: pop, gospel, folk,  feminist and new wave.  CBC RADIO is running a four part IDEAS  series on "Feminism in the Political  Arena" on Tuesday nights, 8:05 p.m.  beginning March 1.  EVENTS  WOMEN'S EYE VIEW ON THE KNOWLEDGE Network  Tuesdays at 12:30 pm and Wednesdays at  9:30 pm.  Past and present stereotypes are challenged as this.series (Jan.ll-May 10)  explodes myth surrounding women in  trades, sports and advertising.  Also on Knowledge Network: Violence  Against Women, Sunday 8 pm on March 27  and Tuesday 8 pm on March 29.  FESTIVAL OF WOMEN'S WRITING; March 4 and  5th. Two days of readings and discussions at Open Space Gallery., 510 Fort  Street, Victoria, B.C. 383-8833.  Free.  Schedule of Readings:  March 4-8 pm: Nicole Brossard, Rona  Murray, Jill Swartz, Sharon Thesen,  Phyllis Webb.  March 5-2 pm: Edna Alford, Cathy Ford,  Lauri Nerman, Helene Rosenthal, Aritha  Van Herk.  March 5-8 pm: Leona Gom, Beth Jankola,  P.K. Page, Connie Rooke, 'Adele Wiseman  CARNEGIE CENTRE INTERNATIONAL WOMEN'S  Day Celebration on Tuesday, March 8th  at the Carnegie Centre. From 2 to 6- pm  many women's groups from the downtown  eastside area will be on hand to display  information and talk about their services.  Presentation and discussion: Native  Women in B.C.: Our Lives, Yesterday,  Toddy and Tomorrow.  Musicians, refreshments. For more info:  call Pearl, Diana or Rayleen-665-2220.  RICHMOND COMMUNITY LEGAL INFORMATION  is holding free law classes on  Wednesday, March 9 from 7-9 pm.  The presentation will be on Women  and Work. Employment standards and  protection for working women.  Free. 6560 Gilbert Rd., Richmond, in  Richmond Family Place Building.  Phone for childcare. Further info  from Beverley Yaworski at 270-7710.  KATARI TAIKO PERFORMING at the UBC  Anthropology Museum, Sunday, March 13  THIS IS LORNA BOSCHMAN, easily distinguished as one of The Sparkling Fruits.  The Fruits return to Vancouver on Friday, March 18, 1983. They are playing  at the Oddfellows Hall, on Gravely  near Commercial, which as you'll recall, has one of the fanciest women's  washrooms in the entire East End.  In this show, we take off from where  we ended the November show, into new  extremes of imagination and intensity.  The performance sets will alternate  with dancing sets, where you, the audience perform strange and exciting  dances. Satisfy all entertainment  urges with The Sparkling Fruits. The  show is for women only, doors open at  9:00, first performance set at 9:30.  PEOPLES LAW SCHOOL WELFARE RIGHTS on  Wednesday,March 9 at Kitsilano House  2305 W. 7th and Vine. Pre-reg: 734-1126  Wheelchair accessible. Childcare.  Afternoon session (1:30-4pm): a workshop  for those receiving assistance and  those anticipating it. No charge.  Evening session:(7:30-9:30) a public  information session on the GAIN Act.  No charge.  FEMINIST COUNSELLING ASSOCIATON OF B.C.  presents a conference on Women—Visions  of the Future.  Part I "Ideas and Possibilities" will  take place on March 11 and 12, Friday  at 8 pm and Saturday at 9 am at the  Unitarian Centre, 949 W. 49th. Fee:  $30 (Coffee juice and wine included.  Bring a lunch). Work exchange available.  Keynote address: Margaret Mitchell,  panel presentations and group discus-i  sions. Phone for info: 738-8013.  THE BCFW "STOP THE RED HOT VIDEO ACTION  Committee" has called a province-wide  PICKET to protest the continued presence  of businesses that promote and profit  from violence against women:  PICKET ALL RED HOT VIDEO OUTLETS on  Saturday, March 12 from 2-3 pm.  Let's shut them down!  For more info call: Nicole or Regina  at 872-8212  FUNDRAISING PROJECT FOR THE REGIONAL  Lesbian Conference. A series of dances  once a month for the next four months.  All dances will be held at the Capri  Hall, 3925 Fraser St., Vancouver.  "March Affair"-Friday, March 25.  "Spring Magic" - Friday, April 29th.  Come and support the Regional Lesbian  Conference by having a great time.  Tickets available at Ariel, Women's '  Books to re, 0 ctopus.  WOMEN AND WORDS Word Sale.  Old books,  old records. New Women and Words  T shirts. New Releases-with signings  from 12-3 by:  Carole Itter: Whistle Daughter Whistle  (Caitlin)  Rosalind MacPhee: What Place is This?  (Coach house)  Jane Munro: Daughters, (Fiddlehead)  Phyllis Webb: The Vision Tree:  Collected  Poems   (Talon)  at the Literary Storefront, #1-314 W. •  Cordova on Saturday, March 26, 10-5 pm.  CASC-NO U.S. INTERVENTION IN CENTRAL  AMERICA-SOLIDARITY WEEK on March 18-26  Friday, March 18,7 pm, candlelight  procession from U.S. Consulate (1199  W. Hastings) to ChristChurch Cathedral  for an Ecumenical Service commemorating  Archbishop Romero at 7:30 pm.  Saturday, March 19, Grupo Raiz, Chilean  music, Tupper High School, 7:30 pm,  $7/$5 unemployed.  Monday to Friday, March 21-25, picketing  every day, 12-1, U.S. Consulate, 1199  W. Hastings.  Friday, March 25, a movie Decision to  Win,   7:30 pm, Britannia Centre, $3.  Saturday, March 26, DEMONSTRATION,  Robson Square, 1 pm.  For more info: call Steve at 731-3977.  .MARY DALY is the guest lecturer during  Women's Week at UBC. Lecture in the  evening on March 19. Contact the UBC  Women's Centre for info.  QUEEN IDA and her Bon Temps Zydeco Band  at the Commodore Ballroom on March 18  and 19. Tickets available at all VTC  and CBO, Black Swan Records, Octopus  Books East, and Vancouver Folk Music  Festival office.  GROUPS  THE LESBIAN INFORMATION LINE is updating  their resource files. They urgently need  the names of any sympathetic lesbian/feminist counsellors, therapists, psychiatrists and psychologists. Please write  or call: The Lesbian Information Line,  1501 West Broadway, Vancouver, B.C.,  V6J 1W6. Telephone 734-1016, Thursday  and Sunday 7-10pm.  LESBIAN INFORMATION LINE. Want to talk?  Need information? Call LIL Thurs. &  Sun. from 7-10 pm at 734-1016.  LIL is looking for new members. Call  • to join our fine collective.  THE HEALTH COLLECTIVE IS TRAINING  volunteers. The Vancouver Women's  Health Collective is offering a six-  week training group for women who would  like to work as non-paid staff in the  resource centre. Interested women need-  to share our feminist, anti-capitalist  perspective and be able to work one  afternoon shift per week, as well as  come to a monthly meeting. The training  group will be on Tuesday mornings,  starting mid-March. Phone the Health  Collective at 736-6696 to pre-register.  WOMEN SINGING: Every Sunday 3-5 pm at  Little Mountain Neighbourhood House  (24th and Main). All women welcome,  to sing feminist/political/women's  culture songs. For more info: phone  Beryl at 435-7525 (days), or drop in  on Sunday.  BISEXUAL WOMEN'S SUPPORT GROUP meets  regularly. For more info call Storm at  872-3143 or write to us at 3085 Charles  Street, Vancouver, V5K 3B6 March'83   Kinesis   35  BULLETIN BOARD  WORKSHOPS  DOUGLAS COLLEGE WOMEN'S PROGRAMS and  the Coquitlam Family Centre are offering the course "Understanding Depression", on March 23 to April 20. (No  class April 6) at the Coquitlam Family  Centre, 699 Robinson St..Coquitlam.  Moderator: Sheilah Aherne. Time: 7:30  to 10 pm every.Wednesday.  Fee: $10. Registration at the college  at 700 Royal Avenue, New Westminster.  Session topics include: Theories of  Depression, Who Gets Depressed, Typical  Responses to the Depressed, How to Live  with Depression.  THE PEACE MOVEMENT AND THE LAW. Legal  topics of interest to everyone concerned about the nuclear arms race.  At: Energy Information Centre, 2150  Maple St. Vancouver.  March 17, 7:30 pm: "Disarmament" with  speaker Michael Wallace  March 23 & 24, 7:30 pm: "Civil Disobedience" with speaker Michael Bolton  March 31, 7:30 pm: "Taxes for Peace"  A case being developed to establish  a peace Tax Fund. Speakers: David  Vickers, Edith Adamson.  April 21, 7:30 pm: "Talk Back to  Ottawa" with speaker Pauline Jewett.  VANCOUVER INCEST AND SEXUAL ABUSE CENTER  Society is holding spring workshops to  train therapists from the lower mainland. An intensive 16 session program  to provide training for experienced  therapists, in the area of incest and  child sexual abuse to enable them to  counsel adult survivors and non-offending parents.  For Info: VISACS, 303B-2515 Burrard St.  Vancouver. Phone: 738-3512. Program  begins on April 8th.  VISUALIZATIONS FOR SELF-HEALING. Workshops for women on Sunday, March 13th  10-5 pm. $20.  Autogenic training: A relaxation technique for dealing with stress. Over 6  Mondays beginning March 14, 6-7:30 pm  Fee: $25.  For info and registration: Kristin Penn  872-0431  ^^;^rP0RN0GRAPHY:  a feminist forum  9 I 5 pm  Sunday, March 20  Robson Sq. Theatre  TICKETS: Vancouver Women's Bookstore  Ariel Books  S2  y~ Port Coquitlam Women's Centre  ~7      North Shore Women's Centre  ?4      Sister's  Vancouver Status of Women  BRING A LUNCH jj  ' no convenient cafes  CHILDCARE: Pre-register before March 17  call 873-1427 or 876-2849  ^ * P^BLS  "**  l<%,  *«**  Morning: Defining pornography WOMEN & MEN  Afternoon: Strategies WOMEN ONLY  THE CANADIAN ASSOCIATION FOR THE ADVANCEMENT OF WOMEN AND SPORT (CAAW&S) will  be holding two events this month.  On International Women's Day (March 8)  there will be an information seminar  on Women and Outdoor Activities, co-  sponsored by the women's outdoor club.  Find out about hiking, climbing and  camping; the commercial packages—  benefits and ripoffs: and meet other  women interested in outdoor activities.  Robson Square, 7-9 pm.  March 31st: A seminar on women and  coaching. At the Sport B.C. building  1200 Hornby at 7 pm.  THE VANCOUVER WOMEN'S HEALTH COLLECTIVE  presents a series of talks on:  Psychiatric Drugs-their effects, hazards  and alternatives.  1. Minor Tranquilizers: valium, serax,  2. Major Tranquilizers: thorazine,  stelazine, etc.  3. Lithium and anti-depressants  4. Alternatives to drugs.  For dates and location, call the Health  Collective: 736-6696.  CLASSIFIED  SISTERS RESTAURANT, 612 Davie St.  Hours: Monday: Noon to 3 pm. Tues.& Wed.  Noon to 3 pm and 6 pm to midnight.  Thursday and Friday: Noon to 3 pm and  6 pm to 2 am. Saturday: 6 pm to 2 am.  Phone: 681-6400.  Kinesis  apologizes for any inconvenience  caused by printing in error that Sisters  was open for brunch on Sunday. Sunday  brunches were cancelled due to a lack  of demand. Sisters would be pleased to  be open for brunch if there was  sufficient demand.  CHILDCARE IS NEEDED AT THE RAPE RELIEF  House. We provide childcare for the  women's shelter and those who want to  attend groups. Child care is all our  responsibility. Women without children  are especially asked to volunteer.  Times needed are: Tuesdays, 2-5 pm,  7-10:30 pm and Wednesday 7-12 pm. If  interested call Maureen at 872-8212.  SELF-CONTAINED BACHELOR APARTMENT in  feminist house. Available immediately.  Rent $200. Phone 327-6457.  THE RADICAL REVIEWER  will be having two  events at the Vancouver Status of  Women office:  March 19: a reviewing workshop  March 27: a general meeting for  women who like to get involved with  the overall operation of the journal  » Should pornography be censored?  • Do feminist therapists exploit their clients?  » Is abortion free and easy' in Canada?  > Are feminist classics still being read?  Subscribe to Broadside for the answers.  £ti*S}&€fSM40&  A FEMINIST REVIEW  o subscribe to Broadside. I enclose $ 10 for one y  Broadside, PO Box 494, Stn P, Toronto M5S 2T1  COUNSELLING AND THERAPY-Anne E. Davies,  M.A. Counselling and Therapy,  210-1548 Johnston Road, White Rock,  B.C. V4B 3Z8. Phone: 531-8555.  Individuals, couples and groups.  Preorgasmic Women 's Groups, A Place  in the Garden: A Sexuality Workshop  for Women  and Women's Discussion  groups on Sexuality. Call or write  for spring dates.  FEMINIST THERAPIST-Sharon Colling, MSW,  Phone: 733-6239. Individual counselling.  Groups. Call for details.  THE RADICAL REVIEWER  is in need of a  book-keeper, fund-raiser and promotions  person. If you are interested in any  of these positions (voluntary at this  point) please come to the first general  open meeting of The Radical Reviewer  on March 27th at Vancouver Status of  Women at 1 pm.  THE WEST COAST WOMEN AND WORDS SOCIETY1  is looking for someone to organize  childcare for the Women and Words  Conference to be held June 30 to July 3,  1983 at U.B.C.  If you are interested  please contact the Women and Words  office. Phone: 684-2454.  WOMAN WANTED TO RENT a large sunny S.C.  bachelor suite in lively feminist household. $215/mo. includes utilities,  phone, private entrance, large yard.  Share huge veg. garden, sun porch,  workshop/kitchen. Would suit artist,  smokers OK. Available April 3, Van  East. Call Joyce: M-F: 10-6pm only.  255-6997.  I ARIEL BOOKS :  \ 2nd ANNUAL \  | INTERNATIONAL WOMEN'S DAY |  I :   '        Ma       f I  I 20% off all books with main ;  * J  * titles including the words *  * « t  t "woman   or   women j  ;' March 7,8,9         2766 W. 4th            733-3511 i  _********************************************************* SUBSCRIBE TO KiMMJiJ  Published 10 times a year  by Vancouver Status of Women  400A West 5th Ave., Vancouver, B.C. V5Y 1J8  D VSW membership - includes Kinesis subscription -  $20 (or what you can afford)  □ Kinesis subscription only - $13  □ Institutions - $40  □ Sustainers - $75  Name   Phone_  .Amount Enclosed.  Please remember that VSW operates on inadequate  funding — we need member support!  w 3  So  ><  SS  ■* 5 ■*  < o  • 3


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