Kinesis Jul 1, 1985

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 news about women that's not in the dailies Kinesis July/August*85 1  by Emma Kivisild  The press of the Canadian women's movement is more united  than ever.  Fifty women from thirty five  English and French language  feminist periodicals met in  St-Marc-sur-Richelieu, Quebec  in June, emerging from the  two day conference with plans  for joint promotion, marketing and outreach in the coming  year, annual meetings and mutual support for publications  in crisis.  This was the fourth time Canada's feminist periodicals  have held a national meeting,  but was the first one since  1980 with previous gatherings  in 1975 and 1976.  Some of the women participating in this year's conference had attended some or all  of these events, and others  had been involved in feminist  periodical publishing for only  a few months. In an opening  address, writer and researcher Eleanor Wachtel noted that  the range of publications  I media under attack  Speaking out about feminism  ! has its risks. For as long as  feminists have been publishing  ; newspapers, those newspapers  j have been getting negative  j feedback along with the numerous letters and comments from  ! readers who like us and depend  In recent months, Canada's  feminist periodicals have been  weathering an increase in destructive criticism, directed  to the publications themselves,  and also to their advertisers  and funding sources. Kinesis  is  one of the periodicals that has  been contending with these letters and phone calls about our  editorial content and policies.  If you've ever felt like writing a letter to us, or to Secretary of State Women's Programs (who fund our publisher,  Vancouver Status of Women),  now's the time. We could really  use the support. Send your comments on Kinesis  to us c/o Vancouver Status of Women, 400A  West 5th Ave., Vancouver, B.C.  V5Y 1J8, or directly to Walter  McLean, Minister Responsible  for the Status of Women, at the  Parliament Buildings in Ottawa  (with a copy to us if you can).  was similarly diverse- with  circulations ranging from 100  to 10,000, including health  newsletters like Vitality  from Nova Scotia; literary  journals like Room of One's  Own',  academic publications^  Hysteria',   a lesbian magazine;  general interest publications,  and more. Combined, we have  a readership of 50,000.  Conference participants marked  three 'births' and one 'death'  over the weekend: the first  issues of Women's Education  des Femmes,  The Newsmagazine  for Alberta Women,  and the upcoming journal of the National  Association of Women and the  Law, and the demise of the  National Action Committee on  the Status of Women's Status  of Women News.  One of the key issues raised  at the meeting was that of  recent attacks levelled at  HERizons  magazine, published  in Winnipeg. HERizons  has been  targetted by a chapter of the  Manitoba Catholic Women's  League and anti-choice activist Jo Borowski, for its  I stands on abortion and les-  I bianism, and for a cartoon  I that Borowski called 'man-  I hating', (see Kinesis  February  I '85, 'Catholics and Borowski  [   attack HERizons'). These attacks became a cause for con-  I cern when the funding HERizons  was receiving from  i the federal government was  | called into question.  Lobbying by women's groups  and the Canadian Periodical  Publishers Association (CPPA)  has been pivotal in assuring  the continuation of HERizons  grant, which was renewed the  day following the Quebec meeting.  HERizons  is not the only Canadian feminist periodical that  has come under fire for its  content (see box). In a resolution passed in the closing session of the conference, participants voted to rally behind  any other feminist publication  subject to attacks on its editorial policy.  Workshops at the conference reflected the gamut of issues  confronting women involved in  putting out periodicals on a  low budget, with a political  message, and via what they  Feminist periodicals continued page 4  Last year's July/August supplement on Women in Music was such a hit  that we've decided to make it an annual event. This year's articles  compiled by our regular Rubymusie  columnist Connie Smith, reflect  the range of women's musical talents and interests, from a look at  the Vancouver Women's Music Club, which first brought classical  music to the Lower Mainland, to interviews with Mexican lesbian  singer Chavela Vargas and Etta James, and including stories on  Inuit throat singing, dup poetry, and New Age composing, and more.  Enj oy!  Kinesis  tries to run a supplement every month. We find it lets  us look at issues in-depth in a way we never could otherwise.  Next month's supplement will be on Women and Class - more specifically, on working class women, classism (in the women's movement and outside it), and race and class. The deadline is August  15th for publicaiton September 1st. If you have something you  _want to write, or that you think someone should write, or a  picture you want to take, or any other ideas on the subject, please  let us know at (604) 873-5925, 400A West 5th Ave., Vancouver, BC.  U  Women from the feminist periodicals conference.  B.C. neglects battered women  The future of Vancouver Transition House at press time  was still up in the air, with  a June 28 deadline for any  bids on the Transition House  contract.  It was also the  date of closure. With the  phones dead and the workers  laid off, a crucial service  to battered women in this  city is cut off, with no indication from government  authorities as to when or if  it will reopen.  The workers and others involved with the issue are  extremely dissatisfied with  the guidelines set out by  the government in the  tender. According to Belle  Parkinson, a Transition House |  worker, there are many ways  in which the proposed service  could fall short of meeting  the needs of women and  children coming from violent  situations in their homes.  In fact, the tender doesn't  mention the words 'violence'  or 'battered1, using instead  the euphemism, 'in crisis'.  The potential provider of  the service is supposed to  provide "short term accomodations to identify clients','  implying that not just any  woman who arrives at the  doorstep would be regarded  automatically as a client.  What would the criteria be  for determining her status?  The guidelines also refer to §  the service as being supportive of the family unit, without defining what they mean by  family unit. Would the poten- g  tial operators of the service  be expected to send battered f|  women back to abusive husbands? Are they referring to |  the woman and her children  as a family unit? In any case,||  where does that leave single  women?  Other aspects of the current |  Transition House service,  such as a 24-hour phone line, J|  referral to  community services, advocacy in the legale-g  network, and follow-up .  counselling, are not  addressed in the government  guidelines.  There are no  guarantees that women would  be housed together, with one m  option being a network of  undefined 'safe houses'. Suchj||  a scheme would keep women  isolated from each other and jl  do little to improve their  self-esteem or confidence.  There is a registered  society in place which has  been working in consultation  with Transition House staff,  bidding along with about 13  other groups for the contract. There is no need for  the centre to close, as this  group is ready to begin operations immediately if its  bid is taken up by MHR. In  the meantime, as of June 28,  all calls are being redirected to the already overloaded Emergency Services  branch of MHR.  New PC budget    1  MM old women  The Conservative's new budget  will hurt senior citizens,  the poorest of whom are women.  The partial de-indexing of the  old age pension to 3 per  cent below the consumer price  index will mean a loss of $10u8  for each person collecting a ||  pension in 1986, $205 in 1987,|j  and so on in increasing amount  amounts.  The Conservative's move is  being criticized publicly,  especially as they had promised not to change old age  pensions during their election campaign.  Combined with $400 million  in cuts to the spouse's  allowance program over the  next 6 years, the government intends to cut a total  of $7 billion by 1991.  These cuts are planned despite a recent paper on child m  and elderly benefits which  said, "In the government's  view, no change is required  in the Old Age Security/  Guaranteed Income Supplement g|  payments system."  -Sfef"fS  Petitions are being circulat- m  ed by many groups, including M  the NDP. Locally, Margaret  Mitchell's office has collect-S  ed about 10,000 names to date.g  Says Mitchell, "Partial de-  j  indexation of the OAS is  actually underhanded, sneaky m  and worse — dishonest. Duringg  the campaign, the Conservativeg  promised, 'A PC government  would once more index the old M  age pension to the actual  cost of living on a quarter- p  ly basis'".  At press time the federal  government said that they  intend to make an announcement on changes to OAS/GIS. 2 July/August '85 Kinesis  MOVEMENT MATTERS  mstoe  Movement matters   3  Across BC  4  Across Canada  5  International News  6  Adivasi women  7  Lesbians in the military  8  Conference on women's press   1Q  Women and the right   11  Jim Pattison part 2   14  Supplement: Music  Inuit women  15  Chevela Vargas   16  Ronnie Gilbert  18  Etta James 20  Dub poets    23  Local composers 24  Hystory 26  Kay Gardner  28  Signed, Sealed and Delivered  29  Winnipeg Folk Fest   30  Early women's music society  30  Playing in prison  '..- 31  Vancouver Folk Fest 32  Arts  Side Effects   33  Maria Pitch     34  Lesbian Literature: hystory 35  Rubymusie  36  Letters 37  Bulletin Board   38  Kinesis welcomes volunteers to work on all aspects of the paper. Call us at 873-5925. Our next  story meetings are August 7th, 7:30, and September 4, 7:30 at the VSW offices, 400A West 5th. All  women welcome (even if you don't have any experience).  PRODUCTION THIS ISSUE: Kim Irving, Leather  Harris, Libby B-for-beach Barlow, Maura Volante,  Emma Kivisild, Patty Daughterofgib, Rosemarie  Rupps, Isis, Nicky Hood, Liz Clark, Frannie Ru-  vinsky, Jean McGregor, Judy Hopkins, Nellis  Popov, Noreen, Heidi Hueniken.  SUPPLEMENT CO-ORDINATOR: Connie Smith.  COVER DESIGN: Debra Rooney.  EDITORIAL GROUP: Libby Barlow, Jan DeGrass,  Kim Irving, Emma Kivisild (editor), Barbara Kuhne,  Sharon Knapp, Janie Newton-Moss, Cy-Thea Sand,  Connie Smith, Isis (production co-ordinator),  Michele Wollstonecroft, Leather Harris.  EDITORIAL BOARD: Carol Bierenga, Jan DeGrass,  Patty Gibson, Punam Khosla, Emma Kivisild,  Michele Wollstonecroft.  CIRCULATION/DISTRIBUTION: Judy Rose, Joey  Schibild, Vicky Donaldson, Margaret McHugh, Cy-  Thea Sand, Cat L'Hirondell, Kim Irving, Angela  Wanzcura, Spike Harris,  ADVERTISING: Jill Pollack, Emma Kivisild,  Heather Harris, Vicky Donaldson.  OFFICE: Cat L'Hirondelle, Kim Irving, Pam Swan-  igan, Heather Harris.  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.  V5Y1J8.  MEMBERSHIP in Vancouver Status of Women is  $23/year (or what you can afford). This includes a  subscription to Kinesis. Individual subscriptions  to Kinesis are $15/year.  SUBMISSIONS are welcome. We reserve the  right to edit, and submission does not guarantee  publication.  work by  is Cooperative.  the Canadian Periodical  Kinesis editorial and advertising policy  Over the past year, several changes have  taken place at Kinesis.  Not the least of  these has been the advent of paid advertising in the paper (enabling us to hire a  production co-ordinator part-time). We have  also instituted an Editorial Board of staff,  volunteers, and an outside journalist to  evaluate policy.  This board has been working hard: consulting with the Kinesis Editorial Group, the  VSW staff and the VSW board; looking at  the Kinesis editorial policy that has  evolved in our thirteen year history;  and finalizing advertising guidelines. In  this issue we present the results of  that work - editorial and advertising  policy.  Copies of both these documents, as well  as the writer's guidelines mentioned in  the editorial policy, are available from  Kinesis.  Editorial Policy  Kinesis  is published ten times a year  by the Vancouver Status of Women. Its  objectives are to be a non-sectarian  feminist voice for women and work actively  for social change, specifically by  combatting sexism, racism, homophobia and  imperialism. Articles and images in Kinesis  are intended to work against the invisibility of women generally, and the specific invisibility of lesbians, women of  colour, working class women, disabled  women and other socially and politically  disadvantaged groups.  Kinesis  acts as a forum for dialogue and  debate on issues within the women's  movement, but not as a vehicle for attack  of any one group or individual in either  letters to the editor or any other material.  We reserve the right to classify any  article or letter as an 'opinion' piece,  and lay it out accordingly.  1   -8?:LMriM8l  Letters to the editors should be received  by the 15th of the preceding month for  publication, and should be no longer  than 500 words. We reserve the right to  edit for clarity, space, and libel. Writers  will be notified about letters concerning  their articles and can 'choose to reply .  in the issue in which the letter appears.  Editor's notes will be limited to clarification only.  In the'event that numerous letters on any  one article or issue are received, we  reserve the right to publish a representative sampling of the opinions expressed.  Unsolicited material is welcome, but  submission does not guarantee publication.  Solicited or pre-arranged material has  priority.  Kinesis not publish fiction or poetry,  except in excerpt for the purpose of review.  Male readers may write letters to the  editor, co-write articles in appropriate  circumstances, publish photographs  where no photograph by a woman is available, and advertise as per ad policy.  Writers may choose to make men the subject  of interviews or discussion where appropriate. Kinesis  will not normally review  artwork, music, or publications by men.  All material in Kinesis  is subject to copy  editing for punctuation, grammar, paragraphing, length, and clarity. Wherever  possible, we will contact the writer on  substantive changes. Articles may be returned to be rewritten. Guidelines for  writers are available on request.  Views expressed in Kinesis axe.  those of  the writer and do not necessarily reflect  VSW policy or policy of the Kinesis Editorial Board. All unsigned material is  the responsibility of the Kinesis Editorial Board.  Writers may choose to be involved in  the illustration and layout of their own  articles.  Advertising Content Guidelines  We will not accept sexist, racist,  homophobic or otherwise offensive ad material ( to include classist, ageist,  disablist, etc.)  Space priority for ads will be given to  progressive or non-profit organizations.  We will not run ads for products that  are part of an organized boycott.  We will not run "new woman" ads: tampons,  banks, beer and not accept the corporate  advertising represented by these products.  Women professionals (including realtors)  can advertise theri services in Kinesis  (usually expected in classified or directory) .  We will not run ads for anything that is  dangerous to our health, e.g. cigarettes,  valium, etc.  We will carry no political party advertising.  KINESIS IS AVAILABLE AT  VANCOUVER AND AREA:  Agora Food Co-op  Ariel Books -  Beckwomans  East End Food Co-op  English Bay Books'  La Quena Coffee House  Little Sisters  Mall Book Bazaar  Manhattan Books  McLeods Books  North Shore Women's Centre  Octopus East and West  Peregrine Books  Press Gang  Reach Clinic  Simon Fraser Sluden Society Bookstor,  Simon Fraser University Bookstore  Spartacus Books.  UBC Bookstore  Vancou ver Women's Bookstore  Montreal  A ndrogyny Bookstore  LibrairieA Iternative  Sherbrooke  BiblairieGGCLtee.  Winnipeg  Dominion News and Gifts  Liberation Books  ThunderBay  Northern Women's Bookstore  Thunder Bay Co-op Books  9,"?^    IS  South Surrey/White Rock Women'sPlace GlobeMagsandCigars  Terrace Women's Resource Centre MagsandFags  Unemployed Action Centre, Nanaimo       Octopus Books  VanguardBooks  Women's Health Collective  Women 's Resource Centre  IN B.C.:  Chetwynd Women's Resource Centre  Every woman's Books, Victoria  Honey Books, Maple Ridge  NDPBookstore. Gibson's Landing  Nelson Women's Centre  Pi. Coquitlam Women'sCentre  Quesnel Women's Resource Centre  IN CANADA:  Halifax  Atlantic News  Red Herring Co-op Books  Ottawa Women's Bookstore  Edmonton  Aspen Books  Common Woman Books  Toronto  A AS Smoke Shop  Book City  Book World  DECBookstore  Lichtman'sNewsA Books  Longhouse Book Shop  Pages  SCMBookroom  The Book Cellar  Toronto Women's Bookstore  World's Biggest Bookstore  York University Bookstore  IN U.S.A.:  Chosen Books, Detroit, Mich.  'ñ†I.C.I. -A Woman's Place. Oakland. Ca.  It's A bout Time, Seattle, Wash.  Old Wives Tales, San Francisco, Ca.  Room of One's Own, Madison, Wise.  NEW ZEALAND  Broadsheet, Aukland  . Women's Bookshop, Christchurch Kinesis July/August fi5 3  MOVEMENT MATTERS  IMA supports Indian women  The India Mahila Association,  the I.M.A. as it's known, is  a volunteer Indo-Canadian  women's group. The word 'Mahila  means woman. It's a Hindi word  derived from the ancient  language Sanskrit.  The association has been in  existence now for about twelve  years. It started out in 1973,  when a few concerned women of  the Indo-Canadian community  got together. They recognized  the lack of an organized voice  amongst the Indian women and  the need for participation by  Indian women in religious,  socio-cultural and political  events.  The I.M.A. was initially  involved in some orientation  work i.e., enrolling newly  arrived Indian women in E.S.L.  classes and orienting them  to the city and the Canadian  way of life. Through the  Cultural group the I.M.A.  helped women maintain the  valuable aspects of our culture.  Over the years, with the increased incidents' of violence  against Indian women, the  organization felt the need  for a women's support group.  When one is living outside of  one's own country and has  little knowledge of the host  country, life can be lonesome  in addition to being difficult. At times like this a  support group helps bring  women out so that experiences  can be shared. The participants are afforded the opportunity to relate with one  another on a social basis.  All of the above concerns  helped us formulate the objectives of our association,  which are: 1) to share our  skills and information with  our sisters 2) to defend  ourselves from violence 3)  to provide emotional support  for one another 4) to provide  assistance to women needing  help and referral 5) to re  vive and promote the dignifying and unifying aspects of  our culture 6) to gain equality for Indian women and  strengthen the family unit,  thereby helping immigrant  families integrate into Canadian society.  The formation of committees  over the years has taken  care of fullfilling each of  the objectives. These committees are the Cultural Commit-  te,  the Education Committee,  the Social Committee  and the  Victim Support Committee.  The Cultural Committee  has  focused on the need to present our culture to the larger  community, while at the same  time facilitating the socialization amongst our own  members, young and old, the  newly immigrated and the  Canadian born. This committee  presents Indian folk dances  at various events such as  the Folk Fest, various multi-  Developing   economic   community  by Melanie Conn  On June 7, 1985, 65 women  gathered at Douglas College in  New Westminster for a workshop  entitled "Economic Alternatives  for Women" in association with  a conference on community economic development organized by  S.P.A.R.C. of B.C. (Social  Planning and Review Council).  The workshop was unique: the  first in B.C. to look at the  theory and practice of community  economic development with a  focus on the perspective,  activities and needs of women.  Participants represented a wide  range of experience: women  involved in co-operative businesses, employment counselors  and community workers, as well  as many indivuduals who wanted  to find out more about this  form of economic development.  Susan Wismer from Guelph, Ontario  was the main resource person.  Susan has years of experience  as a consultant with communities  and presented a very clear outline of the structures for  community-based economic development and the context out of  which they operate. Single  : enterprises, (such as worker-  owned coops like Wild West) and  , enterprises sponsored by non-  ; profit community organizations  I (Kids In 'Em is sponsored by  j the Port Alberni Women's  j Resource Centre) focus on the  creation and maintenance of jobs  | but in ways that empower both  \ the workers and the community.  j It is the weaving together of  'Ģ business and social goals that  ; differentiates community-based  I economic development from the  I mega-progect strategy of  "stimulating" the local economy  I by setting up a temporary big  business in a community.  Community-based enterprises are  labour-intensive, democratically  structured, reliant on local  resources and responsive to  community needs.  While in some cases government  grants provide start-up costs or  even operating and capital expenses for the first few years,  increased self-reliance is a  very important aspect of this  economic strategy.  For many women the challenge  and attraction of community-  based economic development lies  in the potential for employment  within a structure that is  socially responsible and also  provides opportunity for growth  and experience. A good example  is Emma's Jambrosia, a women's  cooperative business that started  through the Nelson Women's Centre  with the aid of a hefty Federal  grant. Now well on the way to  financial success, Emma's employs  8 local women in the production  of its delicious "spreads" (not  high enough in sugar content to  be officially classified as  jam!)  Marcia Braundy,_an Emma's  collective member who partic-  pated in the workshop, spoke  with pride of the group's  ability to generate business  expertise from within its ranks  and of its reliance on consensus  decision-making. Marcia explained that along with building  the business, and maintaining a  democratic structure, the group  also has a commitment to put  money back into the women's  movement.  The capacity to act on political  principles and to support  political work through economic  activities is the motivation for  Women's Work, a silk-screening  collective based in Vancouver  (and already becoming famous  for its "East End Bad Girls"  T-shirts!) When Lori Wall, a  collective member, described  the business, she emphasized  its goal to support the work  of LAFMPAG (Lesbian And Feminist  Mothers Political Action Group)  as well as to provide non-  exploitive employment for women.  The workshop was not only  theoretical; 'hands on' experience was provided when case  studies were presented for  problem-solving by participants.  In small groups, women enthusiastically tackled several  nuts-and-bolts issues: "What  happens when' a community-  sponsored enterprise loses  sight of its social goals?"  and "How can a woman borrow  money to invest in a co-op when  she is on a low or fixed income?"  and "How much does hard work  count for in comparison to a  cash investment?" The problems  were not fictional and the  presenters found the group's  suggestions to be interesting  and valuable.  Not all questions were answered  in the workshop nor were all  issues covered. How, for example,  do unions and co-ops work  together? How does a group  develop a product -without displacing another business? How do  you get started?  In response to the interest  generated at the workshop, a  follow-up session is planned.  For more information about it,  contact Melanie Conn who is  co-ordinating a project on  facilitating women's cooperatives  at WomenSkills, #9-4443 Irmin  St., Burnaby, B.C., V5J 1X8  430-0450 or 736-0935. Carol  Nielsen, who coordinated the  workshop with Melanie, can  also be contacted for information  at 251-6046.  33 H'id'dl  cultural gatherings, schools,  community centres, neighbourhood houses, Canada Day  celebrations, etc.  The Education Committee  is  largely responsible for  creating an awareness amonst  our community and the community at large on matters affecting Indian women, such, as the  dowry system, violence  against women, generation gap,  racism, sexism and cultural  interpretation. To this end we  organize workshops, provide  speakers, write articles in  local n'ewspapers and utilize  other media resources. Members  of this committee educate  themselves by attending workshops and seminars on issues  concerning women.  The Social Committee  takes  care of the food and refreshments at the various meetings  and events held during the  year, such as the Annual  Family Dinner, the Summer  Picnic, the Annual General  Meeting, workshops and seminars.  The Victim Support Committee  has been in existence now for  about seven years. The members  of this committee provide  basic information, referrals  and much needed emotional support to those women in our  community who face violent-  situations. Members in this  committee have attended  training sessions given by  organizations like Battered  Womens' Support Services,  Rape Relief and Women Against  Violence Against Women. This  committee has helped in making  some of these services accessible to Indian women.  In all we are a women's group  that believes in fighting for  our rights! Being women and  too from a visible minority  the battle at times is a  little harder. However we  know we're not alone in our  quest for equality amongst  all human beings and in that  knowledge there is some comfort. We hope to continue our  share of the work in the community in helping obtain for  ourselves what is rightfully  ours!  For more information on the  Indian Mahila Association,  contact Sadhna 294-6139.  Harjit 325-2826. 4 July/August '85 Kinesis  I &Si  Christian feminists  seek women's shelter  Telling our own history  Streetwomen in downtown Vancouver may have a women's shelter in 1986. That is, if a  delegation of Christian feminists have their way.  At press time, Jancis Andrews  of the North Shore Women's  Centre, Donna Stewart of the  National Action Committee on  the Status of Women, Leslie  Black of the Social Housing  Committee of the United Church  and Miriam Azrael of the Women's  Shelter Society were to meet  with Jeffrey Still, area  manager for the evangelical  group 100 Huntley Street.  The women will be appealing  to Still as Christians, asking  100 Huntley Street to forego  their proposed 3 million dollar pavilion on the Expo site,  and buy a shelter for street  women instead. They are proposing that the hotel presently  sought by the Women's Shelter  Society (see Kinesis  'Creating Alternatives in a hostile  world' - June/85) be purchas  ed by 100 Huntley Street, used  as a pavilion during the six  months of the world's fair,  and then turned over to the  Shelter Society.  The hotel is about a mile from  the Expo site, and the women  feel a shuttle service to and /  fro could well be part of the  Expo theme of transportation.  "We will be asking him a  question that is devastatingly "  simply,." says Andrews. "Which  does he think would be more |  pleasing to Christ - to be in  a $3 million dollar building  on a fair site, or among the  poor, the dispossessed and the  rejected, the people Christ'  loved best? We already know  the answer."  Andrews was inspired to spearhead the proposal to 100 Huntley Street by the article in  last month's Kinesis,  and intends to pursue the matter with  other church groups if 100  Huntley Street refuses.  Nanoose Peace Camp moves  Responding to neighbours concerns regarding the location of  their Peace Camp, the Nanoose  Conversion Campaign began in  May to move the camp to a new  site.  The controversy began shortly  after the beginning of April,  when the Peace Camp opened in  a regional park less than a  mile from the Nanoose Naval  Base. Residents in the nearby  Garry Oaks Subdivision expressed concerns regarding fire hazards, child safety and increased traffic along Powder Point  Road. They complained that the  controversial zoning bylaw  passed recently in the area,  Bylaw 500, prohibited camping  on residentially zoned land,  including the park.  The Peace Campers answered  these concerns and presented  letters of support from about  50 local people. However, their  opponents argued that the Board  had to uphold its own zoning  bylaws, and to stress their  point circulated a petition in  the community, gathering 98  signatures, and presented it to  the Board.  On May 4th, the Board directors  voted, with many abstentions, to  evict the Peace Camp. During the  meeting,.Peace Campers disputed  the argument put forth by Board  director Don Hutchinson, the  representative for Cooms-Hilliers-  Errington and employed at the  Base, that the facility brings  a significant amount of income  into the Parksville-Nanaimo  area. They pointed out that the  long-term goal of their campaign  is to see the Nanoose Base converted into economically-productive and peaceful uses and  gave some examples of the possibilities they are researching.  Peace Campers expressed disappointment at the Board's decision, but agreed that they  would move camp, as they did  not want to antagonize or alienate local residents. "Our concern," said Beverly Hill, "is  with the larger issue of nuclear  warfare and Nanoose's role in  promoting this: we have no interest in fighting a local campaign over zoning bylaws, unpopular as Bylaw 500 might be."  The new location is situated just  just below the Island Highway  on Rumming Road, about 2 miles  south of the Nanoose Bay turn-  off, along a stretch of land  that used to comprise the old  highway. Peace Campers welcome  visitors and hope local and  Island residents will stop  to  to find out about the campaign.  by Kandace Kerr  Many of our stories are told  by narrators who have no part  in the conversation.  -Louise Bernikcrw,  Among Women  We often have to contend with  hearing our lives re-told and  re-created by narrators who are  /not part of our reality.  And some women you never heard  about at all, like black women,  who under slavery were always  portrayed as victims, passive  and unresisting.  The common experiences, the  lives of poor and working class  people and immigrants didn't  crease a book page until the  late 60's, when alternative  and radical histories began to  appear. Even then, the "new"  historians focused on alternative meaning the stories of  working men's  lives.  Women only appeared once again,  as great women - this time as  union organizers and writers-  or as wives and mothers, dutifully caring for husband and  children. We heard of them from  the male perspective.  So we did. When women began researching and writing about our  lives, we discovered a number  of biases in most of the historical sources. We found that the  records kept were usually those  of literate, middle and upper  class white women. Poor women,  working class women were busy  enough survivng and seldom had  the time to sit down and write.  Many women did not have  literacy skills. Other women  relied on the oral tradition to  pass information down from generations. And archives and repositories had their own particular biases about what they  wanted to preserve - and chances  were it wasnjt women's lives  they were packing their files  with.  So, when the first wave of  women's history appeared, it  was largely that of literate,  white, organized women  With an increased use of oral  interviewing and less of a reliance on 'recognized' historical sources, the stories of  working, poor and non-white women's lives are surfacing.  Now a project working out of  the West Coast Women and Words  Society is adding to that redefinition of what women's lives  in this city have been perceived  to be. Vancouver Women's Voices:  A Mosaic  is designed to reseach  commonalities of women's lives  over a 100 year period.  The focus of Vancouver Women's  Voices  is women's work. After  discussions with a number or  women in various communites,  the research collective decided  that work is one of the constants in women's lives.  That work, more often than not,  is not recognized or valued in  a world that places profit  above personal satisfaction  and interest. In deciding to  focus'on women and their work,  the research team is challenging not only the historically  acceptable definition of women's  work, but also re-defining what  has been perceived by the feminist community as women's work.  Inherent in this is a look  at women's work relationships,  be they with other women in  paid work, with technology, or  with children and themselves.  We are also looking at how  work has kept women from speaking, from creating and from  writing.  The research collective is working on two levels. One is the  standard archive research method, which we will use as background for future oral interviews. The other is to ask for  your input and information.  We are calling for written  submissions to cover the last  15 years in Vancouver, specifically relating to work.  These submissions could be a  short scene (your worst day  at work? doing battle with an  unruly vacuum cleaner? the bread  that kept rising? dealing with  the phone company?), a song, a  work routine, a poem - anything you would like to write  that you feel would describe  your experience over the past  15 years in Vancouver.  If you have lived in Vancouver  for some time, you could include  information on how your work  has changed over the years.  The submissions received will  be included with the research  and handed to a playwright in  the early fall, who will take  the material and workshop it to  produce a stage production next  summer.  More information on Vancouver  Women 's Voices  can be obtained  by calling the Women and Words  office at 872-8014, or by dropping by the Women's Voices  office at 640 West Broadway, #2  #210. Be part of breaking the  silence.  Feminist periodicals from page 4  hope are alternative ways of  working. Topics included Balancing the Market and the Message, Working with Writers, Recruiting and Integrating Volunteers, Burnout and Energy  Flow, Design on a Shoestring,  Subscription/Promotion and Writing Grant Applications.  There were also sessions at  which the group as a whole  discussed political issues  around government funding, a  plenary to talk about future  plans, and lots of what was  euphemistically referred to as  'informal networking' - that's  yuppie for socializing.  Overall, the conference was exciting, and offered a much  needed forum for discussion and  support. A great deal of practical information was exchanged,  and many common problems were  identified.  What many women felt was not  discussed enough were the political issues around our role as  journalists in and for a move  ment for social change. How do  we involve more women of colour  and working class women in our  publications? How do we improve  our coverage of their issues?  What are the difficulties involved in covering events in the  Third World? How do we overcome  them? A committee of representatives from several publications  will take on plans for outreach  to women in other communities  and work on these issues in the  coming year.  Other committees struck at the  closing plenary will tackle a  range of tasks: joint advertising, joint direct mail promotion, exchange of publications,  research on the feasibility of  a staff person for a national  association, and the organizing  of next year's conference.  The second of what all participants hoped would continue to  be annual meetings will be held  in Toronto in May 1986, in conjunction with the Annual General  Meeting of CPPA. This year's  conference was organized by  Communiqu'elleSy a bilingual  magazine from Montreal. Kinesis July/August '85 5  ACROSS CANADA  cmid Urn mmm Ufa e>  cMmm i|¬ßf  m  Women  talk  sport  by Kim Irving  Working with the media, Snobisme  ou bien-etre and Body Image were  some of the many workshops covered at the 1985 Canadian Association for the Advancement of  Women in Sport (CAAW&S) Conference held in Vancouver in June.  Over 60 members and friends of  CAAW&S from across Canada attended the three day event.  Part of the weekend was also  reserved for CAAW&S re-structuring and organizing for the  coming year.  Grace Mclnnes, a long time NDP  politician opened the conference. She spoke on the value of  sport for women, whether it be  recreational or competitive.  Mclnnes criticized the present  government cutbacks and set the  tone for the conference emphasizing that we must fight back  cooperatively rather than individually.  Saturday's workshop "Integration vs. Separate but Equal  Programs" focused on the discussion paper by CAAW&S member  Helen Lenskyj (see Kinesis,  March 85). Three basic strategies for achieving sex equality  in sport are: Integration  (mixed teams); Separate but  Equal (single sex teams but  equal opportunity to programs,  events, coaching and funding;  and Combined (integrated sports  until puberty, then single sex  teams).  Though most sports for children  are integrated, young girls often drop out for several reasons; puberty, poor body image  or lack of a competitive team.  Girls who remain athletes are  often treated as inferiors and  their sport is not taken seriously.  Betty Baxter commented on interviews with physical education  teachers about girls in sport.  Girls were preferred because  they took better care of their  uniforms. Also uncovered in the  interviews was that if given  the choice girls would pick  aerobics over sport. Integration in schools was only a prob-s  lem during puberty years (grades  8 to 10). By grades 11 - 12, integration was wanted by the students.  The workshop "Why women hate  sport" was perhaps mistitled,  suggested facilitator Danielle  Laidlaw. "It's not that women  hate sport" she commented, "but  that society tells us (women)  that we hate sport".  Lily Shinde, a former professional Softball pitcher, commented that she didn't hate  sport but hated competitive  sport. During her short experience in competition, Shinde  faced racial insults from her  coach (Shinde is Japanese-Canadian) . Shinde did not get support from her teammates and  found the "win or lose" attitude disconcerting. Shinde now  feels that "sport should nurture the body, mind and soul -  like a gentle massage".  Suzanne Bell, owner of Large as  Life, a fitness centre for large  women, commented that large women have no role models in  sport. The few large women who  are visible are ridiculed by  the media. Golfer Joanne Kramer  is called "Big Momma", for instance.  The discussions in this workshop covered many areas; why  integrated sports don't work  (men dominate), the media's  image of women (either fat,  frigid or,-.fragile), and how  women's teams are given demeaning names with "ette" on  the end. The workshop ended  with the understanding that  competition has always been  defined by men and that women  have to define it in their  terms.  The most popular workshop, attracting most of the conference  participants, was Sport, Sex  and Gender.  1985 Lesbian and Gay Pride Festival  by Tory Tanner  August 2 to the 11th are the  dates set for the 1985 Lesbian  and Gay Pride Festival. This  annual event encompasses a  variety of events and gives the  large lesbian and gay population of Vancouver a chance to  come together in celebration.  The theme of this year's festival is 'Where The Rainbow  Begins'. Besides making a  splashy poster worth keeping as  a memento and giving a colour  scheme for everyone to follow,  the theme symbolizes lesbian  and gay life. Like the colours  of a rainbow, we are individuals from every possible part of  the spectrum, but we are  binded by solidarity and  strength.  Standing alone, the colour pink  may seem dull and easy to forget but it is an integral  part of that rainbow and adds  to its beauty and overall  effect. Similarly, a single  lesbian cannot fight all lesbian and gay oppression, but  as part of the collective she  can make valuable contributions  and help change the trappings  of civilization.  Pride Festival is a time to  remember those who have suffered because of their sexuality,  but is also a time for celebrating ourselves with pride.  Throughout the ten days there  will be such events as a Film  Festival, a sports conpetition  and information nights by many  community groups. A women's  dance sponsored by Group 6 is  planned for either the 9th or  10th at the Edge. Watch for  the posters.  On B.C. Day, Monday August  5th, there is a pre-parade  breakfast at Nelson Park at  8:30a.m. The parade, with an  expected two dozen floats and  several thousand participants,  begins at noon and travels  from the park to Sunset Beach.  A short rally with parade trophy presentations begins once  the parade ends. Musical entertainment follows and during  the afternoon a carnival is  planned featuring games of  skill and fun. And liquor control board permitting, a beer  garden too.  Saturday the 10th of August is  a good time to visit the West  End Community Centre. Gayfest  is presented that day. All  the community groups, from the  Lesbian Mothers' Defence Fund  to Coming Out Show, from CoOp  radio to Search Community  Services will have displays  at the centre along with many  gay-owned businesses. It's a  chance to find out about groups  you may have been interested  in but were too afraid to join,  or about organizations you  didn't even know existed.'  Closer to August, announcements  and posters will be made with  the dates and times of all the  events. If you require further"  information now, write to  the Pride Festival Association  at Box 111, 1221 Thurlow Street,  Vancouver, B.C. V6E 1X4 or  call 669-1753.  Lenskyj opened the discussion  with a request for CAAW&S to  adopt a resolution for the  right to sexual preference.  Mel Barlow continued the discussion by discussing the relationship between physical  activity and power and gender.  Barlow commented that women  were challenging every aspect  of sport, yet women are told to  remain feminine.  "Sport has always been conceived as the last male bastion.  They never thought we would  catch up" said Barlow. Men feel  they are being displaced sexually by lesbians in sport. Barlow  termed this the "Queen Bee  Theory" (when a queen bee mates  with a male drone bee she removes his genitals).  Debbie Brill, a professional  high jumper since 1968, felt  that attitudes have changed  towards women and that more  doors were open in sport. When  Brill first started high jumping she was warned that it  would ruin her ovaries. Fortunately Brill had a supportive  family who encouraged her to  compete.  Dorothy Kidd focused her discussion on why lesbianism is  taboo among women. "In CAAW&S,"  said Kidd, "we have our own  fear of getting closer together  and finding our own definition.  This is new power and quite  different to take on". Kidd  asked CAAW&S members to recognize the divisions but not to  see them strictly as a lesbian  issue but as everywomen's issue."  Betty Baxter commented that  very little feminist writing is  about women, sexuality and  sport. She mentioned that some  writing had been done in the  journal Sinister Wisdom  which  was very validating to her  when she was fired from her  coaching position for being  lesbian. Baxter told how the  Canadian Volleyball Association  squeezed her from her job.  Though lesbianism was not directly mentioned, she and  others felt that her" sexuality  was the reason for her dismissal. She felt if CAAW&S had  been available during her  firing, perhaps a lobby support  group could have been formed to  protect her job.  Women in the audience raised  concerns that CAAW&S was seen  as a lesbian organization and  perhaps this was scaring women  away - lesbians who were not  out and heterosexual women who  were homophobic.  Discussion also focused on the  lack of female coaches in  sport. Brill commented that  women preferred male coaches,  though this may be because  that's all they ever trained  with.  The ending note to the much  too short workshop was that  solidarity among all women  was the key focus for CAAW&S.  For further information on  CAAW&S write: 1200 Hornby St.,  Vancouver V6Z 2E2 6 July/August '85 Kinesis  INTERNATIONAL  Nairobi  What to look for in Nairobi  Decade of women  As thousands of women head to  Nairobi for meetings marking  the end of the decade of  women, political controversies and rumours of backroom  dealings are thick in the  air.  The two previous decade of  women conferences in Copenhagen in 1980 and Mexico  City in 1975 saw heated  confrontations between Third  World and western women on a  range of issues, including  the role of national liberation struggles and women's  emancipation, the infibulation  (Genetal mutilation) of  African women, the right of  Palestinian women's to a homeland,. Zionism as a form of  racism, definitions of peace  and more. All indicators  point to lively debates  again in Nairobi during both  the official U.N. Conference  and the parallel non-governmental organizations' meetings.  Organizers of the N.G.O. Forum  have gone so far as to arrange  "Experts in Conflict Resolution"  to be on call to facilitate  meetings between delegations  with opposing views.  The Kenyan government^ rumoured  to have been hesitant about  Prisoner  denied rights  Puerto Rican prisoner of war  Lucy Rodriguez, is being refused  mail and visits, except from  her immediate family. Since her  family is in Chicago, and she  is in prison in Dan Diego, this  means that she gets no visits,  even from legal workers. This  is part of a campaign by the  justice department to deny  Puerto Rican political prisoners  and P.0.-W. 's their human rights,  to isolate them and try to break  their spirit and commitment to  struggle for Puerto Rican  independence.  All last year, Lucy and her  comrade P.O.W. Haydee Torres,  were kept in total isolation in  soundproof sensory deprivation  cells in Alerson Prison in  West Virginia. Widespread protest,  including thousands of letters  and calls to the prison, and a  demonstration of 300 people  outside the gates, led to their  transfers from Alderson.  Demand that Lucy receive mail  and visits.  Write or call Warden Tim Keohane,  San Diego MCC, 808 Union St.,  San Diego, CA 92101, (619) 232-  4311.  Write Lucy to express your  support: Lucy Rodriguez, #88973-  024, San Diego MCC, 808 Union St.  10th Floor, San Diego, CA 92101.  For more information, contact the  New Movement in Solidarity with  Puerto Rican Independence and  Socialism, 3543 18th St. #17,  San Francisco, CA 94110; (415)  561-9055 weekdays.  hosting the meetings from the  start, have been under pressure  both political and logistical,  in their preparations for the  arrival of the potential  15,000 delegates. The Heritage Foundation, an extreme  Right-Wing group in the U.S.,  recently published a report  called: "A U.S. policy for the  U.N. Conference on Women". In  it they call on the U.S.  Government to influence Kenya  to block the participation of  the most radical delegations  through a denial of entry  visas and the limiting of  hotel space allocations. The  follow-up rumour on that report is that the U.S. Government unsuccessfully pressured  Kenya to limit entry specifically to delegations of P.L.O.  (Palestinian), and A.N.C.  (South African) women.  Lesbians, also, have been  threatened with denial of entry  visas. About a year ago, the  Kenyan Government made it  plain that they were uncomfortable with lesbian attendance  at the conference. Stories  around threatened imprisonment  prompted women from the Netherlands to lobby on behalf of  lesbian delegates. The Kenyan  Government has since flatly  denied that there will be any  intention to exclude or imprison  open lesbians, but consulate  officials have stated that  homosexuality is "Not tolerated whatsoever" in Kenya.  On the logistical front,  Nairobi preparations have  been hampered. The Kenyan  Government originally expected  4,000 women would attend,  allocating space accordingly.  To date, 9,000 women have  registered for the N.G.O.  Forum alone. The Nairobi coordinator in charge of bookings  recently disappeared taking  with him the bulk of the  registration information and  money with him.  To top it all off, recent air  disasters and hi-jackings will  make passage through international customs strenuous and  time consuming at the least.  Nonetheless, excitement around  t the event is building as forum  participants prepare for what  could be the most significant  • .^.:.'.A.p3;r:the,i4.;,^'M ;• Fa&e&tMiaaa;,:  Liberation: Recognition of the  PLO was.a very controversial  issue at the Five Year Conference in Copenhagen, Denmark,  !4^>.iM!#-::'CbJi'fi.iti'u;^|^et; ':j^y$.j& •>  meetings leading up to Nairobi.  Many western countries', including Canada do not want to disease these two third world liberation issues, sayt»^^^^0^  &ost representatives a£  Africa and other Third World  countries say ,tfeey 'are-.'essen-  tial to discuss. Watch for  Sharp disagreements at both  • Valuing Women's Work: One  .:::afVilie^:.^^|f^i^n.s;''froffi. th\e' .  Denmark conference was to ,  recognize the contribution  'of women's unpaid work worldr"  :; wi&kt.  -This • iinci^^s. both;  .. .do-^estic': work. a^;':fcM:;;^^g;e^,V'  ^^^^i^^^p|^gri<:ultu'cnl worfe' I  <,dotio by women. *  • Women and.Development! ' \  UShere are expected to be many I  workshops.dealing wi,th women's-  ' • cc?n$ :^^^|^^^%eveIopa'e'iitt.  i\  "-. :Some: 'tec^&es-' a't*ce.^'^W^?#af:a:: ••'l|  water, energy sources, health j  and', family planning services,   JI  liM^^^n-i^i^^^^riate l^cb.'r'i.:;'.]  • Clitorectdrnv/in-fibuXstion;    j  IStis ms Ma\vej?y',e'on.t|<^t:«ial  discussion in Copenhagen which  centered on traditional practices of removing somen's  olitor&ses la African and Arab  eountries. Many third World* \  couj.a   De  tne most  signuicanc      -w—t j* i •     i  international women's event in Egyptian  WOmen lOSe Tight  history.  to divorce and maintenance  One of the small gains for  Egyptian women during the Sadat  regime was the limited right  to divorce and maintenance. This  six-year-old law has now been  declared invalid. Under the  Islamic Shari'a law men will  have total power over divorcing their wives, maintenance  and custody of children.  The Moslem Brotherhood, one of  whose supporters assassinated  President Sadat in 1983, are  behind this change. They are  gaining more strength and are  pressing for total Islam-  isation of Egypt's civil law.  They are recruiting young women's  support by offering them financial assistance for university books and emergency, and  by providing social services  such as counselling and marital matchmaking.  President Mubarak took over  after Sadat's assassination.  In his early days he curtailed  the Moslem Brotherhood's  power but he has now changed  his position. He favours a  gradual Islamisation of all  Egypt's civil laws.  -SpareRib Kinesis' July/August '85 7  INTERNATIONAL  by Saswati Ghosh  The following is the first part of a  two part article on  Adivasi women in  India.  Saswati Ghosh won the Eve 's Weekly  Woman Journalist Award  '84 for this article,  which first appeared in the  Amrita Bazar  Patrika, in Calcutta.  It was passed on to  Kinesis by Prabha Khosla.  On June 19, 1983, women of Lonjo village  in Bihar's Singbhum district turned out  en masse to beat up a woman named Ashay  Bankira. The Adiviasi women were not  indulging in some internal fued or some  tribal ritual. They were dispensing 'justice'. The 'victim' of this mass assault  worked as a tout for contractors who procure cheap labourers for Calcutta and  its neighbouring area's brick fields. She  used to entice Adivasi women of nearby  villages to go to Calcutta, by holding  out the promise of high wages. Three girls  thus lured away returned pregnant. One  girl had gone along with her husband.  Of him there was no trace. All the girls  complained of the terrible treatment  they had received. This was the cause of  the tremendous hostility of the village  women toward Ashay.  This was not a stray case - whether of  oppression or of resistance to oppression.  Women in Singbhum district, as in all  adivasi areas, face three-fold oppression -  as Adivasis, as members of an exploited  class and as just women. But today they  are organising and rising in protest.  However, the iniquities of centuries  will not disappear so easily.  Singbhum district is a part of the territory staked out by adivasis now fighting  for a separate Jharkhand state. Like the  rest of the projected Jharkhand State,  Singbhum is richly endowed by nature  with forests and underground wealth.  Large stretches of forests abound with  trees like Sal, Mahua, Paisal etc. Also  abundant are stuff like chinaclay, mica,  asbestos, limestone, iron ore and others.  Advasis and other poor people in Singbhum depend chiefly on the forests and  the mines and quarries for their livelihood. In the mines, as men cut the minerals,  women carry them away in handloads and  load them into trucks. They also carry  headloads of soil and break stones by  hand. The other kinds of work women do  include cutting wood from the forests  and carrying it to sell in the market,  collecting Kendu leaf and supplying it  in bundles to contractors, making biris,  sowing, weeding, harvesting and all  other agricultural operations, except  for ploughing, doing the major part of  house building, selling vegetables,  and going to work in brick kilns. Women  also play a major role in making the  local brew, called handia. In some  areas, men go to sell it in the market;  in others, this work too is done by  In other words, an adivasi woman is  something more than an equal partner of  the male in all walks of life.  Nor does the tale end here. As in  practically all places, women in  Singbhum, whatever be the nature of their  work, almost always get lower rates  than their male counterparts for equal  amount of work done. Only in the nationalised coal mines do the women get  equally paid. The result has been that  in such mines women are being systematically retrenched and eased away, to  be replaced by men, for men do not  demand maternity leave and benefits.  But times are changing in Singbhum no  less than elsewhere in the country. "For-  the first time, women forest labourers  played an active role in the 1960s," said  an activist of the Ban Majdoor Sangh. At  that time, the daily wages of a forest  labourer were Rs 1.25 for men and Rs 1  for women; though both had to work a 12-  Women steelworkers in Bihar.  photo from International Labour Office/Canadian Woman Studies  Exploitation of  Adivasi women  hour day. In 1961, the Ban Majdoor Sangh  launched a stir against the Bengal  Paper Mills authorities at Ranigunge.  The demanded Rs. 5 per day for both men  and women. After a protracted movement,  which went on till 1964, the Government  intervented and fixed Rs. 4 as the minimum daily wages for workers who felled  trees. However, the Mill authorities  refused to accept this rate. The workers  went on strike for a month. Finally, the  authorities had to back down. Throughout  this period, women workers took an  active part in the movement in large  numbers.  Adivasi working women are directly  exploited through low wages, but that  is not the sole method of exploitation.  Another form of exploitation is the sexu-  /^^ divasi working women are  directly exploited through low  wages, but that's not the sole  method of exploitation. There is  also the sexual exploitation of  Adivasi women who are  considered rightful prey to the  lust of supervisors.  al oppression of Adivasi women who,  whether in the brick kilns, or in mining  or forest work, are considered rightful  prey to the lust of the supervisors, or  upper rank employees. To get a job, and  then to hold on to it, they are regularly  forced to undergo sexual harassment.  The development of prostitution is just  another facet of this exploitation. With  such meagre wages and limited ways of  earning open to them, women are forced to  turn elsewhere to supplement their  income and earn a living. Among Adivasis  the concept of "losing one's chastity" is  not so strongly entrenched as it is  among caste Hindu women. So prostitution  has developed quite extensively. In  large towns like Ranchi etc., it is a  large-scale phenomenon. In small towns  like Chakradharpur, Monoharpur etc.,  'flying' prostitutes have become a seasoned  feature, particularly in the dry season.  It is worth mentioning that exploitation  of Adivasis is incorporated in this  profession also. An Adivasi prostitute  is paid less than a caste Hindu prostitute by the rings than run the flesh trade.  Adivasi women not working for wages are not  free from the multifarious exploitation by  nontribals. Adivasi women selling stuff  in the markets are easier to cheat over  prices. Women who go to the forests to  bring wood for domestic use or take the |  cattle out for grazing are frequently  harassed by the guards. These forest  guards grab their 'tangi', take the  wood, seize the bundles of Kendu leaf,  take away their cattle by force, and  often molest or rape them. The police  are hand in glove with them. Instead  of getting protection from those  whose work it is to keep the law, Adivasi  women find the police also arraigned  against them. Thus, when Masanit Banda,  wife of Bidu Banda and mother of a  child, was raped, she found no help.  In spite of a warrant against him,  Umanath Rai was not arrested, reported  Purendu Majumder, well-known Communist  Party of India (CPI) activist of the area.  Sexual assaults on women is an oft-  used weapon, whenever the locally powerful elements or the police want to cow  down the backward and minority people.  Riots and mass-killings of Adivasis  are always accompanied by mass rape,  either by the police or by the upper  caste attackers. Singbhum district is no  exception to this. The Gua massacre of  8 September, 1980, when 12 adivasis  were killed when 59 rounds were fired,  was followed by mass rape of adivasi  women in and around Gua.  On September 29, most of the local  opposition parties had called for a  "Jharkhand Bandh" to protest against  the police atrocities in Gua. The S.D.O.  took it as a personal challenge to his  efficiency and launched a series of  attacks on the people of Gua. At  Gunmore village in the Monoharpur thana  area a gope girl was picked up by a  contingent of the Bihar Military Police  while she was grazing cattle and was  gang raped. A Bhumij girl and her husband of Makranda Panchayat were picked  up at Jeraikala. The man was sent to  prison while she was gang raped by the  B.M.P. A girl was molested by a police-  Adivasi Women continued page 15 8 July/August '85 Kinesis  WOMEN AND THE MILITARY  Baseline will design your brochure, typeset  your newsletter, paste-up your program,  reduce or enlarge your illustrations,  and halftone screen that photo.  At decidedly reasonable rates.  let Baseline  be your line  to printed communication  ca« 683-5038  1 Baseline  16 HQMER STREE  TYPE & GRAPHICS COOPERATIVE  Wild West is a  all-women collective,  selling bulk organic  produce, yogurt, and  juices, for the health of  you and your family.  For a free catalog, call  or write:  WILD WEST ORGANIC  HARVEST CO-OP  2471 SIMPSON RD, RICHMOND BC V6X2R2 D (604)276-2411  B.C.'s only unionized travel agency.  ID  TRAVEL UNLIMITED  H  §i  *C          BOOK  ¥j    AND ART  1 ^EMPORIUM  4  A FEW OF 0  1985 Places of I  The Complete 4  ON 01  JR NEW ARRIVALS:  nterest for Women  Issue Collection of  R BACKS  Moll Cutpurs  byElle  5 - her true story  nGalford  by Can  Dancer Dawkins i  byWi  win Grey  nd the California Kid  lyce Kim  The Fa  bvEl  mily Secret  janor Hill  GA  /AND LESBIAN PRIDE FESTIVAL  Parade — M  jnday, August 5.  1221  PHONE  THURLOWST.  Open 10is  (604)669-1753  , VANCOUVER, B.C. V6E 1X4  i -lOish 7 days a week  by Darl Wood  Would I be willing to talk to the C.B.C.?  It was 6:30 am, and little if anything  was sinking in until the phrase,  " 'Hard Core' Lesbians Fired from Canadian Forces Station (C.F.S.) Shelburne,"  was quoted to me by a man on the other end  of the phone.  As he read to me from the metro newspaper  phrases like "nest of lesbians," and "homosexual clique," I began to feel sick to  my stomach. Old feelings of anger and  despair that I thought were carefully  wrapped up and stored in their respective  places in my private closet came back to  smother me. Would I like to comment? You  bet I would I  Starting in April of last year, seventeen  young womyn were interrogated by the  Special Investigation Unit of the Canadian Armed Forces. By November, four of  them were released from C.F.S. Shelburne,  Nova Scotia, and one was to be released  by January.  These womyn just wanted to get their  lives back together after suffering  months of mental abuse at the hands of  "plain clothed policemen". There wasn't:  at all costs let's not deal with lesbianism in any kind of public forum?  The reasons given to me and to other womyn  for being released just didn't add up to  the unnecessary abuse we had to face. Since  the military's rationale for dismissal is  "security" one would naturally think the  interrogation would centre on the question  of security. Had the five womyn leaked  information? Had they done anything to  compromise their positions? Were they not  doing their jobs competently? Had any foreign powers approached them?  Instead what we find is men concentrating  on the detailed sex life of lesbians. When,  where and who did you sleep with, they ask.  What did you do to each other, did you  perform oral sex? Was there ever more than  two of you (in other words "group sex").  Titillating isn't it! The  threats;  confess  or we can make your life miserable. And the  lies:   if you know of anyone else you'd  That same mentality that  promotes war and the arms  race perpetuates homophobia,  rape, wife-battering, child  molestation, and suppression  of reproductive rights.  LESBIANS IN THE ARMED  too much happening in Canada for the media on February 29th, except for the annual tantrum from our symbolic patriarchs  in the Senate, so the story took off  across the wire and lesbian womyn found  themselves in the middle of a momentary  furore of sensationalized media attention.  During the course of the day, as I represented the womyn and the Halifax Gay Alliance for Equality to the media, it was  difficult for me to separate the experience of the womyn who were released from  my own. I was forced all over again to  work it through. Why this outrage? Where  did the military get off presuming they  had the right to invade womyn's personal  lives, and again and again treat us as  disposable personnel?  What of Barbara Thronborrow, kicked out  in May of '77; and Gloria Cameron, expelled that same year, after eight years  in the forces, along with womyn in Quebec and Ontario - one womyn was in the  Service for fifteen years; what of myself and my lover (in 1978), all having  gone through the anguish of similar  personal, legal and political battles?  Countless others before us were released  without protest or support and countless  since then, what of them? Doesn't this  blatant abuse of womyn count, and will  it ever stop?  Throughout the next couple of weeks and  endless interviews, I began to wonder  when the national outcry from womyn's  groups was coming. Why didn't I hear  back from the National Action Committee,  the Nova Scotia Status of Women and the  National Status of Women when I called  them immediately after the r'ory broke  in the national media?  Suddenly there was a conspicuous silence  from the Canadian women's community. So,  was I kidding myself when I considered -  well this is February, they might be on  their winter or spring breaks, because  surely it's of concern to all  womyn that  seventeen womyn were subjected to cruel  interrogations for hours on end, and five  of them fired just for being lestians. Or,  is it just another case of... you know...  better tell us now, we'd hate to find out  later; if you help us we'll go easy on you,  it doesn't necessarily mean you'll be automatically released. And the insults:   (too  numerous to quote) see a psychiatrist.  In case you think I've been exaggerating,  one womyn went through over twelve hours of  this. They casually informed her where she  had been what she'd done and who she was  with over the previous two years. You have  to hand it to them, Security Intelligence  Unit (S.I.U.) is thorough in their job, even  if it has more to do with professional  voyeurism than it does with national security.  To put it in some kind of perspective, I  had to understand for myself why lesbians  were repeatedly expelled from the military.  I knew I would have to look past the question of whether or not we should have equal  opportunity in the military, and examine  instead how militarism affects us all as  womyn.  Until very recently feminists have not seriously considered the role of womyn in the  military. In Canada there has been virtually nothing done in an attempt to analyse it  from a radical perspective. A major study  was done in the mid-seventies by the military itself to determine the place womyn  should play in combat roles. As a result,  nothing concrete was done except to place  a few token womyn aboard a third rate ship,  (Canada's best is hardly the pick of Jane's  Fighting Ships!)  I'm beginning to comprehend that the whole  structure and ideological base of "militarism" is misogynist. And that same mentality  that promotes war and the arms race, under  the guise of National Defence and Social Order, perpetuates homophobia, rape, wife  battering, child molestation and the sup- .  pression of reproductive freedom; and... oh  yes, let us not forget the propagands value  of pornography.  To personalize these forms of violence  against womyn is man's way of legitimiring |  them. So in order to make the connections   j  we have to understand the military mentality!  and function as it relates to general atti- | Kinesis July/August "85 9  WOMEN AND THE MILITARY  tudes in society about womyn. The clearest  way of grasping the military philosophy can  probably be seen in its basic training methods. A deliberate means to an end, they  are the most effective and efficient means  of social control and waging war. Basic  training is the literal conversion of undisciplined powerless civilians into ag-  .;-  gressive, potential killers.  The preparation of mental attitudes and .  physical attributes are accomplished essentially through three simultaneous processes.  First, systematic indoctrination is the  theoretical defense and justification of  traditional warfare, and then in turn of  biological and chemical agent use. Central  to this process is the assimilation of bigger and better things, nuclear war. and  Reagan's Star Wars game - the ultimate in  collective military ejaculation.  Second, the isolation from and disdain for  civilian life is used to set the military  apart and make it easier to deal with the  "obscured enemy". "Civi-scum", is a catch  phrase initiated in basic training.  The third aspect of this process is confrontation. The actual aggressive physical  training is the "hands on" interpretation  of this defense theory upon which training  is based.  Now years later I've come to understand  that I went through a deliberate resocial-  ization programming that was a combination  FORCES  of physical endurance, isolation and brainwashing, to legitimize the training of prospective killers, and the possibility of  being killed. In training, militaristic aggression is made to seem both patriotic and  an act of courage for god and country and  for "our" womyn folk. All military duties  then are interrelated to the extent that  co-ordination and cognition are essential  at all times. It is virtually a commitment  of sacrifice, of self and/or others.  The techniques of basic training can be compared with those used by various cults.  However, they are more insidious because  they are drawn out on a longer and larger  scale that is supported by society's endorsement. After undergoing military indoctrination, lesbian womyn are thrown  back into that same society without support or being wholly aware of what has been  done to them. Add to that the harassment  and humiliating interrogation process, and  womyn are devastated and left confused, and  filled with an incredibly negative self  image. One womyn who was released years ago  still feels the effect. She told me, "I  must be a really bad person for them to  have done that to me."  The dilemma here for myself and other  feminists is the question of working for  equality for the womyn within the structure of the armed forces while disagreeing with the principles of militarism which  is exploitative of all womyn. The dichotomy  is more pronounced here than in any area of  the civilian womyn's movement, perhaps because of the direct involvement within the  so called "cadre" and "protectorate". There  is considerable sexual discrimination as  well as mental and physical violence perpetrated against womyn in these circumstances .  Inside the structure there are cleareut  effects on both men and womyn. Symbols and  rituals divide men from womyn, and from  other men who are not masculine enough. In  this macho environment, sexuality is shown  by endurance and aggressiveness. Training  practices emphasize the association of  sexuality with violence and womyn are the  /^filuk *?.  victims all round. Womyn are not seen as  people but as weak objects to exploit or  defend depending on whether or not they  belong to the enemy or belong to them.  Relationships between men and womyn in the  Forces tend to be both superficial and exploitative. Sexual harassment and violence  against womyn figure in relations between  men and womyn, between men and men and between womyn and womyn. The military is  clearly the exaggeration and extension of  male heterosexual values.  Ask any serviceman and he will readily admit that womyn in the services are referred  to as "ground sheets" and other terms that  are equally, if not more, denigrating. This  is a result of deliberate indoctrination.  One of the favorite and most common sayings  very much sums up the violent perception of  sexuality military style.  In reference to the male organ and forces  hardware: "This is my pistol/this is my gun  - one is for killing, the other for fun."  One of the male instructors I had was particularly fond of repeating it in front of  the womyn platoons under his command. As a  womyn it is offensive, degrading and somewhat frightening jingle to have to experience  first hand, in a position of subordinate  powerlessness. The scary thing about it is  how the womyn I've met have allowed themselves to block out their womynness and refuse to admit they are disturbed by their  treatment except on levels of consciousness  which are not open to change.  In training we are taught that the positive  is masculine and the negative is feminine.  Every action and order, every bit of training emits this sexual duality and the female body is used repeatedly to describe  every imaginable degradation. "When you  want to create a solidarity group of male  killers, that is what you do, kill the women in them." (George Gilder in Sexual  Suicide)  Womyn in the military cannot hope to change  their position in society by promoting  their own humiliation by becoming part of  the system that legitimizes violence when all  they accomplish is to have it used against  them to build up that male dominated structure.  On a personal and individual level, the motivation for dismissal of the Shelburne  womyn is less than credible. We have to go  beyond the shallow generalizations of the  Forces rationale of "security risk, service  image, and the disruption of the 'order of  Good Conduct and Discipline'." I want to  look at heterosexuality as an institution  that is protected by the military. The rationale is internal and national security,  but along with Adrienne Rich I question why  heterosexuality is something that has to be  imposed, managed, organized, propagandized  and maintained by force.  Heterosexual morality has created a "problem" of homosexuality and I maintain that  it is simply because,men have anxiety attacks over losing power, and that's the  reason for lesbian homophobia. Oppression of  womyn protects the male myth of superiority  and hides both his fear and his envy of womyn' s connection with the cycle of life/  death and nature. Men mourn and resent their  state of womblessness through their wars and  machismo types of behavior, which can only  lead to the destruction of all living things  How this relates to lesbians and lesbianism  is that any deviation from the "norm" within]  the military is a threat to the efficient  functioning of the "war machinery". The explanation behind not recruiting or retaining)  homosexuals in the forces was laid out in  the Canadian Human Rights Commission Report  on Sexual Orientation in 1978. The foremost  concern that was expressed was national security, although it had more to do with political expediency than "security" risk. If  lesbians were protected from losing our  jobs as a result of exposure, the major  reason for fear of being exposed would be  eliminated.  In'cases of heterosexual infidelity, drunkenness, loose tongues and incompetence, the  threat of blackmail seems to be overlooked,  or at least is not given the concern shown  lesbianism. This is absurd at best. But  then we were never promised logic from the  military or the government, and we certainly haven't been disappointed.  In conclusion, lesbians are not recruited  or retained in the Canadian Armed Forces  for various reasons. Those reasons given by  the military are based on institutionalized  homophobia.  However, on an ideological level, they're  perfectly right, lesbians are a threat. Because to be open and positive about being a  lesbian is to have the potential of personal, political and sexual autonomy in the  universal relationship between men and womyn. It is also one step away from threatening the validity of the authority of the  structures that men control, and are used  to directly oppress us as womyn.  With the "Big Boys Club" still firmly in  place by the disposal of the "hard-core"  threat here in Nova Scotia, I guess those  on Parliament Hill can breathe easier  knowing Democracy is once more safe for  the  All-(hetero)American way of life  right here in Canada. 10 July/August'85 Kinesis  MEDIA  Journalists discuss print crisis  by Muriel Draaisma  BERKELEY, Calif.—When American  freelance writer Karen Schiller  was learning the journalism trade  nine years ago, everyone in her  class wanted to be Bob Woodward  and Carl Bernstein, the reporters  who broke the Watergate story.  Schiller had different ideas.  Not interested in investigating  the corruption of political  leaders such as Richard Nixon,  Schiller aspired to write about  women. Objective reporting she  found to highlight the actions,  thoughts and exploits of men,  mostly those in positions of  power.  I didn't believe in the  myth of objectivity.  The budding journalist at Chicago's Northwestern University  especially wanted to write for  a newspaper with a vision, one  that did not invalidate her  feminist opinions and biases.  "I didn't like the holier-than-  thou attitude of mainstream  journalists, the lack of world  view in commercial newspapers  and didn't believe in the myth  of objectivity," she says.  "I didn't like the methods used,  the attack stance, the microphone  in the face style of reporting.  I'm not one to separate myself  from the people or forget I have  opinions, I have biases.  "That wasn't me, trying to be  like Woodward and Bernstein."  Schiller, 27, now a seasoned  feminist journalist who worked  five years for Plexus,   a  San  Francisco-based monthly women's  newspaper, spoke at the third  Women in Print conference held  May 29 to June 1 at the University of California, Berkeley  Campus.  In a seminar called "The Crisis  in Feminist Journalism", Schiller  lamented the folding of five  feminist publications across  America in the past year, and  urged the 30 women present to  explore why women's periodicals  are not reaching those outside  the feminist community.  "Newspapers are put out to  incite, to lead, to be at the  forefront...1 feel we need to  be more daring, to get the money  to do investigative reporting,  to do in-depth stories. How  are we working to reach women  not already feminists?"  Some delegates at the seminar  outlined radically different  approaches to broadening circulation and surviving the  current economic and political  climate, which most agreed was  not supportive of the women's  movement and. its efforts to  publish.  Ann Forfreedom of The Wise Woman,  an Oakland-based quarterly  focusing on feminist witchcraft  and goddess lore, suggested  writing about prominent and  powerful women with whom thousands of females identify.  Meaghan Dean of Webspinner,  an  impromptu women's journal published in and around Edmonton,  Alberta, balked at the idea.  Dean said women's newspapers  need to pay close attention to  the communities they serve and  each should decide for itself  news priorities and coverage.  "I want to be tentative. I  don't want to be an investigative  journalist, to check the facts  and get the story," she said.  ."Is it necessarily bad that  papers are folding? Are they  really folding? Maybe we choose  to let them go - we should turn  the whole thing upside down."  The five publications that have  folded because of terminal burnout and money problems are:  Big Mama Rag  in Colorado, Equal  times  in ~&oston,Matrix  in  Washington State, New Women's  Times  in New York and Onyx  in  Oakland.  Dean also wondered aloud whether  newspapers are a natural means  of communication for women. She  said she thinks women have always  exchanged ideas through one-to-  one conversations at the dinner  table, over the phone or across  the fence, and not through newspapers .  During the seminar, Schiller  also presented the findings of  a survey she conducted for her  masters thesis. Out of 25  American feminist newspapers,  an overwhelming majority  ranked "networking" in the  feminist community as its first  priority, and only one had a  budget greater than $3000.  Schiller said the "disappointing  but not surprising" results prove  that feminist newspapers are  not in the business of paying  writers and funding investigative  work.  One women's publication in the  United States, however, makes  a valiant attempt to reach  women not yet feminists. New  Directions for Women,   a national bi-monthly newspaper published in New Jersey, currently  has a circulation of 55,000.  Entering its fourteenth year of  publication, New Directions  is  older than Ms.  magazine. Though  it unfortunately does not pay  its writers, it is considered  to be an important role model  in American feminist journalism,  according to Schiller.  New Directions '  stories are  written in a clear and accessible  style and cover legislative  issues, health, education,  books, the arts, employment,  theory, child care. The newspaper  is committed to fighting sexism,  racism, ageism, homophobia.  The statement of purpose reads  in part: "New Directions for  Women  is committed to publishing  the many voices of feminism.  We believe the diversity of the  women's movement must be seen  as one of its strengths...(and  that) when we understand the  pervasive force of sexism, we  will act to effect change."  Schiller, in a later interview,  said she and K.Kaufmann, a  feminist journalist who worked  with her on Plexus  and is living  in San Francisco as well, have  a dream of producing a women's  newspaper that, similar to New  Directions,  would be national  in scope but come out weekly.  "Feminist newspapers have lost  sight of who we are and what we  should be and therefore we're  losing readership. We need to  talk about women's lives, we  have to leave room for different  types of writing, but we have  to be more accessible. We can't  go cutting each other off,"  she said.  "Our dream is to put out a weekly in a news magazine format that  has both a vision of what a  newspaper should be and a  feminist process. It sounds  like heresy, but we want to  keep parts of both."  The Women in Print conference,  organized by Bay Area women,  brought together 120 printers,  book sellers, journalists, and  freelancers of all kinds.  LESBIAN  NUNS:   '  BREAKING  SILENCE  edited by  Rosemary Curb and Nancy Manahan  Feminist publishers  outline ethics code  A feminist's publisher's code  of ethics extends beyond a  legal contract. So said a group  of publishers at the recent  Women in Print conference in  San Francisco.  The women were responding to  the controversial decision of  Barbara Grier of Naiad Press  to sell excerpts from Naiad's  anthology Lesbian Nuns  to  Forum,  a US porn magazine.  Grier did not ask the permission of the women whose stories appeared in Forum,  and  justified her actions on the  grounds that lesbian presses  need more money, and that she  hoped to widen the audience  for the book.  Marjorie Larney and Paula  Mosely of Acacia Books,  Sherilyn Thomas of Spinsters  Ink, and Joan Pinkvoss of the  Aunt Lute Book Company circulated two documents at the  conference. The first was a  statement on feminist publishing ethics, and the second was  a set of publishers accords.  The ethics statement talks of  a commitment to feminism as  a spiritual and moral contract,  and says, "This feminist contract cannot be contained and  defined merely by legal clauses,  no matter how elegant and explicit. This is a contract'  whose unwritten clauses are inexpressible because they speak  of the dimensions of the heart.1'  The statement goes on to point  out that most of the content in  Forum  is clearly woman hating,  but that there are also several  other issues surrounding the  Lesbian Nuns  controversy: the  consent of the contributors,  and the fair distribution of  any profits accrued from the  sale of the work. The statement proposes some practices  and basic contractual agreements on the part of publishers  that could ensure that in the  future women published in the  feminist press can be confident  they will be dealt with more  fairly.  It stresses, however, that  "while in future situations  contractual agreements may  avaoid some of these problems,  such agreements can never wholly  replace trust, good communication and ethical behaviour on  a business and personal level."  The writers of the statement  "ask women in print media to  | continue to evolve and be accountable to these principles  and ethics of feminism."  The publishers accords include  some of the same agreements  proposed in the statement of  ethics, and outlines in more  detail suggested non-contractual obligations of feminist  publishers.  Both the statement of ethics  and the publishers accords  were signed by several women  other than the authors.  Barbara Grier has since sent  out an open letter of apology,  saying...."I am deeply sorry to  have hurt the women involved...  particularly (those whose)...  pieces were actually sold... I  realize that there is nothing  I can do but apoligize." Kinesis July/August '85 1  THROUGH FEAR  INTO POWER  by Esther Shannon  THROUGH FEAR INTO POWER,  FEMINISTS EXAMINE THE RIGHT,  was the first major Vancouver women's movement conference in more than two  years. It's failure to develop a common analysis and  therefore any unified strategy represents a further  contribution to a disturbing sense of political  paralysis amongst this  city's feminists.  The two-day conference, held  June 8 and 9 and organized  by the Vancouver Status of  Women, seemed, at the outset,  to be poised for success. By  the conference's opening  day almost 100 women had pre-  registered and an equal number signed j kip j over the  course of the two days. More  than 30 women had prepared  presentations focussing upon  exposing the patriarchial  values, moral imperialism  and plans for a "new" economic order posited by the  extreme right. Topics included the mass media, reproductive rights, poverty,  privatization of social  support and sexuality;each  intended to provide information and preliminary analysis on the Conference's  opening day. The information  sessions were to be followed  by a full day of discussion  aimed at refining analysis,  developing strategy and,  hopefully some action plans.  The first day was generally  well received. A crowded  agenda and over extended  speeches, however, cut some  discussion time. Although the  organizers tried valiantly to  cope with this situation, time  problems endured and left some  women feeling their participation was not being  respected.  At Sundays strategizing  sessions the organizers ended  up losing effective control  of the conference. The specific details of this shift  are numerous, however, a generally divided analysis,  mixed loyalities and a certain amount of genuine personal pain combined to land  women on opposite sides of a  number of very old debates.  The organizer's ideas on  structure and content were  ultimately rejected and the  remainder of the conference  passed with women trying, and  failing, to agree as to what;  should be covered in the remaining few hours. As a result no plans on organizing  against the extreme right  were developed.  The conference's collapse was  not only due to disagreements  between camps. Feminists, after  all, rarely pass through a meeting without hard and fractious  debate. The failure lay, rather  in women forgetting some basic  organizing and political values.  Briefly these were:  • organizer's content and  structure plans have a purpose  and a goal. These plans have  been thought through and refined and therefore deserve a  considerable measure of respect  and support. Evaluation is  simply not successful midway  through an event.  • if a structure is to be abandoned those advocating its  overthrow have a responsibility  to provide a clear alternative  and that alternative should be  presented for discussion.  • those attending a conference  aimed at strategy have a responsibility to contribute to the  development of that strategy.  One should not be content to  tack one's agenda onto the  efforts of others.  • everyone should have a reasonable expectation that, should  they choose to speak, they  will have the opportunity to do  so. Speakers at conferences  should recognize they are in a  priviliged position and should  not abuse their audience by  speaking over time limits.  • political movements, and their  activities, do not exist to  resolve personal problems except  in so far as there can be a  collective response to those  personal problems.  • divisiveness is a common  enemy.  That these values are forgotten,  or can not be adequately articulated, is cause for dismay  but not surprise. The Vancouver  women's movement is, in these  times, fragmented, indecisive  and weak. Forgetting the basics  is part of the picture. The fall  out from Solidarity, the continued success of right wing  organizing and the toll on personal lives in a depressed economy have all combined to let us  know just how. hard things can  get. Many, as a result, have  drifted from a collective  feminist identity to an identity based on individuals.  Tough times generally have produced individuals who have  little time or energy save for  protecting what we have or en  during what we cannot change.  This drift, this fragmentation,  this isolation is, for political  movements, the precursor of  cynicism, the true parent of  political despair and immobility. There is an antidote to  despair. The cure lies in action  Given our malaise action that  requires a major committment  from large numbers of women may  be too much to ask for. There  are many ideas for individual  women to consider; actions that  don't rely on major efforts but  rely on small group organizing.  The key, because we need  first to break down our isolation and re-establish our  connections, is that these  activities be organized on a  small group basis, a basis that  allows women to re-associate  with the movement.  For the sake of discussion  here are ten action ideas:  write letters; organize a tea  party benefit for a feminist  action; do research on  polling (how does the latest  political tool work and can  we use it?); compile a direct  mail list; be an advocate for  a mentally handicapped person; write and distribute a  leaflet on a new or forgotten  issue; support a group of  women in Latin America; check  into private pension plans for  unorganized women (is a subscription pension plan  possible?); help at the food  bank; do promotion for  Kinesis (do anything for  Kinesis). The list could go  on.  Small groups are the way the  women's movement began. They  are our building blocks. They  allow us to be useful, productive and they unite us.  These activities, in hundreds  of ways, will provide us with  new discussion, new ideas and  a new base. A reactivated,  energized base is what we  need if we are to go forward.  Throughout the first day of the conference more than 30 women from a number  of different organizations presented  speeches that would be impossible to reproduce here.  However, excerpts from the  following presentations provide the reader  with a glimpse into what has been seen as  the key fronts of attack in an anti-  feminist, extreme-Right wing backlash.  They include reproductive rights,  specifically choice on abortion and the  decreasing control of women over our own  bodies;  the rise of right-wing morality  and its resulting intolerance of women's  choice regarding sexual preference and  expression; and- the basic conditions  created by the  "new economic reality"  that affect our daily lives.  Perhaps most  importantly,  the overview speak in the  conference began the process of defining  the extreme right along economic and  ideological lines.  Who  is the  Right?  by Susan O'Donnell  I  The following is an excerpt from Susan  O'Donnell's conference overview Defining  The Right. The text is available from VSW  in its complete form upon request.  To determine exactly what the Right is,  and how far it has progressed in  British Columbia, a view is required of  the restructuring of the economy on a  global scale. The modern women's movement was born in the 1960's, a time when  western capitalist countries were experiencing an upward economic swing. High  profits allowed for the negotiation of  wages and services which would permit  n  most workers a decent standard of living.  Most of us were able to accept a theory  of co-operation with capitalism which  would produce a trickle-down benefit to  all. In retrospect, even at that time,  factors were at work which would produce  the economic crisis capitalism finds itself in today.  The end of the second worl4 war saw the  United States emerge as the leading economic power of the capitalist industrial  world. However, this was to be shortlived, as the European Economic Community  and Japan, devastated in the war, gradually recovered to provide fierce competition for world markets. Increased  pressure, both in third world markets and  at home, to provide goods at more competitive prices, resulted in an overproduction of goods, with producers competing   '      """   for the same consumers. In Third World  countries this resulted in the pressure  to produce more goods at an even lesser  price, ending up in the creation of "free  trade zones", or in other words, a cheaper  labour force. In Canada, production was  lessened, workplaces operated at less  than full capacity, and so the result was  unemployment.  As time goes by, and as the economic  crisis is not resolved, a cheapened  labour force has become necessary in  western industrial countries as well.  Cutting back the labour force, cheapening  the labour force, and removing expensive  social services are all strategies that  capitalists must invest in to preserve  profits. The key to the trends is that  failing one strategy, another must be  added. The final strategies, fascism and  war, are still at a distance from where we  find ourselves today. However, we are experiencing enough "symptoms" to warrent  examination of the right as it exists in  B.C. today, and of its movements and intentions, specifically as they affect  women.  The right falls into two general areas,  which are separate, but aid each other,  and are in loose coalition with each other.  The first is the economic right, which exists today in the form of 19th century  liberalism. The theory of the economic  right is based on that of Adam Smith,  who believed in "free economics of the  market place, with no state intervention".  This theory depends on direct competit-  ^ 12 Julv/August *85 Kinesis  ion for consumers. What is not  purchasable or in demand is replaced with  goods and services that are in demand.  Policies of privatization, removal of  human rights protection, right to work  etc., are all in support, partially  or wholly of this view. Based on the  economic survival of the fittest, this  theory does not accept barriers to  workers as a positive part of production.  Workers who are not successful in the free-  market, are those who are incompetent,  indadequate, or finally, immoral.  It is this immorality aspect that links  them with the other part of the far right,  the ideological right. An example of this  free market view could be seen when  women's groups met with Robert McLelland,  Minister responsible for Human Rights,  to express concern with the proposed new  Human Rights Act. McLelland was asked why  he had removed protection from sexual  harrassment from the former Human Rights  Code. His answer was: "sexual harrassment  is not a work place issue."  At first is seemed as though his answer  was deliberately provocative. But in  fact, he meant that workplace conditions  are governed by the market. If a woman is  sexually harrassed and doesn't like it,  she is free to leave. The market place  does not recognize barriers, and to recognize sexual harrassment, a specific  workplace barrier to women must be seen.  Hand in hand with its commitment to so-  called free economics, is its commitment  to the removal of state intervention,  which lends reinforcement to Mr.  McLelland's position on sexual harrassment. Not only must the employer be free  to compete without restrictions, workers  should compete in the workplace to pay  for services, these services should not  be provided by the transfer payment of  taxes.  The position of the economic right on  state intervention makes the dismantling  of the welfare state one of its primary  goals. The interrelation of the two views  of competition between workers, with no  state intervention is clearly seen in  Minister of Human Resources, Grace  McCarthy's defense of cuts in money and  .services to single parent women on welfare: "We wanted to provide an incentive  to single parent mothers, and help them  recover their self-esteem."  Leadership and activists within the economic right are found in small entrepreneurs, such as in the construction industry, in spinoffs from resource industries,  such as paving companies, and in the  trades. They are also found in real estate speculators, large farmers, middle  management, and some professionals.  Examples of their spokesmen are Bill  Vanderzalm, James Kerkhoff, Jim Matkin  -and Jim Pattison. It is not surprising  that these men also have leadership in  the ideological right, which is both a  part of, and. has much in common with the  economic right.  The ideological right, which Judith Haiven  describes so clearly in her book, Faith  Hope and No Charity,  represents true conservatism, in its desire to uphold traditions and values of God, flag, father and  family. The base of the ideological right  is found in the conservative wing of the  Roman Catholic Church, in evangelism, pen-  tecostal fundamentalism, the Mormons and  the Jehovah Witnesses. It is also found in  immigrant communities that are exiles  from socialist states, and in monarchist  extremists such as Doug Collins and Les  Bewley.  A newer addition to the ideological right  are its spokeswomen, in the form of Real  Women, although they have existed for some  time in the United States. (Anita Bryant,  Phyllis Schafly, etc.) The leadership of  Real Women often indicate that they are  the wives of men who are active in the  economic rigjit. One of the things that  differentiates the thought of the ideological right from liberal thought, is the  belief of the right in a pre-determined  position/role for people in society. That  men should be men, and women should be  women, and black/brown men should be  black/brown men, and black/brown women  should be black/brown women, is a question  of morality for the right. This is the  'separate but equal' theory that Andrea  Dworkin speaks of, which she correctly  attests can only become and remain 'separate and unequal'.  While there are contradictions between  ,the economic right and the ideological  right which must be discussed, it is  their correlations and basis for unity  that need to be assessed in terms of an  overall definition of the right. As a  coalition, the right is more reactive  than active; in other words, it is more  concerned with what it wants to stop,  than the development of a cohesive program that would be acceptable to all  members of its coalition. This seems to  reinforce the perception of the move to  the right to be tactical or strategic on  the part of capitalism, rather than  fascism as a political end in itself.  In August, 1921, a letter from the famous  fascist Mussolini to Bianchi, his assistant read: "It is becoming obvious we  have no theory, only a practice. Within  two months the philosophy of Fascism  must be created". However, it does seem  that the more cohesive the coalition  between the economic right and the  idological right becomes, the more clearly the trends towards fascism can be seen.  In 1925, Luigi Villar, the semi-official  exponent of fascism wrote the following  for the Encyclopedia Brittannica:  "The programme of fascism differs from  that of other parties, as it represents  for its members not only a rule of political conduct, but also a Moral Code."  R. Palme Dutt wrote Fascism and Social  Revolution  in 1934, two years after the  Hitler Government had come to power in  Germany. He observed the following trends  towards fascism, which had completely  integrated the goals of the economic right  and the ideological right. They included:  the destruction of productive forces;  the reduction of education, along with  the increasing of privatized education  along secular lines; the increase of  religious propaganda(moralistic propaganda abour jews, homosexuals, family, etc., the careful development of the  propaganda of deviants); the revolt  against culture (a revolt against intellectuals, increasing discipline  and militarization in universities  and schools); the revolt against democracy and parliament, and National  Self-Sufficiency  It would appear that in B.C. at least,  the economic right and the ideological  right are not yet united to the strategic point of fascism. It is important  to be clear that the present state of  - British Columbia is that produced by a  reactionary government, not yet a fascist  one. Canada has been in general a country,  that provides a system of checks and  balances on big political shifts either  to the right or to the left. There seems  to be a strongly held, commonly shared  belief in liberalism, and the united  right will have to uproot.this, before  its desired agenda with its necessary coercion could be possible. This does not -  detract however, from the reality of  existing trends toward the right. Much of  our recent legislation and the rational  for that legislation is moving towards a  unity of the economic right and ideological right.  The eonomic right wants for women what it  has in general always been able to achieve  A cheap source of labour, that can be  brought in and out of the labour force  whenever economics require. Working class  women work, and have always worked.  In order to maintain a marginalized force  of women workers, the economic right" leans  heavily on the ideological right. If women  remain economically dependent, they can be  socialized to view family responsibility  first and foremost.  The right is also able to use the economic  dependence of these women to keep male  workers in line. Meg Luxton reports that  in Flin Flon Manitoba, the pattern of  hiring men was deliberate. Two thirds of  the men hired would be family men. The  responsibility of supporting a family  would enforce stability and keep the  workers in the community. It would also  permit leeway in negotiation, because  once stabilized, family men would put up  with a fair amount before leaving. One  third of men hired would be single, because their more transient nature would  allow for making the workforce smaller or  larger at the will/need of the employer.  So, assuming that the economic right wants  the choice of having women in or out of  the workforce, whichever is more beneficial  to the economic situation at the time, it  seems that their goal is to keep us marginal to the workforce.  One of the things that women have managed  to gain in the past 25 years has been increased participation in the workforce.  With 45% of us working, the economic right  will have to integrate the goals and policies of the ideological right. As was  previously stated, the ideological right  represents true conservatism in its desire  to uphold the values and traditions of  God, father and family. It believes in  a predetermined role for people in society  and deviation from that role is a matter  of conscience, not social progressive-  ness. One of the indications of a trend  to the right is when these values become  a political platform, rather than a set  of religious values. Extreme right wing  views reduce women to the role of mother.  Right ideological tendencies place the  reproductive role of women as primary.  The first stage ideologically for the  right is to create deviants of those of  us who specifically do not choose motherhood. It is no coincidence that the primary attacks of the right at present are  against lesbians and pro-choice activists.  Legislation is shaky around the right to  choose childbirth or not, and with the •.  new Human Rights Act, explicit about the  removal of all protection from discrimination against lesbians and gays.  The second stage will extend the definition of deviation to mothers of children for  whom paternity is not determined, or for  whom paternity is suspect. Already, welfare legislation, with its new paternity  form, has moved to embody ownership and  control of the reproductive rights of  single-parent women. The right is an  effective lobby group in retaining the  Indian Act, and pension cuts are primarily  directed at women who are reproductively  of no more use. In order to reduce women  to the role of motherhood, the ideological right will also have to reclaim the  definition of family.  With two-thirds of Canada's families  living in other forms than the traditional  one, the mother at home, father in the  work-force, 2.5 children and one dog, will  •require some considerable work. Just as the  right can be expected to invest a large  amount of energy in dividing women.  Historically it has been crucial that women  and groups of women dislike each other,  and work against each other to build the  right.  >  w The following are excerpts from one of the  talks in the Sexuality section of the conference by Pam Blackstone of Women Against  Pornography in Victoria,  B.C.  The Right believes female sexuality must  be controlled, channelled into marriage and  motherhood. Autonomous female sexuality  cannot be tolerated because, by definition,  it is not procreation-oriented.  Sexual autonomy for women would include  the right to one's own  sexual pleasure;  the right to have sexual partners of one's  choice, regardless of gender; the right  to choose if and when to bear children -  all of which have a profound potential to  undermine the traditional family...  Sexual autonomy for women constitutes a  fundamental element of a feminist sexuality.  Feminism supports choices which are not  male-identified, which involve women acting directly in our own  best interests.  One such choice is lesbianism. As a re-  . jection of male sexuality and heterosexism,  being a lesbian is a revolutionary act.  That's why it is high on the right's hit  list...  You have probably deduced by now that I  'Ģ am advancing the novel theory that Right-  wing and feminist sexual ideologies are  diametrically opposed! Hardly news. What  is new, however, is that these polarized  sexual ideologies have recently converged  on two issues, porn and prostitution.  I therefore want to examine these issues  to determine what, if any, basis of unity  exists for an alignment between some  quarters of the Women's Movement and the  Right.  The Right has a simple view of these  issues and they advocate simple band-  aid solutions. Essentially, they equate  porn with sex, and since sex is sinful and  immoral, so to is porn. It is the sexual  explicitness of porn - not its violent or  degrading treatment of women - which disturbs the Right.  They have no true concern for porn's impact  on women, although they've become skilled  at usurping feminist concerns to appear  progressive and conceal their real purpose.  'We saw Brian Mulroney do this with consummate skill during the last election...  According to REAL Women of Canada: "pornography expressly divorces sex from its-  proper context of a mature, loving relationship... The men and women involved become  "objects to satisfy sexual desires... As  such it undermines and pollutes the environment of the basic unit of our society,  the family."  The remedy sought by the Right to deal with  pornography is state censorship. But, unlike feminists, they would make no distinctions between porn and erotica. For  both are sexually explicit and both transmit sexual values the Right opposes. In  fact, sex education programmes and feminist  and lesbian art are already key targets for  censorship. In Toronto, recent obscenity  charges have been laid, not against a porn  seller, but against a storefront feminist  are exhibit. The offensive item? Sanitary  napkins spray-painted red. This vividly  illustrates the depth of this culture's  shock and disgust, not at porn but female,  sexuality.  But pornography, let us not forget, is a  vast and lucrative industry. There are,  ironically, extreme elements within the  Right who are prepared to put profits before principles and who believe nothing  should restrict business in its pursuit  of maximum profits. (This is no doubt why  Jim Pattison, Expo Chairman and born-  again christian, has refused to relinquish  his porn distributorships.)  Nevertheless, the act of speaking out against  porn - in the wake of the so-called sexual  revolution - remains problematic for feminists. An anti-sex and pro-censorship  stance is assumed regardless of how'carefully we articulate our analysis. A fact  which reduces our credibility, directly  benefitting the Right. For this reason,  it is essential that we are crystal clear  on our analysis and strategies, and careful  to distance ourselves from the Right on  this issue.  With prostitution, like pornography, the  Right wants a quick fix: tough new laws  that will get the women off the streets.  The devastating impact of such laws on  women who work as prostitutes is irreve-  vant to the Right, as are the socio-i  causes of prostitution.  As with porn, the right opposes prostitution for reasons of sexual morality, and  not concern for women. It is the sexual  autonomy of the prostitute, her high visibility, and her lack of shame which arouses  Right-wing outrage. She has violated the  appropriate role for women, as prescribed  by traditional values. Her sexual autonomy  is seen to threaten a social order built on  the repression and control of female sexuality.  Right-wing concerns about prostitution  focus on the weakening of moral values; the  effects on families and businesses; the  deterioration of neighbourhoods and declining property values.  Right-wing men - politicians, police,  judges, businessmen - who are often among  the clients of prostitutes, no doubt have  a different view of the sex trade than do  their wives, who sense in the prostitute  a direct threat to their security. According to REAL Women: "prostitution directly  pollutes the environment of the family. It  gives needless encouragement ... to lust, i  It lowers standards of sexual morality  traditionally upheld by our society."  ...We have many times heard society's  supposed need for disposable women  defended, most recently by Victoria Mayor  Peter Pollen, and this is a quote: "There  is a need for prostitutes, even with all  the horrible social ramifications. It is  the instinct of a male, particularly a  young one, to procreate, and to not have  that available creates a danger to society."  Controlling  Our  Reproductive  Rights  The following is an excerpt from the  introduction to the Reproductive Rights  section of the conference by Emma Kivisild  of Kinesis.  The Right sees the Women's Liberation Movement as a primary agent of promiscuity,  sacreligious sexuality, and selfishness.  According to the Right we are responsible  for the disintegration of the nuclear  family, for unemployment, crime, delinquency... You name it, we've responsible  for it. Not surprisingly their first  line of attack is choice on abortion.  We should remember that it's not only Right-  wing fanatics  who are taking up this cause  - it is also right-wing governments. Joe  Borowski and his support is not an isolated case. We don't need to remind  women in Vancouver about the reception  for Morgentaler's recent talk in this city.  Nor should we need to remind women that  moral majority elements in Ontario and  Manitoba have successfully kept both a  conservative and an N.D.P.   government  from legalizing Morgentaler's free-standing abortion clinics, and the list of  attacks on choice goes on. The Right has  successfully focussed its energies on  this issue, and for the majority of the  new right-wing the fight against women's  right to choose on abortion is a key  basis of unity.  The Right-wing is against abortion. They  agree on that. They don't necessarily  agree among themselves on other issues  surrounding women's reproductive freedom,  issues such as forced sterilization,  homebirth and reproductive technology. But  each of these has the attention of the  Right in different places and different  times. For example the economic right  has used forced sterilization to control  the numbers of workers needed for production, as well as for population control  in countries in the third world. They  are not prone to sterilizing white able-  bodied middleclass women.  This is also an economic programme based  in racism. In this country forced  sterilization has been used in a genoci-  ~dal campaign against native peoples.  The British women's movement is fighting  the forced sterilization of black women,  Indian women and white working class women.  In the States there is a long history of  sterilizing Black, Latina and Native women.  The sterilization of mentally handicapped  women has made headlines in Canada  recently over the case of Infant K, but  hers is far from an isolated case. On  Midwifery, the Medical Right has stood  firm in its control of the birthing  process and has continued to engender  fear that a birth in the home is an  unsafe, dangerous and irresponsible  birth.  And recent research on the part of the  Scientific Right now professes to make  women dispensible, or interchangable, as  reproductive vessels. (Without liberating women from their role as full-time  mothers, mind you.) Developments in  new reproductive technology are being  used as fuel for the argument that the  fetus is an independant human being.  The Moral or religious Right is not always  consistent on these issues. In Nazi  Germany for instance, the religious right  was in some instances outraged by the use  of forced sterilization. In terms of a  mythical return to a traditional lifestyle, some Right-wing advocates today  might well endorse homebirth as an option,  but we can be assured such an endorsement  would not liberate the birth experience as  a whole. It is more than likely that  right-wing women fear the prospects of  their sole source of power being usurped  by new reproductive technologies.  Nonetheless, the primary goal of controlling women's reproductive choice is a  consistent thread connecting both the  economic and the ideological right. Right  now the thrust of the propaganda for this  control is towards the nuclear family. 14 July/August'85 Kinesis  Jim Pattison  Who is this man?  This is the second of a two-part article on Jim Pattison. See Kinesis June '85 for part one.  by Lee Lakeman and Joni Miller  The relationship of Jim Pattison to other  big owners and government is complicated.  American capital in the form of a loan from  Charles W. Engelhard of New York helped  him jump from car dealer to a real money  maker. Engelhard's money comes from the  sale of resources like diamonds from South  Africa, gold, platinum and silver. In each  case the wealth is actually created by  back-breaking labour of third world people  who are enslaved by poverty and violence.  The Engelhard firm still influences Pattison through positions on the board of  directors of Neonex.  Pattison's chief financial officer,  Cyril Spiro, was formally head of Bank of  America's domestic and international banking operations for the southeast U.S. With  only 14 people in Pattison's head office,  Spiro says he likes the lack of bureaucracy. Obviously he has lots of power to use  his old California aerospace and Reagan  style contacts.  Because of Canadian law on private companies, Pattison has not had to expose the  deals that turned an original loan into  assets of 424,613,000 dollars, that make  an annual income of- 772,506,000 dollars.  Again, because Pattison owns private  companies, we don't know his personal  profit level.  We know that in terms of profiting from  porn he does fine. However, he's not in the  big American league. In the U.S., organized crime controls the sexual slavery  through systematic violence.  The estimated $500 million that Canadians  spend annually on pornography supports  a clandestine sex industry in the United  States controlled by organized crime  through violence,  say law enforcers in  both countries.   -Globe and Mail, Feb. '84  She was one of hundreds of women, mainly  prostitutes who were forced to star in  hard-core pornography films or pose for  publications. The prostitution industry  in the United States is also controlled  by organized crime.  -Bruce Taylor, former state prosecutor  in Cleveland, Ohio.  American porn pimps sell Canadian men 12.5%  of this garbage. The Canadian government  has prosecuted enough to prevent most production of hardcore porn here. Only the  distribution is profitable. But the federal government lets that same pornography  across the border, often choosing not to  block or prosecute. This works for Pattison. For instance, he was not charged for  importing the December issue of Penthouse  with its pictures of Asian women in bondage.  It is hard to know how much power Pattison has to directly control government.  He's only the twentieth largest company  in Canada. But that's bigger than most  Canadian companies and bigger than Canadian  branches of multinationals such as Kraft,  Chevron, Honda and American Motors.  He is personally considered small enough  that he is snubbed by eastern Canadian  monied families like Eatons. His companies  did employ 6,000 people, although he's  laid off over 1,000 as "times get tough".  We wonder how many of the women 'thinning  the soup' in those households know how well  Pattison is doing? And how many of them  will face prostitution as an alternative  to hunger?  It is certainly not clear why he has not  been more forcefully attacked by workers.  Some union bureaucrats even avoid verbally  attacking. Gautier, head of the Building  Trades Union on strike at Pennyfarthing  didn't even speak ill of him. Why haven't  members of those unions seen the wisdom  of joining forces with the women's movement to attack him from many sides? As  head of Expo, he has worked with the B.C.  Government in a vicious attack on unions,  as well as women. We didn't see the Building Trades Union structure as strengthening the workers or the working class; often  quite the opposite. But still, we 'walked  the line' at Pennyfarthing. We wanted union  bureaucracies to be overcome from below  by poor men and poorer women trying to get  more democratic, anti-sexist power. We  did not want those unions crippled into new  even less useful deals with bully capitalists.  Pattison's ownings have not been re;  based. Instead, he has concentrated on consumer goods of essentially three or four  categories: food, transportation, communications. He's bought up smaller companies  and established monopolies whenever he  could. And he's sewn up a lot of the Canadian market. He's swallowed many smaller  companies to control that market, but it  isn't all fierce competition, "the American way". Brian Brammall, owner of Vancouver Magazine,   said it this way to the  Globe and Mail:  "we eventually agreed to a  halt to the hostilities", when asked to  explain collusion which he called a gentleman 's agreement. The government did not  respond with prosecution or investigation  to this deal between capitalists although  again there are clear laws against it.  Pattison was appointed as Chairman of  Expo by Premier Bennett. Some say he took  the job because he wanted to be Lieutenant  Governor, and needed to "earn" some profile in the public's eyes. He said, "when  the premier asks, I can't refuse". In  fact, all three levels of Canadian government seem to be quite co-operative partners  with Pattison. They use the full force of  the law against any group of us who are in  his way. When workers protested the abuse  of and changes in labour law at the Expo  site starting with the Pennyfarthing line,  Canadian courts threatened to fine the  unions thousands of dollars every day. The  union bosses stopped the protest. When the  B.C. government decided (we think with  Expo officials) to move the street prostitutes more out into the open, the courts  again declared an injunction.  The Vancouver city government has cooperated with Expo plans by assuming a  huge police bill to "deal with" the unexpected 30% increase in crime to the  West End and Downtown Eastside. The federal government used Expo as an excuse to  build a huge convention centre on the other  side of town as "the Canadian pavilion".  Big business wanted the use of such a  facility without having to pay for it. And  throughout this whole wheeling and dealing  with Pattison and others, the governments  claim Expo will create jobs and prosperity.  We think something else is going on.  Expo will cost millions and be paid for by  tax dollars - which we will put out. Expo  will make millions - for those who are already rich. In our local commerical press  there's an observable increase in talk  about Canada's "responsibility to the  Pacific Rim nations". They don't mean our  responsibility to work with people from  Chile or the Philippines to free themselves  from dictators. And they never refer to the  responsibility we have to support Japanese  women who are trying to stop American and  Japanese male tourists form arriving in  plane loads to Korea or the Philippines  where they buy "sex tours" (prostitution).  A major part of the Canadian Pavillion is  the World Trade Centre, and the attached  Pacific Rim Institute. The Institute was  set up in the last 18 months by the  three provincial universites and received  $624,000 in federal money for two years  researching how to make money by using  the people of the Pacific Rim. And this  is a year of education cuts.  Small time B.C. capitalists and even some  working people believe they are going to  make money on the Expo site. And some of  them will. Certainly developers, landlords  and food wholesalers will, as will the  pimps who have moved up from Seattle. There  will be millions of tourists flooding  the city for six months starting in May  '85.  But the big money is yet to come. Expo is  just the seed money - the start up funds,  the research money. It will supply a permanent cruise ship dock, convention centre  and "loosened up city". There are new  roads and rail beds for transporting  consumer goods and tourists in and out of  the country. And remember Pattison's corporations need new markets. He's ready,  too. He's bought himself a Swiss bank  called Great Pacific Finance AG, and as  chairman of Expo, he's meeting with new  governments.  And now he has a company in the Cayman  Islands that profits from selling and  buying various currency to profit from  the exchange rate.  According to the December 1983 issue of  Canadian Business Magazine,"Ronald Reagan,  Henry Kissinger, Alexander Haig, have  shuttled into Pattison's annual 'Partners  in Pride1 conferences for top managers."  And no doubt they're discussing changes  around the Pacific Rim. Where will Hong  Kong trade go when China reclaims the  island? Where will cheap labour come from  when the people of Chile and the Philli-  pines win their revolt? What do the Japanese capitalists think of being forced  to import from the U.S.? Why are the  Japanese capitalists grabbing the corner  of B.C. coal even though they don't need  it yet?  Expo has been hosting international seminars for months, and has published some of  the results. They say that third world  countries have huge transport problems  which could be solved in favour of businessmen, if those countries bought public  transit systems from Canadian, American  and Japanese capitalists. They also say  that these nations are so economically  fragile that if they buy transport systems,  they cannot industrialize. They can then  be forced to buy consumer goods from men  like Jim Pattison.  One thing that repeats over and over  in the pre-Expo discussions among capitalists is the big money to be made in tourism.  It  (tourism) has replaced war, plague,  famine, religious persecution as the  primary motivation of contact among  people.  It is the number one industry  of numerous cities, provinces,  states  and countries...Tourism  is the world in  motion. KKf  , -,.   . .  ,  -EXPO publicity material.  Part of the tourist money is to be made in  prostitution.  |¬ßV$ff  Jim Pattison, in co-operation with three  levels of Canadian government, is working  to throw our city into serious debt, help  dismantle our neighbourhoods, and push  young women, often runaways and prostitutes  into the hands of pimps. He promotes violence against women and prostitution of  women with his porn operation and breaks  unions and women's groups (loss of government money) that could help us organize  ourselves. And he's using our tax dollars  to launch himself to repeat these atrocities on a more global level.  Who is this man? We are beginning to find  out? Kinesis July/August'85 15  Inuit women  Blending voices and nature  by Dorothy Kidd  Alasi Alasuak and Nellie Nugak are two  Inuit sisters who are reviving one of  the oldest forms of women's folk music.  From the village of Povungnituk on the  eastern shore of Hudson's Bay, they are  touring the country and Europe to let  other Canadians and Europeans hear their  traditional throat singing.  Katadjait, or throat songs, are duets  performed by women. Standing closely  together, they produce music by varying  their breathing and voices. Although  these songs.are initially strange to the  southern ear, you can recognize different  melodies, rhythms and themes. The experience is both eerie and powerful as they  imitate the soundscape of their northern  world.  Like many Inuit women across northern  Canada, Alasi and Nellie first learned  the songs from their mother. The music  comes from a time when the Inuit  (the people in Inuktitut) were semi-nomadic,  supporting themselves by hunting, fishing  and trapping. Using all parts of the animals, the women prepared the food, clothing and household implements. During the  long winter nights, while the men were  away hunting, they made up songs to entertain themselves and their children.  Sometimes they would play throat games at  winter feasts with the other Inuit games  such as string games and juggling. The  competition was to see which of the women  could hold out the longest, although  there was little importance attached to  winning or losing. The song would end  when one of the women ran out of breath,  was unable to shift to a new melody or  tempo or started laughing.  Although Alasi Alasuak, Nellie Nungak  and their interpreter Charlie Adams try  very hard to help orient their audiences,  the experience can be very foreign, when  transported to the south. Both times I  have seen them in Vancouver, they have  had to perform in hot theatres. The skin  clothing they wear is essential for survival in the north, but it looks very out  of place here. Alasi commented on the  heat and they both quickly switched into  southern clothes after their performances.  A southern performance is also much less  participatory. Translation is necessary  from Inuktitut to English and that immediately puts the audience at a distance. In  the north the women alternate songs with  each other in a crowd made up of their  neighbours, including a large number of  children of all ages. Down here they are  performing on a stage above^an audience  made up mostly of adults, perhaps more  than live in their village of 700.  When I saw them I tried to provide some  context by letting my imagination fly  north. Picture white everywhere around  you, form the white of the snowhouse  interior to the white of the land outside.  At night you cannot see any geographical  reference points, and instead have to  orient yourself with your ears. You can  hear for long distances, as many sounds  carry through the night.  One sound will interplay with another,  overlapping and combining in a timeless  way. It's sometimes hard to pick out a  single sound amidst all the others. The  same is true when you hear the throat  songs. They may tell you it's about a  single experience of hearing a goose  honking in winter time or the wind  howling through the cracks. But you  may also hear other sounds from the  indoor and outdoor environments.  Alasi said in one of her introductions  that the songs are older than most of  Canada. They imitate a life where the  natural world was everything, and human  beings were part of nature. In such a  place, the human voice is not in conflict  with nature but articulates and blends with  it. One of their songs tells the story  of their mother taking them outside  when they were very small. She told  them they would sing to bring the northern lights closer. The lights loomed  closer and the two little girls were so  scared that they ran back inside.  Many of the songs are dedicated to the  children who are still a treasured part  of Inuit society. The katadjait were  used to help the children develop imagination and reasoning power. Each tells a  story: of the baby's first smile, of  learning to identify your parents from the  other adults, - "Look at your little  fat mother and your little fat father" -  and of the little girl who thought she was  the only little girl in the world.  Today the Inuit know they are not the  only people in the world. Southern capitalist development has hit their communities very hard and very fast. The skidoos,  chainsaws and airplanes make their  communities much noisier. But women like  Alasi and Nellie continue to sing the  old songs to entertain themselves and to  keep alive their cultural heritage. The  songs are more formal, but the essence of  Inuit survival remains strong. Alasi  says, "I hope that everyone can enjoy life  and take more time for themselves to play."  Adivasi women from page 7  man attached to the Kiriburu P.S. and  when she raised an alarm, the villagers  caught the culprit and beat him up. The  list does not end here...  So far we have seen the exploitation of  adivasis by the 'Dikus' (outsiders).  Let us now look at another side of the  story - exploitation of the Adivasi  women by their own men. To trace the  origin of this, we have to look back to  the turn of the 19th century. Before  the British came all Adivasi land was  communally owned. The British introduced the Ryotwary system to ensure  their revenue and taxes as well as to  maintain their political and military  stronghold over this area. This system  recognized only male ownership of land  and the Adivasi womenfolk just went out  of the picture.  This system has changed further. At  present, only an unmarried daughter can  inherit her father's land' and if she  has any brogher, she will get half of  what he gets. Wives or widows cannot  own the land; they can only get a  certain proportion of the produce of the  land. In fact, the pukeep of the women  depends on the mercy of their male relatives. Further, if any Adivasi woman  has sexual relations with any non-Adivasi,  she automatically loses her right to the  land.  This custom had devalued women's position  in Adivasi society from various aspects.  First of all, in shifting cultivation,  which used to be the regular mode of  tribal cultivation when land was owned  communally, the actual business of  tilling the land became less important  than owning it. So women, who did and  still do 80 percent of the total agricultural acitivities, have been rendered  less important and less respectable.  Secondly, a woman can at present keep  her hold over the inheritance as long as,  and only if, she remains unmarried. So  a large number of Adivasi women remain  unmarried these days. This frustrates  the expectations of their male relatives  who then implicate them in false cases  so that they are forced to mortgage their  land. Indeed, the female inheritors  have to live in mortal fear. At any time,  the men may spread the slander that they  are "witches" and get them burnt alive  or beheaded with a 'tangi', all to get  their land. Laro Jonko, a leader of the  Mahila Samaj (affiliated to the National  Federation of Indian Women), pointed  this out in an interview with us and  said, "We are mobilising women against  this custom of identifying one as a witch  and then killing her." Again, with torture  by forces.of the law and other outsiders  a fact of life, it is easy to disinherit  a woman on. the charge of sexual defilement. Incidentally, Sumati Kui and her  ©other Jugni Kui of Kuinua village have  filed a case against this local law,  saying it is contrary to provisions of the  Constitution. m  16 July/August '85 Kinesis  Chavela Vargas  Singing love to women  by Vinnie Mohr  Green Fruit  She. was fruit and woman.  I bit her when she  least expected it,  but it was without love.  Taste of green fruit,  fruit that bites  and leaves a bittersweetness of perversity.  Mouthful of a girl, little mouth that kisses  but if it moans it turns bad,  very bad.  Taste of green fruit,  fruit that bites.  Flesh of the apple of good and evil.  It's my fault that you are bad.  Little mouth of a girl  that I taught to kiss.  Those are the words of a song recorded  by Chavela Vargas, an internationally  famous singer from Mexico in the 1950's  and 60's.  She recorded over 15 LPs  and sang on stages in Europe, Latin  America, the United States and the  Caribbean.  During a time when Mexican women  singers appeared in performance and  on album covers in tight low cut  dresses with high heels and elaborate  hairdos, Chavela always wore pants and ;  men's peasant sandals with her long  straight hair pulled back in a tight  ponytail.  Her songs were mostly passionate songs of love, of desire,  conquest and loss.  They were never  sung to the male sex.  Some of her  recordings are songs of Christian  objection to social injustice.  Despite her unconventionality, Chavela  Vargas had a very large public at the  height of her career. Some say, though  she isn't one of them, that the end of  her career was associated with a drinking problem. She retains a semi-legendary stature in certain circles.  Chavela Vargas now lives with her dog  Vicenta in a small three room house in  Cuernavaca about 1 hour outside Mexico  City.  Her living room is dominated by  a large wooden cross on one of the walls.  The following is an excerpt from a conversation with Vinny Mohr of Kinesis  in  January of this year.  K:    Can I ask you where you were born?  CV: In a hospital.  Let's leave it at  that.  I have heard a number of different  versions.  Yes, lovely versions.  A little like  Quetzalcoatl, who came and then went.  (The Aztec god of the wind, the  feathered serpent about whom there is  an extensive mythology.) And nobody  knows from where and to where. What  difference does it make to the public?  I go on living.  When I can't anymore,  when I no longer have any hopes, maybe  then.  But in my 65th year, I feel very  well.  You don't feel like an old woman?  No.  I will when I can't stand up anymore. But as long as I can run... I get  up at 5 in the morning, I go run, J. go  to the river, I lift weights, and not  because I am doing someone else some good.  It's for my health.  I am very interested in eastern things:  yoga, karate.  I have very strong muscles.  How did your singing career get started?-  We went to villages, and no one paid  any attention to us.  They said the  clowns had arrived.. I was dressed in  strapless dresses with big lines around  my eyes.  Frightening.  I had to appear  in a nightclub and I was a failure  because they put an evening gown on me  So  that I didn't know how to manage and  high heels that I couldn't walk in.  I couldn't sing.  I put my arms up to  sing and the strapless dress fell, and  there I was naked.  I was no good  until I put on my' jorongo (poncho),  my coarse cotton trousers, barefoot.  I started from there, in a nightclub  in Acapulco.  From Acapulco I jumped to the Blue  Angel in New York, a very snobbish  sophisticated nightclub.  Some gringos  saw me in Acapulco and brought me to  New York.  I worked for a time in New  York, and then I went back to Acapulco  from where I was taken to Mexico City  where I worked in a nightclub for 5  years.  It was upwards from there.  I was asked  for in South American and European centres.  That was the height of my career.  I destroyed everything, because  you arrive at the conclusion that  no one is interested in what you  were, only the moment. We are  living in the age of the moment.  When was your first appearance in the  nightclub in Acapulco?  In 1954 or 55, the first time.  It's too  bad I broke all my records, my papers, the  articles.  I destroyed everything, because  you arrive _,at the conclusion that no one  is interest®! in what you were, only the  moment.  We are living in the age of the  moment. When you stop being, you stop.  Now there is no Chavela Vargas. I am not  here anymore.  No one is even interested  in reading an article about me.  Nothing.  I am a country person.  I was a little like  a being that came from the country to confront a world that wasn't mine.  I suffered  a lot when I sang, because I thought the  world was something different.  I thought I  didn't have to do anything else but sing,  and give all the love that I had inside and  someone would receive it.  No, lies/  I did  nothing but create on the basis of pain, it  was a birth.  I have more than a thousand  children.  In what sense?  Every song is a birth.  Every night was a  birth.  In every country it was a birth.  I have given birth many times, and it was  a birth of the soul.  I think a birth of  the body is easier.  It's mechanical.  But  a birth of the soul is very hard.  I had  to create and have a child every night.  And it was very difficult, very difficult.  It was hard, just like it's hard for every  -artist at the beginning if the artist is  a true one.  Above all at that time as a  woman, a woman who wore pants and a jorongo,  a Mexican garment that only cowboys wore.  Today not only singers but also ordinary  women wear a j orongo.  I was one of the  pioneers.  Why-  How am I going to put on a masculine garment being a woman? What for? Pardon me,  but I answer the question you just asked  with another question.  It's a challenge  to many things to dress in pants.  I was  almost the first.  I was criticized a lot.  It was prohibited.  It was a dare.  It must have taken a lot of courage.  Yes, a lot of nerve and a lot of initiative  as a woman.  I have been very much a woman.  You don't have to be masculine to be very  much a real woman.  These attitudes of  masculinity, I don't understand.  Putting  on pants doesn't prevent femininity.  What was the reaction to your dressing as  Well, horrible criticisms.  The journalists  asked why I was wearing pants at the same  time they wore them themselves <  "But we are  men," they would say.  Well, fine for  them.'  It's also for" them to be seen.  I  am very much a woman.  That's why I give  myself the luxury of wearing pants.  Because I am a woman.  The love songs that you sung were often  sung to women. How was this received at  that time?  I didn't sing them to women. I sang them  the way they were. Otherwise you rob the  spirit of the song.  If a song is written  for a woman, if I sing it to a man it  loses all the sense of its beauty.  For  example, you can't sing the poetry of  Agustin Lara for a man.  Am I clear?  With certain rancheras, yes.  But they  say "my beloved" and you sing "my beloved".  But if you sing a fine poem of a song by  Agustin Lara, converting to the masculine,  it's finished.  I didn't sing to women.  Songs don't have sex. I sang the song.  Music doesn't have sex.  Is this what was normally done by... ..  That which is normal has never been anything.  Nothing that is not in agreement  with society is normal.  Everything is  abnormal.  If I put pants on it's not  normal.  If I go barefoot, it's a little  bit normal.  If I get on a horse with a  bikini, they say "how pretty".  But if I  put on chaps or cowboy's clothing to get  on a horse, that's not normal.  Am I  clear?  I was trying to get an idea of how singing  to a woman in your songs was received?  ■  The journalists never talked about that.  Because the songs were structured in the  way they were made so that journalists  couldn't mess with this.  I think it would  have been worse to have destroyed the songs,  taken them apart.  So I sang it like it was  For example, there is a sentence in a song  about two hearts that says, "One had to' be  hers and the other had to be mine".  One  can't say " had to be his." (In  Spanish this requires a change in the number  of syllables in the  line).     Musically, it  doesn't work.  And it sounds terrible.     ..  What was the relationship  like between you  and the companies that put our your records?  I think they gave me 2,000 pesos (about  $250 U.S.) for my first record.  It's called  Noche Bohemia (Bohemian Night).  You were telling me before about how you  don't get any money from Orfeon anymore?  (Orfeon is the company that put out almost  all her LP's).  Orfeon is the biggest company of thieves in .  the world, that's what I say.  I can say  this because I feel it in flesh and blood.  I think that in 25 years of recording LP's  and selling them all over the world they  haven't given me more than 200,000 or  300,000 pesos.  It's not much in 25 years.  These men are thieving.  I know that your records are still for sale,  at least in Mexico.  Yes, I am a constant seller, even though I  am retired from this business.  I keep  selling records.  Many people ask for new  records of mine in the record stores.  They  want new records.  But there is no company  that I trust.  Period. Kinesis July/August'85 17  Couldn't you make records independently?  Yes, of course it can be done, but you have  to invest a large amount of money. Because  I don't know if you are aware that the musicians of today spend a month, two months,  six months, even a year producing a record.  Look at how things are different today.  I  worked in a cabaret from 10 at night to 4  or 5 in the morning.  From there I went to  record a record, an LP, without sleeping.  And I recorded it in 3 or 4 hours. Now  with modern artists, it's six months to  record an LP.  Once I recorded 2 LPs in one  morning. You don't have this anymore.  I still don't understand how it  -  that the record company is still selling  your records without paying you anything?  I tell you that company is called the ceme-  tary of artists. Orfeon is the tomb, the  death of an artist. In Spain, it's called  Movieplay.  In Spain I recorded live in a  cabaret.  I know nothing about it.  They  are over there selling it, and I don't know  anything about it. They have never paid me  a single cent.  I die of hunger with the  records I have.  This happens to a lot of  artists in Mexico.  Was there anyone helping you with your  career?  No. No one.  The only pure thing in my life  is my career.  It was the cleanest and the  purest, I never made any concessions. I  never had to be a bootlicker to anyone because I didn't give myself in work to men or  women or anyone.  I did it myself.  You never had an office to administer contracts and so on?  No, I did it myself. You bring me the contract, I will look at it and sign it.  I  never depended on anyone.  So you did all the business arrangements  yourse If?  Certainly, I am not ashamed of being what I  am. Never. Because society is very hypocritical.  For example, this Michael Jackson  gives out that he is gay and it doesn't mean  a thing to anyone.  During my life it was  like an inquisition.  My life was like the  life that burned Joan of Arc.  A fraction of a millimeter wishes that we  weren't homosexuals. But I believe that a  woman does not exist who isn't homosexual in  a certain moment.  I don't believe the  complete macho exists, because he falters  in some moment. The environment offers ways  to continue being homosexual in certain  classes, or it doesn't offer.  The milieu  lends itself, the artistic milieu lends itself. People forge paths.  They make their  way. - }.i'?$-\  But many men would give their lives to be  homosexual. And many women too. Queens  and princesses and those that are made  crazy by society and a name would give  their lives to be homosexuals.  It is the  perfect state of the human being, when it  is carried with dignity and not as a vice.  Because there are prostitutes dependant on  lesbians.  These are no good.  world, but I don't have to hide it. I was  born in the eyes of God. That's how I was  born. Once when I was in Italy, I went to  confession and I told the priest, "I am  homosexual." He said, "Homosexuals have a  very hard cross to bear." That was a very  beautiful and intelligent response. If I  told the priest here, he would be scandalized|  You have encountered a lot of opposition  because of this?  Of course, a lot of obstacles.  What did you do?  Nothing.  Nothing, because it was like an  appostleship, my homosexual life.  I had  to conduct it like we were preaching.  I  was ahead of thousands, because you could  not cry out to the world "I'm homosexual".  It was prohibited. Now you can say it a  little. Now I can wear pants, and you too.  But in our time, they killed you in the  streets if you wore pants.  We opened the door for homosexuals in  Mexico so that they don't have to be  ashamed. Now they walk along Reforma  Avenue in a gay demonstration. And the  VICTOR  very famous, there  had to be that way.  everyone and plan the  representative, I had  career for me, who  and where we had to  who can say that I  I chose the reper-  recordings because  is the tomb of  Afterwards, when I was  were others because it  I couldn't speak with  tours. Then I had my  people who managed my  arranged the contracts  go. But I am a person  directed my recordings  toire and directed the  Orfeon, as I told you,  artists.  You didn't have to fight to have this artistic control?  No, never.  Because these record companies  didn't work.  I would arrive and say, "I am  going to record an LP, with six songs on each  side with the following songs..."  "Fine,"  they would say.  Nobody directed me and I  didn't have an artistic director. Because  no one was any good at Orfeon.  Those employees  are collecting a salary, but I directed myself.  I did it myself, everything: artistic and  technical.... I managed it myself.  How did the reputation of being a lesbian  affect your career?  I don't consider myself homosexual. I was  born that way.  That has no name.  But that is the reputation you have.  I have a reputation for many things. I was  a pioneer.  People didn'.t say ugly things about you?  Never, they didn't dare to do that because I  was very dignified to carry this name, and  I dignified being homosexual in the world,  it was my truth before God and society, and  before art and everything, and before me and  my friends.  Did you ever feel isolated as an artist?  Never, not as a human being or an artist or  anything. I was discovering a world: look  at the stature it has now.  I ask you this because it's very relevant  for certain women artists.  I  So it wasn't difficult at that time?  Yes, and it continues to be hard.  Yes,  because of the small fraction that didn't  call themselves homosexuals and want to gc  on presuming they are very normal.  I don'  know where this normality is and where  abnormality is.  I was born that way.  I  didn't make myself that way.  That's why it makes me really mad when  people say "Artists are bohemian." We are  not bohemian, we were born bohemian, which  is something else. The bohemian, like the  homosexual, doesn't learn or study it. We  are born or we aren't. It's a lie. I don't  feel like a person on the edge of society,  nor before God. I am very much a believer.  I say, "Father, if you made me this- way, and  if you made me again, I would be born again."  I am not ashamed. I am not ashamed. Because  my life is my life.  I am not homosexual; I was born homosexual.  That's how I am. I don't have to tell the  day we die, they are going to put up a  statue.  I will take with me to my grave  the price of us having been the mothers of  the homosexual people of the world.  t Why do you say  "of the world" and not Mexico?  Because that's how it was considered.  I tell  you, in my articles.  It's a pity that I  threw them out.  This article said, "Chavela |  Vargas is considered the mother of the homosexuals of the world." Because of being an  artist.  Ema (her "soul sister") is another  mother, Nancy (Cardenas, the only famous  woman theatre director in Mexico) is another  mother.  It was because of the profile I had  to the public of the world as a homosexual  person, as you said who sang to women.  When I arrived in Spain, Spain stood up.  And I don't say that out of vanity. It was  a homage I received during the time of  Franco's repression, in spite of the  fact that I loved Franco. Period. For  Chavela Vargas continued page 22 July/August'85 Kinesis  Kinesis July/August '85  by Connie Smith  1  Ronnie Gilbert True to herself  There are many things I want to  tell you about Ronnie Gilbert,  some of which fall into the category of  facts. She was a member of the Weavers,  a very successful folk group blacklisted  in the U.S. in 1952 by the House on Un-  American Activities. She moved from New  York to California the next year and  gave birth to her daughter Lisa. Later  she became a single parent.  During her time with the Weavers, Ronnie  recorded a solo album, Come and Go With Me,  and after the Weavers disbanded in 1963,  she recorded Alone With Ronnie Gilbert.  In 1964, she joined Joseph Chaikin and  the Open Theatre, an opportunity she  described to me as being similar to  "offering a little kid a brand new  bicycle and a pair of roller skates and  • a telescope and a microscope set -  everything all at once."  Theatre is still her favorite subject.  She continued to work with Chaikin in  The Winter Project, and with Harold  Pinter, Peter Brook in Paris and London,  Meredith Monk.and Elizabeth Swados. This  past year, she directed and read a radio  play with Chaikin based on moments of  crisis in an individual's life. The  project was important to her, as Joseph  Chaikin is recovering from a stroke. .  In the 70's she became involved in primal  therapy and went back to school to get  her degree in clinical psychology. She  immigrated to Canada in 1974, after "this  guy came down on a motorcycle with his  scarf flying and a toque on his head",  looking for a counsellor for his community  in the Slocan Valley. She fell in love  with the Slocan and built her house there.  She helped form Theatre Energy, worked in  Vancouver with Tamahnous, but eventually  ended up back in New York with The Winter  Project.  Her association with Holly Near began  when Holly dedicated her A Live Album  to Ronnie. They sang together for the first  time during the filming of the Weavers  documentary 'Wasn't That A Time'.  Ronnie recorded Lifeline  with Holly in  1983, and Harp  with Holly, Pete Seeger  and Arlo Guthrie in 1985. The Spirit is  Free,   also released this, year, is her  first solo album in 20 years.  Roughly, these are the facts.  What is difficult to describe to you is  her generosity, her commitment to aiding  in the reconstruction of this place we  call home, and her ability to wrap you  up in her big strong arms and say, we  can all change. It's easy. Watch me.  Ronnie will be appearing this year at  the Vancouver Folk Music Festival in July.  Our conversation took place in May of this  year.  The first thing I want to ask you about is  your mother. I credit my own mother with  the fact that I had a political consciousness at a young age. You've made comments  along similar lines.  What's her background? What's your background . ?  We lived in northwestern Nebraska at the  southern tip of^me Pine Ridge Indian  Reservation,  in a segregated town.  I can  remember one Thanksgiving, when I was  about 8 years old,  an Indian woman came  begging for toys for her children for  Christmas. My mother took me aside' and  explained to me what the white people  had done to put the Indians in a position  where they had to come and beg. And then  she asked me what I was prepared to give.  That's one example.  How amazing I What a wise mother you have.  My mom came to the United States as a  very, very beautiful 16 year old, with  the factories of New York, which is  what those young Jewish girls did in  those days, if they could do so, or  even if they couldn't, they went right  into the sweatshops. She also came with  some understanding of unionism, it was  beginning to flourish then in Europe, and  she joined the International Ladies Garment Workers Union.  She was a rank and file activist and I  grew up with those things in my ears.  You know, collective bargaining, stop  the machines, and all this stuff. It  was really from my mother, who was a  fiesty little fighter all her life,  until now, when she finds herself without hearing, without very good sight.  She's just sort of lost in this dumping  ground for old people, and the place  that she lives in is not bad. In fact,  it's considered to be the model. But  it is such - I don't know what to call it  - it is such an inhuman kind of situation.  Our lives are so different these days. I  don't have a home to offer her, you know.  I'm a gypsy. I travel wherever I work,  and wherever I work is home and so on.  And what they need desperately is a place  where they feel surrounded by people who  know them and care. They do the best  they can at this place, but there's no  real one-to-one stuff that goes on.  She's living a very isolated, emotionally  isolated life right now, in spite of  a lot of people who care a lot about her.  But it's just not right. It's not right.  And as you know, our beloved president,  in the wisdom of his age, has decided  that old people don't need as much money  Hnmi;  My mother was a rank and file activist and I grew up with those  things in my ears. Our lives are so different these days. I don't have  a home to offer her. I'm a gypsy.  black eyes and a history of having survived World War 1- practically on the  streets of Warsaw because both her  parents were dead by the time she was  12 years old. Her  mother was an unlettered  person who insisted that she be taught  to read and write. So my mother had a  smattering of everything, Yiddish,  Polish, and Russian and German.  She was a very cherished child because  she was t.he child of her parent's old  age, or what went for old age in those  days. Indeed, she survived. Her nearest  brothers and sisters were old enough to  be her parents, and most of them were  gone from Europe by then, so she was kind  of left there, and she somehow managed  to survive.  She was a dressmaker by the time she was  12 or 13 years old, having worked from  the time she was 9, or something like  that. She came here and went right into  as they've been getting from the government. So they're cutting back like crazy.  Operational expenses are hard to come by  in places like that, so it's hard.  But that's the way it goes. God, they're  helping us to live longer and longer lives,  you know.  But poorer and poorer longer lives.  Poorer and poorer and longer and longer,  and it is really on my slate for a big  fight.  When you were 16,  you went off and  joined the Priority Ramblers. And the  story is,  you got voted in by a slim  margin.  (Laughing) How did you know that?  On one of my Weavers records.  I'll be darned. Well, I suspect that was  probably true. I was a very very shy  16 year old. And the person who took me  We made no secret of our longing and our belief that  peace was the biggest priority in the world. We were  among many people who said, hey, sit down and talk  this out. Don't start shooting.  under her wing was Jackie Alpert, who  was Jackie Gibson at the time, who sang  with that group. She now has a disc show  up in the Albany area, and has for years.  She's an extremely knowledgeable person  about recordings and groups. She's retired from her secretary job, now. She's  of age to retire. And I'm hoping that she  will get more and more actively involved  in music because she is really a fantastic resource.  But she was a few years older than me and  she sort of took me under her wing, and  we used to sing together a lot. She  played guitar, kind of you know, sort of  um-pa-pa guitar, and we would sing together, the two of us. She sort of eased  me into that group. I don't think they  were terribly impressed by me, but she did  the job. V^^|ftL;  Where did you get the self-confidence to  join a group like that? Also, weren't you  going around collecting money for Spain?  For the Spanish refugee children. Yes,  that was really my first political action.  I was very moved by the Spanish"Civil War,  I remember, very deeply moved by it.  1  guess it was, I was coming into an age  of awareness when you begin to look out  ward, when a child begins to look outward,  and I - ha! - my mother used to bring the  left press into the house, so I would read  about it and she would talk, and  she was active in political organizations.  It was part of our conversation. So I was  moved by that situation and certainly by  jfthe idea of kids being dispossessed from  3their homes, having to run as refugees.  fThere was a lot of that going on in the  world around that time. There was the  Japanese invastion of China, a little bit  earlier, I think.  And the idea of a population being bombed  was the most horrendous thing. Just think,  that in a relevantly short time, in the  space of a lifetime, less than a lifetime,  we've come to take that so for granted.  But in the 1930's, it was the most horrendous thing. You remember Picasso's  Guernica,  that great mural. The power of  those horses and people. That had an enormous impact. But that's what was going on  and nowadays it's nothing. So what if  people by the hundreds and thousands get  killed. So what.  When I was a little girl and I was learning to draw perspective in school, at the  end of my railroad tracks, at the end of  a road,  there was a whole period when I  was drawing mushroom clouds.  It's sick that the world should frighten  children like that.  Do you remember exactly what it was the  Weavers did that made you un-American?  Was there ever any one thing?  We were very very active, each of us individually, as a group maybe even less so,  but as individuals vertainly, in various  kinds of left activity. That is talking in  a very broad kind of term , which is to say  singing for union meetings.  Pete, I think, sang at the Peakskill concert with Paul Robeson. You know, the Peak-  skill riots, a small shameful episode in  recent United States history. We made a  record called the Ballad of Peakskill  which  told the story of what happened there.  And we made no secret of our longing and  our belief that peace was the biggest priority of the world. At the time of the  Korean War, when all the jingoistic stuff  was happening, the razz-ma-tazz for war, we  were among many  people who said, hey, sit  Iwi&^&a&AtY. .-ft  hi  issii  Ronnie and Holly Near  down and talk this out. Don't start shooting.  So we didn't run with the mainstream, that's  for sure. But the thing that was cited when  Pete went before the committee was the song  Wasn't That a Time, which Lee Hays had written with Walter Lowenfels, who was a left  wing poet.  Now, interestingly enough, the committee  would not allow the song to be played or  sung. Pete offered to sing the song for the  record. For the congressional. And the would  not let him do it. So the song was talked  about as this subversive, anti-American  song. &>1lPil  And what it really was, was. made up of  quotes from American history. Wasn't that  a time. 'Wasn't that a time to try the soul  of man,' from Tom Paine. Every verse was  sort of an encapsulated little bit of American history. So that was the thing that  the committee thought to point to. Mostly  the House on Un-American Activities. Had  they allowed it to be read into the record,  it might have been a whole other story.  The thing that is so ironic about all of  that, and comparing it to some of the  things that happened during the 'Viet Nam  anti-war movement, is that it 's a very  American thing to protest.  If we assume  that we are all raised with a Bill of  Rights,  and we are all raised to believe  that we are all equal, what you did and  what people did during the Viet Nam war  was a patriotic response to the fact that  our ideals had been betrayed by the American government.  I've taken to talking about political music  and political singer-songwriters from the  stage now. And also during interviews. In a  very different way, I like to point out  that we come from a very old tradition that  goes back centuries. That it isn't just  the Weavers and the Almanac Singers, or Bob  Dylan. But that all over the world, as far  as we know, as far back in history as we  know, there has been in one form or another,  troubadors, whose honourable business it is  to bring to the public the dissenting view.  Certainly the Irish bards were political  singers, the troubadors were in fact political singers. The calypso singers were political singers. The reggae singers are political singers. I mean, we're a very long and  honourable tradition. This ain't nothing new  I remember how I felt the first time I heard  the music of Holly Near,  and the first time  'that I heard Cris Williamson. And it seems  that even after what I called my years of  consciousness, even after civil rights and  the anti-war movement,  that my awareness as  a woman in this culture was the very last  thing to gel.  Was it that way with you?  Oh yes. I think for me the real, I should  say the major rebirth of my life, (I think  we all have many of them), but I think the  major one was the coming together of those  ideas and that consciousness. It's changed  everything for me. It colours everything I  see and think and do and experience. And I  think it's no accident that it's the last  thing that came about. It's the most hidden  thing overall in our society.  And ultimately the most important.  And ultimately the most terrifying.  You knew Holly for,  I think,  6 or 7 years  before you made  Lifeline. At what point did  you decide that you were going to record and  perform again? Was there something in particular that motivated you,  or a moment that  you felt,   'now is the time'?  I guess it was sort of a combination of  curiosity - I was intrigued with the possibility when it was presented to me - and a  kind of ambition. I don't know. I really  3 don't have great ambitions for stardom.  Those went by the wayside a long time ago.  But I'll tell you what the major thing was.  " When Holly and I did our first tour together, somebody had the bright idea, which at  the time I thought was kind of a Mickey >»**  Mouse idea, to put together an historical  look at Holly's,and my life in light of  what was happening in the world during the  time from my youth and childhood, through  hers and into our adulthood. And I thought,  oh wait a minute, this is rather presumptuous. After all, we are not historical figures. I was very reluctant to do this.  Some people at Redwood were very excited  about it and insisted on it and begged me  to reconsider. Amy Bank I think it was,  sent me a first draft of this program and  said, sit down for 20 minutes and just put  down a few things. Everybody is going to  want to know about these things. I thought,  baloney. Anyway, I looked at it and I  started writing, and I didn't stop writing  for days. I just was writing and writing  and writing, looking at this and thinking  about that. It just brought up a whole lot  of stuff.  I still felt that this was, I can't even  think of the word for it, there was something egocentric about it. I really didn't  feel like it was a good idea. They took it  and made a program out of it, and it was a  smasher. Everybody wanted it.  And I began to get a feeling, a notion, an  inkling, of how desperately women want to  know something about their history. About  what happened before  the women's movement.  What happened before  the time that they  remember and the time that was accounted  Ronnie Gilbert continued page 23 Kinesis July/August '85 21  2ft July/ August ^5 Kinesis  00:  §  atv&  itro^E.,  ^oUs  v_p>  tu     ^.^otve  tW°  oS^ ■  iV  st V  i-tv  iO^S  ill        ^^^tfi*  eace  L ^eet  L Yve*  ^ett*     6?e.  .e4t Sot^l 22 July/August'85 Kinesis  I  So I have a feeling that things are going  to come back around for me. Like you said,  I'm a legend, I guess. And they are going  to have to come and get me as long as I'm  alive to document something. They're going  to have to come to me to ask me something.  So as long as I can - I got off drugs. I  came through alcohol. I came through all  that trip, and now I know what I want to do.  I don't know everything about what I want,  but I know what I don't want. And that's  really important. I just know that it's  going to happen for me.  What stands out in your life as your greatest achievement - besides surviving?  I guess the Olympics. To me that will always  be a great thing. Imagine, me  out of all .  my career, just standing there before that  many people, in my home town, singing for  the world Olympiad. That's going down in  the history books if this town shakes and  goes to the ground. So that takes the place  of all the Grammies, and the American  Music Awards, and all the other little  things that I might sit and feel sorry for;  myself about, sometimes. The Olympics, and  I did a thing in December called "Beyond  War", which means as much to me.  It's a documentary and it will be shown  this summer on NBC. In December I represented the -United States and I sang to  Russia by satellite from San Francisco.  Shanna Vaninski who is a Russian folk  singer sang to me. I wrote a song called  "Beyond War". Matter of fact, the song was  called "We Are One" at first, and then I  decided to change it. Now this is before  the USA for Africa.  We were trying to get peace. We gave the  Beyond War Nobel Prize to the Russian  Surgeon-General and the American Surgeon-  General. So while other people were doing  other things, we were really busy doing  that. It was so great for me to be able to  iwrite a song called "Beyond War, We Are  One World", and sing to the Russians.  Those people - you know, we were looking  at them by satellite and they were looking  at us. I had the San Francisco Boys Choir  singing behind me. That was so fabulous. I  just can't even explain.  I was with the Olympics and that was a  world thing and now "Beyond War". That's  another one. I think that's great. That's  really the kind of thing I would like to  be remembered for, you know, besides my  regular worldly kind of rhythm and blues  singing.  I'd like to be a singer that would go all  over the world and sing for a reason. What  I mean - I sing for a reason now. It helps  people, brings them out of depression. Or  I relate to them on their depression. But  I just want to do something a little more  meaningful in the way of - I don't know -  maybe I've got a save the world complex or  something.  Tell me about your idea to form an International Rhythm and Blues Association.  The big thing is forming an organization that  will prevent things that have happened in  the past. I want to promote entertainment  awareness, preserving certain music, giving  the people their roses while they are alive.  Helping. Having. We want hospitalization, a  burial plan and things like that for people.  It's just like when Little Esther died,  she didn't have any hospitalization, didn't  have a burial plan. They buried her in  somebody'else's grave. We just now got a  headstone for her the other day.  There are a lot of things we want to do.  We want to have festivals, we want to  figure out some kind of schooling. We want  to get some kind of stuff going with UCLA  for a foundation that will give scholarships. We want to be a hot line. You got  clubs that bring entertainers into town  and end up closing their clubs and the  entertainer is stranded. They have no way.  Maybe we can stop some things. Maybe we can  teach some people how to read a contract.  Maybe we can help them in whichever way  we can, but we don't have a Rhythm and Blues  Association and I think we need one.  It's a shame. Even after the man got the  headstone the other night, he comes to me  and tells me, Oh, now we need a grave. And  I said, what do you mean, now we need a  grave. He said, you know that grave that  Esther was in, that's not her grave. And  I said, well what are you talking about  now. Well, they want to take her out to  some big-time cemetary, you know, Forest  Lawn or one of those. And I said, look,  Esther wasn't no Forest Lawn girl.  You know, that's what we need. We need some  entertainers that are involved directly in  this business, who love this business, and  who will look out and run the business,  coming from the entertainers' part, not  coming from the system. We know what we need  best. We can understand best. It's like you.  You understand. You ask the questions that  need to be answered.  We want to get something going to preserve  that music. What's happening to our music?  What's going on around here, really? What's  happening to our music? Is it like you said,  is it going to be a revival? Have we got to  call this stuff dead and raise it from the  dead? No. No. No. It's supposed to be here.  It's an art form. So we just want some kind  of - I do - I want something - and I know  that nobody can start any more mess than  me. I don't mean mess. You know what I'm  trying to say. I'm a big mouth, and I'm a  feminist, and I just think we need this  association. And we need some chicks. You  know women will get out and hustle something.  You better get women behind it.  So that's the kind of stuff that I'm  talking about. Richard Berry wrote many  hit records for many people. He just was  very poor and needed every little dime he  could get. So he'd go over and write a  song for somebody and say give me $50, and  goodbye. That's the way it went. It wasn't  that we were ignorant.  I think to our kids sometimes they think  we were ignorant black folk, you know. And  that's the point that I would like to make  to my kids. That I wasn't ignorant black  folk. I was just young, and anxious, and  I didn't finish school. I didn't know how  to handle my business. And these are the  things I'm thinking about. This Rhythm and  Blues Association will be able to help  young people, also. Entertainment awareness  coming straight from the pros. You know  what I mean. So, I think that's the deal  schlemiel.  I think to our kids sometimes  they think we were ignorant  black folk. And that's the point I  would like to make to my kids.  That I wasn'tignorant black  folk. I was just young, and  anxious, and I didn't finish school.  We're going to draft every chick I know all  over the country. We're going to send them  letters. They're going to be sitting on the  board of advisory. They will make themselves  available for this, for one reason or the  other. There are chicks all over who want to  be involved, that will help. Let the women  do it. Let us show somebody. Mostly we got  women. We can do it and boy will that make  the guys mad. When the hens get together,  boy, they don't want to mess with one of  those hen parties.  For people who have hung in there so long,  give them their awards. Give them something.  Give them some show of appreciation. Here's  Richard Berry. You know, Richard Berry who  made "Louie Louie", one of the greatest  songs that has ever been recorded. The most  often recorded song in the world. Here he  is living in this little house on 54th Street  Can hardly walk. I want to hurry up and get  this thing together just to call him in  and have a big show and give him an award.  Him and a few more people that I know that  deserve them. Don't wait until they die to  give them their roses.  Richard wrote many songs. The thing is, now  the people will find that out because the 27  year period of all the songs that people  wrote, that we wrote and sold as younsters  that didn't know any better, and gave away  for $25 or something, now they're coming  back. All the publishing rights are coming  back.  They never thought we'd live this long.  Most of the entertainers are dead. The ones  who wrote songs 27 years ago are dead or  drunk or something. Now the ones that are  living, all of the songs that we wrote are  going to revert back to us and then we have  the right to assign them like we want, and  then we get paid retroactive. Isn't that  great?  Chavela Vargas from page n  me, there was no repression. But the  gay people, when I got up on stage and  sang the first lines of Macorina, "Put  your hand here...", the theatre go  up. It was a silent homage, because  they could not shout out "Long live  gay people".  It was a beautiful silent homage to the  bare elegance of homosexuality.  The young  people, women, children, everyone in the  theatre got up to pay homage more than  anything else to homosexual people, and  secondly to the artist. Why? Because of  the dignity of the two things:  the artist  that I had risen to be and the homosexual  person that I was.  Why don't you sing anymore?  Because I got bored of singing.  I am very  old, and that's the worst thing that can  happen to you in this time.  To be old.  It's the worst thing that can happen. You  can be excused if you have no voice, if you  can't sing.  If you are 20 years old, you  can be excused for anything. But age is  not forgiven, age which is the most beautiful thing in a human being. Because you  have all the experience and all the beauty  you get in the school of life.  I have a  B.A.  I have already graduated 80 times in  the school of life.  But this is not forgiven in the age in which we live.  'ñ†Macorina  Put your hand here, Macorina,  Put your hand here, Macorina.  Your feet left the floor mat.  Your skirt hem flew up.  When they saw your slender size,  the sugar canes  threw themselves down on the road  so you could fly across.  Put your hand here, Macorina.  Your breast is the flesh of a  custard apple.  Your mouth is a blessing  of ripe guava.  And it was your slender waistline -  the same as in that dance.  After the sunrise,  I thought my arms carried you  without knowing what to do  with such a fragrant woman.  It smelled of mango and sugarcane  with which you filled that melody for me,  hot with that dance.  The music of Chavela Vargas will be featured on Tres Culturas, a biweekly program  of Latin music on Co-op Radio 102.7 FM,  Tuesday, July 30 from 6-7 p.m. Kinesis July/August'85 23  Dub and toasting;  Artistry  of wordsound  by Janie Newton-Moss  With the Folk Festival only weeks away,  many of us will be reminiscing about some  of last year's highlights. The offerings of  Toronto based dub poet Lillian Allen  astounded and delighted all who heard her,  but few were aware that the subversive  nature of her poetry has enjoyed a long  history in her native Jamaica.  Louise Bennett, born in 1919, is acknowledged as the founding mother of dub  poetry. She was the first Jamaican to  extensively use popular dialect or patois  at a time when militancy against British  rule found an outlet through spoken and  sung language. In the 1940s, she was part  of a group of writers and performers who  were struggling to shape a national cultural identity. While Jamaican literature  was being "exported" to England, she  resisted this form of cultural imperialism,  preferring to emphasize the unique characteristics of the Jamaican way of life.  A recent article in The Reggae and African  Beat  describes the movement she was part  of:  "These poetic pioneers, inspired by political change in the region, wrote from a  frame of reference rooted and grounded in  'Ģthe experience of colonised people suddenly awakening to recognise a national  spirit that had lain dormant in the Caribbean."  After the second World War, Louise Bennett  gained a scholarship to the Royal Academy  of Dramatic Arts in England, and during the  next decade worked as an actress and as a  broadcaster for the B.B.C. World Service  on her own radio show. After working in  theatre in New York she returned home to  work as a drama officer, teacher and  folklorist.  Today her influence is acknowledged by a  younger generation of writers, among them  Linton Kwesi Johnson, whose chilling accounts of life for young urban blacks have  revitalised an interest in dub poetry both  in England and Jamaica. In 1983 they  recorded a live performance at the Lyric  Theatre in London, incredibly the first  time Louise Bennett's particular form of  social commentary had been recorded.  "Poetry as a ways and means to show what  is really happening is like a class, a different sort of teaching." comments Sister  Breeze in the same issue of Reggae and  African Beat.  Born Jean Lunsden, Sister Breeze left the  rural environs of her home in Patty Hill,  to work as a teacher in Kingston. Like  Louise Bennett she trained as an actress  to improve her dramatic ability as a performer. Later she returned with a new name  and new career as a dub poet. Continuing  the tradition of poet as social commentator, she is best known in North America  for 'To Plant' - a call for a return to  an agrarian existence and 'Aid Travels  with a Bomb' - about the manipulation of  Third World domestic economies through  aid sponsorship.  Ronnie Gilbert from page 19  for by something a relative said. And I  realized how the threads have been so cut,  and that is what really awakened the interest in me.  Then, during these tours with Holly, seeing - well I would have expected the response to her, I mean everybody's got that  response to her - but I was shocked, literally shocked at the response to me. At  first I said, OK, it's a response to Holly  and me and the two generations. In other  words, I was having my consciousness raised  as we went along with this.  So when it was suggested to me that I do a  record on my own, I was sort of pleased  with that notion. And then realized that I  was going to have to go out and tour and  promote it alone.  What was it like in Madison? Your very  first solo?  I was terrified. I didn'.t know what was  going to happen. I was terribly terrified.  It was fantastic. The response from the  audience was so amazing. The warmth, the  welcoming. It was like being prodigal child  returned to family.  Well,  that's what it is though.  Bringing  back someone who was lost to us.  Even  though you were out living a life,  there is  something that you represent that was lost  to us because things aren't written down.  How did you feel when Bernice Reagon called  you and Holly the most powerful white radical women singers of your generations?  That's a huge compliment.  That's a huge compliment. Indeed it is.  Especially from Bernice Reagon. Well, I  don't know what to say about that, (laughs)  All I can say is that it is a huge compliment and I hope I can live up to it.  J don't know what I'm getting at here,  but  one of the songs you recorded with the  Weavers was   'Follow the Drinking Gourd",  and then 20 years later, you and Holly re  cord Harriet Tubman.  Somehow this is significant.  Well, aside from the historical import,  Harriet Tubman, (Moses was her nickname),  led hundreds and hundreds of people to  safety. Well, not exactly to safety, but  at least to freedom via the underground  railroad. And in a way, I feel that these  songs that we sing are like sign posts.  . Guide posts. They're like Harriet Tubman.  They're like the people who lead other  people through to a kind of freedom.  I think in a lot of ways, the consciousness of this country is enslaved. By not  just one little thing, but by a kind of  combination of historical things, you know.  This is the country of the great individual,  right. We're the individuals, and that is  wonderful iii its way, but what we may have  lost by it, is the sense that we really  live in a world of other people. And that  as long as other people aren't free, none  of us are free.  It's been proven over and over again if you  are among the oppressors of a people, what  you do, what you have developed, is a very  sick kind of personality. Even from a psychological point of view, it's a very bad  place to be. And if you are a victim and  you think of yourself as a victim constantly, you're also in a very very bad place.  So, we hope that the songs that we sing  are means of throwing a light on these  things and I feel that that is a kind of  freedom from slavery. Maybe that is why  that particular song feels so right to me.  Fred Hellerman said in an interview that  it is hard to feel heroic when you have no  choice.  You either be true to yourself,  or  line up with the scum.  You added that  there is great pleasure in doing what you  Well, you can quote yourself. For the  love of it and the fight of it. That's  why I do it.  Ranking Ann  Many dub poets work with musicians. The  distinctive rhythmic delivery with the  accentuation of certain key words or syllables gives the poem a musical lilt.  Lillian Allen co-wrote 'Acid Rain' which  was recorded in 1980 by Toronto reggae  band Truth and Rights. Indeed, the line  dividing dub poetry from reggae is at  times invisible. Messages about corrupt  politicians, religious beliefs and the  joys and perils of twentieth century life  are delivered loud and clear with or without music.  A development of wordsound artistry has  been the increasing popularity of "toasting" in England and the Caribbean over the  past fifteen years. It parallels the rise  of "rapping" in black American culture  and again women have recently played a  part in forming its distinctive characteristics. While there are still only a handful of female toasters, their contribution  is seen as significant by the authors of  Signed,  Sealed, Delivered - a history of  Women in Pop.   (See Kinesis this issue):  A smattering of women - Sister Nancy in  Jamaica,  Shani Benjamin and Ranking Ann  in England -rhyme their comments on  women 's lives, and on specific personal  subjects with a backing track.  Sister  Nancy 's career as a car mechanic is the  basis of her song  "Transport Connection";  Ranking Ann 's  Slice of Toast album  featured the indictment of English  racism,   "Don't call me no English Girl"  and her smarting defence of feminism,  "Liberated Women". 24 July/August '85 Kinesis  excerpts from  Duet for Two Flutes     lay    Anita. Perry  ©1983 A.D. Perry  f*ffif Women composers:  Struggling for recognition  Why is it that woman does not excel  in the fields of music composition  When considering woman 's emotional  nature,  it would seem as if the  field of musical composition would  ~    be best suited for her activity,  for music is the language of  emotions.  Why is it then,  that  woman failed to enter this field  with more success?  -  Dr. Charles H. Merz, Mus. D. from  Music and Culture,  a collection of essays  about music published in 1890.  by Victoria Fenner  History reveals only a handful of woman  composers. The lives and experiences of  these few composers are available in  music fact books but we know very little  of their thoughts and feelings about why  "woman failed to enter this field with  more success".  If the 19th century Romantic composer  Clara Schumann was alive in the 20th century and went to an agent, she might be  told that the problem is not one of "product". The problem is "marketing". Would  a market analyst have told her that she'd  just have to get out there and "sell herself" if she wanted to earn an adequate  living and establish her reputation?  Marketing" has become one of the most  frequently used buzzwords wherever 2 or  3 are gathered in the name of art. Artists  of all genres are just beginning to realize that the davj^of abundant Canada Council grants are numbered, if not gone. Although "private sector support" is looked  at as being a possible alternative to government support, many artists are skeptical  that it will be a solution in the next few  years, if at all. In the meantime, there is  much emphasis being placed on getting the  work out there and promoting oneself.  The marketing of new music of the "classical" variety is no different in many  ways than the marketing of any form of  art for which there is a small market.  But Clara Schumann had one advantage that  the contemporary women composers don't  have. It has often been said that the 20th  century is the first century where dead  composers are more popular than the living.  Local composers Anita Perry and Janet  Danielson are two women struggling for recognition in a male-dominated field.  Anita Perry composed her first work, an  etude for the black keys, at the age of  six. Although she was a performance major  in piano throughout university, she has  always composed. To date, she says she  has "two pages worth of titles", has completed a ballet for children (her first  paid commission), won an award at the  Okanagan Composers' Festival for a String  Trio and frequently writes music for  dance. Her latest work was written for  choreographer Gisa Cole.  Perry believes that contemporary composers  must not only sell their compositions,  they must educate the public about new music. "It's like, 'will you eat green eggs  and ham? No. I don't like it Sam I Am. I  don't like green eggs and ham' New music  is considered to be like green eggs and  ham".  Janet Danielson received her undergraduate composition degree in 1972 at the  University of Victoria, then went on to  her Masters' at the California Institute  of Arts. She has about 25 compositions to  her credit, all of which have been performed. An observation that she's made  over the last few years is that orchestras  are starting to perform new works again.  She believes that one of the reasons for  this is that young composers are writing  in a more accessible language than composers of the late '60's and '70's.  She predicts that more accessible music is  going to be the wave of the future. Referring to the avant-garde she concludes,  "Structure is an important part of music,  but music must also be seen as related to  language. Conventions are an essential  part of any language...For an individual  to make up structures and an entirely  personal language is just not going to  work." When music becomes more accessible  she thinks it will be easier for composers  to sell it.  Symphony performance of one's work is  usually considered to be the impossible  dream for most young composers. "I'm not  a Schubert", Anita Perry states. "I can't  write a symphony thinking, 'well if I don't  hear it that's okay. I want to hear it...  at the moment I'm not positive of finding  an orchestra who would do it." It is often  easier to obtain a performance from a  smaller group whose financial risks are  thousands of dollars slimmer.  Janet Danielson uses the direct approach in  getting her work out. She finds that the  best way to get a performance is to ap- j  proach individual players. She is presently working on her first non-commissioned  piece in a long time and plans to take the  score with her to a particular performer's  upcoming concert and approach her after  the performance is over. Some composers she  knows go out every night doing this.  She also tries to write with particular  performers in mind. "A lot of it depends  on what style the music is written in.  Works written for a particular performer  are often well accepted by others." She  tries to write works which she thinks  musicians will enjoy playing.  Anita's strategy is similar. She gives away  copies of her works to performers she  thinks might be interested. She also approaches publishers, always under the  name A.D. Perry. She does not find this  method to be terribly successful. "I'm  always interested to see exactly how they  will.word their rejection slips."  Her current tactic is to stage concerts of  her own work. She- admists that this is  expensive as she has to pay musicians, hall  rental, and publicity costs. She is a  member of PRO Canada so sometimes can get  some of the costs back, but even this is  not certain.  For a composer to be eligible for PRO  fees, the hall she is performing in must  be registered with PRO. Most of the smaller, inexpensive halls in Vancouver are not  registered. But, says Anita, " I don't resent it. It would be nice if I could have  .a lot of money now to get it out - a loan Kinesis July/August ^5 25  or a grant or something. I don't resent  it though."  Janet thinks that composers are now becoming more open to marketing, presenting and packaging their work, even though  they find it difficult to be successful  at promoting as well as writing. "I think  some of it has to do with not getting out  there and pushing.  "You don't go into the business with the  idea that you're going to push. Your main  priority is getting the stuff written and  that always seems like such an overwhelming  task. I think you tend to feel, having completed that, you deserve to sit back and  have people come and ask you." But then she  adds "it doesn't work. It's unrealistic."  Successful promotion of oneself as a composer involves everything from writing an  adequate resume, to producing tapes of  works, to systematically approaching ensembles. "If you're serious enough to  write it then you also should be serious  enough to present it in such a way that  people will accept" explains Janet. But  she does admit that it is frustrating and  would gladly hand over the job of marketing  to an agent if she could.  Although composition is a full time job,  most composers realize early in their career that it is almost impossible to make  a living at their work. "If you want to  make money" Anita Perry advises, "go do  jingles or light pop, movie music or television music."  Says Janet Danielson, "I've talked about  accessibility on one hand. On the other  hand you have absolute pulp. It's fine to  do it on the side if it pays really well  but the issue has got to be - our music  should get what it's worth."  "You can't put a composition  under your arm and take it home  and hang it on your wall "  But the music does not. Enter the necessity of a third career. To make money,  Anita works as a ballet pianist in the  morning for Anna Wyman Dance "Theatre and  entertains as a pianist at Papillote Restaurant in the evenings. Although she'd  like more time to compose, she finds she  . works better when her day is structured by  the time demands of a job. But the pressure  of knowing that she has to work sometimes  inhibits her composition.  Janet Danielson is the primary care-giver  for her three small daughters and although  she has a great deal of help from her husband and family, she still finds it a strain  to find time for composition. She's managed  to keep a piece going recently by working  in bits and pieces.  Sometimes she flies home to her mother's to  work when she needs long periods of intense  concentration. But the frustrating aspect  for her is that she can't make enough money  as a composer to pay for good child care.  She admits that she is afraid that she  might appear to be a housewife who composes  music for a hobby. When her first daughter  was born she lived in an area where her professional reputation had been established  for some time. But when they moved six  months later she realized "people were  talking to a different person than they  were in California. It was like aging 50  years overnight." Although she eventually  overcame it by becoming involved in professional life again, she says it was a  difficult and "frightening" experience to  live through.  And the insecurities of being a composer  are always a force to be reckoned with. "I  have to fight that all the time. I think a  lot of men have to fight it too but I think  women have a much harder job, particularly  when you're involved with the mundane care  of dependent individuals for a proportion  of your time. It's very hard to go from  that to something which has always been seen  as terribly lofty and spiritual like composition.  Both Janet and Anita agree that women also  have a greater problem establishing their  credibility than their male counterparts.  Anita is conscious of her looks and almost  seems to consider it a disadvantage that  she is attractive and blonde_  Some people, she says, "can't believe a  blonde, a "dumb blonde" woman can write  anything of import". She describes herself  as "eccentric" and sometimes feels that her  personality is looked at more often than  her music.  *.*$'ñ†*+-  cautions, is rarely the kind of music that  is remembered.  Janet Danielson would like to see the return of patrons who would pay to have  compositions created. "It would be so much  nicer to be paid directly by the person  who is benefitting from your work. I would  love the idea of patrons." She thinks  businesses might be interested in buying  new compositions just as they have begun to  buy paintings, sculptures and drawings in  the past few years.  But there is a disadvantage that visual  artists don't have. "You can't put a composition under your arm and take it home  and hang it on you wall." She believes  taht there are creative uses for new compositions and uses as an example the commissioning of a new work by a business  which was played in the elevator of a new,  exclusive office building.  The problems women composers face are not  that much different than those of women in  Janet Danielson illustrates the problem by  telling the experiences of a friend of hers,  a professional violinist who says, "People  really want to have the feeling that  they're listening to an absolute expert.  And the only people who carry that feeling  with them are men. If you're a small,  attractive woman with curly red hair it  doesn't matter how good your playing is,  people think you're cute." Janet has noticed that the same is true in all aspects  of classical music, composition included.  So what is the wave of the future for composers in terms of economic stability? If  a young composer asked Anita Perry how to  write music which would not only be true  to her soul, but would also make money,  Anita would say "good luck". But she says  that music with recognizable melodies is  the best bet. "If you write a melody you're  assured of success because it's something  that people can whistle." This music, she  other predominantly male occupations. A  first step towards gaining both credibility and a wider exposure was the establishment of the Association of Women  Composers.  But the success of these composers ultimately rests with the audience. It is up  to the concert-goers to take a chance; to  attend concerts featuring women's work.  Music has seen radical changes this century. There is no guarantee that you'll  discover the new Mozart, but the odds are  that you'll come away'impressed. And besides, all that these women are asking is  a chance to be heard.  Victoria Fenner is a writer and broadcaster  specializing in arts journalism.   While in  Vancouver she has contributed to arts programs on CBC and Vancouver Co-operative  Radio. A supporter of new music,  she has  also assisted in productions of the Vancouver New Music Society.  m 26 July/August '85 Kinesis  F  I Kandace Kerr shows that women's music didn't  I start with Holly Near. Aunt Molly Jackson (left)  | is one example. A poor woman, she died in  I obscurity, but from her music we can still take  strength and power.  Aunt Molly Jackson  Music expresses our herstory  by Kandace Kerr  "And you thought women's music started with  Holly Near..."  We 're camping tonight on the White House  Give us a rousing cheer:  Our golden flag we hold aloft: of cops we  have no fear.  Many of the pickets are weary tonight,  Wishing for war to cease; many are the  chillblains and frostbites too,  It is a life of no ease.  Camping tonight,  camping tonight  Camping on the White House grounds.  -  Song for the peace/suffrage camp on  the lawn of the White House, 1917  Music has long been an integral part of the  culture of resistance and part of our liberation. What songs do you remember as being  important and supportive as you discovered  feminism, or came out? Tacky and silly as  it is, "I am Woman" made my teenage heart  soar and my spine straighten with pre-  feminist pride when it pounded out of my  bedside radio in small town Ontario.  As a herstorian I have always been interested in the culture that has surrounded  women making changes in their lives. As  I read herstory, I found that music was an  integral organizing and information tool.  Like their male counterparts in the trade  union movement, women involved in turn of  the century organizing viewed songs and  group singing as central to political  work.  Working women used music to get through  the long day, used songs to satirize the  boss, to talk revolution and mean resistance. This article attempts to highlight  some of the women's music used and written  around suffrage, temperance and early union  organizing and strike periods in North  America.  One of the first strikes of cotton factory operatives that ever took place in  this country  (the US) was that in Lowell,  in October,   1836...  It was estimated that  as many as 12 or 15 hundred girls turned  out and walked in the, procession through  the streets.  They had neither flags nor  music, but sang songs, a favourite  (but  rather inappropriate) one being a parody  on "I won't be a nun'...  Chi Isn't it a pity,  such a pretty girl  as I  Should be sent to the factory to pine  away and die?  Oh I I cannot be a slave  I will not be a slave  For I'm so fond of liberty  That I cannot be a slave"  Female factory workers, some as young as 10  or 11, marched through the streets to  demand no  wage cuts and better working  conditions in 1836. As they worked in the  mills they probably sang variations on  traditional songs like this...  I've Worked in the cotton mill all of  my life  And I ain't got nothing but a Barlow  knife  It's hard times,  cotton mill girls  It's hard times everywhere,  One hundred years later, the anthem of the  ILGWU (the International Ladies Garment  Workers Union), a predominantly female  factory union, echoed the same sentiments.  Our battle is won,  but the fight's  just begun  And the union flag's unfurled  United we 're strong,   let us march  toward the dawn  Of a brave new worker 's world.  Oh,  the Union of Garment Workers  To you we ever will be true  .  We'll build and we'll fight and we'll  rise in our might  With the ILGWU.  4  This song was first heard in 1939, sung  by a woman factory worker at the Southern  School for Workers in North Carolina.  ■ Old man sargent,  sitting at his desk  the damn fool won't give us a rest.  He 'd take the nickels off a dead  man 's eyes  to buy Coca Cola and eskimo pies  I got the blues,  I got the blues  I got the Winnsboro cotton mill blues  Lordy, Lordy,  spoolin's hard  You know and I know,  I don't have to tell  You work for Tom 'Watson, you got to  work like hell.  I got the blues,  I got the blues  I got the Winnsboro cotton mill blues  Popularized by Judy Collins, "Bread and  Roses" is probably the best known women's  work song. It was written during the 1912  factory worker strike in Lawrence, Mass.  Inspired by the sight of several young  girl strikers carrying banners reading  "We want bread and roses too", the words  were written by a man, but the music was  written by Caroline Kohlsaat.  As we come marching, marching,  unnumbered  women dead  Go crying through their singing,  their  ancient call for bread  Small art and love and beauty their  drudging spirit knew  Yes it is bread we fight for but we  fight for roses too.  For most working class women their industrial servitude started at an early age,  sometimes as young as 6 or 7. Employers  would hire generations of women to work  in mills or on assembly lines, building  a familial legacy of wage slavery to one  particular employer. Female and child  labour was used interchangeably as a source  of cheap labour for the clothing, tobacco  and developing Canadian manufacturing  industries. Both often worked 12 hour days  for as little as .20 cents a day. When women  began to organize and to strike, children  were often left with no organization and  little protection.  Mother Jones took up the case of children  working in the mills and the mines of the  United States and Canada, and took it to  the people responsible - the bosses, the  employers, the politicians and the people  who patronised and supported the industries  that exploited their workers. In 1903 she  led a march of mill children to Washington  to confront the president with the ugly  realities of child labour.  Wisely, she also took the press along,  raising public anger and pressure. Mother  Jones was an organizer, an agitator and a  fighter with the miners and mill workers  of North America. She worked closely with  women, helping to set up strike committees  and picket line defence squads. She often  raised money to help feed miner's children  during strikes. In Greensburg Penn. she  encouraged women, who had been jailed indefinitely for 'disturbing the peace', to  sing their way out of jail. She wrote:  I told the women   'You sing the whole nightl  long...Sleep all day and sing all night  and don't stop for anyone.  Say you 're  singing to the babies.  I will bring the  little ones milk and fruit.  Just sing and  sing. '  The women 's singing drove the small mining  town up the walls'.  The sheriff's wife  complained that she couldn't sleep. Residents of hotels and boarding houses were  also kept awake.  The sheriff asked Mother  Jones to stop the women.  'I can't stop them... they are singing  to their little ones. You telephone the  judge and order them loose. '  The complaints continued.   'Those women  howl like cats ' said a hotel keeper.  "That 's no way to speak of women who  are singing patriotic songs and lullabies to their little ones ' Mother Jones  replied.  At the end of five days,  the women  were released. -.  After her death in 1930, at the age of  100, The Ballad of Mother Jones began to  circulate. No one is sure who wrote it.  Many women were introduced to the brutality of capitalism through death. For many  songs and songwriting were ways to get the  anger and pain out, as well as to express  the sentiments of resistance. Delia Mae  Graham was 12 when her striker father was  murdered by gunmen hired by the Fentress  Coal and Coke Company at Wilder, Tennessee.  She wrote the Ballad of Barney Graham:  On April the 30th in 1933  Upon the streets of Wilder  They shot him,  brace and free.  They shot my darling father  He fell upon the ground  'Twas in the back they shot him  The blood came streaming down.  Although he left the union  He tried so hard to build  His blood was spilled for justice  and justice guides us still.  Fran:  Florence, why don't you sing your  song for Tom?  Florence:  ...see, I wrote this song in  1930: they had the Harlan  strike then.  Tom: Yeah, lord, I read and heard about  that.  Florence: Did you hear "Which Side are  You On"?  Tom No.  Florence: That's the name of the song.  Because, you see, the gun thugs were coming  down to help them search our house: my  husband was an organizer, with the United  Mine Workers. And they'd put him in jail  and turned him out, and all that stuff. And  he had to kindly stay out to go on organizing. And the thugs were to come, why,  they would have killed him if they'd come.  They'd search our house to see if we had  any high powered. I said 'Well, what are  you here for?' I had a bunch of children.  They aid 'We're here for IWW papers and  high powered rifles.' I never heard of IWW  papers. My husband did have a high powered  rifle belonged to the National  Association of Rifles or something like  that, and him and the miners would go into  the mountains and hunt with his old rifle.  He didn't have it for no bad purpose.  When I found out they was wanting that I Kinesis July/August H5 27  knowed these thugs were dirty - hired...  (to) break the strike. I said 'All the  miners want is a right to live in decent  ways'... my daddy was killed in the coal  mines in 1914 and he was loading a ton  and a half of coal for 30 cents...  Which side are you on?  Which side are you on?  With pistols and with rifles  They take away our bread  But if you miners hinted it  They'll sock you in the head.  They day in Harlan County  There is no neutral there  You'll either be a union man  Or a thug for J.H. Blair  Which side are you on?  Which side are you on?  Florence Reece wrote "Which Side are You  On?" on the back of a sheet torn from her  wall calendar, as company gun thugs ransacked her home looking for her husband.  The strike was in Harlan County, Kentucky,  in 1931 and women were busy on the picket  lines keeping scabs out and the pickets  active. (There is a note of irony to this  song that is TOO good to pass up: the  music for "Which Side are You On?" is said  to have been borrowed from a British ballad.  The name of this traditional British tune?  "Jack Munro".)...  Ella Mae Wiggins was a Southern textile  organizer who used music as an organizing  tool. At her funeral, one of the women  strikers from the 1929 Gastonia, North  Carolina strike sang The Mill Mothers' song,  which Wiggins had written:  We leave our home in the morning  We kiss our children goodbye  While we slave for the bosses  Our children scream and cry^ 'Äû  Ella Mae wrote "All Around the Jail House"  for three co-organizers, who were arrested  and charged in connection with the death  of the Gastonia police chief. Once in jail,  the women were placed in a mass cell, where  they and other women were used as targets  by special strike police practising the use  of tear gas as a method of clearing union  meetings out of union halls.  We passed the heavy.,  weary,  uncomfortable  and interminable days with talk and with  ballad singing. All of the local women  knew any number of ballads, most of them  with rather mournful overtones - or was  it the misery,  the uncertainty,  the tension of our circumstances which made them  seem so?.^  For her friends in jail Ella Mae took a  popular ballad and turned it into singing  union politics.  Everybody seems to want me  Everyone but the scabs  I'm on   my way from the jail house  I'm going back to the union hall....,  American suffragettes, on hunger strike in  the New York district jail, also used song  to pass time and to ease the prison atmosphere .  Locked in separate cells, as in the district jail,  the suffragists could still  communicate by song. The following lively  doggerell to the tune of  'Captain Kidd'  was?sung in chorus to the accompaniement  of a hair comb. It became a saga. Each  new day a verse was added, relating that  day 's particular controversy with the  prison authorities...  We asked them for some air  as we choked, as we choked  We asked them for some air  as we choked  We asked them for some air  And they threw us in a lair  They threw us in a lair,  so we choked^ _  Like their counterparts in the organized  labour movement, women in both suffrage and  temperance organizations took popular songs  and humns of the day and turned them into  political music. "Stella" of Washington and  Mrs. E.A. Parkhurst provided the religiously  moralistic Women's Christian Temperance  Union with this graphic anti-drinking  ditty...  We were all so happy until Father drank  rum  Then all our sorrow and toruble began;  Mother grew paler and wept everyday,  Baby and I were too hungry to play.  Slowly they faded and one summer's night  Found their dear faces all silent and  white  Then with big tears slowly dropping I said  Father's a drunkard and Mother is dead! ,  Imagine a group of children, singing that  one outside taverns in downtown Vancouver!  The campaign for votes for women also  used music and song to win support and to  satirize the system that refused them respect and rights. Many suffrage and temperance songs pointed out the contradictions  of having 'upright and virtuous' women governed by votes cast by what the women described as durnkards, wife beaters, gamblers and scurrilous sorts of manhood.  Often, the women took popular songs and  hymns of the day and re-wrote the words  to fit their cause, a tactic pioneered and  refined by the Industrial Workers of the  World. Thus "Auld Lang Syne" became "Keep  Woman in her Sphere; "Yankee Doodle Dandy"  befame "Uncle Sam's Wedding" and, in a  blast of true 19th century feminism, the  old labour standard "Hold the Fort" became  "Columbia's Daughters."  Raise the flag and plant the standard  Wave the signal still  Brothers, we must share your freedom  Help us and we will.  Songbooks,' available at low cost, were  essential to spreadine the causes. Like  church hymns, suffraee and temperance  leaders would use the songbooks, whipping  the crowd into a frenzy, using participatory singing to give a sense of political  involvement to the newly converted.  If vou wanted to buy a copy of 'Winning  the Vote ' you could get one for a nickel.  To their husbands submissively, weaklu,  Thouah whatever they say their wives  get you 5 of them. And if you were one  of those suffrage agitators,  intent on  spreading the gospel, you could get a  dozen copies for 30 cents - postpaid.1R  Organizing handbooks were filled with advice for suffrage groups. Always,the handbooks urged the use of song and reminded  that "all present should join in the  singing."2Q  "The songs of women's independence were  both applauded and hissed during America's  coming of age (sic), but none received  more defiant approval or contempt than  the songs of the militant feminists, Let  Us All Speak Our Minds if we Die for It"  Men tell us   'tis fit that wives should  submit  To their husbands, submissively, weakly,  Though watever they say their wives  should obey  Unquestioning,  stupidly, meekly.  Our husbands would make us their own  dictum take  Without ever a wherefore or why for it  But I don't and I can't and I won't and  I shan't  No I will speak my mind if I die for it^.  As feminists we are now re-discovering our  pasts, using some of the tactics our fore-  sisters used, re-creating and re-living  the culture they developed. I am always  excited when I hear music from the early  union and suffrage days used at rallies  and demonstrations. We will always use  music and song as one more way to deliver  our message and our power.  Our experience translates to song: our  power to music: our pasts come alive in  the music and singing of the present. For  Aunt Molly Jackson, who lost a husband,  brother and son to coal mining, the final  verse of "I am a Union Woman" is still  sung as true as it was in the 1930's  when she wrote it. A poor woman, she died  in obscurity in California in 1961, but  left us with a legacy of grief, bitterness and anger at capitalism. In hers  and other women's protest music we find  strength and ammunition.  We are many thousand strong  And I am glad to say  We are getting stronger  and stronger every day...  The bosses ride big fine horses  While we walk in the mud  Their banner is the dollar sign  While ours is striped in blood.0~  To hear some of this music, you can pick  up the following albums. They are hard to  find, but local folk speciality shops may  be able to help you out.  Songs of the Suffragettes  (includes  Temperance songs) on Folkways Records  No. FH 5281 sung by Elizabeth Knight;  Aunt Molly Jackson,  Rounder Records 1002  (12); Odetta,Odetta  Sings Ballads and  Blues, Tradition TLP 1010; Gene and  Francesca Raskin,  We Work and Sing: the  I.L.G.W.U.; Coal Mining Women,  Rounder  Records  And listen to What the Folk,  Sundays on  Co-op Radio for occasional programmes on  women's early protest music. And, of  listen to Rubymusie  Fridays at 7:30, Woman-  vision Mondays at 7:30 and the Lesbian  Show  Thursdays at 8:30 for lots of women's  music. You can also read All our Lives: a  Women's Songbook,  published by Diana Publications.  Footnotes: 1)Stevens, Doris, Jailed for  Freedom,  1920; 2) Robinson, Harriet, Loom  and Spindle:  life among early mill girls,  1898; 3)Euphonious Feminists song sheet,  no date; 4)Fowke, Edith and Joe Glazer,  Songs of Work and Freedom,  1960; 5)Southern  Exposure: No More Moanin'  - voices of  southern struggle, Vol. 1, no. 3 and 4; 6)  Fowke/Glazer, Songs of Work and Freedom;  7)Mother Jones, The Autobiography of Mother  Jones;  9)Southern Exposure: No More  Moanin';  10)ibid; 11) Fowke/Glazer, Songs  of Work and Freedom;  Southern Exposure: No  More Moanin';  13 and 14) ibid; 15)Stevens,  Jailed for Freedom;  16)Silber, Irwin, notes  to Folkways Records No. FH5281, 'Songs of  the Suffragettes'; 17-21)Ibid.; 22)Jackson,  Aunt Molly^ 'I Am A Union Woman', 1930. 28 July/August '85 Kinesis  Kay Gardner  Music for a New Age  by Marcia Meyer  Kay Gardner, Music Healer, composer, flutist, conductor, performer and recording  artist was born in Freeport, Long Island  about an hour and a half drive from New  York City. She lived there until she was  ten. At that time her father and the company he worked for moved to Ohio, where  she grew up. Today she is the co-founder  of the New England Women's Symphony and a  regular conductor for the National Women's  Music Festival.  As well, she is the composer of over two  dozen songs, three works for orchestra,  several concert band and choral compositions, twenty chamber works, film scores  and works for musical theatre. Some of her  own compositions are recorded on Moon-  circles,  Emerging  and Moods and Rituals:  Meditations for Solo Flutes.   Her compositions are evocative as well as possessing  remarkably therapeutic and healing qualities. Kay presently resides in Stonington,  Maine.  Kay Gardner  While achieving a master's degree in flute  performance at the State University of New  York at Stoneybrook, Kay studied flute  under Samuel Baron and with Jean-Pierre  Rampal during master class. Surprisingly -  or maybe not so surprisingly - the notorious Rampal seemed to possess a very narrow  view of women for such a refined artist.  As Kay puts it, "We didn't get along very  well - I was wearing a suit and tie which  he didn't like very much - most of the  female flute students were wearing long  dresses".  Kay was first drawn to the art of conducting at the age of nine when she saw her  first performance of Gilbert and Sullivan's  "Pirates of Penzance". As she says, "I'd  never seen live conducting - and that's  what I wanted to do." She went on to do  some conducting in highschool and then  decided to go on and study directing at the  University of Michigan.  During her youth Kay remembers listening  to some of the great classics. "I remember  Mom practicing Chopin Nocturnes and Waltzes  and Beethoven's 'Appassionata Sonata' when  I was growing up." She not only listened  to the classical piano music but studied  it as well. As she says, "I'm not sure I  had a very favourite composer when I was  growing up. I tended to like the Impressionistic Composers when I was studying flute  because I thought that was the nicest  flute music - although I must admit I did  develop quite a love of Bach - and the  mind of Bach".  Today she finds her favourite musician or  composer changes, depending on her mood and  where, as she puts it, "I'm at." Erik  Satie is presently close to the top of  her list. As she says, "I feel very much  a grandchild of Satie's style - his use  of popular music and his disdain of pompous musicology and the really stodgy  things that music can be. I think it's not  only his music that I like - because it's  so gentle and humourous - but his philosophy." She is also presently attracted to  the music and philosophy of Pauline Oliver-  os, a well-known musician in the New Music  or Avant Garde Music circles.  Kay was first drawn to the idea of music  and healing after the release of her first  L.P. Mooncircles.   She was handed a pamphlet  called "The Therapeutic Value of Music"  written by a person called Manley P. Hall.  As she puts it, "it peaked my interest,  especially when people said that my music  was healing. It lead me to other things.  Various books and manuscripts would come to  me just because that's where I was at,  at the time. I didn't even think about  finding the books - if I needed to know  a certain thing someone would give me the  exact book I needed at the exact time I  needed it. So - I don't feel that I had to  do a whole lot of searching for the books  - they kind of found me."  Many of her music and healing theories are  based upon Pythagorean and Hindu traditions.  When commenting upon present day musicologist's interpretations of the ancient  system of Greek Modes, Kay explains, "I  don't agree with any of the musicologists.  I think the lack of information on Modes  is appalling - I think the lack of use of  them is appalling and I'm glad to revive  them."  As Kay goes on further to talk about the  ancient Greek Modes she says:  What I did find was that these Modes were  named after tribes of people - I don't  think that they were arbitrarily named  by the Church.  I found that particular  tribes of these peoples were matriarchal  and their music reflected this.  The first  (mode) I found was the Mixoly-  dian Mode.  I have called this the Lesbian Mode because it was invented by  Sappho of Lesbos.  There were no such  people as the Mixolydians. All the other  modes were named after a tribe of people  - so why for this one mode did they not  want to name the tribe? It seems obvious  to me they did not want to admit that  there was a lesbian tribe or mode.  So  I've renamed the Mixolydian Mode,  I  believe,   to its true name,  considering  who invented it.  This is according to  Plutarch who wrote about this in his  essay on music.  Another woman's mode I found is the Ly-  dian Mode.   What I found about the Lydian  People is from Monique Viteg 's book  Lesbian People. She talks about the  Lydians as being a tribe of Amazons  which settled on Crete.' I had a gut  feeling about this mode.  I felt very very  drawn to it.  It turns out also to be the  mode that whales and dolphins respond to  the most.   (You'll hear it in quite a  bit of music about the sea.) It's raised  4th is a very magical interval which was  defined as the Tritone or Devil's Chord  by the church.  It,  in my opinion,  is a  very occult interval and is used in the  more cosmic scales that one can listen  to,  including the Lydian, Saraswati  Ragga and the natural overtone scale.  This particular interval,  in my opinion,  was banned for use in music because the  masses of people were not supposed to be  ' able to reach God except through a Priest  and if they had this particular scale in  their music they would be able to com-  .  municate with God or Deity themselves  without going through a middleperson.  We can 't be certain of the exact pitches  of these modes.  Who knows - I mean these  scales were used thousands of years ago.  They have lived in folk music and that  is how we can trace the titles of them.  A lot of Balkan Music is in these modes  and so they have survived in the music  of the people around the Greek area.  In my   'Music and Healing ' workshops,  when I work with modes and melody,  I  ask participants to bring drawing implements and paper so that I can improvise  in a particular scale and see what images  come to them.  Then we compare .drawings.  Now - when I play in the Lydian Mode  I almost always get predominantly an  ocean wave-like shape whereas when I do  the Dorian Mode or the Aeolian Mode I  get more mountain shapes.   When I do the  Phrygian Mode I get spirals and snake  shapes and when I do the Lesbian Mode  I get rolling hills.  Each Mode evokes different shapes,   therefore each mode touches us in very different ways.  I think it's the relationship  of one interval to the next.  I haven't  analyzed it as far as all of the theoretical stuff - I've analyzed it in a way  that a non-musician can recognize the  difference between them - by just what  mood is evoked or just what shape is  Why for this one mode did they  not want to name the tribe? It  seems obvious to me they did  not want to admit there was a  lesbian tribe or mode.  suggested by the sounds and the relationship of one interval to the other in an  improvized melody.  Kay has a lot more on her menu than just  the Greek Modes. She is going back into the  studio on May 28th to record an album of  compositions, mostly about women's spirituality, called Fisher's Daughter.   Some of  the songs for this project she wrote as  far back as 1973, after leaving her marriage. Included as well will be some songs  which she has just finished composing in  May of this year.  Starting in September of 1985, Kay is  planning a six-month world tour starting  in England and continuing on through  Europe, Israel, Egypt, Indonesia, Australia  Hong Kong and Japan. She will be doing  concerts along with Music and Healing  workshops and, as she says, "just exposing  myself to new forms of music." She hopes  to go to some of the holy places that women  have found inspiring with a good professional quality tape recorder. She is hoping  to channel music in these places and record it herself for release on cassette  tapes.  Kay will be playing in Oregon on May 9th,  10 and 11th of 1986. She says she could  be available for a concert and/or workshop  here in Vancouver on May 16th, 17th and  18th of 1986. Anyone interested in bringing Kay Gardner to our fair city should  contact: Even Keel Records, Box 33, Stonington, Maine, 14681, USA, Ph.:367-5076,  or myself at: P.O. Box 86183, North Van.  V71 4J8. Kinesis July/August H5 29  African women (Mwananke Murafrika)  Signed, Sealed and Delivered  by Janie Newton-Moss  The title of this latest offering on the  role women have played in the development  of popular music is as catchy as the mid  70s hit of the same name by Stevie Wonder.  Unlike his song whose chorus ends 'I'm  Yours', this survey by two British authors  shows how women have constantly refused to  surrender in an industry that relies on  exaggerated images of youth and femininity  to sell records.  Signed, Sealed and Delivered: True Life  Stories of Women in Pop, by Sue Steward  and Sheryl Garratt, Pluto Press 1984.  The most interesting chapter is 'Media  Matters', which examines how the media  deals with women; as entertainers, as c  sumers and as employees. Included in tri-'.  biites at the beginning of the book are a  number of largely British music critics  who have been shaping popular opinion for  some twenty years. Among them is Penny  Valentine who was interviewed for this  chapter. Contrasting the changes that have  occurred over that time, she says of the  70s:  "In a few years it stopped being fun.  People started dealing with me in a different way, and that was when I started to  find it really hard to navigate my way being a woman, there's no doubt about that.  There was an influx of American bands  around that time who all thought that if  you were a woman journalist, you were just  ready for the sack. Another thing was that  as music got more heavy rock, it became  more macho-defined."  These changes continue, and often what is  seen as being progressive is to the detriment of women. One only has to consider  teeny bop idol Madonna's 'boy toy' image  to wonder whether any progress has been  made in the past thirty years.  As the authors state: !!An emphasis on  style and stereotypical good looks coincided with the rise of video and the  pretty boy image of the 1980s. Women were  once again expected to be unrealistically  perfect and were often reduced to fashion  accessories again."  Although women have been involved in pop  music since its inception, they did not  occupy centre stage until the last ten  years. Both the women's movement and the  punk phenomena can lay claim to the acceleration of this process in the mid '70s.  However, Steward and Garratt point out that  musicologists and journalists have repeatedly used the term 'Women's Music' to describe all female vocalists and instrumentalists. They are interested in highlighting  the differences and influences from one  generation to the next rather than the  similarities.  The impact feminism has had is not  always seen as positive by performers in  the limelight. While The Raincoats welcomed the opportunity to dress down on  stage, Lesley Woods of the Au Pairs resented the myopic view of some of her  audience:  "I remember getting into several arguments with women about whether a feminist  can wear makeup. As far as I'm concerned,  feminism gives women the chance to express  themselves for themselves, not to be subjected by the rules and values imposed by  living in a male dominated society. It must  go beyond the line that women who wear  makeup are making themselves fodder for  men."  With a distinct sense of history, the authors have provided us with an interesting overview of the relationship between  the growth of popular music and female  performers. They conclude that the future  looks optimistic. The best is yet to come.  "In this new era, women continue to play a  part, and are not willing to return to the  role the sixties allocated them. In the  wake of punk and particularly feminism's  explosive effects on all aspects of women's  lives there is no chance that they will relinquish all their gains. In the mid 1980s  women are back as singers - a glamorous  focus for a group: Sade, Carmel, Helen  Terry, Annie Lennox and Vi Subversa are  central to their bands.  "But it is no longer enough to be "just a  singer". Annie Lennox plays flute and keyboards, Vi Subversa is the Poison Girls  guitarist and Allenah Currie is percussionist with the Thompson Twins. Women  instrumentalist are making their presence  felt in the success story of mixed bands;  Sara Lee in the departed Gang of Four,  Gillian Gilbert in New Order, and the increasing presence of black women musicians  not just singers in bands like Abacush and  African Woman."  INA DENNEKAMP  Piano Tuning and Repairs  854 East 12th Avenue  Vancouver, B.C. V5T2J3  876-9698  BECKWQMAM'5 <&  3T0REfRDNT ART 5>TUDlA -&ffrT SWY  TMX" * CARDS-r-CRAFTS   /  Helium Ballooms  LAT£?A l£W£LLERy-£ARlN654/iwriy  ?REE LANCE  ART  Wo£K-  ANVTHlNl/ MADE IN CLAV-afett Ul iMHEft  Frank Chickens  TTTF  mNCOUVERI  OUTDOOR '  CLUB  FORWOMEN  ^B^k^  ^»gj^\V^9fc=^  ORGANIZED AND RUN BY WOMEN  For more  information,  Phone:  Dee-875-9021  Jill-732-5607  KEEP FIT  HUENDDC NON-COMPETrnVE  ATMOSPHERE  LEARN NEW SKILLS  SHARE THE EXCITEMENT  OFTHE OUTDOORS 30 July/August TI5 Kinesis  Vancouver hystory  Women's musical club  by Gail Buente  In 1905, Vancouver was in the midst of  great change. Where twenty years before  dense forest surrounded a tiny group of  wooden buildings known as Gastown, there  now stood a city of close to 40,000  people. The old image of Vancouver as a  rough and tumble frontier town was fast  being replaced by one of a cosmopolitan  commercial centre.  But from logging to shipping, from saloons  to land speculation, one thing hadn't  changed. Vancouver was still a man's town.  Competition, economic growth, the real  estate boom - these were the order of  the day. Vancouver was a western city  with a pioneer sensibility; a place  where men were men, and women were ladies.  Some of these ladies, though, had ideas  of their own about all this. They intended to be pioneers of a different sort -  cultural pioneers. Vancouver was progressive in other respects; why not  culturally as well? Determined to bring  the advanced musical taste of the European and Eastern Canadian cities to this  forgotten corner of the world, twenty  women met in October, 1905 to form the  Vancouver Women's Musical Club.  The group, consisting of professional  musicians, amateur musicians, and music-  lovers, had as their object "mutual  improvement and pleasure, and the advancement of musical culture in Vancouver."  Their intention was twofold: to bring  the best musical artists possible to  Vancouver for public concerts, and at  the same time to encourage the musical  development of club members and their  students by presenting regular fortnightly  recitals.  Some of the twenty founding members were  Mrs. C.J. Peter, Mrs. CM. Beecher  (elected first president), Mrs. Esther  Weld, Mrs. Boyle, and Mrs. Jean Coulthard  (well-known locally at the time as a fine  pianist and vocalist, and now remembered  as the mother of another Jean Coulthard,  the internationally recognized composer,  born in 1908 and still living in Vancouver.  Right from the start, the Women's Musical  Club was a huge success. It quickly  became one of Vancouver's most important  cultural groups. Their first recital, on  Nov. 8, 1905, included the reading of a  paper on "Music in the Middle Ages", along  with performances of pieces for piano,  voice, violin, and zither.  This recital was held in the small hall  of the Conservatory of Music, at Granville  and Pender Streets; but in a matter of  weeks the group outgrew this hall. In  the course of the next few years, outgrowing premises became routine for  the club, as the membership shot from 20  to 207 in the first year, and eventually  to a high of 496 in 1910.  There were two types of membership,  active and associate. Active members were  required to pass an audition, either  instrumental or vocal, and had to agree  to perform in the recitals if asked.  Associate members were supporters of  classical music. Within a few years,  because of the rapid growth in membership,  the concerts sponsored by the club were  open to members only.  Over the years, up until the late 1920's,  the Vancouver Women's Musical Club  brought some of the world's greatest  classical artists to Vancouver: Paderew-  ski, Clara Butt, Walter Damrosch, Nellie  Melba, Lillian Nordica, Fritz Kreisler,  Rachmaninoff, Jascha Heifetz, Louise  Tetrazzini, Mme. Schumann-Heink. There is  a beautiful old leather-bound album,  kept now at the City Archives, with  photos and autographs of some of the  earliest of these musicians.  Although from the perspective of the 1890's,  the image of the club may appear one.of  a 'ladies' auxiliary' or of 'cultural  angels', they were much more than that.  They were a vital force in the cultural  life of the city, acting for many years  as the primary impresarios, dauntless  in their dedication to the cause of  bringing great music to the west. They  were actively involved in the formation  of the Vancouver Women's Building, being  one of the first groups to purchase  shares in the project. And they were  themselves active as musicians, as well  as working diligently at promoting  music education.  A large number of the concerts the club  sponsored were by women musicians. It's  interesting that of the performers they  brought here, many of the male artists'  names are still well-known, but most of  the women's names have become unfamiliar.  Yet, from reading the reviews of these  concerts, it is clear that the women were  also celebrated musicians at the time.  In 1908, for instance, the club presented  the Maud Powell trio, consisting of  "three of the greatest instrumentalists  who have ever appeared in combination on  the concert platform...Maud Powell, the  famous American violinist; May Mukle,  the greatest of women cellists, and Anne  Ford, an accompaniest of high repute  throughout Europe."  In November of 1910, they presented Miss  Liza Lehmann, a composer and pianist,  whose unique works "are well known the  world over."  And, of the 1912 concert by Kathleen  Parlow, a musician who was originally  from Calgary and had become world famous,  the Vancouver Sun  said, "To the ladies  of our Women's Musical Club the Vancouver  public is indebted for the appearance of  not only the greatest Canadian violinist,  but the greatest violinist living today."  As Vancouver and its musical scene grew,  the Women's Musical Club changed its  focus. It stopped bringing in big name  artists, and began to concentrate more  on recitals, particularly student recitals held at hospitals and other institutions. Today, 80 years after the founding  of the club, it is still in existence,  on a much smaller scale. They function  mainly as promoters of young talent,  through student recitals and scholarships.  Winnipeg Women's  by Dorothy Kidd  "We don't get a lot of women performers  coming through here, and it's too far  for us to go to see them so we decided  to put on our own festival." They made  it sound so simple, and of course they  pulled it off. Last September, Winnipeg  hosted the first Canadian Women's Music  and Cultural Festival.  WONDEUR BRASSl  Held outdoors in Kildonan Park in  downtown Winnipeg, the festival featured  performers from most parts of Canada. Some,  like Connie Kaldor and Heather,Bishop,  were well-known on the folk music  circuit while others were less well-known,  such as powerful Metis writer Beatrice  Culleton and Four the Moment, a cappella  group from Halifax, Nova Scotia.  The Festival was such a success that they  plan to make it an annual event. Last  year, the sponsoring group was The Same  Damn Bunch, a local women's charitable  organization set up to help women enter  non-traditional occupations. This year the  Festival organizers are going on their  own. Backed by an advisory group of women  active in last year's festival, and  some financial assistance from the  province of Manitoba, three staff and a  core of volunteers have been working since  last winter to contact artists, arrange  for site logistics, organize volunteers  and put the word out to potential audiences.  Just finding women performers from across  the country is a big task. They began by  sending informatidh to women's centres  and women's gathering places everywhere.  They have also consulted with other  producers such as Womynly Way in Toronto  and the Winnipeg and Vancouver Folk  Music Festivals. One of their plans for  next fall is to set up a national consultative body of women involved in  the arts so they can continue to represent  a diversity of Canadian perfo:  Like for many other women's festivals  and conferences, diversity is the operative word. The festival's selection  criteria reads like a positive affirmation of all our cultural differences.  They are committed to represent: both founding languages, Canada's indigenous peoples,  the variety of ethnic and racial groups,  and younger and older women. They also  try to include performers who represent a positive attitude towards feminism,  lesbianism, women of colour and progressive  by Ivy Scott \ ., 'Äû       \  h  the Lakeside Correctional Centre, a women'  Rockin' Harry and the Hackjobs are probably prison. About 25 women turned out to hear  the first local women's band whose music    two sets of varied and very danceable  has put them behind bars. music in the Centre's gymnasium.  The six member group played to an enthusi'  astic audience June 21st at a dance for  The energy of tunes like 'Bopalena' and  'Soul Kitchen' provided a brief respite  Festival  social change. A difficult balancing job,  but this year's schedule looks like they'll  carry it off.  The weekend line-up also includes almost  every performance art you can imagine -  from the folk music of Connie Kaldor of Winnipeg's own punk band the Ruggedy Anns  to the jazz of Louise Rose from Victoria  and Wondeurbrass from Montreal. And then  there's Anishinabesug Puppet Theatre from  Winnipeg, performance artist Elaine  Calgary and writers such as Dorothy  Livesay and Maria Campbell.  It's an impressive list and not surprisingly it includes a number from Winnipeg.  Heather Bishop, Karen Howe and Suzanne  Bird will all be back after a successful tour together last summer of Mani  toba's northern communities. Suzanne  Campagne, chanteuse fransaskois formidable  will also be back with her band. Appearing  for the first time will be Zola Lejohn, a  drummer originally from South Africa and  the Contemporary Canadian Dancer's  Professional programme.  There will also be displays of local  craftswomen's work. Last year, this area  included tables from Nokomis, a Native  women's co-operative who make clothes and  jewellery, fibre artist Nino Wakeland  and papier mache artist Micheline Larose.  There were also displays of ceramics,  silver work, hand-made dolls, photography,  wood sculpture and needlework.  The long range forecast for the Labour  Day weekend for the Festival is sunny.  Make your plans now to attend. For more  information, contact the Canadian Women's  Music and Cultural Festival, 161 Stafford  St., Winnipeg, Manitoba - (204) 477-5478.  For a more complete list of performers  see ad in Bulletin Board this issue.  from prison routine. And most women took  advantage of it.  "Usually, only two women dance at these  dances and the rest just sit, but tonight  everyone's dancing," commented one resident  The Hackjobs are a hastily formed composite of local musicians. They began rehearsing together last month when the B.C.  Federation of Women Prison Action/Education Committee offered to sponsor a  's band for a prison gig.  Rachel, who plays bass with the Animal  Slaves, and Connie, drums for The Work  Party, are familiar to many of, us from,  their Moral Leper days. Harris, Isis and  Grace are of Cracked Maria notoriety,  and Lianne is a veteran freelance vocalist.  The combination smoothly carried off  several cover tunes as well as Moral  Lepers and Cracked Maria hits.  "Saturday at the prison, everyone was  still excited about the night before," B.C.  F.W. member Miriam Azrael said. "One woman  said it was the best dance they'd had in  a long time."  The Prison Action/Education Committee has  been active in Lakeside for almost five  years. B.C.F.W. women meet with women in  Lakeside every week for discussion and  consciousness raising on a range of women's  and prison issues.  It took the Committee two and half years  to get permission to go into the prison,  which houses between 60 and 80 women.  Speakers and performers can sometimes be  brought in to Lakeside through B.C.F.W. and  the Prison Action/Education Committee  welcomes suggestions for events.  Last year's festival: Suzanne Bird sings while other  performers watch. 32 July/August'85 Kinesis  Vancouver  Women at the f olkf est  by Gwen Kallio  A good read through the album liner notes,  press clippings and biographical information of some of the women performing at  this year's Vancouver Folk Music Festival  gives rise to the discovery of two exciting  realities. One, that there exists a  talented, internationally connected  community of women performers that we, as  the Festival audience, are privileged  enough to tap into once a year at this  amazing event.  Two, that women performers are represented  this year in their diversity, strength  and spirit as perhaps never before. This  not only due to the fact that women comprise  over 50 percent of the performers roster.  It is difficult to resist, frankly, being  excited and enthusiastic at the prospect  of seeing so much in one place at one time.  First, examples of point one. Australian  blues, gospel singer (everyone comments  on her height - which is 6'4") Margret  Roadknight has appeared in Australia with  Cuban singer Sara Gonzales. Texan folk/  western singer Nanci Griffiths credits  Rosalie Sorrels with a strong influence  in her music and song. Ronnie Gilbert  and Margret Christl both now sing Judy  Small's moving "Mothers, Daughters, Wives".  One gets the sense that these women, out  (often alone) in the world of touring,  recording and performing, draw strength  and inspiration from each other and their  work - and use that support to continue on  in their own unique directions.  Women's talents, in fact, embody many  of the new directions the Festival itself  is taking this year.  Kate Clinton bills herself as a 'fumerist'  - you got it - a feminist/humorist,and her  material unabashedly challenges standard  preconceptions about what either stand-up  comedy, or lesbian/feminist humour is about.  Her perspective is political, critical -  but also a celebration of the female experience, using humour as both an educator  and a balancer. "I have found the surest  cure for PMT, premenstrual tension, is  to put on a pair of white pants." Don't  miss her.  Sara Gonzales' voice and music makes you  feel like sitting quietly and rocking to  its gentle cadence. Sara is the first Cuban  performer to play the Festival, and visits  here as a sort of representative of a  strong musical tradition that found renewed  strength in that country in the late 1960's.  Her music ranges widely, but it is in the  Latin ballad that it is at its best.  The 'Wallflower Order presents Wildflower  Brigade' represents another exciting first  (modern dance) for the Festival - even  though this incredibly powerful dance company has performed in Vancovuer before.  For those who haven't seen them, prepare  for dance as you always knew it could be  - dance that uses movement, mime, martial  artistry, theatre, to make you feel -  pain, j oy, anger.  The collective came together in the mid-  70' s around feminist issues - and has gone  from there to include, in the tradition  of the women's movement which now involves  itself in related issues, other political  statements in their dance.  Nanci Griffiths has been described as  having a voice and style that is a cross  between Emmylou Harris and Stevie Nicks(!).  As much as that description has a ring  of truth, she is very much her own performer - with a strong, earthy country  and western flavor to her folk music. She  writes and sings songs about people and  their lives, comments on the daily  facts of living with a real wit and sensitivity.  Her musical topics include songs about a  daredevil motorcyle rider, the living  conditions in South Bronx slums, Marilyn  Munroe, being on the road alone..." At my  back door/ There's a porch light that's  shinin'/ I just don't mind living' here  by myself/ If I leave it on". She is considered somewhat of a "folk star" in  Texas and the Southwest - we can look  forward to hearing more of this poetic  woman in this part of the world.  Margret Roadknight's music repetoire includes the blues and gospel, jazz, political folk and African chants. Her amazing biography lists her as dancing with  The Dance Company (N.S.W.), performing  topical songs for a weekly TV current  affairs show, teaching and lecturing on  songwriting and black and folk music,  singing the theme songs for two motion  pictures, and appearing with performers  from Phil Ochs to Ellen Mcllwaine. The  Australian tradition at the Festival -  which has already included performers  such as Judy Small and Eric Bogel, both  of whom will be here again this year -  will undoubtedly be broadened and strengthened by her presence.  And in additon to these 'brand new' women  on the Vancovuer Folk Music Festival scene  - we can look forward to re-acquainting  ourselves with more familiar faces (and  voices, and songs): Already mentioned,  but worth mentioning again - Judy Small,  a woman who excited everyone last year  with both her wit and song will be  back again. Linda Allen, a Bellingham  singer/songwriter who is known to many of  us north of the border, will perform  this year. Linda is perhaps best known  as a writer of songs about women's lives -  their relationships, parenting, their  politics - in a gentle, but powerful  way.  And then there are the women who have  made the Festival, over the years, the  great source of excitment, inspiration  and satisfaction that it is. Frankie  Armstrong, who is unceasingly active on the  British social and political scene will  Kate Clinton  be back with her beautiful voice, her  traditional music, and the more contemporary, political songs which have become  more and more a part of her repetoire in  recent times. Ronnie Gilbert, as a solo  this time, will give us all an opportunity to witness the great strength and  grace which has become her hallmark, in  a more concentrated form. It seems that  every time she performs, one gets a  sense of the experience, the tradition  that she carries with her.  Rosalie Sorrels, another collector of  life, a sharer of experience will be here.  Teresa Trull and Barbara Higbie, Ferron  and Connie Kaldor - musicians, singers  and songwriters who no longer need  introduction, their music is already  so much a part of our lives.  Cathy Fink, who is known to Festival  audiences as both a wonderful country/  folk/bluegrass singer and musician, but  also as a great MC is back.  But these brief descriptions fail to do  justice to the talents of the women  described - they really have to be seen  and heard to be appreciated. The descriptions here do not even include all of  the women who will be performing this  year. So, in conclusion and at the'risk  of turning this into a total promotional  article for the Festival (which it is!),  let me simply say the roster of women performers this year is exciting.  It includes  women in all of their creative talent -  dance, instrumental musicianship, song,  comedy...and offers us all a unique opportunity to witness and appreciate that  talent.  Animal Slaves from page 36  Ya. It took about a decade off my life in  sheer aggravation. We were a freak show  so everybody thought we were fun, you know.  We played some good music, too.  It always takes one person or one group to  break around and make it easier for other  people. But they also become a target for  everybody's fears.  Well, we were a little bit scarey I guess  for some folks.  But do you think I'm overestimating  —  I hope so, because it really annoys me that  more women don't go out and do it and get  themselves a guitar, a bass, or some drums,  or whatever, and play quite loudly and  aggressively. A lot of women do mellow  material around, you know, but I guess the  Moral Lepers were probably about the most  aggressive and original all-women's band I  ever heard.  Are you satisfied now, being with the Animal Slaves?  Up to this point, it's probably about my  best creative outlet in certain respects,  because I can play whatever I want. I  can play the best bass that I can, and I'm  not limited by oh, we're playing this kind  of music, so you can't get too outside,or  whatever.  In the band, we don't want to be self-  indulgent. And I don't want to be self-  indulgent. But I'm not really capable of  being self-indulgent in a lot of ways  musically. I don't think my chops are up to  total wanking, or bass solos or anything  like that. I just try and do the best I  can. I can only do the best that I can, in  the Animal Slaves. There's basically no  limit.  Messages.  Content.  The themes on the first  record - people talking platitudes, easy  solutions,  too much social protest, no  action. Does this sound familiar?  Coffee cup warriors with character refer-  On Dog Eat Dog the things that stand out are  you can't fool me,  I can think for myself,  and no matter how you try to pacify me,  you can't take away my secrets, my soul.  And in spite of everything you have done  to the contrary, you can 't take away my  life.  What can I conclude - this is a  test question - what can I conclude from  this as being the over-all philosophy of  the group?  Well, we all work for I.C.B.C. Kinesis July/August '85 33  ARTS  Play exposes drug industry  by Zoe Lambert  •Have you or your mother been prescribed  DES during pregnancy?  •Do you or a friend take valium, librium,  scrax...why do doctors prescribe tranquilizers?  •Are you aware that dangerous drugs banned  in first world nations are 'dumped' on the  third world?  •Do you take the Pill?  These and more are issues discussed in  Side Effects,   "a play about women and  pharmaceuticals". It recently played in  Vancouver while on tour of both urban and  rural communities across Canada.  Side Effects  was co-produced by Great  Canadian Theatre Company and Women's  Health Interaction, two Ottawa based  groups. It explored not only the side  effects of the drugs themselves, but the  effects of a pharmaceutical industry geared  for profit; the effects of drug 'dumping'  on third world countries; and most important, the effect of drugs on the individual  lives of women.  Tour co-ordinator Mary Anne Haywood said  that the process of the play, the result  of two years work, is as important as the  project's outcome.  In the fall of 1982, two Bangladeshi women  came to Canada to speak with women here.  They found an out-standing commonality  between the women in Bangladesh and Canada  as victims of drugs, the pharmaceutical  industry, and a male dominated medical  system unresponsive to women's needs.  Upon their return, Inter Pares, a Canadian  based development agency, held a national  conference on women and the pharmaceutical  industry in Aylmer, Quebec. From this conference, Women Health Interaction (WHI) was  formed. Side Effects  is WHI's first project.  WHI "aims to provide a platform for women  to speak out on health concerns" through  education and a "growing network of women's  health and development groups in Canada."  WHI also strives to link local and international health issues.  The Side Effects  script originated from  co-operative improvisational workshops.  The final draft was written by Janet Irwin,  and edited by Barbara Lysnes. It incorporated experiences of women' the users of  drugs; people in the medical and pharmaceutical industries; and activists involved in  women's, health and third world issues.  They found an outstanding commonality between the women in  Bangladesh and Canada as victims  of drugs.  All of the stories in the play are based  on real experience; indeed some of these  women are still living through them now.  Side Effects  is more than a play. It is a  forum in which to discuss and share information on women's health. As such, WHI  published an extensive program/newspaper  packed with information. Women walked  away with the information to take action  both in their own lives and, it was hoped,  on a larger scale as organized groups.  To further facilitate this process, Side  Effects  brought with it a Community  Action Guide, which was given to the sponsors of the play in each community; generally women's groups and groups involved in  third world issues. It aims to promote  discussion between women on health care;  for women to talk to one another and take  control of their bodies; and to initiate  action in the community.  This was probably most effective in rural  communities. A moving story told by cast  member Heather Edson, relates one discussion period in a small community where a  woman timidly spoke up. Having been prescribed DES during pregnancy, she wanted  to know how to inform her offspring. A  response from the audience gave her the  source for further information and the  knowledge that someone in her community  cared. For Heather, this single moment  "made it all worth while."  DES  DES (diethyl stilbesterol, was prescribed  to thousands of pregnant women in Canada  in the 1950's and 1960's to aid labour  and prevent defects in the unborn. Twenty  years later, we are discovering the side  effects. There is a high rate of cervical  cancer in women whose mothers were  given DES and infertility in both women  and men.  Tranquilizers  Doctors, like advertisers in medical  journals, see women in ideal roles: the  happy contented housewife, the working  woman who really  wants to be a housewife,  the older women with grown children ("the  empty nest syndrome") etc. If a woman  doesn't fit this protrait, she is  often labelled sick or crazy. If she is  under stress, all too often she is prescribed a tranquillizer. The cause of  stress is not questioned. Battered women,  women experiencing sexual abuse on the  job, poor women, or women just struggling  with daily oppression, are often prescribed pills. Women receive twice as many  tranquillizers as men.  These pills, such as valium, librium, and  scrax, numb and calm women, encouraging  submissiveness. Rarely are women referred  to someone who might help them, or encouraged to changed their situation, the  source of their stress.  Unfortunately, not only do tranquillizers  mask real problems, they are also addictive. When a woman decides to stop taking  them, she faces withdrawal symptoms;  from sleeplessness, to jitters to headache  If a woman returns to her doctor, he will  just prescribe tranquillizers again. Doctors and drug companies do not recognize  tranquilizers as addictive.  Drug dumping on the third world  Dumping is:  •selling goods which are illegal in one  country to another country where they  are not legislated against;  •selling goods not available (and often  not tested) in the country they are made  to another country.  •taking products that should be highly  controlled and selling them without controls.  •selling products where people cannot use  them safely (ie. lack of clean drinking  water for mixing).  Tricks used by companies to bypass regulations :  • "The Name Change": To avoid bad publicity,  when a company is forced to stop selling  a product, it simply changes the products  name and sells it elsewhere.  •"The Last-Minute Pull-Out": To be sold in  the U.S., chemicals have to be approved  by the U.S. government. If it appears  that a chemical won't pass the tests, the  company will withdraw it at the last  minute and simply label it "for export  only". This way, companies need not tell  importing countries that the chemical is  banned in the U.S.  •"Dump the Whole Factory": Many companies  will simply close down their American  plants and begin making a dangerous  product in another country.  •"The Formula Change": A favorite with  drug companies. Just change the formula  slightly so the government can't tell its  the same drug that was just banned.  •"The Skip": Brazil has a law that says no  one may import a drug that is not approved for use in the country which exports  it. Guatemala has no such law. So, the  drug is first shipped to Guatemala,  which becomes the export nation.  •"The Ingredient Dump": If a product is  banned, ingredients are exported separately to a small plant in another country. It is reassembled and then the product is dumped.  Dumping is likely to grow in the future. In  1980, four percent of new drugs were launched in Canada and the U.S. while 40 percent were launched in the third world.  Not only are corporations responsible for  dumping, some western governments turn a  blind eye, or even support it.  Warning: birth control pills  Catherine Fitzpatrick's doctor put her on  the pill. A few months later she developed chest pains. When she went to the  hospital they told her not to worry; it  was just back spasms, to use a heating  pad. Several weeks later Catherine collapsed at home. She was taken to the same hospital and transferred to another the next  day.  Catherine died on March 27, 1983 from  blood clots in her lungs.  As they say in  the business,  "There's a pill  for every ill!"  Many doctors believe one of the serious  side effects of oral contraceptives is an  increased chance of developing blood clots.  The stronger the dose, the greater the danger.  Ontario's chief coroner has ordered an  inquest into Catherine's death. The head  of the inquest, Dr. Robert MacMillan, said  they will consider if warnings should be  given to women taking the pill.  Women take power!  (story from Bangledeshi women as told to  Mary Anne Haywood)  Three hundred poor women went to the  hospital in their town. One of their group  members was having a baby there. The women  surrounded the hospital and demanded the  doctors treat their group member wifh  respect. They also wanted the doctor's fee  to be reasonable. The woman was treated  well and the doctor didn't ask for any  money. Now, these women are treated much  better.  From this sampling of information, Side  Effects  was heavy. Yet despite its serious  subject matter, it was entertaining and  was complemented with the original music  of Cathy Miller. It featured the character  of "Granny", the eternally wise woman, who  humourously and caustically provided the  continuity of the play. There was also  "CB", the head of "Drugsferall". He  masterminds not only the marketing of new  drugs, but also the development of new  diseases. And for new diseases, there is  always a new cure...As they say in the  business, "there's a pill for every ill!"  For further information contact: Vancouver  Women's Health Collective, 888 Burrard St.,  Vancouver (604) 682-1633.  Information in this article is based on  the  Side Effects programme. 34 July/August '85 Kinesis  "Bogeymen" (interior shot), 1985, sheets, lights, paper cut-outs, rubber gloves, cassette tape recorder and speakers,  280 x 450 x 240 cm high.  Marcia Pitch  Facing the Bogeyman  by Jill Pollack  Sticks and stones may break my bones,  but  names will never hurt me.  Children's nursery rhyme  Marcia Pitch is a social and political  commentator. She uses the visual arts as  the medium, and her message is multi-  levelled; tied both to contemporary and  art-historical concerns. Pitch is acutely  aware of the dynamics of the powerful/  powerless and lately she has been translating her perceptions into sculptural  installations.  She makes real our monsters, both internal  and external, in a way that allows the  viewer to laugh at her truths while realizing their validity. Pitch's analysis rings  blatantly, almost harshly, true and she  gently prods us to accept her viewpoint.  She does not hit us over the head with it.  Instead, she inserts whimsy and childhood  memories into the realm of the macabre and  sinister.  In an odd way, her work is delightful. Odd,  because Pitch concentrates on speaking the  unspoken, on manifesting the hidden. Further  more, the 'delightful' aspect of her  installations contains an innocence, a  naivete, which is reminiscent of a truth  gleaned from an unexpected source. There is  a glint of the eye and a muffled laugh in  her sculpture.  is a prime example of this. Large  plastic sheets form three walls. One has to  enter the piece through a maze-like structure. Once 'inside' the work, sound envelopes  the viewer. Heartbeats and breathing, very  womb-like, are heard. They ebb and flow,  sometimes louder, sometimes softer. They  create an unconscious mood and overlay our  impressions of the visuals.  The back wall of this 'room' is taken up  with a large white bedsheet, back-lit, which  illuminates the skeletons of four figures -  a family of Bogeymen. Their faces look  like looming pumpkin-faces. They are menacing  angry and threatening. And although they are  cut out in a similar fashion as pumpkins,  there is none of the fun or play. The fact  that they are not actual human faces, but  dream-like monster ones, does not deter from  their very real intentions - they mean to  harm.  In contrast, their 'bodies' are made from  sheets, long underwear and rubber gloves.  While the faces seem substantial, the bodies  seem fragile. On the far left, a figure  loosely holds a doll, dangling from one hand,  The doll is rounded and floppy - the antithesis of the larger figures.  The word eerie comes to mind, but so does  the word lyrical. Wrapped up in this macabre  scene is the feeling of getting away with a  prank, of 'pulling the wool over someone's  eyes'. When one realizes what that is, the  piece is even more chilling.  Pitch has taken the essence of cultural  acquiescence and presented us with an ambiguous 'analysis. On the one hand, Bogeymen  depicts the terror of the unknown, the  unpredictability of life vis-a-vis our self-  image. Our society has built up certain  expectations and at one time or another, we  are all pitted or pit ourselves against  those expectations.  We tend to hold on to that which is familiar,  to resist change, and to compare ourselves  to others. We are not encouraged to face  our monsters. It is those very monsters  which hold us back; the need/want/desire to  be what we are not, and to feel bad because  we think we should be someone else.  To a greater or lesser degree, it is because  of the fear of our monsters that we are  induced to comply with various social mores  and to augment feelings of powerlessness.  Childhood tales of the Bogeyman were  effective behaviour modifiers and Pitch is  saying that the shape of the Bogeyman may  have changed, and indeed, become internalized, but the purpose is the same.  If the facade (literally: her piece is a  facade; metaphorically: it stands for both  society and the individual) is in any way  adopted, so too are the accompanying  emotional/psychological ramifications. We  are encouraged to 'get away with', we are  lauded for dishonesty. Say one thing, but  mean another. Keep up the appearance, because it is behind the scenes that count.  Pitch has manifested this dichotomy and  managed to inject an air of innocence - is  that what we are doing?  Heartbeats. Breathing. Safety. Personal  safety. Strive, at all costs, for personal  safety. At all costs.  Pitch does not want to jeopardize personal  safety, but with this piece, she is  pointing out that the only safety which,  for her, is the real  safety, is that which  comes from facing monsters, dealing with  them and moving on. There is more than  one 'monster' in her installation, and  they are physically different from each  other. Some are more articulated than  others. One has a head and a complete body.  Another has a head severed from its non-  body (a sheet).  Just as there are diverse forces (both  internal and external) at play, so too has  Pitch presented different forms of 'monsters.  We see the shadows, we are not viewing the  actual. Metaphorically, this is all too  true. Our personal experiences, feelings  and situations affect every thing we do  and-see. Pitch has found a common symbol  with which we can empathize and understand.  We see through a sheet of    (fill in your own blank) to the shadow-  forms.  H  Womanvision -  Coming Out-  Women's music, art and  issues have their place  on our airwaves every week.  Mon. 7:30 to 8:30 pm  Tues. 9:30 to 10:30 am  Feminist current  affairs and arts  Thurs. 7:3o to 8:30 pm  Gay and Lesbian  perspectives  The Lesbian Show -  Rubymusie-  Thurs. 8:30 to 9:30 pm  B.C.'s only lesbian  radio  Fri. 7:30 to 8:30 pm &  10:00 to 11:00 am  Music by w  artists  CO-OP RADIO        D@2oZ7 DM  We're also on cable in many locations throughout B.C.  Call us for a free programme guide 684-8494  The Bogeymen may have been made by Marcia  Pitch, but inevitably, it is up to us to  firstly, identify them and secondly, deal  with them. This installation is a powerful  observation on interpersonal and interso-  cietal relationships and I, for one, was  strongly affected by it.  I'll get you my pretty,  and your little  dog,   too.  from The Wizard of Oz  Bogeymen  was on view in February, 1985,  at the Charles Scott Gallery, curated  by Cherie Markiewicz. Pitch's newest work  was at the Pitt International Galleries,  36 Powell Street, from June 17-29, 1985.  ^1 II 4 hfc  mm • • THEATRE * * BE  For the best in Foreign Films  and Independent Quality Films  Non-Sexist, Coffee Bar, Crying Room for parents  with small children  16th and ARBUTUS STREET  Phone 738-6311  $2.99 on Tuesday $4 Students with valid cards  l^jX^i^  Wfm^n Kinesis July/August'85 35  ARTS  Revealing roots of lesbian literature  by Eve Abrams  When Jeanette Foster was a junior (3rd  year) in college, she witnessed the near-  expulsion of a student for alleged lesbian  activity. Throughout the student council  meeting which had been called to deal with  I  the issue, she sat steeped in perplexity.  Sex Variant Women in Literature.  By  Jeannette Foster. 422 pp. Tallahassee  (Florida): Naiad Press, 1985.  For the* first time, she felt herself to  be the dumbest in a group of people; she  could barely comprehend the matter, never  mind vote on it. Afterwards, she hastened  to the library, resolving to amend her  ignorance.  You might say she over-corrected herself -  much to the benefit of those interested  in lesbian literature. Sex Variant Women  in Literature  is the result of a staggering amount of research done over many  years. Its span stretches from Sappho in  7th century B.C. to Claire Morgan in mid-  20th cnetury.  It covers French, Italian, British, German  and American "imaginative writing" (a  term used by Foster to account for both  high quality artistry and outright trash).  It often draws upon obscure material,  which the author scoured hell's half-acre  to find.  In 1956, Foster approached a university  press with her finished work, in the  hopes of finding tolerance for her subject.  But the editor who had agreed to print it  died before the process got under way,  and his successor bowed out.  She then had to use her own money for  publication and distribution through Vantage Press. It wasn't until 1975 that a  feminist press, Diana Press, decided to  republish it. As it subsequently went out  of print, it has been published again this  year by Naiad.  The book is a sort of chronological dictionary of plots, liberally interspersed  with historical information, comments on  literary trends, and analyses of what  these trends said about the society which  spawned them, if the idea seems daunting,  the actual text is not; it is calm, clearsighted and fairly conversational in tone.  It examines both lesbian authors and lesbian characters, in a manner which proves  that sympathy and rationality are not  mutually exclusive.  The part that is daunting is that many  French and German passages are left un-  translated. At any rate, that caused a  WW  pain**61  BBNO  .V^TfONS  • COMMERCIAL  • RESIDENTIAL  • INTERIOR  • DRYWALL REPAIR  LEIGH THOMSON  251-6516  problem for this reader,- whose knowledge  of French grows hazier by the day, and  who couldn't read German to save her life.  Foster chooses Sappho as the logical place  to begin her study. She examines people's  changing views of the Greek poetess whose  passion for her own sex inspired many of  her poems. She is a heroine to her adoring young followers, later a nymphomaniac  to the early church fathers, and still  later, heterosexual to scholars wishing  to "defend" her reputation.  In this first chapter, the strong, Amazonlike women warriors in Virgil and Ovid  are also given some attention, along with  the earliest satiric treatment of lesbianism by Juvenal and Martial.  From here, Foster goes on to discuss common motifs in the variant literature of the  dark ages. The one found in Ariosto's  Orlando Furioso  is typical: a woman dresses as a man in order to be a warrior, and  another woman falls in love with this  "man". Ariosto's work is noteworthy in that  the woman Flordespine remains in love  with the heroine Bradamante even after the  latter's gender is revealed.  It wasn't until the Romantic era  that "lesbianism proper" (as  opposed to sex disguise)  flourished. In general, love was  exalted as a noble emotion, and  individuals were supposed to live  the way their hearts told them to.  It wasn't until the Romantic era that  "lesbianism proper" (as opposed to sex  disguise) flourished. In general, love was  exalted as a noble emotion, and individuals  were supposed to live the way their hearts  told them to.  This didn't particularly extend to attitudes toward lesbianism, but the flavour  of the period was passed on to certain  writers. One result was the first lesbian  novel to be written by a woman: Mary Woll-  stonecraft's Mary, A Fiction  (1788), a  more or less autobiographical story of  Mary's passionate friendship with an  older woman. Unfortunately, there are only  a handful of copies extant today.  In the 19th century, a flurry of "naturalistic" novels emerged from people like  Balzac, Flaubert, and Zola. One example  is Theophile Gautier's Mile de Maupin  (1838>, whose heroine physically and  emotionally resembles Stephen Gordon in  The Well of Loneliness,  and was possibly  used as a mode.  Another is Zola's Nana  (1880), where unsavoury types of the Paris underworld meet  in Laure's lesbian cafe. This view of  lesbian life then got incorporated into a  number of other novels.  Vancouver Women's Bookstore  315 Cambie St., Vancouver V6B 2N4  1 st Saturday of Every Month:        10% Ol  20% OFF selected titles  OPEN HOUS£^  Come celebrate our  12th Anniversary  Saturday, July 27th  In Catulle Mendes' Mephistophela  (1890),  a diabolical lesbian abandons husband and  child to have a series of affairs with  wqmen, almost all of which begin with  seduction and end with boredom. The heroine's unhappy life concludes with suicide.  Foster points out how often authors made  lesbian affairs responsible for suicide,  murder, and general destruction.  By the 20th century, the hereditary theory  of homosexuality had begun to replace,  somewhat, the notion of innate sinfulness.  Then in 1905, Freud's treatise on homosexuality as immaturity, or personality  arrest, gained adherents of the type who,  to this day, persist like dandelions.  But in France at this time, the American  ex-patriots Natalie Barney and Renee  Vivien were living openly as lesbians,  with pride and with indifference to  theories. The centre of a coterie in Paris,  they wrote freely of their passions.  In Germany, Anna Elisabet Weirauch produced  The Scorpion  between 1919 and 1921. Its  heroine, Metta, is courageous and admirable  considering the strife she undergoes for  the sake of her lover, Olga. Whereas, up  to this point, many variant women in  •literature were bisexual, Metta is exclusively lesbian.  By the end of W.W.I, the women's movement  had made some strides toward independence.  The outcome was a crescendo in lesbian  literature, culminating in the year 1928.  In this year, Virginia Woolf's Orlando  appeared, as did Radclyffe Hall's The  Well of Loneliness.   The outcry against the  latter brought on legal prosecution, but,  as usual, the result was a fair bit of  publicity for the controversial book. Not  surprisingly,- the number of lesbian novels  ased.  The benefits have paid off. Our ventilation  system is installed and we're breathing easily again .  PRESS GANG PRINTERS 253-1224  Before the first half of this century,  several different literary forms with  lesbian themes emerged: drama, such as  Lillian Hellman's The Children's Hour  (1934); stream of consciousness, such as  Djuna Barnes' Nightwood  (1937); and the  mystery story, such as Josephine Tey's  Miss Pym Disposes  (1948) and To Love and  Be Wise   (1950). Foster's book ends on  an optimistic note, a discussion of Claire  Morgan's The Price of Salt  (1951),  in which two lesbians save their relationship from destruction against all odds,  the impediments being, of course, family  circumstances.  Foster's research produced some interesting findings: for instance, the tall,  masculine, husky-voiced woman whom so  many regard as.a "typical" lesbian does  not appear in variant literature more  than any other physical type. Certain  psychological types, however, can be  detected with some consistency: the lone  wolf, the rebel, the egotist, the dependent "femme", and the selfless maternal  type.  Family problems nearly always play a  role in the works surveyed by Foster.  There is a lengthy roster of motherless  girls and indifferent or antagonistic  fathers in the history of lesbian literature.  Foster laments the fact that even the  critics. She states that men must become  more aware of their own prejudices when  they evaluate literature, and that more  women must go into the field of criticism.  Needless to say, this advice still applies  thirty years later. 36 July/August '85 Kinesis  by Connie Smith  Animal Slaves: Elizabeth Fischer, vocals  and keyboards; Roscoe Hales, drums and  percussion; Rachel Melas, bass.  Recordings: Animal Slaves (EP) 1984; Dog  Eat Dog  (LP) 1985.  Itinerary: Currently touring across Canada.  Final destination the Pryamid Club, New  York City.  Mental Health: Encouraging.  Musical Capabilities: Staggering.  Financial Status: Unknown.  Last Words: As follows.  Elizabeth Fischer: This particular group  which is the Animal Slaves, as I see it,  has been around since - when was it - 1982.  Oh yea, there was this other band called  Animal Slaves for a little while beforehand, with me trying my wings. However, it  was not very memorable and it's best left  forgotten.  What is the meaning of the name.  I had this idea at the time which had to do  with the words that I was writing, that I  really wanted to explore the passionate  ■side of human nature and talk about, things  that weren't necessarily pleasant. Things  that I felt were inherent in every human  being which is the animal side of one's  nature. And that's how it became Animal  Slaves - in my mind anyway. Everybody  thought I was jumping on some kind of- .   .  fucking bandwagon or trying to be a punk  band or something. But it really wasn't  that at all.  Well, the first band I was in was kind of  like that because it was a bunch of guys  and they all played as much as they could  and as loud as they could, and I tried to  scream on top of that. But it wasn't meant  to be like that. I didn't imagine it to  be like that.  Your personal history.  I think that  Eye of the Hurricane may be an-example  of roots because it sounds like rhythm and  blues.  I've always really liked rhythm and blues  and I've always liked blues. To me, it's  like I've always wanted to die and be reborn as Otis Redding.  You grew up in Hungary.   What did you listen  It's the birthplace of the blues, man.  Hungarian funk I think you once called it.  I was raised on gypsy music. My father  really liked gypsy music and he had a real  close friend who was a gypsy and a traditional violin player. I was raised with  ;all these stories about this guy and what a  fabulous guy he was, and I really like  gypsy music. I like that kind of feeling.  I like it because it kind of plucks at  your emotions.  When did you leave?  I left Hungary when I was nine.  Why?  Oh you know. Your average Hungarian refugee  type thing. We went across the border,  you know, with flares and guns going off.  Trudging across the border. And then we  went to Austria and explored refugee camps  in many countries.  I went to Argentina and then came back to  Austria and lived in refugee camps for about  nine months, and then went to Sweden and  hung around there for about four years.  But my father had a real hard time getting  a job in Sweden, and he was a real proud  Hungarian type guy. So he wanted to get out  of there real bad. So we ended up going to  Canada and we lived in Montreal and-he was  real happy there.  What kind of shape were you in when you  got to Canada?  Well, I was kind of smaller. I was younger.  Well, what kind of shape. We were poor. I  mean we didn't have anything. We left  Hungary with a change of underwear and a  piece of jewellry that got us back from  Argentina, which was really nice.  Could you speak English?  No. I spoke a bunch of languages, but  English wasn't one of them.  You must have had incredible adjustments  to make.  Ya. I really hatedit.  When you came here,  did you have an original ambition or some sort of dream?  No. I mean I was 14. I did not have an  original dream. I knew that I was strange  because I'd been strange all my life.  So I was mainly exploring the strangeness  as far as it would go. I've always wanted  to be different from everybody else. I  didn't have an ambition. I still don't  really have an ambition. I just do things.  I'm learning to live,  I'm learning to  live somewhere.  I'm learning to give,  I'm learning to give something...  I  don't need your money or your sweet  delights,  I'll lock the windows,  I'll  put out the lights.  I'm too old to  cry,  I'm too tired to fight, I'll  learn to live in black and white.  Rosco Hales: What was I looking for when  I left Kamloops. Well, I was young and  fairly stupid at the time and I hadn't  really learned as much in my life as I have  now. I wanted to be as good a drummer as  I could, and to make a living from playing  music. It wasn't until I'd gone to Cap  College for three years, and gone out and  played for just over a year out in the real  world in'terms of the bar scene and what's  required to make a living as a musician,  that I realized it's hopeless. It's not  what I wanted to do.  I did in fact go out and join a cowboy bar  band only to find after about six months,  this has nothing to do with my relationship with music.  The Animal Slaves is really different. To  me, it's really special. It's sort of what  I'd always wanted to do. It's most definite  ly what I want to do now. First and foremost, it's really creative for me as a  drummer.  Part of leading up to joining the Animal  Slaves, I had some friends who were more  involved in the arts community as opposed  to the music community. They started putting ideas into my head that I had never  really considered,, living a fairly safe,  protected life as I had, coming form a  very traditional suburban Canadian-North-  American upbringing.  These people got me thinking about a bunch  of things. Politics in particular. And  although I don't profess to be any sort of  political wizard, it made me aware of the  fact that I had a certain responsibility,  at least I decided myself I had a responsibility, to live life in a particular  ■fashion and interact with people in a  particular way.  The Animal Slaves for me, is the first  band that I felt represented any sort of  strong politic. I never played music with  a strong politic in the past. Obviously it  was political what I played in the past,  but it was all fucked-up politics. It  wasn't good politics.  What are you learning about yourself being  in this particular band?  Oh boy. About myself. The big thing that  I've learned in this band is just how easy  I've had it in the world. And how easy it  is for a white male to have it, particularly in this' culture.  Because of that and of all the advantages  that exist for people of my type, somehow  it struck me as being awfully unfair. I  guess I single-handedly can't change  that overnight, but I can certainly help  to influence hopefully other men to respond  to women and the world around them. White  males of this society just have it too  easy. It's too good. **kitir?~  Our leaders 's fat jowls are wobbling  in the glow/ He 's mouthing scriptures  lit from below/ As the stinking breeze  whips the waves/ Our leader in ecstacy  raves/ Heaven and Hell/ And the might  of the just/ Such is the power/ Of his  lust.  Rachel Melas: I played the cello for a  long time when I was a kid. Really badly.  And then I met some blues musicians here  in Vancouver - I hitchhiked out here when  I was about 15 - and they said, you should  play the bass. So I did. 1 went back to  New York and I got this $60 bass and started playing it.  When someone sits down and writes the history of Vancovuer music, you will go down,  of course, as the best Jewish lesbian bass  player on West 14th Avenue.  Between Main and Cambie, that's about a  four block radius.  But you'll also go down as a founding  member of the Moral Lepers which was a  very significant band.   Was that experience  significant for you?  Animal Slaves continued page 32 Kinesis July/August "S5 37  LETTERS  Disagrees with  DeGrass article  Thanks for printing my letter. I sent it  off before reading 'Childless by Choice'  by Jan DeGrass (May '85 Kinesis).  I too was childless by choice for over  30 years and I believed the myth that my  mind would turn to mush if I were forced  to stay home with pre-schoolers. What a  delightful surprise to find that, since  becoming a mother, I am even more  politically aware and concerned with what  happens to the world my kids will inherit.  I have not "stopped growing" as DeGrass  implies. On the contrary, I'm growing  with  my children! As for the implication  that the tremendous love and energy  mothers put into their children is somehow  wasted and unappreciated - I prefer to  believe that the care I give my children  benefits both them and society!  I found DeGrass' article really insulting  and condescending - but perhaps society's  failure to accept her own choice as valid  has led her to respond defensively.  How sad that a failure to respect one  another's choices (which is, ostensibly,  what feminism is about) should divide  women this way.'  The most outrageous statement in Jan  DeGrass' article is: "Having a baby has  made it okay to have someone else (generally the father) working for a salary on  their behalf now there's a child to support." Whose side is this woman on anyway?  Once again, that patriarchal definition  of "work". Only work for a salary counts.  If a man had to pay someone to do the  cooking, cleaning and childcare (I'm -  presuming that in most relationships it  was not solely the woman's idea to have  children) that his wife does for no salary  he'd be paying a lot! (Even women who  work outside the home often cook and  clean house and put the kids to bed while  hubby watches the hockey game - and they  aren't paid any extra for it!)  Let's not kid ourselves - wives support  their husbands in a lot of nonmonetary  ways - by providing a pleasant home atmosphere, cooking his meals, washing his socks,  catering to his whims, being a hostess,  etc., etc. A lot of men are getting a  pretty good deal from women's unsalaried  labour! And I think "feminists" like Jan  DeGrass are a big reason why we now have  R.E.A.L. Women to contend with! (Thanks  for the compassionate article on that group,  by the way).  Please, I like Kinesis, but no more insults about my line of work or I'll be  forced to cancel my sub!  Sincerely, Anne Miles, Gibson, B.C.  Reader thinks |jj  mothers maligned  Kinesis:  I hear in your letter a willingness to help  us raise the children I have born - but how  can I trust someone who uses phrases like  "I'm aquainted with mothers whose fine  minds have turned to something resembling  the mush they feed their children" (and I  note the term "their" children).  How can I  take you seriously when you accuse me of  "backing out" of political activity because  I have to tend to the children? You say  that as feminists, without children, you  would be willing and able to support women  with children so that we could enjoy our  personal growth and a bit of freedom, yet  by your cutting remarks I feel that your  understanding of what parenting is, is almost  nil.  I strongly suggest that you talk to those  "mush-minded" moms and LISTEN  to why we  spend so much time and energy with our kids.  Maybe we don't have all these wicked ulterior  motives - maybe we just take our responsibility (chosen or not) seriously. Maybe we  want to do the best we can. Maybe we just  love the children. Also, before going  further - explore the physical realities  of birthing,.nursing and nurturing children  - it may explain why we are often so tired,  jelly-brained and unable to take on extra  responsibilities.  1 am, by choice a single lesbian mother of  2 children (one full-time, one part time; one  biologically mine, one not). I consider  raising these children to be whole, non-  sexist, non-racist, co-operative human beings  to be a political act. Unfortunately, many  around me, such as yourself, do not see  this, instead seeing me as avoiding political  action. I cannot help but be frustrated by  this. I respect your choice not to bear  children so that you can express yourself  politically and personally in the way that  is best for you. I commend you for making  this difficult decision in such a clear  manner. How about doing the same for me?  Also, I recommend you read Jeny Evans article  on share-mothering. I feel you are trying  to say many of the same things. I appreciate  your expressed willingness to support and  help parents. I hope you can get past the  bitterness and on to the reality. We all  need the best we can get!  With love and hope, Leah  Nuclear family  a dirty word?  I am writing in response to your special  supplement on mothering in your May issue.  I am a woman, a feminist, who has an excellent, close and equal relationship with a  man. I intend to have a child with this  man and parent it together. I feel that  there are many issues to be dealt with  here on how to raise a child in a feminist  manner within a nuclear family in a sexist  society. There was little in your section  on mothering which addressed me and women  like me.  The information addressing the problems/  questions/issues mothers, particularly  single mothers face in our society, be  they hetero or homosexual was good. However, the discussion of possible solutions  to mothering problems and possible improvements on mothering methods in general  I found inadequate. Of course I understand that so many mothers leave heterosexual relationships because they were  abused and/or unfullfilling. Certainly  sharemothering offers help to burdened  single mothers and also offers an alternative childrearing philosophy. But this  should not be the only solution considered.  What, about attacking the problem at its'  foundations? Is the re-socialization of  men in order 'to make them more effective  partners and parents another viable,  acceptable solution? This is particularly  a concern of feminists .who want to be  mothers and at the same time share their  life with the child's father.  I have a suspicion that the nuclear family  is a dirty word to most feminists. Certainly it has been and continues in most  instances to be a bastion of patriarchy.  But wiping the institution from the face  of the earth should not be the only feminist solution to its' failings.  I have three questions on this point: Can  I be a feminist and have a nuclear family?  Can a feminist nuclear family exist, and  if so what would it be like? Is this a  topic worthy of discussion in a feminist  magazine?  Feminist heterosexual relationships can  exist. I am part, of one. Perhaps the nuclear family can be turned into a feminist  institution and discussion of this possibility should not be frowned upon by  feminists, especially since doing so might  alienate many women who are just beginning  to accept some feminist principles. Moreover, we must educate/communicate with men  as well as women to build a feminist nuclear family. In other words, feminists  should discuss heterosexual relationships  not only in. terms of their abusive qualities but also in terms of their potential  healthy qualities; they should discuss ways  of making them more equal and fullfilling.  The desire for heterosexual relationships  will not disappear. Men will not disappear.  Therefore we must consider this in feminist discussions. We must direct our energies not only at fighting against men but  also at teaching them to become better  human beings.  Yours sincerely, Johanne Paradis, Vancouver,  Disturbed by  'Childless by Choice'  Kinesis:  Jan DeGrass' article 'Childless by Choice'  {Kinesis  May '85), was a most disturbing  one. The denigrating statements she made  about both mothers and children were in  themselves appalling but the entire tenor  of her iconoclastic harangue did convince  me that her decision not to have children  was correct.  Ms. DeGrass offered a virtually non-participatory stance towards care giving yet  bemoaned the lack of attention given to  her by women who shoulder this responsibility day after day and year after year.  She is magnanimously willing to offer  a few hours of childcare if she is  "pushed into it." A year of living with  a child enriched her naught, in fact, it  gave her "little personal return". She  objects to a woman accepting financial  assistance because "there's a child to  support". This attitude would seem to  indicate a less than generous credo on  her part. Perhaps the fine minds of  mothers she is acquainted with have turned  to "mush" by their having to listen to  such drivel.  All of that pales however with the  absolute audacity of her concluding sentence wherein she includes herself in the  statement of working for "those future  generations we're  trying to raise."  Ms. DeGrass may in time grow up but she  is not raising future generations.  I am tempted to laud her decision.  Sincerely, Jill Hannon, Maple Ridge, B.C.  Letters to the editor should be received by the 15th of the  preceding month for publication, and should be no longer  -than 560 words. We reserve the right to edit for clarity,  space, and libel. Writers will be notified about letters concerning their articles and can choose to reply in the issue in  which the letter appears. Editor's notes will be limited to  clarification only. In the event that numerous letters on any  one article or issue are received, we reserve the right to  publish a representative sampling of the opinions expressed.  "Wrtchful Collie  SETTLES  ...combine seating with  storage in one unique piece.  Specializing in mediaeval and  antique lines of furniture, each  individually designed and handcrafted.  //1CCX.-7 I'ARKl-R-SNEDKER  J 38 July/August '85 Kinesis  BULLETIN BOARD  EVENTS  •PIPPA SMYTH and JOANNE BROWN: Drawings  and paintings. Opening Sat. July 6,  8:00 pm, and open Sun. July 7, noon  till 5:00 at Basic Inquiry Studio,  901 Main St. near Georgia viaduct,  for further info, call 731-1707 or  738-7991.  •WW2 AND CONTEMPORARY ISSUES opens July  12 in Robson Square Cinema. In recognition of the end of WW2 on V-J Day this  August, Pacific Cinematheque Pacifique  and the Pacific Cine Centre will present  a three-week film series The Struggle  Continues:  World War 2 and Contmporary  Issues.  The Struggle Continues  will be  screened in the Robson Square Cinema  (800 Robson) on Fri, Sat, and Sun.  evenings between July 12 and 28th.  Friday July 26 focuses on women at  war. Each of the nine evenings during  the series will be a double-bill  presentation, $5, $4 for seniors. For  more info call 732-5322.  •ARTCRAFT '85, a display of sale and  excellence, June 21 to September 2,  at Mahon Hall, Ganges, Salt Spring  Island. This summer marks the 18th  anniversary of Artcraft '85, which is  sponsored by the Gulf Islands Community  Arts Council. Revenues are returned  directly to each Gulf Island Community.  For more info contact Martin Bach, Box  682 Ganges, BC, 537-2186.  •WOMEN AND CHILDREN ARE INVITED TO PIN  MONEY PARTY for Friends of AMES  (Women's Association of El Salvador)j  Sat. July 13, 8:00 pm at 2520 Triumph  Street. Beer, wine, juice, Slavadorean  food and chicha available. Proceeds go  to make buttons. On-site childcare.  More info call 255-3848.  •CULTURAL CELBRATION FOR THE 6th anniversary of the founding of AMES, Sept. 9  at La Quena, 1111 Commercial Drive.  Featuring women '-s entertainment.  •THE EIGHTth ANNUAL VANCOUVER FOLK MUSIC  FESTIVAL will be held July 19, 20, 21  at Jericho Park. This year's festival  features many women performers includ-  . ing Kate Clinton,, Ferron, Cathy Fink  and Marcie Maxer, and the Wallflower  Dance Order. For more info contact  Folk Music Festival, 3271 Main Street,  Vancouver, BC,' V5V 3M6.  •WHERE THE RAINBOW BEGINS- Gay Lesbian  Pride Festival Parade, Monday August  5, breakfast at 8:30 am, Nelson Park,  Parade at 11:00 from Nelson Park to  Sunset Beach. Entertainment till 7 pm  at Sunset Beach. For info call 669-1753.  •THE 6th ANNUAL NORTHWEST WOMEN'S FESTIVAL  will be held August 2,3 and 4 in Terrace.  This year's theme is "A gathering of  Womanspirit" and the festival is a woman-  only space. We want to encourage women  to come to share, with songs, stories,  and a commitment to creat for ourselves  what we want this festival to be. The  festival site is Kitsumkalum Ski Hill,  16 km. from Terrace. Women should come  prepared to camp, for children accompanying adults there will be structured  activites throughout the weekend including  a Saturday night movie, popcorn and sleeping bag party. We expect to have travel  subsidies for women coming from out of  town. Please let us know your needs and  we hope you will explore the possibility  of sharing travel expenses with other  women coming from your community as we  will have only a small amount of money to  share among many women. For more info  contact Terrace Women's Centre, 638-0228.  •WATCH FOR THE GRAND OPENING of the Vancouver Lesbian Connection Centre in sunny  east Vancouver!  •VANCOUVER LESBIAN CONNECTION Women's  Only Dance Friday July 26 at Capri Hall,  3925 Fraser St. Off-site childcare, non-  alcohol bar. Tix in advance at Ariel,  Octopus, Women's Bookstore and Little  Sisters. Music by Jeannine. Wheelchair  access. For your calendar, the next VLC  dance is Friday Sept. 20 at Capri Hall,  8 pm to 1 am. Watch for posters in your  neighbourhood for more info.  CLASSES/WORKSHOPS  •VBAC PRENATAL CLASSES: VBAC is vaginal  birth after cesarean, and you can find  out more about achieving a vaginal  birth by taking a course from VBAC.  For more info on the next session  call Anita Dutton, 438-7968.  GROUPS  •WOMEN'S RESOURCE CENTRE offers free drop-  in services; counselling and information,  legal service, vocational planning, relationship counselling, parenting groups,  and much more. Call 685-3934 or visit  1144 Robson Street, Vancouver BC, V6E 1B2.  SUBMISSIONS  •IN CELEBRATION OF CANADIAN WOMEN: POETRY  and short stories by and about Canadian  women, edited by Greta Hofmann Nemiroff.  This anthology of poetry and short stores  stories will be organized according to  the themes listed: Growing Up Female,  The Body and Sexuality, Education,  Romantic Love, Women and Men, Women  and Women, Women and Work, Women in  the Family, Mothers, Aging, Transcend-  ance; Women's Art and Spirituality, and,  Woman Power. Writers are asked to  contribute their works, indicating which  categories they consider appropriate.  Deadline is October 1, please send to  Great Hofmann Nemiroff, Director,  The New School, Dawson College, 485  McGill St., Montreal, Quebec, H2Y 2H4.  •THE LESBIAN AND GAY PRIDE FESTIVAL assoc-  iation^invites all singers, actors,  dancerss, and musicians to audition for  the upcoming Gay and Lesbian Pride  Festival, August 5th. You will have the  ANARCHISM • FEMINISM  SOCIALISM • THIRD WORLD  PRISONS • LABOUR HISTORY  ART • LITERATURE  LESBIAN  INFORMATION LINE  Need Information?  Want to Talk?  Contact LI.L(604) 875-6963  Thurs:& Sun. 7-10 p.m.  or write 400A W. 5th Ave.  UPRISING  BREADS  BAKERY  Vancouver's Best  Wholegrain Breads  1697VENABLESST.  VANCOUVER, BC  V5L2H1 (604)254-5635  Part of CRS Workers- Co-op  At CCEC  Your Money Works  In Your Community  "CCEC works for community development.  We offer reduced interest loans to our member  SVe., housing and advocacy associations.  CCEt^Sffi^^ijion:  Keeoirig Y^ur moiie-v in your community."  ^  OCTOPUS  INEXPENSIVE QUALITY BOOKS  HARD TO GET ART. SOCIAl t  LITERARY MAGAZINES  t JOURNALS  876-2123  Mon. and Wed. 11 am to 5 pm.  Friday 1 to 7 pm.  33 East Broadway  CCEC Credit Union Kinesis July/August '85 39  BULLETIN BOARD  chance to perform before several thousand people and to show your support for  the Gay and Lesbian community of  Vancouver. Auditions are July 15th.  Call 669-1753 to set up time, or for  more info.  •SHORT STORIES WANTED: for an anthology  of short stories by Black women living  in Canada. Please contact editors Dionne  Brand and Makeda Silvera immediately at  PO Box 217 Station E Toronto, Ont.,  M6H 4E2. The book is to be published  by the Women's Press, spring '86.  •DO YOU HAVE ANY PHOTOGRAPHS OF WOMEN IN  their middle years, 40-60? We are producing "a book about menopause" and  need black and white photos of women  alone or in groups, in private or  public settings. There will be a cash  reward for photos chosen. All photos  will be returned. Be sure to write  your name on the back of each print.  Please submit .to Judith Crawley,  c/o Montreal Health Press, Inc.,  PO Box 1000, Station La Cite, Montreal  Quebec, Canada, H2W 2N1.  MISCELLANEOUS  •LESBIAN AND GAY LEGAL ADVICE CLINIC,  offered by the Vancouver Gay Community Centre, 1244 Seymour St., Van.  Open Mondays 7:30 to 9:30 pm. We  provide legal information, summary legal  legal advice, referrals to appropriate  services. Live out of town? Write:  Legal Advice Clinic, c/o VGCC, P0 Box  2259, MPO, Vancouver BC, V6B 3W2.  The clinic is free and the service is  confidential. Provided by volunteer  lawyers and law students.  CLASSIFIED  •LADIES, FINALLY THERE IS A BI-SEXUAL:VENUS  organization just for YOU. Social  functions, and self-help group. Discretion, maturity and honesty required  for membership. For more info, please  |||-send $2 for handling to Ste. 210, 1215  I^Bsfg&e St. or phone 687-1785 between  ?£f§|p|) pm. "This could be the beginning of  :^3a£jPfeautiful friendship."  p|||g|lN EMERGING WORKSHOP- Healing and em-  ^^frowering workshop for women. Outside  Duncan, BC. July 19-21st. For further  info phone Sarah David 385-2954 or write  1165 Fairfield Rd., Victoria, V8V 3A9.  •EMILY'S PLACE'. Women's creekside cabin,  camping, and workshop space 4 miles west  of Parksville. Cabin $10. per woman per  day. Camping $3. per woman per day. Workshop rates available. The Emily's Place  Society directs fees to the project's  growth. Reservations: 248-5410.  And... August 24-28, "Beyond Sex Roles"  a workshop for women and men.  •TWO RESPONSIBLE WOMEN need Vancouver house  sitting job for August. Call Cy-Thea  mornings at 299-5821.  •TAKE BACK THE NIGHT film series (March on  Sept. 20) Women Fight Back to end violence  against women. Next in the series July 12:  "P4W" - film about women in prison at  Women in Focus, 456 W. Broadway, 7:30-10p.m  Next two films - August 9, "The Confrontation - Latinas Fight Back". Sept. 13 -  "Night Without Fear". Both films, same  time and place as the first.  •FOR RENT: EAST END, 1806 Victoria Drive  at 2nd Ave. Commercial space, presently  East End Food Co-op. $675 per month. Tax  included. Available Sept. 1st. Call 254-  5044.  •INTERNATIONAL WOMEN'S DAY COMMITTEE  1986 organizing meeting, Tues. Sept.  10th, 7:30 pm at Brittania Centre  library. Accessible. All women welcomed .  •ATTENTION VSW MEMBERS: The VSW 1984-85  Annual Report is now available. Please  call or write for your copy.  •VANCOUVER COMMUNITY COLLEGE is offer-  in "Patriarchy and Feminism: Old Views  and New Visions", Women's Studies 116.  Mondays, from Sept. 9 to Dec. 16,  6:00 to 9:00 pm at the Vancouver Vocational Institute, 250 West Pender, and  Wednesdays, Sept. 11 to Dec. 11, 6:30  to 9:30 pm at Langara Campus, 100 West  49th Ave. For info call 324-5221, 324-  5222, 324-5223, 324-5405. \  1986 KINESIS WALL CALENDAR  VSW/Kinesis will publish its first wall calendar featuring  photographs of local women's groups. Limited supply will  be available. Advance orders are now being accepted. Send  $8.75 plus $1.00 for shipping in cheque or money order to:  Kinesis Wall Calendar, 400A West 5th Ave., Vancouver,  B.C. V5Y1J8. Include your name, address & phone no.  Wgk  rVSFES:  JML&I  LE FESTIVAL DES FEMMES  *                 m  CANADIENNES  lam  n  ] FEATURING:     *^*  Lillian Allen  Anishinabesug Theatre  Dorothy Livesay            'tfil'iiMll  Diana Mcintosh             WLWi  1 AUGUST 3031  SEPTEMBER 1  Jennifer Berezan  Anita Best  Suzanne Bird  Tracy Riley  Audrey Rose  1 Louise Rose  KILDOIMAIM PARK,  WINNIPEG, MANITOBA  Heather Bishop  Ruggedy Annes  P  Elaine Calgary  The Seacows  Suzanne Campagne  Sherry Shute, Gwen Swick &  For more information contact:  Contemporary Dancers Canada  Catherine MacKay  Canadian Women's Music and  Natch Gloria  The Swing Sisters  Cultural Festival/Le Festival  Sheila Gostick  Lucie Blue Tremblay  Culturel des Fernmes  Karen Howe  Christine Bernard  Connie Kaldor  Zola LeJohn  3D-161 Stafford Street  Wondeur Brass  Maria Campbell  Winnipeg, Manitoba  Mary Thompson  and MUCH MORE!  R3M 2W9                               ^m  (204)477-5478                          ■  Joy Kogawa  flH  T&J  ml  mSm\  'POETRY-PROSE'THE/5  iTRE-MUSIODANCE'VI!  JUALARTS-KIDSAREA-  - Job opening at Kinesis •  POSITION OPEN FOR KINESIS EDITOR. Starting September 23, 1985. Two and a half  week paid training period to October 10,  1985.  Responsibilities: overall co-ordination  of volunteers in the production and  editorial content of the paper.  Duties: -co-ordinate solicitation of  copy; -co-ordinate volunteers on  office business and related areas (e.g.  advertising and distribution);  -oversee contracted production manager;  -attend Kinesis, staff and editorial  board meetings in conjunction with  other volunteers;  -maintain shared editorial responsibility  Also: -production work; design and  paste-up; copy editing; office management; volunteer training.  Qualifications: -ability to work cooperatively with volunteers; -commitment to feminist media; - experience  with journalistic writing; -familiarity  with newspaper production.  Salary: $1348/mth full-time, funded by  Secretary of State until April 1st.  Resumes to VSW, 400 A W. 5th by Sept. 3rd.  Looking for summer reading?  albion books  523 Richards St. • Vancouver • 662-3113  Books and Records Bought and Sold  IF YOUR VEHICLE IS RUNNING WELL  YOU'LL BOTH HAVE A BETTER SUMMER  LArwpwMotorcycle Services ltd >  15W2ndAn.Vancouver. BC.V5Y1B1,Canada  5; ACCESSORIES. Mi  FOR ALL MAKES  Alice Macpherson  Ariel  Books  10 am to 6 pm Monday to Saturday  OPEN SUNDAYS  1 pm to 5 pm  2766 W. 4th Ave.  733-3511  ISflPOHCTS  C   O-O   P     «UL&Tf1UR»<1NT  NEW SUMMER MENU  • Lovely Pasta Salads  and our original "Wild" Salad  • Strawberry Champagne Cocktails  • Cosmic Margaritas  • and Always Daily Specials  GRANVILLE ISLAND  681-8816 to/pl  about woi  Let Kinesis be your microscope.  Make discoveries that will lead ^cu res  for trills of a sexist society.  Take out a subscription and s^rt your  res^aic^tpd^M  Published 10 times a year  by Vancouver Status of Women  400A West 5th Ave., Vancouver, B.C. V5Y 1J8  □ VSW Membership-$23 (or what you can afford)  — Includes Kinesis subscription  □ Kinesis subscription only - $15  □ Institutions - $40 □ Sustainers - $75  □ Bill me □ Here's my cheque  □ New □  Renewal  □ Gift subscription for a friend  Name  i


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