UBC Publications

UBC Publications

UBC Publications

The Ubyssey Mar 5, 1999

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 .-SBC archive* Serial
Is it possible to empower women with-
Pr;'" out alienating men?
We think so, and we certainly think we have with this year's Ubyssey Women's Issue.
As journalists we recognise that the issues we present are only as diverse as the interests of^
our staff. We need to diversify.
Currendy produced twice a week by a male majority of editors and staff, the Ubyssey sets aside one issue aS
year to allow for a completely female voice.
This issue is designed not only to encourage more stories written by and about women, but also to recruit morej
women to the paper.
Make no mistake, although in the office we remain a minority, Ubyssey women are active editors, reporters, writers,
typesetters and researchers throughout the year.
But this issue gives more women the empowering experience of dealing with tight deadlines and understanding thei
mechanics of a newspaper. And that's important.
After all, those who control the medium control the message, and women are not always given a loud or large enough __
Our message: Every issue is a woman's issue.
We have tried to reflect the range of women, both in their ideas and in their actions. JtiP^^***!'
From established filmmakers to experimental painters, from erotic books to bathroom graffiti, from Jfjr_'*Mi
employment equity to the abortion pill, from "sex lady" Sue Johanson to journalist Linda McQuaig, the J$$ij$fi"$».*v*
women featured in this issue wear many hats. _^i"!s!f^^Siosi "«; >• i
We are not only mothers, students and lovers, we are also teachers, artists, athletes, politi- ^^B^^0^^^^^M^f> v ■
cians and domestic workers. *■
Furthermore, class, race, religion, age, ability and sexual orientation are vary-  „\>i
ing aspects of each woman's personal identity.
Through our struggle and our triumph, through our fear and our
joy, through our silence and our voice, we are rejoicing in a eel- _■ ^S
ebrationofall aspects of life. .__■ V
Because, whether directly or indirectly, every .jM ^W
;\   >, issue is a women's issue.»> _—. —~—    lr*     *.
-.?...; m J't ,.
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Stopping the trafficking of women
by Cynthia Lee
When Acier Gomez came to Canada from the Philippines as
a domestic worker, she didn't know her rights. Domestic
workers—people employed as live-in nannies, cooks and
maids—toil for "longer hours, underpaid," she said. "We're
the victims of abuse."
A 1998 study by the West Coast Domestic Workers'
Association reveals that most of these workers earn below
minimum wage.
But, domestic workers are only one group of women who
are victims of this type of trafficking.
The trafficking of women was the main thrust behind a
February conference organised by the Global Alliance Against
Trafficking Women (GATTW), a series of human rights workshops directed at immigration officials, police, social workers,
sex workers, domestic workers, lawyers and students.
There is no internationally-accepted definition of trafficking, but GATTW defines it as the recruitment and transportation of a person to an abusive or exploitative situation,
such as the sex trade, marriage market or domestic work.
According to Jyoti Sanghera, GATTW's international
coordinator, trafficking in women is increasing in Canada
She cited figures from the United Nations—30 million
women trafficked in the last 30 years.
But then she added, "It is almost impossible to get figures
of women who are trafficked. So if it's 30 million that the UN
has come up with...this may very well be the tip of the iceberg."
Sanghera said there is often the misunderstanding that it
is only considered trafficking if the female participant does
not consent.
Rather, as Shanghera explains, the global economy
forces women to move to look for work.
This was the case for Acier Gomez.
"Because of the economic crisis back home [in the
Philippines], we hung on to the edge of life," she said.
Domestic workers go abroad to support their families in
hopes of a better future.
Wishes that
come true
by Tiara Cochrane
Joanna Russel worked the streets for three years. She
was lucky to escape without any diseases.
"It changes your relationships, your life, forever,"
says Russel, now head of the WISH drop-in centre for
female street-workers in the Downtown Eastside.
"Most of our clients will die before they are 30."
She says the women come from devastating circumstances—incest, abandonment, alcoholism, drug
use, and once they are in the circle, they are trapped.
"It is not a profession which empowers the woman,
but the one who has the money," Russel comments,
referring to the men who purchase prostitutes.
The black eyes. The concern over whether a fellow
street-worker was found that day. Russel says these
attest to a women's position in the sex-trade. She says
the majority of the women are coerced into prostitution by men—uncles, fathers, brothers, or friends.
Russel herself has led an interesting life. Originating
from a home of "rich drunks," and following two marriages and a daughter, Russel took to the streets. She
was illiterate and had been a soft drug user, and an
alcoholic her entire life.
She found that she could hide her illiteracy and
addictions for only so long in the deceptively average
jobs and lifestyle which she led.
Fourteen years ago, she was not Joanna, but a man,
with a wife.
"I felt oppression immediately after the operation,"
she says with a wise stare. "I guess you could call me a
Marsha Jacobs, the director of the centre, describes
WISH as a place where the women are treated "with
respect and dignity; as human beings."
It is open nightly from six to nine, offering three-
course meals and various services from detox to emergency housing.
"I dont know what I would do without this place,"
comments one of the women, "it is my second
For this reason Gomez herself was part
of Canada's 24-month Live-in Caregiver
program between 1990 and 1992.
"I contributed to this society for eight
and a half years and everything was taken
She currently faces deportation for
misrepresentation. For two and a half
years she has been fighting for her immigration appeal.
The conflict began when she was
instructed by a recruitment agency to
claim "single" marital status on her original application to work in Singapore,
even though she was only separated from
her husband.
According to Maita Santiago, project
coordinator of the Philippine Women
Centre, when Gomez applied to work in
Canada, she did not alter her application,
afraid she might be rejected.
When she later applied for landed
immigrant status, she was not made
aware that Canadian policy allows candidates to correct information.
"If I knew—if someone had passed me
the information at that time—I wouldn't
have ended up like this, misrepresenting
myself," explained Gomez.
Maita Santiago said Gomez's case is an
example of state trafficking, since both
the Philippine and Canadian governments played a role.
"Acier came into Canada because of the promise of a better future...but of course when she arrived here, her reality
was much different," she said.
"[These women are] subject to what we call legislated
poverty. Essentially [under the Live-in Caregiver program]
they are not allowed to...do anything besides the work in the
FIGHTING FOR HER RIGHT: Acier Gomez is struggling to stay in Canada.
home as a domestic worker."
While Gomez fights for her own right to stay here, she
still finds time to fight for women's rights. "I'm still contributing to the community as a volunteer, especially
women's groups," she said.
"It's about time we open our eyes. We're women and
we're humans too. We have our rights."*:*
GOD: bathroom graffiti can be
a safe venue in which women
can communicate, ubyssey file
by Noelani Dubeta and Leslie Miller
Scrawled anonymously across a
women's washroom stall in the SUB,
'7s anyone else offended by that bus-
stop poster ad that shows a heavily
made-up woman in a bird cage?"
The wall is covered with the reactions of other women who feel
betrayed by the exploitative fashion
"Totally! I get disgusted every time I
see it".
"Yes I'm completely sick of misogy-
nistic advertising."
""Also it's not even effective advertising. I don't even remember the company name. Just the violent anti-
woman image."
Patricia Kachuk, a UBC women's
studies professor, suggests women
write in washrooms because it is a
"safe feminist space."
"All other sights become penetrated by patriarchy," she says.
Rachel Willmsnurst, a first-year arts
student, says she wonders if men have
the same motives as women for writing washroom graffiti. "Men discuss
issues that are not as personal... no
name, no face, a means of expression," she said.
On a men's stall in the SUB, a student writes:
"Those of us men who have learned
to judge a woman's worth by the standard of physical beauty taught to us by
society will struggle with finding true
beauty and love—think about it brothers."
This sparked a few derisive comments on the beige walls:
"Don't worry we didn't see what she
looked like, don't be ashamed."
"Imagine this, a drop-dead gorgeous girl that you love. It happens."
"There is another standard of beauty that is maintained across virtually
all races and cultures. It has to do with
hip to waist ratio, flesh quality and
facial cues. This standard is an
evolutionary one that basically
states 'good breeder.' Ignore it at
your peril."
"RS. The standard you're referring to is likely only a social outcropping of the evolutionary
Matthew York, a first-year student
at Capilano College, agrees with
Willmsnurst, "There's some sort of
attraction or appeal to the fact that it's
He adds that men may express
themselves that way because they
don't feel comfortable talking to their
male friends, or because they can do
it "without having to stand out in a
large crowd but still address a lot of
Others agree that graffiti is a way of
communicating. "Girls want and love
to communicate, and bathroom stalls
are another medium for it," said
Andrea Couts, a second-year Arts student.
So why do women and men feel
the need to relieve their conscience
on washroom walls?
Couts thinks there's a difference,
"Women want to communicate, men
want to make a statement."*:* iCH 5. 1999
United We Stand
Union or Association?
What's the difference? When it comes to what you need, not much.
What really matters is having a strong, united and democratic
organization with political and bargaining clout that will represent
you and your interests - whether it's handling grievances or
bargaining a collective agreement with the university
That organization, whether it's a union or an association, is as
strong as you and your faculty colleagues make it. Unity is one
measure of that strength and 91% of part-time sessionals voted to
be members of the Faculty Association. And 86% of their faculty
colleagues voted to welcome them in. Our academic community is
no longer divided into those who are "in" and those who are "out".
In unity there is strength. The name hardly matters.
The Faculty Association
of the University of British Columbia
faculty®interchange.ubc.ca www.facultyassoc.ubc.ca 822.3883 tel
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Upcomi     Events nit and
around International
Women's Day
Sat March 6:   International  Women's
Day March antt  Rally Starting at
Vancouver Public Library. Participants
gather at 11:30 am    For informal ion. contact 1WD 1999 iXZSi-0067
WOMEN  programming.   It's about
women making history & creating culture.   For information, contaeJ:!i:^J?ft&|§x::ll:::^
Friz m822-1242
March 11 to 14;  Filipino-Canadian
Women's  National  Consultative
Forum   at The Philippine Women's
Centre o'f BC.   For information contact
Jane Ordtnario or Maita Santiago at 215-
I iOi or <p*r» nrtcom,ca>
Sat t&ttth 1$: VajWiWVgf Won****
Health Collective Present!, A n
Edueiiliun .Session  abnul
Mitt wives and  Dontas, tlin to ipm
21S>-16"?5 West 8th Ave   I-or tcgiilration
phfcas   ?.tii-52f>2
Feb 26-March IS    The Women of Colour
Netwsr-fc of the Women Students' Office
pttstms «'t>«ttg I4v* Voices" fnta
screenings    For information contact
Uremia   V   at the Women Students' Office-
#203 BroefcHall at $22-2415
Mara-h l'>-21*  Women Filmmakers? *
R*t«*«ssiag &itr0i>* «r4 (be
History  of Filmmaking. Simon Fraser
University, Harbour Centre.   For
Registration call 822-9171
Thurs March 2S: Vancouver Women's
Health Collective Fr««ents the
film  "Fire" in honour of Inteinational s
Women's Day, followed bj a taciliUted
discussion at 7pm 2)9.1675 Wit 8th Ave
For registration phone 716-S262
March 26-28:   Women  Filmmaker*:
Refocussing, Post-Co Ionia I Contexts
and  Documentary  Filmmaking a; UBC
Chan Centre for the Performing Art*. For
Registration call 822-9171
AIDS Vancouver Women's Programs 893-2210
Centre for Feminist Legal Studies 822-6523
Battered Women's Support Services        687-1867
Downtown Eo.StS.de Women's Centre    681-8480
Entre Nous Femmes Housing society   255-6335
Filipino Women's Centre of BC 215-1103
POSitJUe Women's Network 681-2122
Rape Relief and Women's Shelter 872-8212
SOUTH ASIAN Women's Center 325-6637
Vancouver  Lesbian  Connection       254-8458
Vancouver Society on WMiQRaiHf WOHtN       731-9108
Vancouver Women's Collective 736-5262
Women Business   Owners Association      878-6699
Women in Film and Video Vancouver Society 685-1124
Women's Students Office ab UBC 822-2415 THE UBYSSF
by Courtney Loo and Joni Low
I The trend at several universities across North America
I has been to reshape their women's studies program
|into a more gender based study, both in title and
I structure. Gender studies, they call it. But UBC's pro-
I gram remains women's studies.
Dawn Currie, chair of the women's studies pro-
|gram at UBC, says the title gender studies doesnt sum
it up.
She says she would feel quite com-
|fortable calling the program feminist
| studies, but recognises many would
oppose the change.
"There has always been a lot of resistance, especially at UBC, about the f-
Currie speaks of UBC's program with
pride and she has every right to be
| proud. UBC is home to what was the
| first academically credited and interdis-
|ciplinary women's studies program.
j In fact the Centre for Research in
I Women's Studies and Gender Relations
| on campus was implemented to high-
j light the significance of research in
J women's studies, gender relations, and
I feminist research in all fields.
| Currie would like to see more opportunities for students to learn about
| UBC's program, and hopes more stu-
| dents will enroll in the classes offered. She said she's
| not only worried about the exclusion of men, but that
| she would also like to see more diversity within the
1 age groups, class, and the backgrounds of the students
| enrolled in women's studies classes.
She said she feels a certain frustration at having to
I narrowly locate women's studies within the faculty of
I Arts, as it tends to exclude a lot of people on campus.
| Subjects such as women in the computer science
1 field, women's health and feminist philosophy of science have been suggested as future courses at UBC.
Similar programs to UBC's exist in Western Canada
at the Universities of Saskatchewan (UofS) and
Northern British Columbia, but they are both called
women and gender studies.
Established in 1996, the women and gender stud
ies department at the U of S tries to find a balance
between men and women in the program, and also
between different minority groups. Its ambitions are
mirrored in the logo—the sun and moon symbols of
male and female indicate the balance being sought
"By maintaining the title women's studies
we're giving a clear signal that we're
studying gender and
gender relations, but
we're studying it specifically from the standpoint of women...we
recognise gender
inequality and that's a
kind of
commitment we have."
~ Dawn Currie
amongst genders and the leaf is meant to symbolise
new life and new issues emerging in the field.
Lesley Biggs, acting head of that department,
admitted that including the word gender was a way of
trying to attract men into the program as well. She
said she recognises that the trend of calling these programs women's studies has a broader vision of society,
and thinks that it adds to the progress of the program.
The U of S program is still young but Biggs said she
finds there are advantages to being a late bloomer. She
says U of S has benefited from the experiences of
other women's studies programs at various schools,
and is currendy shaped by a committee made up of
both women and men.
But no matter how advanced the program may
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seem, U of S did shrink away from naming it feminist^
studies. "That might have been a way of turning people away from the program," she said.
Whatever the programs may be called, they are
changing—reaching out to more groups of people
who are not as
aware of!
women's or gender studies curriculum. Future
plans for both
UBC and U of S
include developing more
courses at the
first and second
year level to
reach a younger
audience — a
newer generation that grew
up after the feminist wave.
Biggs said
she would be
surprised ifj
many universities are not mov-
■#__£_§ W^MtMtB j? inS  towards   a
tm€mMMM%^ 0 gender    based
program, even if;
their name may not neces
sarily reflect it. "It may be that they need to remain |
women's studies, because of the particular conflgura-_
tion of politics of their institution." |
Back at UBC, Dawn Currie says changing the name |
of the program has nothing to do with changing the|
progam itself j
"Whether or not we need to change our program is |
different than saying, 'Should we change our name?'")
she insists.
"By maintaining the tide women's studies we're giving a clear signal that we're studying gender and gender relations, but we're studying it specifically from
the standpoint of women...we recognise gender
inequality and that's a kind of commitment we
Bridging the gap between the
classroom and the workforce
by Heather Kirk
Women's studies students are out in the community as part
of a new co-op course that applies classroom smarts to
everyday dealings.
Students enrolled in this year's co-op spend part of
tiieir time in the classroom and the rest working in one
of the province's many women's organisations.
Headed by part-time sessional instructor Marina
Morrow, the course connects concepts learned in the
classroom to performance in the community.
Morrow, whose work focuses on social policy analy~
sis, sees the practicum program as a way "to bring
together the kind of learning that goes on in a university environment with real practical and pragmatic experience in women's organisations...to help students
make active connections between theory and prac-
Having done a great deal of "front line" work herself,
mainly in anti-violence activism, her main goal for the program is "to connect women with feminism as a political
movement and as a social movement."
This year's trial run has seven women enrolled in die
course. The students currently meet twice a month for a
three hour class where they discuss their experiences in the
community and the assigned readings that cover social policy research, coalition-building and feminist activism.
Each student in the course works with a different provincial women's organisation. Groups like The Aboriginal
Women's Action Network, The BC Centre of Excellence for
Women's Health and the Violence Against Women in
Relationships Program at die BC Women's Hospital have all
"This is a good way of bridging that
gap. Students learn how to translate
the theoretical knowledge they learn
in women's studies to actual activist
Amanda Kobler. a women's studies and political science
double major, is enrolled in this pilot program.
"It's such an exciting opportunity... Marina has been so
organised and has done such a good job planning it [the
Kobler is placed with the BC Centre of Excellence for
Women's Health, which operates out of the BC
Women's  Hospital.  She  currendy works  with  a
researcher who oversees grant applications. Every year
the centre gets funding which it then divides and gives
out to various women's groups conducting research.
Kobler is learning how to apply for grants and how to
write research proposals. She says the practicum pro- \
gram is helpful because it "reducing the fear of going out
- Amanrla Knhlnr   and actuaDy doing real feminist work."
nutauua ntwicrr,      uke Morrow> KobIer te aware Qfthe spj_, feminism cre-1
Women's Studies CO-OP Student ates between community activist work and academla.
"This is a good way of bridging that gap. Students
learn how to translate the theoretical knowledge they learn
in women's studies to actual activist work"
Kobler is only critical of the program's length. As it
stands, it's only offered as three credits.
"It's too short. There's not enough time to get involved in
an organisation and do a really significant project. It definitely needs to be a six credit course."
For this reason Kobler plans to continue volunteering at
the centre after the course is complete,^
taken students.
Before starting-up in January, Morrow designed the
practicum with the placement organisations and received
their advise regarding the course oudine and process.
Morrow says that there has already been a wide range of
interest expressed by other organisations to participate
next year.
"Its been a really positive experience..for the most part
students seem to be really enjoying what they're doing." 6 THF I1BVSSFY. FRIDAY. MARCH 5. 1999
Copies Plus
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campus community
Vice-President, Students
Brian Sullivan, University of Guelph
Monday, March 8,1999 and
Tuesday, March 9,1999, 12:30-1:30pm,
David Lam amphitheatre,
2033 Main Mall
Students, faculty and staff are encouraged to attend. The
candidate will present his views on the position and answer
your questions. This portfolio is critical to the realization of
UBC's vision for the 21st century, as outlined in Trek 2000. For
further information on the selection process, please visit the
Web site, http://www.oldadm.ubc.ca/president
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There, the compound takes over the receptors lining the
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Mifepristone, otherwise known as RU 486,
induces a medical abortion—a miscarriage
without surgical tools. Over 200,000 women
worldwide have taken the drug. Although illegal and
unavailable in Canada, some BC abortion providers
would like this to change.
"Medical abortions are much better for some
women because they can be at home with their
boyfriend or hu kind t» mother, ilu-j nit iim- tlirii <r.vi.
bathroom and bed and they feel like theyre not being
invaded by sliange people," s>aid Ellen Wiebe, a
Vancouver physit itui who performs abortions.
She is lobby ing for the approval of RU 486 because
she would like v\ oi 1 icn to have a choice between surgery
and the pill. Wiebi ■> t In tic is the only one in the Lower
Mainland that <■:!. is ,i Turin of medical abortion, using
the drug known as Methotrexate.
Once injected, Mittiotrexatc stops fetal cells from
multiplying, causing a miscarriage. But, according to
Wiebe it can take week& to woik aad this often causes
women stress and anxiety.
RU 486, by contrast, is between 96 and 98 per cent
"Mifepristone appears to be a better drug than
Methotrexate. 11 wt >rks more completely and fasten so it
is important that we get it into Canada," said Wiebe.
But pro-life advocates warn against the pm-choice
movement's enthuuaun about bringing the drag u>
"People from the pro-choice standpoint have a tot of
reasons to be cautiot|$ about any attempts to speed up
the approval pro* -v." .saul Alms Vernon, d int'inlu-i of
UBC's pro-life club, Life Line.
Vernon says that the two-days it takes for the pill to
work would be moie pschtiltagically d.tmajyu__: than
the surgery, which i akf.otil> ID-15 mini lies.
"She's made graphically aware of what die's doing,"
said Vernon. "She's taking the fife of her unborn child
and I think theie's tn-iuendotb ptwiinlofSaCdl tonsi"
quences to that'
Vernon also pt >i i ited oul that the proK-dun; could bi-
risky for a lot of wunt.n. If the pruwdun. faiLs, whit:h
occurs about four | >e. cunt of the time, ihe woman must
immediately resort to a surgical alxu (inn to avoid enm-
plications later m pregnancy
Studies on Mifepristone have led to thu prohibition
of its use by womun who aiu ovci the .igr of J4. -in?
heavy smokers, hive -ibnoirrtal ineriMriul bleeding,
have previous abortion history, or have used IUDs or
hormonal contraceptives. The drug is also not recommended for women with allergies, including asthma
Still, a drive is on to bring the drug to Canada In BC,
there are over 15,000 abortions performed each year
and finding qualified physicians to perform the surgery
is becoming a problem:
The average age of abortion providers is 59, and
there are very fewyoung doctors performing the procedure. Only four abortion clinics can be found in the
Lower Mainland.
The lack of doctors, say some pro-choice advocates,
is due to security risks surrounding abortions.
In the past four years, five abortion providers have
been shot, the latest incident occurring in October of
last year with the murder of Dr Bamett Slepian, a gyne
cologist in Buffalo NewYork.
In response to this murder, BC Health Minister
Penny Priddy urged the federal government to expedite
the approval of RU 486 in Canada
"Given the controversy surrounding abortion,
Priddy felt that there needed to be some public support," said Jeff Gaulin, a spokesperson for the ministry
of health.
Priddy says the drug will decrease the risk to abortion providers, and thus encourage more doctors to perform abortions.
But this theory is getting mixed reviews from the pro-
choice cwmmuri^y. Tm afraid that there would still only
be a limited number of doctors willing to do abortions,
even if ifs a medication they can prescribe in their
offices," saidWiebe.
She adds the RU 486 would only make it safer for
doctors if it decentralised abortions and if many doctors
prescribed it. She says ifs unlikely that will happen.
Many pro-choice advocates believe legalising RU
486 will weaken the pro-life argument. They say that
support for abortion rights tends to increase the earlier
that women get Abortions. HU 486 must be adminis-
t«sd widiin ihe first seven weeks of gestation, whereas
surgery can only be performed alter six weeks.
But, Vernon insists the fundai nental premise behind
all pro-life views is that human life begins at conception.
"We're fitting to make sure that every child that's
conceived has die right to a birthday," said Vernon.
"There's no arbitrary line that we can draw that shows
that life at one stage is any mon? important than life at
another stage."
CtinDeafiy, RU 4$6 is used as an alternative to surgical
abortion for one third of woirienseeking an abortion in
FiSHKse, Britain, and Sweden. Him drug has also been
apj^bved by the Food and DrugAdjninistration for preliminary testing in the US.
Aurora Medical Services in Seattle, is one of the clinics perfonning trials on RU 486. Since 1994, the clinic
has provided RU 486 to over 600 American women over
the age of 18.
Debra Vanderhei, the executive director at the clinic,
says die response to the drug lias been overwhelmingly
"The patients love it," said Vandei hei. "They feel that
it is mote natural and less invasive.'" Si le added that even
women for whom the procedure failed have said they
i would recommend it toothers.
Natalie Reber from the Cedar River Clinic m Renton,
Waslaingtonsays that many women from BC go there to
have an abortion, mostly because the waiting lists are
not as long as they are north of the border.
Reber says that in the event of legalisation, women
from Canada should be able to seek an RU 486 abortion
in the US.
"I don't think there would be any legal ramifications
of her coming down here. She doesn't have to go
through the ministry of health, she can just pay cash."
As for legalisation here, Health Canada says it won't
happen any time soon.
"No person or company has made a submission to
Health Canada to have this drug marketed," said Joanne
Ford, a spokesperson for Health Canada
"Until a company would like to market this drug
here, there's very little Health Canada can do to have the
drug available."*?* THE UBYSSE-
Nora Patrich-voice of struggle
"I don't know whether my art is good or
not..." she says, leaning back casually in her chair
and half closing her dark brown eyes. "But I try to
bring out the best and not be mediocre"
by Penny Cholmondeley
This is not false modesty. When Nora Patrich speaks,
you know she is sincere. She is graceful and relaxed
and her words seem carefully measured. She radiates
a subdued energy. For a woman whose life and art have
been described as "extraordinary," this is not entirely surprising.
Identity is important to Patrich. She describes herself as
both a Canadian artist and an Argentinean artist, as part of
Vancouver's Latin American community, but also independent of it. Activist, artist, woman—she is all of these things,
but none of them separately.
Many of her paintings depict women who appear strong,
earthy, and beautiful. Like Patrich, their eyes seem to draw
you into their thoughts.
"I like to work with becoming conscious of what's around
me, and I think as a woman, a lot of the times we find ourselves immersed in realities that we're not really aware of,"
she says.
Environment has had an immeasurable impact on the
development of her art. In 1998, Patrich and her husband, artist Juan M Sanchez, were the subject of filmmaker Cindy Leaney's documentary My Art Will Rise Up
and Speak.
The film chronicles their involvement as artists in
protests in Argentina during the 1970's. For Patrich, who's
first husband and six other family members were killed by
the Argentina Junta during the "Dirty War," the experience
was not always an easy one.
Much of the filming was done in j\rgentina and it was the
first time Patrich returned with all of her three children. In
the end, she saw the experience as a healing process for her
and her family.
"It was quite stirring...quite moving for all of us," Patrich
says quietly. "I had never really dreamed that I would ever
go—be able to go back with the kids."
Patrich became interested and involved in politics at a
young age, protesting the poor social and political conditions bred under Argentina's fascist military regime. She
doesn't believe you can ever have art without politics. Even
non-involvement is a political stance.
"Thinking is dangerous, and that's when art becomes dan-
gerous...when you're taught to think, to be creative, and when
that happens, you're going to be able to solve problems."
Whether she is working on a mural or on a canvas,
Patrich wants the spirit of her work to move beyond herself.
If an artist brings their own experiences to their work, then
so does their audience.
"What we want is that our art speaks for us. To me they
[my paintings] need to keep on speaking whether I'm here
or not."
As a result, what her work says to people in Argentina
is different from what it says to Canadians. For a woman
concerned with exploring identity, this is something of an
"I have to go to Argentina for people to say how
Canadian my art is," she says, the corners of her mouth
turning up in a slight grin. "Any article you see [about me]
is going to say I'm an Argentina artist, but I've been a
Canadian for 12 years."
She finds this almost as funny as she does disturbing.
Canadians are too interested in cataloguing art according to
a very narrow criterion of "Canadian identity."
Patrich tries to avoid categorisation. As much as she supports equal opportunities for all people, she is concerned
about marginalisation.
"I don't believe in ghettos," she states firmly. "I don't
think I should be supported separately because I am Latin
American or a woman."
She fights against what she sees is a prevalent attitude:
that the Third World has to do with mediocrity.
"Being from Latin America, or any other Third World
country, you're expected to do 'Third Worldish' things,"
says Patrich seriously. "And when you don't, people feel
very uncomfortable."
According to Patrich, this is because the Canadian art
scene is more concerned with clinging to the past than it is
with supporting new ideas and constructions. Put bluntly,
Canadian art is in danger of becoming stagnant.
Blame globalisation, says Patrich. In the new "global"
economy, art equals money and art equals business, but
when does art equal expression?
The hypocrisy of the situation bothers Patrich. The "anything goes" attitude she sees in artists today would never be
acceptable in a doctor or a lawyer.
"It's quite a decadent situation, where you don't need to
know how to paint and draw, you just get a toilet and hang
it upside down and call that art."
Likewise, the lack of interaction in the Canadian art world
saddens Patrich. She takes a long pause before saying "I think
artists here are quite isolated...and the only way a culture
grows or is created is when there is communication."
That said, Patrich speaks out on issues that she feels
affect humanity. In 1994 she was presented with the Mosaic
award for her contributions to the defense of human rights.
She has worked with various women's groups, with street
youth and has been a foster parent. She is frequently a
speaker at conferences and gatherings that address issues
of community and identity.
"Historically in Argentina women have had a very
strong political influence," she says proudly. "Its really
quite a phenomenon."
It fits that a woman with such a solid sense of humanity
and of justice should have strong women as her mentors.
"My first inspiration was Juana Azurduy. She was a
Lieutenant Colonel in 1810 in the Argentina army... Her
husband was under her command and she was very much
feared and respected. She had four kids and she lost all
four kids during the war." Patrich seems to identify with
her strength and with her ability to survive despite suffering and obstacles.
"Another mentor was Evita," she adds quickly and then
says laughing, "being from Argentina, I can't help that!"
At times Patrich seems unaware of the dramatic impact
her own work can have on people. She recalls a moment
when she was reminded of that impact.
"I was at a public fair [in Argentina] with my art and two
women came up to me and asked me if I was Nora and they
shook my hand," she says, her eyes drifting as if she is transporting herself back to that time and place.
"They walked away and I heard them talking with each
other...you could tell they were housewives from the outskirts of the city, they were not people who would go to an
art show or anything like that...and one wonian said to the
other, 'it was really an honour for me to come all the way out
here to meet her'..."
Patrich stops and shakes her head as if in disbelief. "It was
like 'whoosh!' All of a sudden I felt like I was flat on the floor
and realised the responsibility that I had."
She says that experiences like these "haunt" her and
amplify her already strong desire to demand more
from herself.
That someone as driven as Nora Patrich knows the word
"mediocre," let alone imagines that it might apply to her, is
difficult to fathom. Because beyond her principles and her
politics, there is a message in her art and her actions of
inspiring self-actualisation.
"That moment where all of a sudden, this little light
comes on..." she pauses, then smiles contentedly. "I like to
paint that moment."*:* ft
H 5. 1999
Force in all directions LOT'S
As I readi the third floor of the Hetmiijgs
building, the faces of fornwr professors stare
by Nyranne Martin    pie haven't always been supportive, she
I turn the corner and enter her office. She's
wearing black jeans, sneakers and a fanny
pack rests on her hip. Wild strands of
hair frizz out from her messy
ponytail and large wiry
glasses sit perched
on the base of her
expected      a
professor   to
like, but
her office
sure does
n't   fit
smiles  and
WORKING MOM Kristin SchleicK __
same office. Christine tassos photo
me to sit down, I have to scramble over a
play-pen and push aside a tricycle to get to
a chair. I have to move the plastic toys that
are scattered among three computers and
stacks of paper to find enough space on her
desk to put the tape-recorder down. The
blackboard is filled with mathematical
equations and the counter is covered in
bottles of blowing bubbles and pop cans.
Walking into Kristin Schleich's office is
an adventure. She juggles the roles of
researcher, teacher, spouse and mother all
adds. "Some people take me very seriously   S lift If ^ I *V    GU>*     «LJ^Q2&
and some people don't," she says matter-of- „   * ___ ^    _
factiy dusty—flamed
All men*
Strolling down
m       the hall, I
struggle to
find tne few
faces in the
pictures from
the last twenty
When I get to
the pictures  of
the  current
professors9  I
find only two
women in a
sea of men.
ay in the
She's confronted with these kinds of
reactions still after a doctorate and postdoctoral work in her field of general relativity and quantum gravity. Her voice sounds
almost tired as she describes an incident
where a colleague assumed that someone
else had written a paper that was actually
her work.
But, gender is not the only issue, she
says, describing the competitive nature of
research itself. "It's like any field, where the
impression you make depends not only on
iS   ©
thme t
in this room. And although she wouldn't
have it any other way, moonlighting is not
From an early age, many people supported her to take this path. As she adjusts
her glasses, she recalls a friend from grade
eight whose mother had a PhD in electrical
"She was a mother and she was a college
professor and she was a normal person who
really enjoyed engineering. It was really significant to me to actually realise that not
only could you be interested in science or
engineering, but that there were women
who were successful at doing this and that
you could really go out and do this instead
of following a more traditional path."
Since that time, Kristin's life has been far
from traditional. She smiles coyly as she
explains why she transfered from the
California Institute of Technology to the
University of Chicago during her second
year of undergraduate studies. A boyfriend.
Starting school late meant she couldn't
take certain courses, so she found herself in
a graduate course in quantum mechanics,
studying under Professor Bob Sachs.
"He noticed me—which isn't too hard
considering there were two women in a
class of 40—but he was very encouraging."
Kristin says from the moment she
entered his class, Sachs was an extremely
supportive mentor, and she thinks that his
positive perception of women in science
probably has a lot to do with the fact that
his own supervisor was a woman (Nobel
Laureate Maria Goppert Mayer).
Bat it hasn't always been easy and peo-
how you present yourself but on how other
people perceive you as presenting yourself.
"I don't think I have the 'male speech
patterns' and the 'male presentation' and so
for the people who trigger on that unconsciously, that's probably where I sometimes
run into problems. And I've just never been
comfortable with changing who I am or
how I present myself just for that reason."
Although she stays strong and determined on her path, it's been a stretch holding a faculty position and having two children, one five-year-old and one fifteen
month-old. Her husband, Don Witt, also a
general relativity researcher, is a sessional
lecturer at UBC because there aren't
enough positions available in their field.
She's also had to contend with conflicts
with faculty members who don't understand her choice to have priorities outside
"Some people are very unforgiving in
the faculty and in society," she says blundy.
But she is adamant that her multiple
roles haven't had a negative effect on her
ability as a faculty member. "I think that I
bring quite a bit to the department because
I'm not only a researcher, but a mother."
Her mood changes drastically when the
topic turns to her actual research. When I
sheepishly admit my complete ignorance
about physics, her face lights up and
teacher instincts kick in. She leaps up to
the blackboard in her office and scribbles
quickly as she tries to explain how exciting
space time and Einstein's theories can be.
As she brings out the wooden toy truck
that her five-year built, she proudly tells
me that he's already interested in physics.
But as both her children are boys, for the
time being she'll have to stick to encouraging other people's daughters to stay in science.
She loves to teach. She loves students.
She gets almost giddy when she talks
about the upcoming Physics Olympics.
"It's an event for high-school students
we run here at UBC. It's for teams of them
to come out and do hands-on physics
experiments to compete. The idea is to
have fun with physics by designing things
that will do wacky stuff." And in mid-sentence one of her students stops by to ask
whether he can help out with this year's
She hopes that events like the Physics
Olympics help to spur on women's interest
in the sciences. It's difficult and lonely for
women to have all their female friends in
different subjects, she says, adding that
women often leave physics-related fields
because of that lack of community.
"In physics I think you still have to be
pretty independent and pretty happy with
interacting with men, just because of the
And the numbers haven't been improving much. "When I look at the undergraduate population, there really aren't that
many more women doing physics then
there were when I was an undergraduate,"
she says soberly.
"My hope is that as time goes on, more
women will go into physics and other
physical sciences and that that we can sort
of change that iaspect of the culture."*
by Jo-*A
A grandmotherly type is the last person anyon
expect fast-tracking university students to get se
Yet when celebrity sex educator Sue Johanson
appearance at Gage Residence in February, UBC
turned out by the dozens.
"Talking about sex is a survival skill," :
Johanson. She emphasised that sex education
necessity for the next millennium, not an indulge
Much has been said of Johanson's "humour"
"frankness" in her approach to talking about the f
of life, but Johanson's talent is that she is a true t
She shuns the preachy techniques used in 1
school sex education classes and its "relentless sei
for fallopian tubes"—one of her favourite quotati
But Johanson's presentation is really about instr
ing people how to do it, and to do it well. Teacl
about health concerns and responsible behavioi
merely part of the package.
Johanson's popularity may have to do with
ability to communicate information about intin
issues, but she gives the feeling that you need to k
this for personal safety and health.
The audience doesn't walk away feeling like a
vert, which is the traditional stigma associated i
curiosity about sexual techniques. It is a stij
which Johansen dismantles at length.
Then there is the sheer quality of Johanson's m
rial. Using easy-to-understand language to trans
well-researched information on the anatomy, ph
ology, and biomechanics of the human bi
Johanson explained it all, from instruction on ho
Linda Mc(
She took on Brian Mulroney, she makes fun c
boss—Conrad Black. She's one of the most resjpi
and she's always attracted to controversy.
On Tuesday, February 9 Linda McQuaig gavi
the Vancouver Public Library to an overflowing
and heckling critics.
The topic of discussion was her new book,
present political and economic situation in C;an
Both the book and her speech refute the poipt
powerless in the global economy to deliver full
social programs.
McQuaig began her speech by clearing up sc
Ffast, there was some confusion about the
didn't know it was a cult!" one male friend <of he THE UBYSSF'
ialk about
perform a proper blow job to finding the elusive G-spot.
j\nd there was much, much more.
Maybe Johanson wasn't embarrassed, but there
Johanson started a birth control clinic at a local high
school, which she went on to run for eighteen years. She
said it was the first of its kind in North America.
were some curiously red faces in the audience.
Johanson also confronted the eternal question of
whether it really matters that a male have a
humungous schlong. On that note, she adamantly
emphasises that getting off quick is not the end of the
"Ten fingers and a tongue," she said pointedly.
In contrast to her no-holds-barred approach
toward sex, Johanson is less comfortable talking about
her personal life. Any queries about her family are out
of the question, other than confirming that she is the
mother of three and grandmother of two.
Johansen herself studied to become a registered
nurse at St Boniface Hospital "a long time ago".
Eventually she left nursing to devote herself to being a
wife and mother.
Back in 1969, her daughter brought home a friend
who thought she might be pregnant. Johanson confirmed
the pregnancy. Since abortion was not yet legal in Canada,
Johanson helped her daughter's friend arrange for an
abortion in the United States.
"I didn't want kids to go through this," said Johanson,
describing the experience as "traumatic".
It turned out to be her calling in life. In 1970, when
Canada did legalise abortion and the contraceptive pill,
Through her work in the clinic, Johanson made a
potent discovery about high school kids.
"They were all having sex, but didn't know what they
were doing," she said.
Sensing that Canada's youth needed
more effective sex education, Johanson
left home in 1974 to spend two years
upgrading her schooling in the United
In 1976, she returned to Toronto and
developed a new dimension to her
career as an independent educator. She
ran seminars in high schools, in addition to operating her birth control clinic.
Johanson moved on to the current
phase of her career and began speaking
on the college and university circuit.
Talking about sex has become a big
business for Johanson. Never has a
career in education been more lucrative. She hosted a radio sex advice show
for 13 years and garnered a prestigious
sponsorship with LifeStyles Condoms
five and a half years ago. She now hosts Sunday Night Sex
Show on the Women's Television Network.
Johanson has published three books and regularly
writes columns for the Toronto Star, MENZ magazine,
and for upcoming issues of Campus Magazine.
Her career has garnered her instant recognition as the
"sex lady."
"Why are you such a dirty old lady?" inquired one person before Johanson started her talk at Gage, but to no
effect. Johanson merely laughed.
Early in her presentation, she explained that her
explicitness with young people is possible simply because
they're not her own children, so she doesn't care what they
"I can't talk to my kids about [sex]," she admitted.**
SEX LADY Sue Johanson stretches the boundaries on education about the intimacies of life, cynthia lee photo
uaig takes on the cult of the big boys
 by Coralie Olson
1 Martin and criticises her
female writers in Canada
o-holds-barred speech at
n of cheering supporters
ult of Impotence, and the
Aief that governments are
loyment and well-funded
tiisconceptions about her
particularly from men. "I
i with exaggerated relief.
"I want to make it absolutely clear that any connection between the title of
this book and any man I may or may not have known while I was writing it is
entirely coincidental," McQuaig said, laughing with the crowd.
The theme of'impotence' actually refers to the idea that governments are
powerless in the global economy because they have to satisfy the financial
market and the financial elites. In this sense, governments have given up
McQuaig began her journalism career writing for the University of Toronto
newspaper, the Varsity. She has written for the Globe and Mail, the Toronto
Star, and Maclean's, and has had a bi-weekly commentary on CBC radio.
These days, she writes a bi-weekly column in Conrad Black's National Post.
However, she jokingly said, "it is so well-hidden that my own mother can't
even find it!"
The Cult of Impotence is McQuaig's fifth in her series of books that criticise
politics and economics in Canada
"I didn't have any plan as I started out, but I was always attracted to issues
about power and the way the financial elite seemed to get their way and influ
ence public policy, and was interested in pointing that out."
These observations seem to be the inspiration for her books, as she felt
that she couldn't really address the full scope of these arguments in the
For instance, one of the main themes in McQuaig's book, which she also
focussed on in her speech, was the "Tobin Tax."
The Tobin Tax, proposed by economist James Tobin, would apply to currendy untaxed large transactions in international currency markets. This
small tax would limit these transactions, while the money would go towards
helping national economies.
However, this idea has been resisted at the senior levels of the Canadian
government, although it continues to be lobbied for by McQuaig and other
McQuaig claims that she is not attracted to controversy, but that it is the
way she sees things that seems to get her into trouble. Aithdttgh she didn't
specifically say wfoatfc next for her, as faig as inequality exists in politics and
economics, she is certain to have something to say about tt.^ RCH 5. 1999
the uDyssey
The U.B.C. Cricket Club is
welcoming new players
for the 1999 season.
For more info call Paul
Be a part
of our million
family and
keep the
light on
human rights.
Join the
human rights
Amnesty  International
Call    1-800-AMNESTY
him* hi
Get tickets to see the Grizzlies!
Come to Room 245 with your Student ID.
First come, first serve.
March 10-20 7:3opm
BC Tel Studio Theatre
Chan Centre for the Performing Arts
March 10 preview $6
Tickets: Reg $15 St/Sr $9
Frederic Wood Box Office
fl   aT.     Cy   M  Qi   \\j     g      Q
Shum: serious and...
by Michelle Mossop
"It's pronounced Shum, like bum," she says with a
chuckle, "Everyone thinks it's 'Shoom'. I guess
because it sounds more sophisticated, more elite,
more avant-garde, but it's not. I'm not like that."
After her critically acclaimed movie Double
Happiness (which received Genie Awards for both
Best Actress and Best Editing) and Drive, She Said,
(starring Moira Kelly), you'd
think that all the success
writer/director Mina Shum
has encountered woyJr|
have gone to her head. But
it hasn't.
In fact, it becomes clear while watchin
her stir her coffee in her favorite East Van
diner, that Mina is both serious and silly,
both confident and humble, and both a professional and an
People th
she's crazy
she's like
not, I'm not
crazy. Ifs
of coping
-Mina Shum
Fry CM
artist —and she
slips in and out
of these descriptions naturally
and with ease.
Her eyes
brighten with
mention of the
script she's currently working
on, Fry- Girl, a
story about an
sixteen year old
Canadian girl,
Maria, who daydreams in musical sequences.
"People think
she's crazy, and
she's   like   'I'm
not,    I'm    not
crazy. It's a way
of        coping,'"
Mina explains, "the
whole film for me is
about   what   predominate point of
view that can judge
whether we're
insane or not."
Minei, knows all
of this too well, she
says, because in
high school everyone thought she
was crazy, "I'd hear
it all the time,
'you're crazy, you're
nuts'—because I'd
have these grand
visions of doing
plays and what not."
But craziness is
exactly what
Mina hopes to
advocate, she
.explains - thaf
"if Marta stops
being crazy,
what do we
lose? We lose a
creative voice.
We lose someone who's
herself in a
unique and
But it's
therapeutic to
deal with the
experiences that
have maited her life, she says with a smirk, because,
"You're getting back at everybody by making the
movie in a way."
In Double Happiness, she lampoons the people
who determine what stereotypes of Asian people we
see; In Drive, She Said, it's the encoding of women
and the assumed paths women are to go down; and in
Fry Girl, it's the overblown reactions towards what
Writer/director Shum looking forward after finding
success with Double
Happinesss  photo courtesy
might be a bit different.
These reposes are all derived from Mina, and from
her own experiences. But how does she feel about all
her movies being either autobiographical or semi-
"It's scary because you are throwing yourself
naked in front of everyone and you're saying that this
week I have a little bit more cellulite than last week,
and it's like—" she says as she throws her arms in the
air, "—'I hope you still
love me!' "
Mina finds it quite
amusing, as well as a
bit    unnerving    that
people now care what
she thinks, what she
feels, and what she
And it's no wonder she feels this
way. After being
turned down by
UBC's film school,
twice, Mina ended
up completing her
theatre degree
She tried being
artistic, making her
application in the
format of a ransom
letter with magazine
cut-outs, but she
says, "they thought it
was terrible, they
didn't get it."
UBC film finally
accepted her to
the program, and
after two years of
learning "the nuts
and bolts of it,"
Mina finds now
that her foundation in drama and
acting gave her an
edge, and says it's
been beneficial in
working with her
She has always
thought of herself
as a student. She
leans forward, a
serious look spreads
across her face.
"It's important to
just consider yourself always a student for the rest of
your life and that
will give you the
courage," she says.
Mina pulls on
her toque and giggles   a   bit   after
showing  me  her
tattoo     on     her
ankle. It's of a film
strip   with   Double
Happiness and Drive, She
Said represented in two of
the many empty squares.
She decided to get it
when she turned thirty,
after Double Happiness,
she says, because she felt
that, "I had been scared
permanently    by    that
Mina says the tattoo
illustrates how life is just
one big learning process.
"I have made imperfect films in the past, I will
make imperfect films in the future, I will make great
films again," she says, "but it's better to have tried and
failed than to had never tried at all."* THE UBYSSEY * FRIDAY. MARCH 5.1999 1 1
by Megan Quek
Since the dawn of film, the male perspective and vision have dominated
movie screens around the globe. In an
industry where women have traditionally been guided to the editing rooms
and men to the technical equipment,
gram said, 'You can't touch the
Camera'' It was just that they would all
run to the camera." The encouragement the guys in class received from
the professors was not overt or intentional, Maureen explains. The guys just
had more confidence and asked more
questions and as a result, the professors
more confident to experiment with
technical equipment. "You just have to
believe in yourself...and not be intimidated," says Kathryn.
Confidence is the main difference
between the old Maureen and the new,
and it has enabled her to pursue a
career as a director. "Nobody is saying,
"Hollywood-nalisation" of the world—
they want to be creative and unique.
"I want to make the films I want to
make. It is a dance between keeping
your artistic integrity and not selling
out, but at the same time being conscious of your audience," says Sarah.
Kathryn wants to make films that are
Maureen Bradley, Sarah Shamash and
Kathryn Pettit are three women in the
UBC film department who are questioning and challenging these traditions.
Maureen recently
returned     to
UBC to complete a Masters
in Film after working in the video
MAUREEN industry as an editor. Prior to this she
BRADLEY at completed a communications BA in
work in the 1990 at Montreal's Concordia
film depart- University, but she didn't enter the film
ment cynthia program there. "I found the group
lee photo atmosphere to be intimidating, and
that my skills and knowledge were not
"It was as if I was not entitled to be
there. It was not as if the guys in the pro-
gave them more attention.
"Guys have been taught since they
were young that they can fix things and
build things and most little girls don't
have that experience. I think that guys
have a natural sense that that is what
they should be doing."
So Maureen joined
the list of women in the
stereotypical 'woman's
job' and began editing.
She edited not because
it was a calling, but
because it was a solitary
job: she could be in a
room on her own and
not have to contend
with the gender dynamics of a big group.
However, over the
span of about ten years,
the classroom atmosphere has changed,
according to Kathryn
Pettit and Sarah
Shamash, both third
year film majors at
Although there are
only two women
among the fifteen students
enrolled in the fourth year program,
there is an equal ratio for third year film.
And, while Kathryn sees herself working as an editor in the future, it is not
because she feels that it is expected,
rather it is a viable job.
Although Kathryn and Sarah believe
there are few gender issues in their
class, they point out that men are still
more drawn to the technical aspects of
film. "There is a bit of the thing with the
camera and the machinery and guys—
for sure that's there," says Sarah. But,
they feel that young women are now
'You can't make a film
because you are a woman,'"
says Maureen. But, at times
when she is the only female
crew member, that is what
she senses.
The African-American,
lesbian director, Cheryl
Dunye, had a major impact
on her and inspired
Maureen to become a director. Before seeing Dunye's
work at a Gay and Lesbian
Film Festival in Montreal,
Maureen was unsure about
the course of her career. "I
didn't see anybody else
telling the same stories I
wanted to tell," she explains.
Now, she has found her
vision. "I would like to make
a feature film that had
queer people in it and
women that looked
however they looked.
Whether they were
skinny, chubby, tall, or
short...normal people."
Sarah and Kathryn
have also been
inspired by female
directors, Mina Shum
and Lynne
Stopkewich, two UBC
graduates. "Knowing
that really strong
women have come
out of UBC film is really inspiring...knowing
that you can totally do
it," Sarah says.
Neither Sarah or
Kathryn want to conform        to        the
UBC film
how the
club of
making is
bold, daring, and
potentially controversial. "I would like
to be somewhat cutting-edge and avant-
garde, and to challenge certain con-
ventions...to push it
and see where it is
going to go."
These women
are the new faces of
the industry. While
the public may see
them as female filmmakers, they see
themselves as filmmakers who simply
wish to strike a uni
versal     chord
Employment equity is a program of planned change to
ensure thai a workplace reflects the community around
applies to four groups: First Nations persons, persons with
disabilities, persons from racial minorities, and women—
the groups of workers who have been consistently discriminated against in Canada.
Job equity still misunderstood
by Carin Kietaibl
Vomen make up more than half of UBC
workers, but not necessarily the better
lalf. The situation's got the attention of
he university's equity office, who,
lespite controversy, would like to see
nore women in the top spots.
At UBC, women comprise 51 per cent
if the workforce, but the distribution
mong the general hierarchy of positions
3 not even.
With Martha Piper as university pres-
ient and Shirley Neuman and Maria
3awe as the deans of arts and science
espectively, some of the university's
aost esteemed positions are occupied
y women, but this is more the exception
tian the rule.
In fact, only 23 per cent of faculty
iositions are held by women.
UBC equity advisor Margaret
arkissian suggests improving the situa-
on requires "widespread and unbiased"
"We have to make sure we are follow-
lg a biasfree process and that the selec
tion process does not discriminate
against women," she says.
But at least one professor is concerned this could lead to discriminating
against males. Philip Resnick, of the
political science department, made
headlines two years ago when he advocated against a UBC advertisement
specifically requesting resumes from
female or aboriginal candidates for the
position of UBC president.
Sarkissian says this is probably the
biggest problem facing the equity office.
" [Some men] are concerned that it is a
form of reverse discrimination, and that
is hard notion for us to dispel. Maybe we
need to do a better job in the Equity
Office of getting the message out so that
misperceptions can be put to rest."
Education of the issues would help
dispel negative notions about employment equity says Sarkissian.
She suggests the solution is to
increase awareness of what UBC is trying
to do to promote women, visible minorities, persons with disabilities, and
Aboriginal people within the campus
Sarkissian says many people confuse
the university's efforts with affirmative
action programs, like those implemented in the United States. Affirmative
action promotes hiring quotas for designated groups.
In contrast, Associate Vice President
Equity Sharon Kahn, says employment
equity provides a set of hiring goals.
"They are goals. They are not quotas,"
she said, adding that UBC has never set
Rather than setting quotas, employment equity hopes to bring scrutiny to
the hiring and recruitment processes.
Increasing the recruitment pool for a
position ensures that the greatest number of qualified applicants, including
both genders, are aware of an available
Kahn adds that some people are not
even sure whether or not it's legal to have
employment equity programs. "The central belief here is that employment equity sanctions alternate standards, which is
simply not true."*.*
Ihe Canadian Charter of Rights and Freedoms supports
employment equity. Ihe federal Employment Equity Act is
meant to prevent problems so that they do not need to be
brought to court.
•Myth 1: Employment Equity is reverse discrimination.
Employment equity levels the playing field for all workers.
Its intention is not to ctiscriininate against certain groups,
but attempts to remove discriminations currently in prac-
•Myth 2 : Employment equity means hiring unqualified
Employment equity is designed to give qualified candidates a chance at filling jobs they weren't previmisly considered for.
Workplaces affected by the Employment Equity Act report
once a year to the federal government. The 1995 report
showed that:
•Women obtained more than 55 per cent of promotions
•58.1 per cent of women who started a new job were promoted from inside the company, whereas 58.7 per cent of
men who got new jobs were hired from outside.
•were overepresented in clerical occupations, holding 63
per cnet of the jobs.
•Women represented only 5.8 per cent of professionals.
•Women working full time earned 74.8 per cent of the
amount men earned.
•8.1 per cent of women working full time earned below $25
000, compared to 5.8 per cent of men
•56.8 per cent of men working full time earned $40 000, in
contrast to 23.8 per cent of women*
compiled by Sara Irvine
Sources: Human Resources Development (Canada
Employment Equity Act Annual Reports; Alliamv for
Employment Equity Home Page; UBC Employment
Equity Home Page TOJftRCH 5.1999
'i •
words beginning
with d.
since 1918.
the   ubyssey
Get tickets to see the Canucks!
Come to Room 245 with your Student ID.
First come, first serve.
Dr. Patricia Rupnoiv
Dr. Stephanie Brooks
Eye Care
Contact Lens Specialty
20/20 Vision isn't
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Four excellent graduate programs:
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www.carleton.ca/ece Email: gradinfo@doe.carleton.ca
TAKING THE RISK: Second year art student Jen Clinesteuber has been interested in art ever since she was a
kid, but she did not attend Emily Carr until her mid-twenties. Christine tassos photo
Off The Wall
Tired of the solitary pursuit of art with a capital "A", of
the lone sculptor moulding clay in a studio, or the
romantic image of the painter in nature, student artists
in Vancouver are taking inspiration to the stage and
giving new meaning to the term "performance artist"
by Jaime Tong
Emotion recollected in tranquillity, this is not. Amidst
the beat of loud music and a rotating disco ball, art is
about to unfold. Jen Clinesteuber steps onto the
stage, lines up her brushes and acrylics on the window sill, rests the canvas on the easel, and then
sketches the outlines of her still-life. After saturating a
brush in acrylic, she paints the first stroke.
It's show time.
Around her, people are sitting at their tables eating, chatting to their friends. Jen pauses to take a few
breaks in between painting, and as
she sits at the edge of the stage, she
answers questions from curious
patrons at Vancouver resto and
lounge, DV8.
During one of these interludes,
she admits that this is her first per
Watching the
performance is Skill tO
waiting for some
mysterious Polaroid
into the recognis
able parts of an
formance, "I've painted in classes   SfldDSblOt tO deVGlOP
and stuff where there's lots of people around, but the attention isn't
focused on you, so it's really different".
A second year student at Emily
Carr College of Art and Design, Jen
has been interested in art ever since she was a young
girl, but her desire to pursue it further didn't surface
until her early twenties while she was working on an
undergraduate degree at Simon Fraser University.
"I took an introductory course at Emily Carr one
year and realised, T want to go to art school'. But it
took me five or six years after saying I wanted to do it
to actually take that risk and say T want to go to art
school and that's what I'm going to do."
The painting she produces during her 90-minute
performance fits with the style of her current work:
pop-art-influenced use of bright colours and cartoon-like figures. The background is a brilliant blue
and what appears to be a neon-red cluster of cranberries with a heavy black oudine takes up most of
the bottom half of the canvas by the time she's finished.
Watching the performance is akin to waiting for
some mysterious Polaroid snapshot to develop into
the recognisable parts of an image.
Tonight, several audience members are fellow
artists here to lend their support. There are also people who aren't here to specifically see the show, so
they sit at the back of the lounge. At a table near the
front, two patrons from Berlin are here at the resto-
lounge for the first time to watch the live painting.
They puzzle over what the subject of the canvas might
be. Although they're content with seeing the different
stages of how a painting is created, at the end of the
show, they admit that they would have preferred a
more interactive performance which somehow incorporates audience feedback or participation. Both
conclude that the show is still a good way to make art
more accessible and open, which is the objective of
the performances according to DV8's current Art
Director, Manju Dhat.
"We want to raise public awareness so that people
understand the process of art, and
we've been getting good feedback
from the public. They find it's a
good idea. They enjoy the fact that
they get to see an artist working [out
in the open] because you really don't
get to see that very much."
An artist herself, Dhat's painted
live and thinks performers also gain
a new perspective from being on
stage. "It takes a lot of courage for
the artist to get up there and do it. I
find with myself that I'm a very
introverted artist and when I've
done this [live painting] it brings out
a lot. I've learned a lot from associating with the public."
This is the one and a half year mark of DV8's Off the
Wall performance series featuring live art by artists
such as painters and sculptors. DV8's owner originally came up with the idea and events like body casting—which involves taking plaster casts of people
and puppet shows—were some of the original acts.
The shows were successful enough to warrant further performances, some of which have even included tattoo artists. While a keen group of regulars usually attend the shows, interest has been noticeably
growing in the art community as well as the general
public, according to Dhat.
This year, performers have been mainly student
artists from Emily Carr College of Art and Design, but
she hopes to involve students in programs from UBC
and Simon Fraser University in future shows.
"This is pretty much the only place in Vancouver
that does live art performances such as this," says
Dhat. "I want to bring in more student work; give it
more of a profile. I want students to come in here and
check it out. They're so dispersed and there's no connection and no association right now." ♦ THE UBYSSEY
■ '■*■
Two peas in a pod in a poo!
by Jo-Ann Chiu
Some matches are made in heaven, so the cliche goes, but
Kelly Doody and Katie Brambley's pairing was created by
their mothers.
The two second-year students are now members of UBC's
women's swim team, but they met two years ago when they
were Grade 12 students competing at the nationals in Halifax.
Since Kelly was from Calgary and Katie from Victoria, it
vas unlikely they would ever have met on their own. It was their mothers, Patty Doody and
Srenda Brambley, who first became friends.
Sitting next to each other watching their daughters compete they talked about the coin-
;idence that both their daughters were considering UBC.
The moms kept in touch, chatting on phone. One day, Mrs Brambley came up with a
rvonderful idea: Why not get the daughters to room together while at UBC?
Although Kelly and Katie had already sent in their applications seperately, they were able
o sort things out when they arrived and shared a room after all.
"Kelly's really clean and I'm messy," explains the 20-year-old Brambley, an Arts student
vith interests in history and political science.
"But we've evened out," insists Doody, 19, also an Arts student, with a focus on English
ind environmental issues. "Now we're both messy."
During their first year, a source of conflict between the two was Brambley's absent-mind-
"She loses everything, her big fat wallet, clothes, anything she borrows. She used to tape
he lenses to her glasses with Scotch tape because she'd lose them or break them," says
Doody with a laugh.
Whatever their differences, one thing they agree on is that their friendship is a very posi-
ive thing in their lives. Rooming together not only helped ease the transition to university,
>ut it created a support system on the swim team.
The UBC men's and women's swim teams have won
national championships two years in a row. But maintaining an exceptional group of national, international, and
Olympic competitors is possible only because of a gruelling
physical training regimen.
The 40-member team practices twice at day, from 5:15 to
7:30 am and then from 1:45 to 4:30 pm. In the summer they
sometimes practice three times daily.
In addition to pool time six days a week, they have to run
and lift weights five of those days. The women break from the co-ed training for girls-only
boxing lessons one day a week.
Brambley is grateful to have a cohort when it comes to getting up at four in the morning
to make practise.
"It's an ungodly hour," she admits. "If one of us is feeling pathetic, the other can help
motivate, flick on the lights if you've ignored the alarm."
Getting up would probably be easier if either of the girls actually went to bed on time,
instead of staying up for hours talking and playing rock-paper-scissors, an obsession that
dominated their first year.
Doody admits that she and Brambley don't go to bed until midnight most evenings. They
usually slump over to the pool in the morning, practice, then head straight home to sleep.
Doody and Brambley now live together in a basement suite off campus, swim together,
and have even taken two courses together. Since both their first names also begin with a "K,"
people sometimes get them mixed tip.
"It is a lot of time to spend with someone," agrees Brambley, but she insists they do have
varying interests so that they don't get on each other's nerves.
In her spare time Brambley takes Latin and swing dance lessons at the Kitsilano
Community Centre, while Doody enjoys painting.
Life as varsity athletes isn't easy, but their friendship will help them weather their storms.
Their moms will see to that.*>
Where have all the women gone?
by Sara Newham
"hree is a "ery small number. It looks even smaller consider-
ig there are 26 UBC varsity sports team (half of them
/omen's squads) and only three are coached by women.
According to athletics director Bob Philips, the equality
nestion is one that the Athletics Department faces every
ime they hire a new coach.
"You want the best coach for the team," said Philips.
[But] you have to consider if you want a woman coach who
> considerably less qualified [than a man], or the best coach
3r the women's program."
But that's not to say there are not qualified women coach-
s. There are. The problem is that there are just not that
lany women applying for UBC's available coaching posi-
Philips said although they usually have candidates for
oaching positions in mind, the athletics department will
ccasionally advertise an available position. Recently only
<vo applicants vied for the women's field hockey job, so Hash
anjee—a man—got the job. But Philips added they would
ire a woman over a man if they had the same qualifications.
There are a variety of reasons for the lack of female pres-
nce in coaching. Some sports, like women's hockey, are still
eveloping, so the opportunities for women to coach these
Dorts are limited.
And many women don't think of going into coaching after
leir playing career. They either continue playing profes-
onally or retire.
Women's volleyball coach Ermenia Russo said coaching is
difficult if it is not a full-time commitment and that it can
wreck havoc on your private life. She added that a coaching
job should go to the best person qualified.
UBC swim coach Tom Johnson agreed, and said that
since women traditionally want to spend more time with
their children at home, it is difficult for them commit to a
demanding profession that involves a lot of traveling.
But does it matter whether or not a coach is female?
Ermenia Russo said there is sometimes a missing link
between female players and a male coach.
"Sometimes they [men] don't get it," said Russo of the
relationship between a coach and his female players. She
added that it might be easier for a woman coach to relate
better to her female players than it is for a man.
A former national team athlete herself, Russo has played
for both men and women coaches. She said there is a need
for a different approach to coaching women.
Tom Johnson agreed that coaching women's teams
requires a different style. "You have to be more diplomatic
and sensitive to the needs of the women in the team than
maybe you are on the men's side. If you come in too strongly they sometimes can become offended by that particular
approach so you need to choose your words a little more
"The communication styles are different," explained
Johnson. "[For] the men's teams, the camaraderie and the
need to belong is maybe more important than the process."
Johnson said he thinks that women have more opportunities in sports today than ever before.
"Because the opportunities [for women] have only just
come along, I think that to a certain degree it's going to take
some time before we see women at the top of the profession,
just like it is in the workplace outside of sport."<« 14 THE UBYSSEY •FRIDAY, MARCH 5, 1999
murder serves
as a reminder
to us all
by Sandra Ka Hon Chu
and when we speak we are afraid
our words will not be heard
nor welcomed
but when we are silent
we are still afraid
So it is better to speak
we were never meant to survive.
—Audre horde, "Litany for Survival"
The extensive coverage done on the recent murder of Poonam
Randhawa has been a chilling and ubiquitous reminder for many
women    in    the
_       -. .   n.-m.mm.. Lower   Mainland
PERSPECTIVE    *»<ra,e„„,ve.
 OPINION     free from the V1°"
wrimwiN lenceofmen. The
inability of the
legal system to have shielded her from the eventually fatal harrass-
ment of her killer, despite the knowledge of her family and friends,
reflects the sheer senselessness of her death. It drives us to wonder
why a woman must feel it necessary to transfer schools in order to
escape one man's threat? Was the potential for violence not enough of
a reality for the police to have been alerted of her stalker, or were the
police merely inaccessible? We ponder why Poonam's death, while
tragic, was publicised so intensely in comparison to the apparently
nameless, faceless women whose murders on the streets of Vancouver
were no less tragic? And finally it forces us to ask, what in this society
drives men to kill women?
Poonam's killer was not a singular case of psychopathy. The violence that occurs all too often against women is deeply rooted in the
coercive control and power that men abuse over those whom they
have a social and physical advantage. The figures are proof of a
deviance that is deeply embedded within our culture: according to the
Canadian Association of Sexual Assault Centres, one woman in
Canada is raped every 17 minutes, and one woman in four will be
raped sometime in her life, most often by someone she knows.
• 60 per cent of the rapes, battering, and sexual assault reported to
Vancouver Rape Relief occur in the home.
• One in eight girls is sexually assaulted before the age of 18, most
often by a male family member (Vancouver United Way, 1984).
• 54 per cent of women living with men will be struck at some time
during the relationship by their partners. (CIDA)
• 90 per cent of women are sexually harassed on the job at some
time in their worklife (CUPE 1980).
The majority of violence that occurs against women is happening
to our sisters, our mothers, our daughters, our friends, in their homes,
their schools, their workplaces, largely from the men closest to them:
husbands, lovers, fathers, brothers, friends. The attackers are the men
whom we are supposed to love and trust, not the shady machete-
wielding men of popular mythology who lurk in the back alleys of our
Poonam's murder was a wake-up call to the very real violence
women are subjected to every day of their lives. Poonam Randhawa
'did all the right things'; she was a 'good kid', a straight A student with
avast support network of friends and family, yet death found her as it
finds women with terrifying frequency who have fewer resources, less
credibility in the eyes of the law, and less worth in the eyes of the public. Violence does not merely occur to the 'wrong women'; we must
dismiss this notion before we can eradicate male violence altogether.
All women deserve the right to live lives free of threats and acts of violence. We deserve the right to live in a world free of the politics of domination, of patriarchy, of sexist oppression. As Poonam's cousin spoke
of his grief at her vigil, I attempted to realise the impact her loss would
have on the young boy's life. His tears reminded me that feminist resistance against sexist violence is not only necessary for the liberation of
women, but also vital for the liberation of men. And so it is urgent to
reclaim our streets, our schools, and our homes as domains free of
patriarchy. The oppression of women is the concomitant oppression
of all people. There can be no greater incentive to examine our
thoughts and actions and reject sexism in our lives.**
Sandra Ka Hon Chu is a Vancouver Rape Relief volunteer. THF UBYSSFY
by Anita Parti
"She jumped when she felt herself being
handled by so many. The rude hands went
everywhere. Obviously, much was going to be
demanded of her..."
Written by Pat Caliphilia, this excerpt comes
from a novel set in a lesbian nightclub specialising in sado-masochistic sexual desires.
It comes from her book The Calyx oflsis and
it's nothing new to avid fans. But recently this
kind of erotic writing has garnered a mainstream audience. It's available
almost   everywhere . ^
from    the ^C ^\   ^»
The Beauty trilogy is a "hot" bestseller
right now, says Stuart in reference to Anne
Rice's latest book written under the pen
name Belinda Anne Rampling. "Most of our
section consists of Erotica anthologies.
Definitely the most popular is Suzan Bright's
Although Erotic literature has grown in
acceptance in recent years, a librarian   at   the   Vancouver
Public  Library
shelves   of   the
Vancouver Public Library,
to Duthie's on Robson St.
As a result, many women are turning out
and tuning in to Erotic literature these days.
It is one of the hottest selling categories in
In fact, the market for sensual delights has
grown so much in the past few years that
virtually all major Vancouver bookstores
allow for a separate Erotica section.
Erotic literature and Erotic anthologies
are in demand and Lower Mainland
bookstores are having trouble keeping
the shelves stocked.
"Romance sales are declining and
Erotica sales are rising. The Harlequin
novel is becoming passe and losing
ground," says Joseph Stewart, manager    of    the    Granville    Island
Blackberry Books. "I think it reflects
society's view today.    People are
more sexually liberated...People
come in and ask for Erotic novels
face to face, whereas years ago
they were embarrassed to do
people still
tend to keep their
Erotic and Homoerotic selections hidden under the table when reading.
But at least they can get the material, he says.
Not so long ago Erotica literature was kept
behind the information desk and had to be
asked for by name.
California-based Brandon House Library
Editions, along with the Olympia Press in
NewYork, are two of the many Erotica publishers. They sprang up in the United States
following the end of censorship in 1967.
The 70's marked the "Golden Age" of
lu  Erotic  literature,  when  a
sexual revolution seemed to mean almost
anything could be printed in the US.
In following years, censors cracked down,
but a conscious effort to revive the genre has
created widespread popularity. Reading Erotica
lfaj|-    w^ become
a fad.
"Women    buy   more
books, and Erotica is very appealing to
them", says Editor Janet Goldstein of the pub -
fishing company, Broadway Books.
Most commonly associated with Erotica is
Anais Nin, a cult figure of the early Feminist
movement. She gained international recognition as the writer best able to inspire and
encompass sensuality.
So who needs a man or a woman when
you have a really good book between you and
the covers?
Well, if you're looking for that special
book, Heather Wainwright, a representative
of Duthie's Bookstore recomends the "Story
Of O," or "The Delta Of Venus." When the
Ubyssey asked if anything was too hot for
Duthie's to sell. She simply shrugged and
replied with a simple, "...no»
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Courtesy of UBC '
The first time Wayne Lee saw Fire,
he knew it was going to be controversial.
"The audience was well educated and they were sort of raising their eyebrows, saying 'oh
Fire is the story of Sita, a
young Indian woman whose
hope of finding love with her
new husband is dashed when
she finds out that he is quite
openly in love with another
woman. Surrounded by a family
of self-absorbed men, Sita turns
to the older wife in the household, Radha, for comfort. Before
long the relationship between
the two women deepens and
their rebellion becomes anything but minor.
What attracted attention to
this film by director Deepa Mehta
at the 1996 Vancouver
International Film Festival was
not so much the subject matter—
although a lesbian romance is
still bound to raise eyebrows in
some circles—but the fact that it
existed at all.
ffPI  which wasl||iffied in
India, had to pass a gauntlet of;
censors and licensing boards™|Djf
be approved. As the first" J**t*k-
film to deal with the taboj|S\L
ject of lesbianism, ma^^Kre
surprised that Mehta eveiBnan-
aged to get Fire off the ground.
In fact, its 1998 release in India
was met with a storm of controversy. Protesters trashed theatres
where the film was shown and
succeeded in stopping the
But in Vancouver, Fire met
with a generally positive response
where it was voted the "Most
Popular Canadian Film" at the
film festival.
When asked about the different responses from Bombay and
Vancouver, Paul Dhillon, a
reporter at the Indo-Canadian
Voice newspaper said because of
Fire's limited release, many conservative members of the Indo-
Canadian community didn't hear
of the film until protests started
in India.
"Conservatives don't go see
the film. Generally a film like that
appeals more to Arts students or
Intellectuals—those who have an
open mind," h
But evenjf
with opposition
"The ones that were protesting in India were very right wing,
very conservative minded people, and you'd probably find less
of       them
It's risque enough just
to see a man and a
here. And
he said with
a laugh,
give a
"I think
it caught
because  of
the subject 	
matter for
one   thing,
and because people were wondering how you would handle
such a touchy subject."
Fire is reminiscent of Raise
the Red Lantern in its portrayal
of what boredom and isolation
woman kissing in
Indian films, but to see
two women implying
that they're doing
more than just kissing?
—Wayne Lee
does to untraditional women
forced into traditional roles.
The lesbian angle is present,
but for the most part the relationship    between    the    two
women is implied rather than
illustrated. Fire is highly critical
of the roles and unequal status
of women in traditional Indian
society, and in that respect is
easy to see why
some observers,
like Wayne Lee,
say the film may
prove  a major
milestone     for
Indian      feminists.
Lee, a UBC
alumni and volunteer with the
Film Festival,
had his opportunity to view
Fire at its Vancouver premiere.
"It's risque enough just to see
a man and a woman kissing in
Indian films, but to see two
women implying that they're
doing more than just kissing?" ♦
Nyranne Martin and Cynthia Lee
Federico Barahona
Sarah Galashan and Douglas Quan
John Zaozirny
Bruce Arthur
Dale Lum
Richard Lam
Todd Silver
CUP Cynthia Lee WEB Ronald Nurwisah
The Ubyssey is the official student newspaper
of the University of British Columbia. It is published every Tuesday and Friday by The
Ubyssey Publications Society.
We are an autonomous, democratically run
student organisation, and all students are
encouraged to participate.
Editorials are chosen and written by the
Ubyssey staff. They are the expressed opinion
of the staff, and do not necessarily reflect the
views of The Ubyssey Publications Society or
the University of British Columbia.
The Ubyssey is a founding member of
Canadian University Press (CUP) and firmly
adheres to CUP's guiding principles.
All editorial content appearing in The Ubyssey
is the property of The Ubyssey Publications
Society. Stories, opinions, photographs and
artwork contained herein cannot be reproduced without the expressed, written permission of The Ubyssey Publications Society.
Letters to the editor must be under
300 words. Please include your phone number,
student number and signature (not for publication) as well as your year and faculty with
all submissions. ID will be checked when submissions are dropped off at the editorial office
of The Ubyssey, otherwise verification will be
done by phone.
"Perspectives" are opinion pieces over 300
words but under 750 words and are run
according to space.
"Freestyles" are opinion pieces written by
Ubyssey staff members. Priority will be given to
letters and perspectives over freestyles unless the
latter is time senstitive. Opinion pieces will not be
run until the identity of the writer has been verified.
It is agreed by all persons placing display or classified advertising that if the Ubyssey Publications
Society fails to publish an advertisement or if an
error in the ad occurs, the liability of the UPS will
not be greater than the price paid for the ad. The
UPS shall not be responsible for slight changes or
typographical errors that do not lessen the value
or the impact of the ad.
Room 241K, Student Union Building,
6138 Student Union Boulevard,
Vancouver, BC. V6T 1Z1
tel: (604) 822-2301 fax: (604) 822-9279
email: feedback@ubyssey.bc.ca
Room 245, Student Union Building
advertising: (604) 822-1654
business office: (604) 822-6681
fax: (604) 822-1658
Fernie Pereira
Stephanie Keane
Shalene Takara
so, every once in the while, the whole Ubyssey gang just
loves to go out for a little beauoncauon. At first, Nyranne
Martin.and Cynthia Lee suggested group tanning beds,
but then there was lenna Newman, Carin Kietalbl, and
Sara Irvine's idea of going for an earlobe lift Douglas
Quan, Todd Silver and Federico Barahona got really excited, because it's not everyday you get to pull out your pink
tutu and dance around. As Audrey Chan, Dalian
Merzaban and loni Low were quick to tell them. But what
were Courtney Loo and Tara Cochrane to do? All their
money had been stolen by the evil Tom Peacock syndicate: Christine Tassos, Dale Lum and Jaime Tong. Still,
Sandta Chu, Coralie Olson, and everybody else made
their spirited way towards Sarah Galashan's "Greased
Lightning Beauty Salon." Roohina Virk, Noelani Dubeta
and Leslie Miller were the first to take their shoes and
socks off, getting right in line for a wonderous pedicure by
lohn Zaozirny and Richard Lam, who enjoyed it all just a
little too much. lo-Ann Chiu, Heather Kirk, Penny
Chomondeley, Andrea Milek, Sioban Carroll all took off
their clothes to enjoy a nourishing full-body seaweed
wrap, while Megan Quek, Anita Parti, and Sara Newham
had the time of their lives watching Bruce Arthur get his
eyebrows waxed. And, of course, Eliza Leung, Krista
Sigurdson, Naomi Kim and a jubiliandy joyous Duncan
M. McHugh were in bliss when their cuticles got a lovely
massage by Lisa Johnson, Nic Bradley, Jennie Milligan,
and Tara Westover. Fed up with all the makeover madness, Michelle Mossop got onto herVespa SportlOO and
scooted off into the sunset.
V A place for a princess
by Roohina Virk
Verna Kirkness has no time for marriage or
children, but she has no regrets.
Kirkness has a lot lo show for from her
journey along the path of erudition. Sh<- is
the first director of what is now the First
Villains House of Learning, holds tenure as
a professor of the Ts'kell graduate studies
progi am, has three honorary doctorates and
authored five published books. And recently, she received the Order of Canada to honour lifetime achievement.
Kirkness throws her golden brown, manicured hands in the air and laughs heartily,
when asked if shf is proud of what she has
"Well, 1 didn't create it all by myself that's
for sure," she says. "I'm proud of what's here
and I'm really happy with the experience
I've had being part of this with the students,
staff and elders. Its something you can see,
and you don't get to see too many tangible
things in your lifetime."
Kirkness. a Manitoba-bom-and-raised
Crce, is talking about the I'irst Nations
House of Learning (FNHL).
She is the founder of the FNHL, housed,:
in   the   First    Nations    Longhouse—a
Musqueam shed-style design built in the
tradition of the Musqueam people, whose
land UBC is now assembled on.
She is credited: with developing a program that aims to demystify the views both
the university and the aboriginal community have about one anyther.
"We wanted to open doors for native students in various progranis....pruvide access
for students and their communities to use
the resources of the university...and to build
a facility that would be like a student center
Thinking back to her own days as a student, Kirkness remembers being four years
old and "banging" on the local elementary
school doors to be let in. She wanted to
"For some reason," recalled Kirkness,
"and this may sound silly, I didn't need a lot
of encouraging to go to school, because I
liked it; I was fascinated with school."
At a time when many of her friends were
being assimilated in residential schools
across Canada, Kirkness says she was fortunate. She never wont to residential school.
Instead she took correspondence courses
and went to public school.
"I thought diat I was experiencing discrimination. The boys were calling mo
Pocahontas. I was 16 years old—1 didn't
know who Pocahontas was. If somebody
had told me that she was a princess I might
not have thought that it was discrimination," Kirkness said.
Kirkness is officially retired, and has been
since 1993, the same year that the First
Nations Longhouse was built. But she
remains active in the FNHL and is currently
co-writing a book with the present FNHL
PQGQhOli.   - - ■  ■..,.-   . ,.
y&df$ oh—. u*r i /■'. -. .-it i
ft'*!,if**,*;/ _.        • f .»_?'{, rii*i!
t>J3k tub*   ,   -• s.    ,, *_ -     -
might noi two u-mwi»
ffi&t It l*iV"». • 'ji.i''.," ,
director, Jo-Ann Archibald. The bool
recounts the construction of the longhousi
and its aftermath.
When asked what her greatest accom
plishment has been thus far, Kirkness agair
laughs, this time timidly. She takes her timi
in answering, all the while looking out ontc
the lush greenery that surrounds the long
"Here. Helping to open doors for our stu
dents, opening up different avenues anc
being a part of getting FNHL started.... I set
it as a journey. If I were to do my life ove:
again, I wouldn't change a thing." ♦
the ubyssey's literary contest
just 'cause \
epic: under 3,000 words (sponsored by Arsenal Pulp Press)
snap: under 1,000 words (sponsored by Anvil Press)
memoir: under 3,000 words (sponsored by New Star Books]
snap: under 1,000 words (sponsored by Katie
postcard: under 20 lines (sponsored by l'B<\ B(M)kstore)
*--   i
 ^f^biratted no later. tha^Sift^vGrch, 5t
245. All submissions ijuisl be,^^^^il''paper with the w,
right-hand cornet; Satmaisss^ not contain the nam<
arately recorded by Ifl^^lPubUcations Society upon
"IjHifforlall winidEShtries.
Plus publication in
the ubyssey's literafy ^tf$emznt
Friday March 26th    v
eligibility: *
ftee entry. Contestants must be UBC studentslfe d*
not o^t out,of|pr ubyssey fee. Students who hai
more^l^^Kditorial contribution to the Ubyss
September 1998 are not eligible to enter
final judges
the Vancouver Sun)
• Clint Bumham (author of
Be Labour Reading)
• Carellin Brooke (editor of
Bad Jobs: My Last Shift at Albert Wong s Pagoda
and Oilier Ugly Tales of the Work Place)
: (editor of Contra/Diction: New
Queer Male Fiction)
In Her Nature, and Love Ruins Everything)


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