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UBC Publications

UBC Publications

The Ubyssey Nov 4, 1977

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Array r
God loves homosexuals too — minister
God loves homosexuals as much
as he loves heterosexuals, Presbyterian minister Donald Williams
said Thursday.
"Homosexuals were made in the
image of God. Jesus Christ came
for homosexuals. Jesus Christ died
for homosexuals," Williams told
200 people in Hebb theatre.
"Jesus Christ loves the gay
community. He loves those who
are still closet gays. The gospel is
for homosexuals as well as heterosexuals."
Williams, a lecturer at Clare-
mont Men's College in California
and a member of the United Presbyterian church general assembly
task force for the study of homosexuality and the church, said
Christians face a basic dilemma
when they say Jesus Christ accepted people's sins and also say
homosexuals are wicked and
beyond redemption.
"We (Christians) say he (Christ)
died for our sins, that he came in
human flesh and triumphed over
our sins," Williams said.
But then many Christians take
the attitude "if you're gay, get
out."
"We (Christians) exclude homosexuals, fellow sinners with whom
we should identify."
Williams said most people react
by withdrawing when they learn
somebody they know is homosexual.
He said this withdrawal is more
likely to happen if the person who
is r eact ing i s uncertain about his or
her own sexuality.
' 'Those of us who are the least bit
threatened about our own sexuality
would want to withdraw because if
we are seen with a homosexual
person our own sexuality might be
suspected by the community."
But, he said in an interview after
the lecture, homosexual Christians
who are unable to change their
sexuality should have no more
problems getting into heaven after
they die than heterosexual
Christians.
Williams said the church is
currently re-examining its
traditional stance on homosexuality. One of the things being
examined  is   so-called   proof  in
THE UBYSSEY
Vol. LX, No. 23
VANCOUVER, B.C., FRIDAY, NOVEMBER 4, 1977   *^">,s    228-2301
biblical verses that God condemns
and punishes homosexuals.
He said one of the more well-
known passages, which recounts
the story of God's destruction of
the corrupt cities of Sodom and
• Gomorrah, has no relevance whatsoever to homosexuality.
Williams said all people are
sinners according to the concept of
original sin.
"The doctrine of original sin is
highly democratic," he said.
"Male and female made he
them," Williams said.
"And God blessed our sexuality
and told us to be fruitful and
multiply. In fact, he overblessed
us, with a little help from us."
Williams said homosexuality is a
highly emotional subject.
"The church is in a great deal of
confusion."
Big
•:•:•
kstore profits under attack
By BILL TIELEMAN
UBC bookstore profits of $64,986
this summer and the operation of
the bookstore in general were
attacked Thursday by board of
governors members and student
politicians.
"Students today are paying for a
future students' bookstore. If that
newer and bigger and better
bookstore is justified it should pay
for itself," Alma Mater Society
president John DeMarco said
Thursday.
"Even if the profits are from
sources other than textbooks I
would question the rationale of the
bookstore making a profit," he
said.
Bookstore profits go to a fund for
the construction of a new and
bigger bookstore, not to lowering
book prices. The bookstore has
made a profit of more man $100,000
in each of the past two years.
Board member George Herman-
son said Thursday the board was
never given information on where
the bookstore's profits actually
come from.
"Where the profit comes, from, I
don't know. When the question has
come up the explanation has been
that it hasn't been from textbooks," he said.
A report presented at the board
of governors meeting Tuesday
showed the bookstore had a surplus
of $64,986 for the period of April 1 to
Sept. 30.
TTie new bookstore should be
funded by the provincial government, Hermanson said, because it
fulfills an academic need at
university.
The new bookstore building fund
has about a third of a million
dollars accumulated so far from
bookstore profits, UBC administration vice-president Erich
Vogt said Thursday.
See page 3: BOOKSTORE
Arts dean mum
on student reps
—chris bannister photo
GIANT WAFFLE IRON is admired by Margaret Schilter at Varsity Outdoor Club equipment sale Thursday.
Schilter notices snowshoe-like appearance of iron, but decides no one would be naive enough to try to sell
snowshoes in Vancouver, land of the midnight drizzle. Sale in SUB 216 ends next week.
Services c'tee to be set up
By LLOYANNE HURD
UBC administration president
Doug Kenny has announced he will
appoint a committee to review
student services on campus.
Kenny issued a statement saying
"there has never been a review of
student services and it is my hope
that this review will result in
recommendations for more effective ways of delivering existing
services."
The review will include a study
of job placement, career and
personal counselling, financial
assistance, campus day care
services and student health services.
The committee will also examine
services provided by organizations
such as International House and
the dean of women's office.
Kenny said the appointment of a
selection committee to find a
replacement for dean of women
Margaret Fulton will be delayed
until the student services review is
completed.
Fulton said the postponement of
finding a successor is not a threat
to the position.
"In all fairness the review of
student services is overdue and if
no one is appointed to this position
before I leave, the university will
appoint a temporary
replacement."
Fulton has resigned from the
position of dean of women effective
June 30, to accept the presidency of
Mount St. Vincent University.
Vice-president for students and
faculty Eric Vogt said the committee will carefully examine the
student placement office and the
daycare situation at UBC.
"Replacing the placement office
with a Canada Manpower office
may be necessary," Vogt said,
"And we need to consider the
possibility of a full-time daycare
co-ordinator on staff at UBC.
Daycare on campus is not
adequate and new kinds of daycare
are necessary."
Student board of governors
member Moe Sihota said the
review is long overdue.
"Student services on this
campus need to be reviewed. They
are too spread out and are not
accessible to the students," Sihota
said.
By VICKI BOOTH
Arts dean Robert Will said
Thursday he has "no comments or
any public statements to make" on
student representation in the arts
faculty.
A Ubyssey reporter tried to talk
to Will Thursday afternoon, but a
secretary said she would have to
make an appointment.
A few minutes later the reporter
was told by a different secretary
that dean Will would make no
comments.
"It's no use making an appointment because dean Will has
no comments or any public
statements to make," the
secretary said.
The student representative assembly passed a motion Wednesday asking Will to publicly state his
Lyon may cut gov't staff
WINNIPEG (CUP) — If Manitoba's Progressive
Conservativegovernment follows the advice of one of
its internal discussion papers, the province's civil
service could be cut by 25 to 30 per cent.
The paper, titled An Essay on Bureaucracy, was
written in January, 1976 by David Young, a former
executive assistant to Manitoba's last PC premier,
Duff Roblin.
It lays out in detail how an opposition party, once
elected to office on a platform of reducing the size of
government, could go about filling its mandate once
elected.
Some of the report's suggestions, which include
firing some senior civil servants immediately, and
forming a "core group" to investigate government
efficiency and decide on staff cuts, have already been
followed.
Future recommendations include staff cuts of 25 to
30 per cent, with cuts of at least five per cent in all departments "merely to remove incompetent personnel."
The essay recommends "various strikebreaking
devices can be used" if the civil service union calls a
strike over the cuts.
Young's name is apparently on a list of possible
members for the government's provincial task force
(core group) that will examine the provincial
bureaucracy.
Young said he had been called by the head of the
task force, former PC leader, Sidney Spivak, and
would be meeting with him in the near future.
Young suggested in his essay that "80 per cent of
persons charged with program planning, policy
review  and policy research," should be dismissed.
In deciding what programs should be cut, Young
suggests that reducing the number of police or court
staff "would be unsatisfactory from a public point of
view."
He states that "reducing extension programs of the
department of agriculture, consumer education
programs, or curriculum review programs and the
like can be achieved with little public impact."
position on student representation.
The motion followed an incident
at an arts faculty meeting Oct. 21
when Will ejected from the
meeting a Ubyssey reporter, five
would-be representatives, arts
student senator Sandhu and arts
undergraduate society president
Fran Watters.
SRA president John DeMarco
and SRA secretary-treasurer
Arnold Hedstrom said they are
surprised at Will's behavior.
DeMarco said he cannot understand Will's attitude.
"He claims that he's trying to
promote student representation
yet he has frustrated the AUS at
every opportunity," DeMarco said.
Hedstrom said that last spring
Will said it was unfortunate there
wasn't more student representation in the arts faculty.
' 'Will agreed that greater effort
had to be made to increase student
representation,"  Hedstrom  said.
"So why isn't he co-operating?"
Both DeMarco and Hedstrom
said Will doesn't want active
student representation.
"I think his stand is yes, we'll
have it (student representation),
provided students don't say
anything, provided they don't have
complete information," Hedstrom
said.
"He wants quiet students who
won't rock the boat.
"I think he's paranoid that he's
going to get left wing politicos in
student positions," DeMarco said.
"The AUS is not radical, they're
just trying to get a student's point
of view on the faculty," Hedstrom
said.
"I think Will should realize that
students do have responsible attitudes," Hedstrom safe. Page 2
THE        UBYSSEY
Friday, November 4, 1977
'Tween classes
TODAY
BAHAI'I CLUB
Informal discussion on the Baha'i
faith, noon, SUB 113.
CHINESE VARSITY CLUB
Disco dance, 8:30 p.m. to 1 a.m.,
Plaza International Hotel, 1999
Marine, North Vancouver.
HILLEL HOUSE
Miriam Zev, vice-consul of Israel,
speaks, noon, Hillel House.
YOUNG SOCIALISTS
Sara David speaks on Against Rape:
A Marxist View, 8 p.m., 1208 Granville.
RECREATION UNDERGRADUATE
SOCIETY
Wine and cheese social, 4 to 6 p.m.,
RUS     lounge     In     the     Armories
basement.
CHINESE CULTURAL CENTRE
Skating  party, 8 p.m., Britannia Ice
rink.
SKYDIVING CLUB
General Meeting, noon, SUB 212.
PSYCHOLOGY STUDENTS'
ASSOCIATION
Dr.   R. Corteen speaks on Cognitive
Maps   In   Rats  and   Humans,   noon,
Angus 321.
UBC CHAMBER SINGERS
Fall   concert,  noon,  Music  Building
recital hall.
Dim
p.m.,
Sum
SUB
Hot flashes
Rec UBC offers
yoga classes
If you're feeling tense this
might be for you. The Sivananda
Yoga Vedanta Centre is holding
hatha yoga classes Tuesdays' and
Thursdays from 4:30 to 6:30 p.m.
in the War Memorial gym, room
213.
Rec UBC is sponsoring the
classes, which are mixed level. The
classes are free to UBC students
and staff.
lungs?
Are you tired of hacking out
your guts every morning with
smoker's cough? Tired of glares
from non-smokers as you pollute
their environment?
Come to the Health Education
BLACK & LEE
TUX SHOP
NOW AT
1110 SEYMOUR ST.
688-2481
FREE VANCOUVER
INSTITUTE
LECTURE
PROF. GORDON CRAIG of the
University of Edinburgh speaks
Saturday (Nov. 5) in Lecture Hall 2
of Woodward Building at 8:15 p.m.
His talk is on "Geology — The
Scottish Science.
He will review the development of
Geology in Scotland fr&m its beginnings to the recent discovery of oil
in the North Sea.
Big or Small Jobs
ALSO GARAGES
BASEMENTS
& YARDS
732-9898
CLEAN-UP
BLENHEIM
IMPORTS
SERVICE
VOLKSWAGEN
SPECIALISTS
REASONABLE RATES
FACTORY TRAINED
MECHANICS
3299 W. 4th Ave., Van.
738-0910
HOLLYWOOD
'THE MAN WHO WOULD BE KING'
Starring Sean Connery
Michael Caine, Christopher Plummer
at 9:20
Also
"CONFESSIONS OF A
DRIVING INSTRUCTOR"
at 7:30
Adults & Students
- $2,00
Centre of B.C.'s five-day plan to
stop smoking. The program,
which starts Monday and continues until Nov. 11, features
films, lectures and meetings and
uses the buddy system. The program starts at 7:30 p.m. each
night at Bayview Community
School, 2251 Collingwood and is
free. The centre is requesting a $5
donation, but if you're a struggling student, it's not necessary. For
more information, telephone
263-2811.
CHINESE STUDENTS'
ASSOCIATION
Chinese     festival     and
lunch,    12   a.m.   to   2
ballroom.
LE CLUB FRANCAIS
La conversation Informale, noon,
International House.
SATURDAY
CSA
Sports night, 7:30 p.m., Thunderbird Gym.
MONDAY
PROGRESSIVE CONSERVATIVES
General  meeting, noon, SUB 212A.
GRAD STUDENT ASSOCIATION
Human settlement films, noon every
day, today until Thursday, Graduate Student Centre committee
room.
TUESDAY
CHARISMATIC CHRISTIAN
FELLOWSHIP
Weekly student fellowship, noon,
SUB 205.
WEDNESDAY
SUS
Speaker on the paradoxes of the
quantum   theory,    noon,    Hennings
- 201.
CHEERLEADERS
All those Interested in cheerleading
should show up at Wednesday from
3:30 to 5 p.m., War Memorial Gym
upstairs foyer.
THURSDAY
CHARISMATIC CHRISTIAN
FELLOWSHIP
Dan   Gardener speaks on  part  3  of
Releasing    the    Holy    Spirit,    7:30
p.m.,      Lutheran     Campus     Centre
lounge.
SCIENCE FICTION CLUB
Klaatu Barada Nklto, noon, SUB
212A.
Everybody Welcome
ARTS
" GARDEN
w:\iu P
Cheap Bears
Red & White
Bubblies       '
Great Music
Plus
Unlimited Pizza
S>^  For Only $1.99
4:00 - 8:00 Friday
Buchanan Lounge
ALL THE GROG YOU CAN DRINK
ALL THE GROWLIES YOU CAN EAT
wed. nov. 16 8 pm
queen elizabeth theatre
the
fm-ninety-nine
children's fund
presents
^LEVON helm
& THE RC0 ALLSTARS
featuring
* Paul Butterfield
* Fred Carter Jr.
* Steve Cropper
* Donald "Duck" Dunn
* Dr. John
* Booker T. Jones
Tickets: $6.50 $7.50 $8.50
Woodward's Concert Box Offices
A Perryscope Concert Production
1% Candia Taverna m
W SPECIALIZING IIM W*
228-9512 TiET"  228-9513
FAST FREE DELIVERY - 4510 W. 10th Ave.    _^^_^
I Lutheran Campus Centre J
! Sunday Morning Worship !
! 10:30 a.m. !
j Paul Isaak Lutheran Pastor f
Ifrom Namibia J
Sunday Evening Prayer I
I 7:30 i
FINALLY
SOKE SWEATERS!
SUS
Pullovers, Cardigans — All Sizes
Science Blue, Two Black Arm Stripes
Reasonably priced at $16.00 to $18.50
ORDER YOURS NOW at the
OFFICE 216 AUD. ANNEX
THE CLASSIFIEDS
RATES:   Campus - 3 lines, 1 day $1.50; additional lines 35a
Commercial —  3 lines,  1 day $2.50; additional lines
50c. Additional days $2.25 and 45c
Classified ads are not accepted by telephone and are payable in
advance. Deadline is 11:30 a.m., the day before publication.
Publications Office, Room 241, S.U.B., UBC, Van., B.C. V6T 1W5
5 — Coming Events
FUN AND EXERCISE TOOI Dome to
Chinese Cultural Centre's skating
party at Britannia Rink, Saturday,
Nov. 5, 8:00 p.m. Everybody welcome.
"SCHROEDINGER'S CAT: The Paradoxical Nature of The Quantum Theory,"
a talk with discussion by Dr. Lon
Kosen for the Science Society's
Speakers' Program, Wed., Nov. 1 —
12:30 Hennings 201.
GROG & GROWLIES at tonight's Arts
Bear Garden, 4:00-8:00, Buchanan
Lounge. Everybody welcome.
10 — For Sale — Commercial
NOVEMBER SPECIALS. Bauer Black
Panther skates $53.50; Down Ski
jackets $31.95 up; Ladies Figure
Skates $27.95; Dunlop Maxply squash
racquet frames $22.50. Converse hi-
cut runners $19.95; Cotton and nylon
jogging suits $16.95. Visit Community
Sports, 3616 West 4th Ave. 733-1612.
40,— Messages
ABSOLUTELY LAST CHANCE today to
claim books left in BuchaAan or
Emax lockers at Buchanan 107, Arts
Office.
60 — Rides
RIDE WANTED from Surrey to U.B.C.
for 8:30 morning classes. Will share
gas. Pam, 581-1257.
65 — Scandals
GOING CHEAP! All the pizza you can
eat for only $1.99 plus cheap grog,
good music and great times. Tonight's
Bear Garden, Buchanan Lounge, 4;00.
ORSON WELLES' latest exclusive. Sub-
films presentation is "F is for Fake."
No kidding!!
APPLES B.C. Top quality: Winesaps,
Golden Delicious, Spartans, Red Delicious, etc., in cases, 25c lb. William's
Apple Shop. Call 224-5501 6 p.m.-8
p.m. weekdays.
11 — For Sale — Private
RARE '73 TOYOTA COROLLA, deluxe,
automatic, plush custom, 35,000 miles,
imit. mags, radials. Religiously maintained (records available). 325-3542.
ORGANICALLY   GROWN   UNSPRAYED
Okanagan fruit in season. 25c per
pound by the case. 738-8828 or 733-
1677 eves.
25 — Instruction
SPANISH     CLASSES.    Beginners    and
advanced. Contact Bertha  738-3895.
30 - Jobs
SELLERS urgently needed for the
Greenpeace "Go Anywhere" Xmas
lottery. Make Money: save life. 2108
West 4th Ave., Vancouver, B.C.
V6K 1N6. (604) 736-0321. Bet 'Moby-
lized"  for  Life!
35 - Lost
DESPERATE: I lost a beige purse. I
need my ID. If found, please return
to Lost & Found in SUB.
LOST a man's brown wallet between B
lot and Education Building. Phone
731-4851.
80 — Tutoring
PREPARE for the December LSAT with
the Law Board Review Centre's Intensive LSAT Weekend Review. For
further information give us a call
toll-free at 800-663-3381.
85 — Typing
EXPERIENCED essay typist. Accurate
work, electric typewriter. Phone
266-9459.
TYPING: Young mother with lots of
time wants work to do at home. Reasonable. 926-5367.
SUPERIOR TYPING for your essays.
Pick up and delivery on campus. Call
Penny, 437-7240 eves.
EXPERT TYPIST — Essays, seminar
papers and thesis typing. Reasonable
rates. Phone 274-3010.
FAST, EFFICIENT TYPING near 41st
and Marine. 266-5053.
ACCURATE TYPING on IBM Selectric.
Reasonable rates. Call 438-2972.
EXCELLENT TYPING. Reasonable
rates. Call 731-1807, 12 noon to 9 p.m.
90 - Wanted
LIVE CONCERT RECORDINGS. Crosby,
Stills, Nash? Call 980-1730 or 988-0028
after 5 p.m.
99 — Miscellaneous
THREE BEAUTIFUL KITTENS need
good homes. Phone 733-7435 free. Friday, November 4, 1977
THE        UBYSSEY
Page 3
Changes in constitution urged
By TOM HAWTHORN
Canadians have an obligation to
recognize Quebec's desires for self-
determination, a visiting York
University professor said Thursday.
"The only way this nation will
survive is if Quebecers are convinced that self-determination can
be achieved within the context of
the Canadian nation," Walter
Tarnopolsky told almost 200
students in Law 101.
"It would be absolutely
disastrous for all Canadians if
Quebec separated," he said.
"As  Canadians,   we  have   an
obligation to remedy some of the
problems facing this country. In
fact, one of the first things that has
to be done is to change some parts
of the Canadian constitution."
Tarnopolsky called for an end to
federal involvement in social
welfare programs, elimination of
federal appointments of lieutenant-
governors and removal of the
federal power of reservation and
disallowance of provincial
legislation.
"The provinces should also have
the right to participate in the appointment of superior judges and
should be allowed to appoint half of
the senators from each province,"
said Tarnopolsky.
"Of course this would call for a
change in the role of the senate, but
all of these are necessary if the
Canadian nation is to remain as
one united country."
Tarnopolsky said the "weighted
minority" principle of increased
minority political power must be
applied to the Canadian situation if
Quebecers are ever to feel comfortable under a Canadian constitution.
"With Quebec's declining birth
rate they have become more afraid
of  assimilation,"   he  said.   "All
minorities are at some time
worried about the power of the
majority."
The "weighted minority"
principle grants minorities greater
political power than they would
normally have, said Tarnopolsky.
This alleviates some concerns of
the minority group, he said.
"The aspirations of the Quebec
nation, and I do believe it is a
nation, could be quite easily accommodated under a different
constitution.
"Not until a decentralized
federal government is established
through constitutional meetings
will the problems facing Canada be
solved," said Tarnopolsky.
Fewer than 20 per cent of
Quebecers will vote in favor of independence in the proposed Parti
Quebecois referendum, he said.
"It all depends on if the PQ can
convince Quebecers of the fraud of
eoonomicassociation,"hesaid. "If
so, they might very well vote to
separate."
"The only viable national region
in Canada is the west. Neither
Ontario nor Quebec can be independent of each other because
TARNOPOLSKY...
calls for decentralization
their economic situation depends
so much on the other," said Tarnopolsky.
"In the west this problem does
not exist, as we are able to trade
with other countries like the United
States and Japan."
The western provinces get a bad
economic deal in Confederation, he
said.
"We might do better in an
economic sense as an independent
nation, but I believe that a
decreased level of prosperity is a
fair price to pay to keep this nation
together," he said.
Fighting in Africa
'will get worse'
—f. stop fitzgerald photo
TRIPPING THE LIGHT fantastic are Ubyssey photographer Chris Bannister and Liz Hunter of the UBC
dance club. Hapless photog wandered innocently into dance club meeting in SUB and was shanghaied into
performing graceful tango while dance master grabbed camera and snapped photo.
By MARIO LOWTHER
Oppression of blacks and their
fight for independence in Namibia
and South Africa will get worse
before it gets better, a Lutheran
pastor said Thursday.
Paul Isaak, who spent two years
with the Lutheran Church of
Namibia, said the system of oppression will continue until the
black struggle gains more world
support.
Namibia is a South African
territory.
"Thequestion is not will there be
violence, but when will there be
independence? " Isaak said.
Old images of China are now outdated
By HEATHER CONN
If your image of China is of
rickshaws, junks, Charlie Chan, Fu
Manchu or Susie Wong, read on.
These were (he images of China
common in Canada 15 years ago,
said architect Bing Thorn in a
lecture Thursday.
As one of the first organizers of
China Week at UBC 15 years ago,
Thorn said the situation then was
'very different' from that of today.
The UBC administration was
accused of "harbouring Communists" in its Chinese student
enrolment. A Chinese student was
threatened with expulsion for
saying China was not the cause of
the Korean War. The Asian studies
department offered no courses on
contemporary China.
Today, Chinese Canadians are in
a "pivotal position" as international tension is growing,
Thorn said. A definite change of
attitude toward overseas Chinese
is needed, he added.
"People need to understand
China better," he said.
Chinese Canadians should
recognize their Canadian
citizenship and cultural ties
because the concept "once a
Chinese, always a Chinese," is no
longer true, he said.
"Once people take on citizenship
of a new country, they should
contribute to and promote the well-
being of that country," Thom said.
Chinese Canadians are often
treated as second-class citizens in
China, Thom said, but their
cultural gap bridges traditional
Chinese concepts. As a result,
Chinese show more formality to
Chinese Canadians.
"Many Chinese Canadians don't
even realize their own political
rights," Thom said
Thom criticized our society's
fixed set of values in education.
"Nothing in our educational
system recognizes that people are
different," he said. Instead of
questioning the system, Chinese
Canadians of a young age ask
"what's wrong with me? Why am I
different?" Thom said.
Canada is a multi-cultural
country and Chinese are the
largest minority in Vancouver.
"How can you understand
heritage, if you don't know who or
what you are?" Thom asked.
"Chinese are the most studious,
ask the most questions, and submit
the most work."
Because of family pressures and
economic instability, Chinese
students are often urged to succeed
and support the family, he added.
Recently Chinese exchange
students visited Carleton and UBC
for a six-month stay at each place.
At Carleton, the students were
received with warmth and lots of
communication. Many students
would sit down and talk with the
Chinese. At UBC only three
students approached the group
during their six-month stay on
campus.
The Chinese Cultural Centre
tries to develop the cohesion of the
Chinese Canadian community. The
centre also helps to provide a real
awakening in Chinese Canadian
self-identity, Thom said.
Bookstore is not trying
to make profit, Vogt says
■,<*>,*.■»**
~/w-C"<
From page 1
But Vogt said the bookstore has
not been trying to make a profit to
fund the new building.
"If snot even fair to say they've
been building up a fund for a new
bookstore. What they've  been
'CSA not linked with Kuomintang'
The Chinese Students' Association Thursday denied
charges that it is affiliated with the Kuomintang
government in Taiwan.
Former CSA president Tumg Chan and current
president Allan Li were commenting on a letter in
Thursday's Ubyssey charging the association with
showing Kuomintang propaganda movies and affiliating itself with the neo-Nazi regime.
Chan said the CSA shows the movies because there
is high demand from Chinese students for feature
films from Taiwan and China.
"However, we don't want to impose ideas on any
one. It's up to the audience to form their own
judgments on these films," Chan said.
"We are not trying to be a mouthpiece for
anybody," Li said. "We show films from both China
and Taiwan. We charge them at equal rates, try to
show an equal number of both types of films and
advertise them in an equal way."
Li said the CSA tries to promote a Chinese-
Canadian culture.
"Our connections with China are ethnic, cultural
andhistorical. There is no political comradeship with
either China or Taiwan," he said.
"These allegations about a CSA association with
the Kuomintang are ridiculous," Chan said.
doing is having good
management," he said.
Hermanson said although the
administration is planning the new
bookstore, he is not convinced that
UBC needs it.
"Whether we need a new
bookstore, I don't know," he said.
, Dave Jiles, director of services
for the AMS student administrative commission, said
Thursday bookstore profits should
be put into student services at
UBC.
"I feel that profits for the
bookstore could be directed into
needed and useful student services
at UBC, such as career counselling, daycare centres and the
understaffed and overworked dean
of women's office," he said.
Student board member Basil
Peters said Thursday bookstore
profits were too high, although he
agrees with plans to construct a
new bookstore.
Independence for blacks means
getting human, religious,
economic and political rights.
Blacks cannot change the constitution because they can not vote.
White voters will not change the
constitution, he said, so blacks
must fight.
"Our struggle is basically
against the (South African)
government and those who support
the government," said Isaak.
Currently black Namibians and
South Africans are heavily discriminated against, he said,
because they earn far less than
whites for the same work.
Namibia was a German colony in
thelast quarter of the 19th century.
Namibia has a small population of
only one million. Namibia's
population is so tow because the
German government killed three-
quarters of the people in 1907, said
Isaak.
Today, blacks are shot on sight
along the border if they violate the
5 p.m. curfew. But "one African
was shot down at 3 p.m. while
collecting firewood and a child was
shot while going to a friend's
house," he said.
Torture is widely used by the
South African troops, said Isaak.
Electric shock is quite common
and sterilization and impotence
are frequent results.
He said "one man was forced to
watch the bleeding organs of his
daughter before he finally confessed to what he knew."
"All liberation movements
pleaded with the United, Nations
for peaceful change," he said, but
the Western countries sided with
South Africa.
"France is giving $800 million
worth of arms to South Africa each
year. Israel supplies technical
advice, and the United States give
aircraft, guns and machine parts,"
said Isaac.
Many countries will not" boycott
South Africa because they have
interests in South African business,
he said.
Namibia wants all troops out
before they will consider any talks.
South Africa would give Namibia
independence by 1978, but only if
the Namibian government is
controlled by South Africa, Isaak
said. They would also want to
supervise the elections.
Isaak said North America should
cut off relations with South Africa
and boycott corporations with
South African interests. Page 4
THE        UBYSSEY
Friday, November 4, 1977
IT'S EDUCATIONAL IT'S FUN...!!
"More animals than the Mini-Zoo I bought at McDonald's.". Frank Soltisiak, Naniamo
End rip-offs
Food services and the bookstore; two alleged "student
services" that often seem the main complaint of UBC
students.
Obviously it's time that something was done. The
bookstore, or should we say buck-store, has consistently
ripped off students to the tune of more than $100,000 a year
in profits for the past several years.
And food services, a misnomer if ever there was one, has
finally found out, by dropping $180,000, that no one will eat
there if they can possibly avoid it. Although convention
business was apparently down only 10 per cent, food service
revenue was down a whopping 71 per cent.
Enough said, or shall we go on? When was the last time
you had a cardiac arrest after buying required textbooks and
school supplies at the bookstore?
When was the last time you paid good money for a
miniscule "meal" in SUB and got only indigestion?
Have you ever found that the only relevant book for
one of your courses can't be bought, at any price, because
the bookstore only ordered 30 copies for a class of 300?
And that it should arrive shortly because extra copies
will be "air-freighted" in? Then the books arrive three
months later and you sigh in relief that they didn't send them
by train.
It's clear things could be better. And they should be.
The administration, offers namby-pamby excuses that
the bookstore doesn't intentionally make a profit. But since
it does why not put the money towards a grandiose
monument to UBC — a new bookstore.
What bullshit!
Instead why don't they try pressuring the provincial
government into paying the capital building costs for the
bookstore, something that is an academic necessity, not a
luxury.
Students should not be asked to subsidize a building
with school supply sales. Period.
And food services should finally realize no one wants
their overpriced "food" and do something about it.
THE UBYSSEY
NOVEMBER 4, 1977
Published Tuesdays, Thursdays and Fridays throughout the
university year by the Alma Mater Society of the University of
B.C. Editorial opinions are those of the staff and not of the AMS
or the university administration. Member, Canadian University
Press. The Ubyssey publishes Page Friday, a weekly commentary
and review. The Ubyssey's editorial office is in room 241!''. of the
Student Union Building. Editorial departments, 228-2301;
Advertising, 228-3977.
Editor: Chris Gainor
It would have been a normal day for Bruce Baugh If he hadn't walked
Into the Ubyssey office. But entering the room clutching his Pendantry 5
notebook, he soon saw that things were not going well. The Ubyssey staff
had decided to become Punk Rockers. Street poet Merrltee Robson tried to
form a band with Mike Bocking, BIN Tieleman, and David Morton called
The Fuckfaces. Plnk-halred Chris Bannister had a knife fight with a
plce-faced Will Wheeler, While Gray Kyles drw groans of pleasure from
Lloyanne Hurd, Greg Strong and Mario Lowther as he drew blood from his
virgin white chest. Chris Gainor danced the Pogo over staffers Robert
Jordan, Michael Trew and Vlckl Booth, white Tom Hawthorn smeared the
blood over his face for make-up. Kathy Ford went about as far as any Punk
could go by stabbing a dagger through her nose and safety pins through her
toes. Dave Hancock and a drunken Geof Wheelwright ran at each other
from across the office and cracked their heads together with a resounding
splat. Larry Hill and Nicholas Read threw CC bottles across the room at
newsslde. But the worst assault for the Innocent Baugh was the sight of
Marcus Gee spraying bean salad out of his nose. When the pedantic Poofta
began puking all over the office, he was unanimously proclaimed as the
best Punk Rocker any one had seen since Paisley Woodward.
Letters
SRA members are irresponsible
The resignation of Alma Mater
Society external affairs officer
Paul Sandhu has prompted me to
publically raise some deep concerns I have about the current
student representative assembly.
It appears to me as if the current
collection of individuals on the SRA
have failed to recognize, fulfill and
accept their roles as elected
student representatives. To put it
bluntly, most council members
limit their participation to a three-
hour meeting held every two
weeks.
I think most students will realize
that one cannot have a responsible
and viable AMS if the majority of
council members limit their involvement to such an irresponsible
and token extent.
On the other hand, there are
some council members, like
Sandhu, who feel that students
expect and want a responsible and
viable AMS. And these people will
strive to this end. Unfortunately,
there are only a few Paul Sandhus,
and these people end up doing most
of the student society's work.
Generally speaking, these people
end up spending close to 25 hours a
week on AMS business.
The problem with the SRA, then,
is quite obvious. There are a few
people who do a lot of the work, and
a lot of people who do no work at
all. This state of affairs, is a
frustrating one for the minority of
hard-working, committed
representatives. Usually, this
minority discovers that it ends up
doing too much work, with little
reinforcement and support from
the rest of the council, until finally
it gives up and quits.
The case of Paul Sandhu is just
one illustration of this condition. A
review of Paul's efforts demonstrate the sloppy, irresponsible
attitude of the majority of SRA
reps. For example, Paul
recognized that the AMS should
react to the relatively high levels of
student unemployment this
summer. Most council members
agreed with his idea of conducting
an employment survey in September.
Despite their support of Paul's
motion, few council members
volunteered to help Paul conduct
the survey. The end result was that
Paul was forced to spend about
four hours every day during
registration week handing out and
receiving the surveys.
Another example — Paul
recognized that the AMS had an
obligation to examine the question
of inadequate university funding.
The council unanimously passed
his motion to do a cutbacks report.
Yet, only one member of the SRA
volunteered to help him work on
the 45-page report.
Another example — Paul felt
that there was a need to address
the question of student aid and the
student loan structure. Once again,
most council members agreed with
and supported his concerns. And
once again, only one member
actually helped him.
It is easy to understand how
anyone in Paul's position would
eventually become extremely
frustrated.
On one hand, council members
continuously support his motions,
and on the other they never help
him fulfill the objectives that they
'Society' is not to blame
You quote dean Margaret Fulton as asserting that "our society is
schizophrenic in that it forces sex games and stereotypes on us and at the
same time keeps us from being mature."
If this is not another misquote, one is led to ask whether Fulton is
herself forced to play sex games and has herself been kept from being
mature, and whether she applies this generalization to all her colleagues
and to all students.
Nobody is "forced" by society to play sex games and there are many
students and professors who are aware of and abide by the social and
academic rules which forbid sex games between teacher and pupil. The
small number who behave otherwise do so not because they are "forced"
to play sex games, but because they are self-indulgent or cynical, or both.
Fulton does nobody any service by suggesting that "society" is to
blame, and not those who behave badly.
G. H. Durrant
English department
supported. Consequently, Paul,
because he sincerely believes that
the AMS should address itself to
these matters ends up doing most
of the work himself.
SRA members have to recognize
that their duties extend beyond
merely voting on SRA matters.
They must recognize that they
have an obligation as elected reps
to take an active interest in SRA
affairs. Currently they have not
demonstrated any real interest. A
glance at the most up-to-date
committee list reveals that eight of
the 52 SRA members are listed as
members of its four most important committees (TASC,
EXAC, SHAC and Women's). I
think that the figure not only
illustrates the problem within the
SRA, but embarrasses the SRA as
well.
Students that read this letter
should inquire about the involvement of their SRA reps.
Students planning to seek SRA
positions and current council
members must recognize that they
have a duty to the students that
elected them, to expand the degree
of their SRA involvement. Unless
SRA members demonstrate
greater dedication, not only do I
know that other members of the
executive will resign, but the AMS
will continue to maintain its "out of
touch," "unrepresentative" and
"elitist" image.
Moe Sihota
board of governors rep
Provincial
Regarding the CSN concert
review last Friday, "the whole
Crosby, Stills and Nash experiment ran out of steam long
ago", etc., says much more about
the reviewer and the city than it
does about the group and their
music.
Ignoring the reviewer's other
gross provincialisms, consider that
the same concert in a similar hall
the next night in Seattie was sold
out 10 days in advance.
It's also unfortunate that the
reviewer's academic need-to-write
and his naively simplistic interpretations of the group's past
and present denied him the real
experience.
Sten Festner
Canadian logic foils foreigner in disco
Being from Britain and still new
to this country, I have found one
cultural difference to be the unwritten laws on sexual behavior in
discotheques. For those of you who
have not yet ventured across the
Atlantic, let me explain the set up
over in Britain.
There are, of course, the usual
basics; music, dancing area,
booze, and people. With encouragement from the disc jockey
and liquid fortification, the girls
will enter onto the previously
empty dance floor. Then the males
will leave the bar, which they have
been propping up until now, and,
pint in hand, surround as much of
the dancing area as possible.
Herethey will scan the 'goods' on
display and make their choices for
the evening. At least this method
enables the males to choose a
partner whose dancing suits his
capabilities, or who simply turns
him on with the way she moves.
As when dancing with only one
girlfriend, some guy may ask only
one of you to dance, leaving the
other to dance alone or to retreat to
the local discos, it is perfectly
acceptable for a group of guys to go
and dance together.
However should that happen
over here, it would cause quite a
disturbance, so I am told. Apparently, in this country, everyone
has   doubts   about   each   others
sexual tendencies. Surely the more
in a group, the less intimate the
relationships and the more open,
the less likely it is to be of a
homosexual nature.
Canadian logic has me foiled in
this instance. You certainly aren't
as open-minded as you'd like to
think you are, that's for sure. Do
lesbians really go around in groups
and are all guys who like to dance
together 'fags?' I will admit that it
is nicer to be asked to dance while
seated away from the dancing
area.
In Britain you are most likely to
get a sharp poke in the back and
"wannadance?" screamed in your
ear just as the music fades out.
Then again, I would rather dance
with a girlfriend than with some
greasy nurd who has two left feet
and struts like Mick Jagger.
Perhaps one day it will be
necessary to have ones
chromosomal make-up as part of
one's ID to prevent 'different'
people from mixing with the
'normal' public. I would like to add
that this was not intended to offend
any of the true gays in this community. But I think I'd better inform everyone, in case you haven't
already heard, that of the 1,000
members of the ballroom dancing
class, only 400 are males, and you
all know what that means, don't
you?
Melanie Clay
secondary ed 3
Every dog has their day
If midterms and term paper deadlines are bearing down upon you with
the ponderous unstoppability of the juggernaut, consider the truth of
Parkinson's Law.
I.e. as time approaches zero, work expands to infinity. This is, of
course, merely an aspect of Finagle's Second Law, i.e. the perversity of
the universe tends to a maximum.
This law is also seen to operate in the laboratory as the Law of Accessibility of Parts, i.e. the accessibility of the part dropped behind the
bench is inversely proportional to its size and directly proportional to its
importance in the experiment.
Since this law acts equally and simultaneously on all individuals, do not
envy those lucky few who always seem to have their work done on time.
With the way things are going there's a good chance they'll get what's
coming to them.
John Martin
biology 4 PAGE FRIDAY
Dionysius' relation to Christian festivals
r
"N
Our cover features a picture of Dionysius, Greek god of wine and
music. The relation of the myth of Dionysius to the Tarot and to
Christian myths and celebrations is explored on PF 6.
A new international film festival has been introduced to Vancouver at
the Denman Place Theatre. An assessment of this year's program
appears on PF 2.
A review of the Tubes recent concert at UBC's War Memorial Gym is
the feature music article on PF 3. There are reviews of the Vancouver
Symphony orchestra and of a concert' of Chinese music on the same
page.
Newfoundland artist Jim Hansen has an exhibition of prints on
display at the Fine Arts Gallery. The showing is reviewed on PF 4.
On the theatre scene, local productions of Brecht's Saint Joan of the
Stockyards and of La Ronde appear on PF 5, and on PF 6 there are
reviews of Lothar and a presentation of two one-act plays, Night Train
and The Trophy.
Last weekend, a group of B.C. writers got together for a two-day
workshop and read out their work to each other. An article on PF 7
discusses the strengths and weaknesses of the project.
Vista closes this week's Page Friday on PF 7. film
Denman Place debuts new film festival
BY GRAY KYLES
For the past 15 years Vancouverites have had the opportunity to see a collection of top-
rated international films each
summer at the Varsity Film
Festival.
The festival is always well
attended and has been the
highlight of the year for many
movie buffs.
Maurice Bilovus, manager of the
Denman Place Cinema, has been a
fan of the Odeon event for several
years and believes that Vancouver
needs more outlets for foreign
"art" films.
This year he finally convinced
his employer, Famous Players, to
allow him to experiment with
foreign movies at the Denman
Place theatre. He's starting in a
big way with an international film
festival of his own.
The Fall Film Festival is an
impressive collection of 13 features
and several shorts that is running
from Oct. 28 through Nov. 10.
Bilovus is the festival director,
which means that he chose the
films and arranged the schedule.
His festival is a complement, not
a competitor, to Don Barnes'
Varsity festival. It is scheduled
during the slowest period of the
movie year and brightens the
scene considerably.
The France-Ivory Coast co-
production, Black and White in
Color, got the event off to a good
start last Friday and will be
repeated Saturday at 9:30 p.m.
Jean-Jacques Annaud's first
feature was the surprise winner of
the Oscar for best foreign language
film beating out such formidable
opponents as Seven Beauties and
Cousin Cousine last Spring.
Without that award it is doubtful
that the film would have ever
gotten past New York.
Annaud and his co-screenwriter
Georges Conchon have created a
witty satire that attacks the
madness that was World War I and
the system of colonialism that was
practised in Africa by the
European powers.
Although two tiny neighboring
German and French outposts in
West Africa have been friendly for
years each suddenly springs to the
offensive when they learn that
their homelands have been at war
for six months.
In the French settlement the few
white businessmen and their wives
demand that the military commander organize an attack on the
colony.
The result is a ludicrous affair in
which the Africans living in the
settlement are rounded up and sent
to battle while the French
"patriots" picnic at the battle's
edge.
After being routed by the better
organized German black battalion,
a young French geographer takes
charge.
He claims to respect the
"natives" yet he is not above
capturing and torturing them info
service. What Annaud shows us is
the climb to power of a dictator,
albeit a miniscule one.
Black and White in Color emphasizes the greed, ignorance and
fear which drove on the white
settlers and the reluctant
obedience and occasional sly
resistance of the Africans.
Filmed entirely on location in
Ivory Coast, Black and White in
Color is a French film, seen from
the French perspective and should
not be regarded as an example of
African cinema. In some ways it is
an apology for the wrongs of the
colonialists.
This Sunday night the Swiss film
The Wonderful Crook will have its
second showing. It is the story of a
young man who takes over the
family furniture factory after his
father suffers a stroke.
Pierre discovers that the
business is broke, a fact his father
had never mentioned. Determined
to keep the factory running and his
workers employed he fabricates a
number of large orders which he
later takes to a secluded spot to
burn.
The orders are really only a
cover-up for the new way Pierre
has devised to keep the money
coming in, armed robbery.
In the course of one pf his robberies he becomes fascinated by a
postal clerk who soon becomes his
mistress and partner in crime. His
wife, whom he still loves dearly, is
of course kept in the dark about his
double life.
With a lesser director such a
story could have been a maudlin or
silly exercise but in the hands of
Swiss filmmaker Claude Goretta it
becomes a comic and touching
entertainment.
shows just how far Bozzetto has
come in seven years.
While on the subject of bad films
let us note The Crazies which made
its first festival appearance on
Halloween night. It is badly
written, poorly acted and patently
silly. It is also great fun.
The Crazies is one of those bad
films that deserves to be a hit and
could easily develop a cult
following. How can that be? I don't
know, it'snot the kind of movie one
inteflectualizes about. You just sit
back and have a good time.
Director George A. Romero
made the picture in 1973 in the
hopes of rekindling the success he
had with his 1968 horror classic
Night of the Living Dead.
He doesn't live up to that
challenge (it's possible no one ever
will)   lit  with  The  Crazies  he
There can be no doubt that
festival organizer Bilovus had UBC
students in mind when he booked
Joseph Strick's adaptation of
Joyce's A Portrait of the Artist as a
Young Man for three festival
showings.
Each year scores of campus
students are required to read the
Joyce novel for a variety of
English courses. Now they can see
the film and broaden their view of
the book.
Joyce is a difficult novelist to
adapt to the screen. Strick tried ten
years ago with Ulysses but
received only a mixed response.
With A Portrait of the Artist he has
more luck but is still far from
complete success.
The cinematic problem with
Joyce is that he has characters
who go on and on for pages ex-
THE WONDERFUL CROOK ... gives his all to his criminal life
Goretta displays the same gentle
wit in the Wonderful Crook that
was the strength of his The Invitation which played Vancouver
three years ago. He is a satirist but
without the acid touch.
The cast are all talented French
performers who have seen considerable film work. Gerard De-
pardieu, who has appeared in such
films as Stavisky and Maitresse, is
extremely engaging as the central
character Pierre.
He gives a subtle and sensitive
portrayal of a young man who
gives his all to everything, including his marriage, criminal life,
affair and even his factory.
Marlene Jobert has worked with
Godard, Chabrol, de Broca and
Mafle and has developed a fine
style of cinematic acting. Here she
plays the post office clerk with all
of the gutsy independence that the
role requires.
Dominique Labourier, who will
be remembered as the farm wife in
Jonah Who Will Be 25 in the Year
2000, is Pierre's wife Marthe. She is
an actress who dominates the
screen with a remarkably
naturalistic and understated yet
powerful performance.
The Wonderful Crook is a must
selection of the festival.
A film that can easily be missed
is VIP My Brother Superman, a
weak effort from Italian animator
Bruno Bozzetto.
Bozzetto is the creator of the
brilliant Fantasia parody Allegro
Non Troppo which was one of the
hits of last summers Varsity
festival.
VIP, which was made in 1970, is
an unfunny, uninteresting and
poorly animated satire on the big
business world and mass media
advertising. The most interesting
thing about the picture is that it
comes closer to making a classic
1950's science fiction movie than
George Lucas ever will.
Briefly, the story concerns a
town that is invaded and isolated
by the U.S. army after its water is
contaminated by Trixie, a
biological weapon aboard a
military transport plane that
crashed near the towns reservoir.
There are only two consequences
of exposure to Trixie. One is death,
the other is insanity.
The film chronicles the complete
destruction of the town, the total
disorganization of the army when
faced with a disaster and the
ultimate defeat of the good guys. It
is a distinctively 1970's story
rendered in a 1950's style.
The Crazies will be shown again
on Monday night and is well worth
seeing.
A good film that was also worth
seeing was Bim, the first feature
length film ever made in Trinidad
and Tobago. Unfortunately it
played its second and final
engagement last night to probably
as small a crowd as at its first on
Sunday.
Vancouverites missed their
chance to see a fascinating and
thought provoking picture which
will probably never play this city
again.
The story of a young Trinidadian
who grew up in and was alienated
from a colonial society. Bim was
an entertaining and informative
lookat a "developing" Third World
Nation.
The film was reminiscent in
theme and style of the Jamaican
picture The Harder They Come,
but on the whole it was better.
Perhaps the Pacific Cinematheque
could be convinced to bring it back
for one last showing sometime in
the near future.
pounding on every important
philosophical question ever raised.
That's fine on the printed page but
how do you transpose that to the
screen?
Well, Strick does it quite simply.
Have the characters do their expounding as they walk through the
streets of a town or stroll along a
beach. Put quite simply that approach doesn't work very well and
creates several lengthy weak
scenes in the film.
But they are countered by others
that are lively and work well,
conveying Joyce's material in a
power fill and  profound manner.
Sir John Gielgud is at the center
of one such scene in which he plays
the Hellfire Preacher who gives a
spine-tingling but ridiculous
oration on the wages of sin.
Strick captures the feel of
Ireland and the early years of the
young Stephen Dedalus well and
has brought together a cast that,
though little known to the film
world, kept the picture on track
most of the time. It will be
repeated for the last time on
Wednesday.
On Sunday at 9:30 Joseph
Losey's first French production
will be screened and it will be the
last chance to catch one of the real
stand-outs of the festival.
Losey is the American director
who moved to England after being
blacklisted in the McCarthy era. It
was in Britain that he produced his
most popular works, including The
Servant and The Go-Between.
After directing the moderately
successful Romantic Englishwoman he moved" to France and
Mr. Klein is his first production
there. It is his best film to date.
Alain Delon stars as a wealthy
French businessman who buys art
treasures and other valuables for
very little from Jews who are
anxious to leave N a z i-occupied
Paris.
When a man with the same name
but a Jewish background suddenly
disappears, Delon becomes the
subject of a police investigation. Is
he actually who he claims to be; is
he Jewish? These are the questions
the police are asking and they are
also questions he asks himself.
Eventually Klein is forced to
understand the horror facing the
people he has exploited and Losey
makes, his point powerfully.
Mr. Klein is probably the first
major film in a long time to feature
Debn as something other than a
gangster. It is a welcome change
as the French actor gives a subtle
and controlled performance in the
film which he produced.
There are still a number of films
to debut at the festival, most
notably Allan King's Who Has Seen
the Wind and Alan Moyle's The-
Rubber Gun, scheduled for tonight
and tomorrow respectively.
But it is obvious from those
screened so far that this first Fall
Film Festival is one of the best
festivals to ever play Vancouver.
Yet crowd turn-outs have been less
than overwhelming for most
showings and that is a shame.
The Festival is an experiment
this year and if there does not
appear to be enough interest to
sustain it then quite probably
Famous Players will leave the
international art film market to the
Varsity.
If you are interested in seeing
some of the finest movies made in
Europe, Canada, Australia or
Africa in recent years then you
should make the effort this week to
attend some of the festival
showings. Prices have remained at
the regular level which does not
usually happen at festivals.
Complete schedules are
available at Speakeasy in SUB and
at the Denman Place Cinema.
Unlike the Varsity Festival tickets
are not sold in advance and no
reservations are accepted. The
box-office opens at 7:00 p.m.
We're going
back to school!
Corky's
will be closed
Sunday, Nov. 6
and
Monday, Nov. 7
Page Friday, 2
THE
UBYSSEY
Friday, November 4, 1977 **
M" 4» JM.**
** */'
«-T*JSJ* <v
music
Tubes satire outrageously accurate
BY WILL WHEELER
Perhaps it is true that reality is for people
who can'tfacedrugs, but it can get boring at
times. For people tired of reality, the Tubes'
phantasmagoric rock show and multi-media
extravaganza was a refreshing break.
The Tubes take few things seriously. They
are in fact somewhere in between National
Lampoon and the Mothers of Invention.
Nothing is sacred for them, especially not
other musicians.
Targets for these rock and roll satirists?
They include Tom Jones, punk rock, glitter
rock and a host of general types such as the
crooner in the double-knit suit or the leader
of the pack.
For the most part they were dead on with
acts that were both brilliantly conceived and
executed. Behind their stage show is a
creative drive that is astonishingly
energetic and a wit that is razor-sharp.
Besides all that, the Tubes showed
themselves capable of being a heavy band
when playing relatively straight numbers.
The actual musicians in the group, three
guitarists, two keyboard players, two
drummers and one lead singer, showed a
capacity for belting it out that would put a
lot of sther groups (who are trying to do it
seriously ) to shame.
Of course, there are problems with the
Tubes' act. One is that they seem to leave
the audience far behind. For the most part
this is because Vancouver audiences are a
bit slow (if you know what I mean) and
unresponsive to the action on stage.
However, there were problems with some of
the numbers being excessively vague.
Certainly the group has had technological
problems in going on tour with an expensive
rock show that cannot possible recoup its
expenses by playing in small halls.
But it is puzzling to find a reviewer for one
of the downtown papers dumping all over
the Tubes. He didn't like them, it seems,
because they're not commercially successful and they're blatantly ambitious.
But this is why the Tubes deserve respect
and attention — they have chosen to make
the artifice of rock and roll music an art-
form in itself.
The commercialism of "serious" groups
such as the Eagles or Chicago is hidden as
much as possible. But not the Tubes — their
second album was called Young and Rich.
Most recording artists go on tour not to
FEE WAYBILL AND RE STYLES .
make money but to sell albums. The Tubes
have enough audacity to send their three
blond bombshell dancers out onto stage,
carrying enlarged versions of the album
covers, to deliver critical tirades against the .
album.
The artifice of the Tubes is obvious and
scathing. They present many different
styles of popular music and they do each so
well that they make you wary of people who
claim to do it seriously.
Rowdy VSO falters
BY ROBERT JORDAN
The music of Bach, Rachmaninov and
Bartok presents a diversity of style which
was not always coped with effectively by the
Vancouver Symphony Orchestra in their
most recent Main Series Concert. Kazuyoshi
Akiyama conducted the orchestra in largely
familiar repertoire which should have been
performed much better than it was.
Bach is one of the composers whose name
has not figured too prominently on VSO
programmes over the last five years. His
Brandenburg Concerto No. 4 demonstrated
a resultant lack of familiarity. Poor
balance, lack of precision and, above all,
bad intonation plagued the section of VSO
players which formed the small accompanying orchestra for the soloists.
Drawn from the orchestra's ranks, the
soloists were Gerald Jarvis, violin, Camille
Churchfield and Harriet Crossland, flutes
and Linda-Lee Thomas, harpsichord.
Under Jarvis' wobbly and out-of-tune
fiddling, the two flautists ambled their
ostensibly amiable melodic paths, often at
odds intonationally with the orchestra. The
vibrato used by the players was so wide and
unidiomatic, it was impossible to ascertain
the median pitch being sought.
The continuo line (basses, 'cellos and
harpsichord) was well-handled, which was
small consolation indeed. This performance
was a well-applauded disaster. For Vancouver audiences, it seems that stylistically
appropriate playing is indeed secondary to a
familiar composer.
Alexis Weissenberg was the guest soloist
in the much-overplayed Rachmaninov
Piano Concerto No. 2. He is one of the most
uperb concert artists Of today. The wealth
f variety of tone he was able to extract
rom the piano he played on Monday night
ras most remarkable and deeply satisfying.
Orchestrally speaking, the performance
vas far from being a memorable one,
ilt ho ugh it was at least reasonable and
;ometimes quite good.
The second movement was played extremely well, particularly the lovely
woodwind passages with the solo piano.
However, its effective function in relation to
the concerto as a whole was lost as a result
of its following such a lacklustre performance of the first movement.
With a similarly low-key third movement,
this performance would quite easily have
qualified as a candidate for the dullest
performance of the work in history.
However, Akiyama saved the day by
ferociously launching the orchestra into the
finale, indulging to the full in as much schmaltz and fortissimo as possible.
Weissenberg's dazzling fingers awed the
audience completely.
Bartok's Concerto for Orchestra was the
final work on the programme.
Attention to detail in the often
treacherously exposed orchestral scoring
highlighted these first four movements. This
aspect was a real delight to hear, especially
in the second movement, despite Akiyama's
slightly too deliberate tempo.
In the fourth movement, Bartok elbows
Dmitri Shostakovich in the ribs for his
blatantly banal handling of the first
movement of his seventh symphony.
In a masterstroke of satirical genius,
Bartok incorporates Shostakovich's theme
in this movement and disintegrates it into
chattering, splintered woodwind phrases
and vulgar trombone glissandos. These,
incidentally, were amazingly tame, considering the potential for vulgarity
displayed by the same trombone players in
the first movement and to be displayed in
the last.
The final movement is ingenious in construction, but offers a dangerous potentiality for bombast. In the context of
Akiyama and the VSO, this is like waving a
red flag in front of a bull. It is a satisfying, if
somewhat rowdy finale with the VSO's
rendition, needless to say, tending more to
the rowdyness than the satisfaction.
—chris bannister photo
in"Don't Touch Me There"
The stage act is incredible to see and more
than a little bit difficult to describe. The
stage personnel are divided between the
musicians and the dancers, who work
together to present to present a show usually
described as theatre-rock.
Costumes, props of all kinds, a four-screen
video system and more conventional means
such as lights and smoke are used to
enhance the visual aspect of their show, an
element commonly neglected or even
despised by performers. Lead singer Fee
Waldo Waybill (that is what he says his
name is) deserves special mention as the
man who ties it all together. He functions as
a link between the dancers and the
musicians, performing as singer, dancer
and actor.
The result lies somewhere in between
danoe-theatre and rock 'n roll. There is
something of a precedent for it in such artists as Alice Cooper, David Bowie and a
whole generation of show bands who have
sought to make their concerts a multidimensional experience.
But the Tubes are one of the first groups to
commit themselves totally to this concept. It
seems that the problems they have been
encountering are deeply rooted in this
commitment. Perhaps people do know that
rock and roll music is deeply commercial
and exploitative, but they can accept it just
so along as they aren't reminded of it.
Finally, it seems that the Tubes are too
heavily tied to their appeal as a live act —
they're excellent performers but their
albums can be hard to follow without
knowing the visual connection.
Mondo Bondage, the group's tribute to
sado-masochism, was a chance for the
Tubes to show themselves at their obscenely
outrageous best. However it was toned down
from the last time the Tubes went on tour,
when they actually had posts on stage which
to tie up Re Styles, sometime vocalist and
premiere danseuse for the group.
Uiis being a no-holds barred evening of
entertainment, the Tubes presented a
selection of punk numbers that proved to be
exquisite gems within the confines of that
particular musical genre.
Fee metamorphosized as Johnny Bugger,
a fine figure of a punk rocker, throwing beer
cans into the audience and trading insults —
"shove it, Canooks, I don't need it."
Punk numbers included an upbeat version
of She Was Just Seventeen that would put
most punk groups to shame and a major
highlight of the evening, I Was a Punk
Before You Were, which is certainly where
it's at these days. The song climaxed with
the participation of a chainsaw, a possible
first in Vancouver.
The final section of the show featured Fee
as glitter king Quay the rock star (as in
Quaalude).
With a silver foil costume that left the
teenagers in front row blushing (yes folks,
he was hanging out) and one-foot plus stilt
shoes, Quay was the British rock star
personified: collapsing in his shoes, puking
on stage (shades of Joe Cocker or Eric
Clapton) and raving about the woman he'd
got it on with last time he was here — "She
was great, almost bit me head off . . . Left a
scar on me dick the shape of a star." It was
truly inspired.
The encore and grand finale of the evening
was White Punks on Dope, a phenomenon
with which most of the audience could
heartily identify. The audience, which was a
first a bit slow reacting to the Tubes' style,
perhaps as a result of shock, was thoroughly
enthusiastic and on its feet by the end of the
show.
It was a memorable evening, designed to
astound and amaze, which either left the
viewer totally enthusiastic or anathemic.
AMS Special Events is to be thanked for this
presentation, since so far this year there has
been nothing else to thank them for.
Chinese music poetic
BY MICHAEL TREW
Chinese Festival Week opened most en-
joyably at the Queen Elizabeth Playhouse
last Sunday night. The Chinese Students'
Association presented an evening of music,
poetry and drama.
Tlie cordial introductions of M.C. Tommy
Tao informed a small audience that we
would be treated to performances by
students of the C.S.A. and by members of
the Chinese community.
The general sound of the C.S.A. Choir,
directed by Frank Huang, was good for an
amateur group, though there was a lack of
balance due to the predominance of soprano
parts and one male voice was louder than
the rest. Mountain Climbing, sung by the
women alone, was the most successful
arrangement.
Rowing on the Moon-Lit Sea was also
enjoyable, producing some fine harmonic
blends at times. Anne Lui's piano accompaniment was excellent.
But the evening's highlight was Chinese
instrumental music, performed on authentic
Chinese instruments. In a duet for two instruments somewhat like a harp and fiddle,
the sustained and melancholy tones of the
stringed instrument were contrasted and
complemented brilliantly by the cascading
scales of the harp-like instrument,
magnificently carved, followed. The music
was interesting for its almost Celtic quality
and its impressionistic, and almost poetic
painting of natural scenes.
Ensemble performances of such music as
The Soldier and the Peasants, The Farmers
in the Beanfield and The Fishermen's Song
indicate the subject matter common to the
whole evening's entertainment.
China Spring, a vocal ballad, was too short
to allow two members of the Music
Department to give full credit to their obvious abilities, and Rita Tsang's voice is too
operatic for a folk tune. The two piano
pieces Mr. Chi Shun Wan performed, full of
fourths and fifths and often what sounded
like Debussian harmony were nice to listen
to, but a little light.
To conclude the first half of the program,
Jan Walls of the Asian Studies Department
narrated a Chinese folk ballad, accompanying himself with two copper
clappers. His rendition was lively and entertaining, marred only by the fact that the
story was doubled in length due to the
necessity of translating it from the Chinese.
Both versions were recited. It appeared to
me that the story was far more humorous in
Chinese. A difficult task, performed admirably.
Thelongest part of the evening went to the
play. The Thatched Hut, written for the
occasion about China's greatest classical
poet, Tu Fu. Although it was long and
dreary, with less than great acting and poor
direction, the poetry of Tu Fu which it
featured provided the night's most contemplative thoughts.
:riday, November 4, 1977
THE
UBYSSEY
Page Friday, 3 Newfie Hansen celebrates his home
BY GREGORY STRONG
Still-birthed 1970
a potful of Purple Paints
dismembered DAYDREAMS
weeds WARTS and waffles
FROM A BATTARED BRAIN
Do GRAY Matter?
—Jim Hansen, 1977.
Printmaker Jim Hansen is from
that school of artist who sees
himself as a wilful child setting
objects in new and challenging
patterns of color and form. Hansen
believes that his one man
exhibition at the UBC Fine Arts
Gallery, Main Library, can give a
viewer a complete outlook on his
work and his personality as an
artist.
"The one man show is my
personal print aesthetic," says
Hansen. "It impresses upon the
public that printmaking is a major
artform."
When a printmaker mounts a one
man show it is an exceptional
artistic event because prints are
usually displayed in group
exhibitions often to twenty artists.
But Hansen feets that it is impossible  to appreciate an  artist
unless his work can be viewed for
its own merits rather than compared to the work of other artists.
Hansen was born in Warren,
Ohio in 1939 and moved to
Newfoundland in 1970 with extensive experience in painting,
photography and film making. His
Newfoundland Album is a
collection of the prints that he has
made since his arrival. The few
references in his work to his
Maritimeenvironment are those of
an outsider who is still fascinated
by the island dialects and the
islander's outlook.
Made in Newfoundland: Album
22#is his representation of his new
home; in the upper half of the print
is a fisherman's dinghy embedded
in a square block of seawater with
a band-aid taped across it. There is
a pink breast rising from the top
side of the cube and in the lower
section of the picture is the
squiggly line of an intestinal tract,
or some fecal material.
Hansen uses the prints as both a
verbal and a visual medium,
combining a word, or collection of
words in a poem with an image on
the paper.  His   prints  have  an
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initially humourous approach, but
offer a darker side of human
nature.
The style of his work is slick and
clean in the execution of line and
colour washes and his figures are
often drawn like cartoons.
Perhaps two of Hansen's funniest prints are of a cartoon sketch
depicting the Last Supper and a
caricature of Big Daddy Idi Amin.
In the Last Supper, the figures are
not disciples, but business
executives seated at a table in a
conference room. The caricature
of Big Daddy Idi Amin is a
coloured picture of the dictator
sitting in a rowboat while dangling
a fishing line tied in a loop around
his penis. "Codfish are cute," says
Idi Amin while on his holy days in
Newfoundland.
Hansen deals with this violent
and provocative material in an
offhand manner, but the implications can be particularly
powerful and disturbing. He can be
as bitter and vitrolic as in his Nfld.
Album No. 40 where a comic strip
depicts the horror tale of a "once
was woman" kept alive in a
hospital for thirty years at a cost of
$547,500   until   her   life   support
machinery is unwittingly shut off
by her son.
But sometimes Hansen's work
appears very self indulgent. There
is a repetition of sexual innuendo
in his prints, featuring dismembered bodies, limbs and childlike
drawings of genitalia. One print
features a buyer's catalogue of
embalming tools, another is a
shopping list for gravestones.
These self-evident images and
infantile fantasies break the artist's control and manipulation of
his viewers.
It seems that Hansen's best work
is to be found in the material that
cuts closest to his identity as an
artist. The Immigrant is a cartoon
satire written under a photograph
of a Newfoundland gift shop
doodad.
There came to N.E. shore of
Newfoundland, one dark and
stormy day this one eyed, double
breasted, draft dodger immigrant
with a circle tatooed to his belly.
he tried very hard to be liked
he wore a cloth cap
told newfy jokes
drank BLUE STAR
played hockey 3 times a week
and screwed the Bishop's daughter
in the back of a FARGO pickup,
but someone always noticed
the circle on his belly
especially in the shower. '
Finally, Hansen presents a view
of the self-conscious creative artist
in Nfld. Album no. 51, November
1974,  (printed on my new CINr
CINNATI  screen   machine).   He
depicts the artists as a turd-headed
corporeal   blob   with   a   chest
covered in medals and with giant
sexual  organs.   The  figure   is
waving a magic wand while dancing  on  roller   skates  above  an
accompanying poem;
the artist:
Dealer
Wheeler
Mack Trucker sucker
Peeker thiever
reeker
seeker
money, honey.
This is a self portrait of Hansen
and the picture and the poem
complete a view of the artist as a
disgusting creature in blind pursuit
of artistic ideals. He is a braggart
and a symptom of a diseased
society. The show ends on
November 19.
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Page Friday, 4
THE        UBYSSEY
Friday, November 4, 1977 ^s\
theatre
Tamahnous proves itself with St. Joan
BY GREGORY STRONG
Tamahnous Theatre presents St. Joan of
the Stockyards as a three hour marathon of
song, satire and dramatic stage actions. The
company's ambitious and energetic new
production of this classic by German
playwright Bertolt Brecht places it among
the groin's major work since their in-
corporation in 1971.	
St. Joan of the Stockyards
by Bertolt Brecht
Directed by Jane Heyman
Vancouver East Cultural Centre,
until Nov. 5	
St. Joan of the Stockyards is Brecht's
fable of an innocent and idealistic Salvation
Army girl, Joan Dark, in the Chicago
stockyards during the Great Depression.
fall, and I went to see them fall and laugh at
them. And tell them not a soul would be fool
enough to buy meat in cans. And what do I
do? I go and buy it all!
There are grand moments of self parody
with allusions in the play to Shaw's Major
Barabara, the mythical St. Joan of Schiller
and Goethe, and even to the work of William
Shakespeare.
Sue Astley gives a solid portrayal of Joan
Dark, the young self righteous evanelist who
becomes wretched, weakened and frail
when she sees that her ideals are impractical.
But the one actor of Tamahnous who best
captures the spirit of Brecht's play was
David Petersen as the minor character of
Graham, the fat meat packer with a pillow
—colin fenby photo
JOAN DARK ... idealist fails against poverty
Joan attempts to convert the stockyard
workers, and discovers that their immorality is a result of their poverty. So she
approaches meat king Pierpont Mauler to
force him to reopen his meat packing plants.
Brecht's dramatic procedure is to provide
a lean and sparse emotional portrayal of his
characters. He always encouraged his
actors to present only that character
behaviour that was essential to an understanding of character action within a
social and economic milieu.
St. Joan of the Stockyards Brecht's is
satire on capitalist economics. It deals with
the tensions between an idealist and the
harsh realities of our environment.
The Tamahnous production of St. Joan of
the Stockyards is successful because they
have combined the work of an excellent
playwright with the skill of a good director
and a large well organized ensemble.
Tamahnous is a theatre group with a sense
of artistic integrity and of close actor
cooperation which has become the mark of
their performances.
The set of St. Joan of the Stockyards is
made of a series of wooden scaffolds placed
in a rough circle that leads from the straw
covered stockyards at the bottom to the top
of a three ring tower and the chair of the
controller of the livestock exchange,
Pierpont Mauler.
Meat king Pierpont Mauler is played by
Stephen Miller as a gutsy little man obsessed with profits. But this ruthless
economic tyrant is one villain with a heart
who suffers from pangs of guilt, especially
after he is rebuked by Joan Dark. He is
blinded with remorse and buys up all the
surplus cans of meat on the exchange
market. When he realizes what he has done,
he complains to his associate, a Chicago
shyster named Sullivan Slift, well played by
Larry Lillo.
Slift, I've loaded myself with all the meat in
the world.
Oh, Slift! What have I done!
Like Atlas I stumble, cans of meat by the ton
on my shoulders.
Only this morning, many men were about to
stuffed shirt. Petersen also played several
other minor roles with an ability to slip from
role to role and maintain a tension between
dispassion and complete emotional in-
volement. It appeared that Petersen was
best able to maintain and isolate the three
levels of Brechtian dialogue, practical
speech, elevated language and song.
This is Brecht's "Verfremdungseffekt" or
his alienation effect which establishes a
distance between his audience and his plays
and forces them to examine the intellectual
content of his work rather than sympathize
with the characters. Part of this technique is
that Brecht's songs never begin where
words fail in his dramas. Instead, the actors
demonstrates that they are aware that he is
singing to an audience.
Sortie of the credit for this exciting
Tamahnous production must go to director
Jane Heyman, whose familiarity with
Brecht and the Tamahnous group has
helped her to orchestrate this vivid performance. Heyman was a former lecturer at
UBC and was involved in Collier's Friday
Night and the agit prop sketch, The Chile
Show, both at the Freddie Wood last year.
St. Joan of the Stockyards ends with the
death of Joan Dark and a grand flourish of a
Brechtian song, set to music by cast
member Bruce Ruddell.
Humanity! Two souls abide within thy
breast!
Do not set either one aside: To live with both
is best!
Hold the high one, hold the low one-
Hold the clean one, hold the crude one-
Hold the pair!
The thesis of the play is that in order to
survive in the world we must bear the
contradiction between noble aspiration and
practical neccessity.
It would appear that Tamahnous has been
developing a particular style of social
criticism and didactic expression.
Tamahnous has had a series of this type of
drama with Fanshen early in 1976 (an exploration of the Chinese Revolution
presented through the several vignettes).
Eighty-four Acres in the same year (a satire
of land sales in B .C.) and Deep Thought, an
agitprop sketch. As recently as March, Ed
Astley called the group "a theatrical
educational community" because they were
also involved in public workshops.
But Jeremy Long, one of the founders of
Tamahnous and a spokesman for the group,
declines any such labels. "Relevancy is
important, but I don't think there is any
particular focus to our work. Everyone in
the group is into a different sort of thing.
"Larry Lillo for example is a great fan of
Charles Ludlum and his type of New York
decadence, like in our production of
Eunuchs of the Forbidden City."
Long feels that their audience changes
with each production because of the different nature of the material. "We have the
complete spectrum of audiences here," he
says. "When we did Nijinsky last year, it
was the people from West Vancouver, When
we put on 18 Wheels, it was another
audience; people came from as far away as
Abbotsford and Chilliwack. They were
truckdrivers and sat in the theatre with
their string ties and hair brushed up in a
bouffon."
The financing of this group is sometimes a
problem as only 20 percent of their budget is
supplied by the B.C. Cultural Fund, 24
percent by the Canada Council, a small
percentage in donations and the remaining
45 to 50 percent from box office revenues.
Long says that this box office revenue is
often a problem because their audience
changes so often.
"With this play, St. Joan of the
Stockyards, it's another entirely different
audience, it's the people from the Socialist
Tribune. Well, it's difficult to survive with a
changing audinece, but I guess that's what
we're being funded for, our complete
spectrum of plays."
Most of their plays are original material
and Tamahnous is one of the few Vancouver
companies that does a theatre tour of the
B.C. interior. They are currently the
resident company at the Vancouver East
Cultural Centre and have access to the
theatre space there.
The VECC was bought for a quarter of a
million dollars from the United church in a
City Council transaction during last spring.
Tamahnous was given a twenty year lease
on the Manse (pastor's residence) on the
adjoining lot. The company is now living in
this building and it is being renovated under
a grant from the Secretary of State's Capital
Funding Program for the Performing Arts.
Tamahnous Theatre was begun in 1971 by
a group of six former UBC students who
organized a performance group for a
theatre festival. They had been strongly
influenced by the work of Jerzy Grotowski
and had the idea that they would try to
develop a "poor theatre" where the emphasis was on the actor, rather than the set
or lighting.
"Our work still maintains the actor, instead of the facade," says Long. "But we
have had productions with a great deal of
technical devices. We also want to break
down the lines of division in our work and
thepeoplehereare involved in all aspects of
production."
MILLER . . . gutsy little man
La Ronde exposes sex games
By NICHOLAS READ
When Arthur Schitzler's La Ronde was
first performed in Budapest in 1912, hostile
spectators hurled stinkbombs, tomatoes and
rotten eggs in protest against what was for
the time a daring and sexually explicit play.
The ensuing 65 years have dated the play
to the point that it will no longer cause even
the most prudish of grandmothers to raise
an eyebrow. But despite its age, La Ronde
still succeeds in providing modern
audiences with intelligent and often
amusing theatre.
La Ronde
By Arthur Schnitzler
Directed by John Crawford
Studio Theatre, until Nov. 5
Translated, La Ronde means the round
dance, and this is what we get as we are
presented with a circle of 10 cleverly connected scenes each depicting what happens
between various men and women before and
after having sex. But La Ronde is not about
sex. Rather, it is a clever and insightful
expose of the puerile romantic games that
lovers often play, and of the hypocritical
morals which still pervade the society of the
1970s.
Set against a background of Vienna in the
1890s, the play takes its audience on a climb
up the Viennese social ladder, stopping
briefly on each rung to explore and expose
another facet of the behavior of men and
women in society.
The present Explorations production of La
Ronde gets off to a rocky start with two
poorly performed scenes between a much-
too-young-to-be-believable soldier and a
prostitute, and the same soldier and a parlor
maid. But it soon gets back on its feet with
the fourth and best of the 10 vignettes.
This is a scene between a young gentleman, ably performed by Rob Paneco, and
an unfaithful wife, played to perfection by
Laverne Thompson.
The scene makes an amusing and surprisingly accurate comment about the
juvenile foreplay that still goes on between
lovers. It deals with an afternoon
assignation between a gentleman and his
illicit love. At first the young wife pretends
to be guilty about the affair, but it is plain to
see that it is all she can do to keep from
jumping into bed the moment her young
man suggests making love.
After an exchange of very funny and
pointed dialogue, she eventually gives in to
his entreaties, and the two end up under the
covers. The scene then reaches its hilarious
climax as the young gentleman finds
himself impotent.
Thompson is superb as Emma, the young
wife. She is remarkable in her ability to both
amuse and instil in an audience a profound
sense of pathos.
Her star continues to shine later on in the
play as she sets the mood for a scene between a poet wallowing in delusions of intellectual superiority and an actress who is
revelling in her own celebrity. Thompson
introduces the scene by parodying the great
actresses of the past with an imitation of
Sarah Bernhardt that epitomizes brilliantly
the hyperbolic acting styles of a hundred
years ago.
Ihe rest of the production's cast are good
with special mention due Judith Hogan as
the vain and beautiful actress, and Claudia
Blackwood as the play's sweet young thing.
Director John Crawford has chosen to
dispense with elaborate sets, sound and
lighting systems, and instead relies on his
actors to create the moods of each scene.
They do so by describing the various scenes
with words and actions. This is quite
disturbing at first, but after one adjusts to it,
it enhances the "liveness" of live theatre.
The political allusions in the play are now
outdated and its shock value is all but nonexistent. But in spite of this, La Ronde
remains a topical and entertaining play, and
Explorations and John Crawford are to be
commended for making the long trip out to
North Vancouver worthwhile.
Friday, November 4, 1977
THE        UBYSSEY
Page Friday, 5 occult
Dionysian, Christian myths parallel
By MICHAEL TREW
You've probably heard some
story which connects pagan to
Christian festivals. I don't plan to
recount all the myths and legends,
but a brief history of Dionysius will
point out some interesting
parallels, specifically relating to
the life of Christ.
Dionysius was the bastard son of
Zeus and the Theban princess
Semele. Zeus, tricked by the
jealous Hera, appeared before the
pregnant Semele in all his splendor. The light was so bright and hot
that it killed her. Fortunately, Zeus
saved his son.
Dionysius was whisked away to
Nysa and cared for by the nymphs
known as the Hyades, whom Zeus
afterward placed in the sky as
stars.
Grown to manhood, Dionysius,
God of the Vine, born of fire and
nursed by rain, wandered around
looking for things to do. One day,
on the shores of Greece, some
pirates kidnapped him, looking for
a hefty ransom. Little did they
know with whom they were
dealing! Dionysius made the
heavens rain down streams of
wine, flooding the ship. They all
fell overboard and were turned into
dolphins.
In Thebes, Dionysius' birthplace,
he established his main altar.
Pentheus, the king of Thebes, was
upset and had Dionysius imprisoned. Naturally Dionysius
escaped, gave the King one last
chance to apologize, which he
didn't do, and subsequently had
him torn limb from limb.
From the occult viewpoint, the
card 0, The Fool, stands for
Dionysius and the entire trump
section can be equated to the hero
myth. Under Dionysius' influence
the Eleusinian mysteries were
revived. Every spring a great five-
day drunk celebrated the renewal
of the vines. In terms of festivals,
what remains today is April Fool's
Day.
A clue to the link between
Dionysius and the Tarot can be
found in an analysis of the word
"trump." Originally the word was
"triumph" and simply meant
victory. The Latin word from
which triumph comes is trium-
phus, a processional pageant in
honor of a victorious general as he
entered Rome. An old game using
Tarot cards was in fact called
"triumphs."
The Greek derivation
"thriambos" leads us to its
original, most basic meaning: "a
processional hymn of the god
Dionysius celebrating his triumph
over death, rebirth and subsequent
apotheosis. The tarot story would
then be that of Dionysius, as
recounted by his devotees, the
disciples of Orpheus. In the light of
this hypothesis, the tarot Fool is
quite apparently the innocent child
Dionysius himself, who latterly
came to be acquainted with the
Sun, Bacchus, and Mithras." (Paul
Huson, The Devil's Picture Book.)
The Eleusinian Mysteries involved four great religious
festivals held over a period of two
years. They were extremely
popular with the masses, because
they usually involved lots of "wine,
women and song." The initial
festival was in May (now May
Day) during which the return of
Persephone from the underworld
was   celebrated.    The   second
festival was in autumn, lamenting
Persephone's abduction by Hades.
The second May festival
celebrated the birth of Dionysius
(May Day again), his life and
violent death. His heart, in the
form of pomegranate seeds, was
given by Hades to Persephone to
eat. "This action resulted in the
impregnation of Persephone, her
establishment as underworld
goddess for a third of the year, and
the rebirth of Dionysius as Iac-
chus, all celebrated the following
autumn." (Huson.)
Christianity has its own set of
feast days which the Church arbitrarily set to coincide with so-
called "pagan" rituals. Jesus was
born of semi-divine parents. He
progressed through the world of
elements until his eventual death
and resurrection, celebrated at
Easter. But since the translation of
the Dead Sea Scrolls, it is apparent
that Jesus was born in March
(which is why he's considered
apisces). Christmas was moved to
coincide with a major Dionysian
festival held in late December.
All Hallow's Eve, or Hallowe'en,
was originally a festival of fire, the
deadand the powers of darkness. It
is the evening of October 31, the
night before the Christian festival
DIONYSIUS . . . born of fire, nursed by rain
of All Hallow's or All Saints' Day.
Its date was changed from May 13
to November 1 by the Church,
again, probably, to coincide with
the pagan festival.
There is a distinct parallel
between the Christian and
Dionysian myths which is reflected
in the four divisions of the year.
Hundreds   of   years   ago   these
festivals all coincided with the first
of the respective months in which
they were celebrated. Because of
the backward tilting of the earth's
axis they have been moved to dates
other than the first, so that they
coincide with Dionysius' (the
sun's) movements through the
heavens. These feast days all come
at the beginning of the seasons.
Short plays show human interaction
By LARRY HILL
Both of the one-act plays put on
last weekend at the Actors'
Workshop Theatre successfully
dramatized human interaction at a
very basic level.
Under the direction of Mallie
Boman, Stephen Bordeniuk's short
plays managed to develop in short
time tension between characters
with whom any person on the street
could identify.
The Trophy took place in a
simple hotel bar, of terrycloth-
topped tables, plain chairs and a
modest counter.
It opened with Bruno, as played
by Henry Bolzon, standing behind
his   bar   counter,   continually
reassuring his mentally-ill client
Claude (RobinPales) that the clock
on the wall really did work. Lois
McLean played Kate, the fat,
middle-aged cleaning woman who
waddled in and out of the bar,
chewing gum, talking in crude
language and angering Bruno, who
kept reminding her that she should
be cleaning and not talking away in
the men's bar. Derek Keur Vorst
as Curly clomps into the bar with
rainboots and a stack of Globe &
Mail newspapers under his arm
that he couldn't sell in the streets
outside.
Enter a sombre man clothed
formally in dark colors, played by
John    McCallum.    Clearly    a
Lothar struggles against odds
By DAVID MORTON
Most of Vancouver's new theatre
groups come about as a result of
old companies dying out, or
graduate theatre majors with
nowhere else to go forming a
company. Angel Productions,
Vancouver's newest emerging
company, has arisen from
nowhere.
Peter Watkins, head of the newly
formed company, has pulled
together actors and technicians
with little experience and attempted a rather ambitious
production now on show at the Iron
Horse Theatre Restaurant. None of
these people are guaranteed any
payment if the show fails to break
even.
Lothar, "a sword and sorcery"
fantasy, is the title of this first
production. Written by Vancouver
writers Alan Hart and Les
Wiseman, the play is based on the
conventions of Greek mythology,
Shakespearean comedy and Star
Wars.
It is about a young man who is
chosen by the Gods to be the
student of their ancient wisdom.
This knowledge, provided by a
wizard named Doran, is put to use
in eradicating the force of evil in
the play, which is personified by a
screaming witch named Hannah.
The play fuses several media.
With the music, dance, special
effects and lighting, there is
tremendous potential for a first-
rate performance.
But the production attempts too
much for a largely amateur
theatre group.
In the first place, the average
age of those involved in the
production is 16years. This doesn't
mean the production is only of high
school calibre, but it does mean the
acting is not quite as polished as
Vancouver theatre goers are used
to.
Christopher Young, for instance,
is not convincing in his role as
Lothar, the young recipient of the
God's wisdom. He lacks the experience and discipline to allow the
audience to take his role seriously.
On the other hand, 16-year-old
Tracy Allen Olson shows
remarkable skill in his role as the
Prologue/chorus. His makeup and
notably disciplined voice are
deceiving of his real age. Verne
McDonald also shows some
promise.
Friday's performance was also
plagued with technical difficulties.
Several times the actors took their
place on stage only to wait for
several minutes while the lights
were turned on. Ihe singers gazed
painfully at the sound man for
uncomfortable periods of time,
waiting for the microphones to be
turned on.
The result was a jerky and interrupted performance which
caused much of the play's
dramatic moments to be lost.
The dance pieces, choreographed by Peggy Ricciatti, were
strong in themselves, but weak in
execution. Once again, the dancers
lacked experience.
The fight scenes in the show had
the audiences on the edge of their
seats. Whether the cast spent much
time in practising fencing
techniques or not, they certainly
came across as being very convincing.
What Watkins and his crew have
attempted should be admired. It is
difficult for a theatre group to
achieve any sort of a start without
Canada Council grants or other
such forms of artistic capital.
Lothar was funded completely by
Watkins himself, and there is no
guarantee he will break even.
stranger, this man only becomes
known as "Mister." While not
acknowledging any of the regulars
by looking at them, he stirs unease
in them by booming out in his low
voice "I KNOW" any time they say
anything.
Mister continues to throw them
off balance, dominating them with
his authoritarian voice and
mysterious manner.
Nobody knows how to react when
Mister methodically removes a
shoe, places it carefully on the
table, and lays a shotgun down
beside the shoe.
Kate trudges into the bar when
Mister's dominance is at a peak,
and she turns out to be the only one
strong enough to oppose him and
his antagonistic treatment of
Claude. Mister turns around and
orders her to carry the shoe on his
table (which he has filled with
beer) over to Claude and to have
him drink from it. Mister aims the
gun point blank at her head. A
nearly unbelievably gripping
tension has the people in the
audience leaning forward on the
edge of their seats.
Ihis high point in .the play is
defused when Kate crushes
Mister's persona by stepping
terrified but determinedly out of
the room with the shoe to pour the
beer down a sink.
The second play was called Night
Train, and opened with John McCallum as a ticket clerk sitting
behind his wicket, reading a book.
The station is empty but for a
young man who is staring up at the
train timetable chalked onto the
wall of the station.
This light, humorous play gets
under way when Bert, played by
Tim Eaton, and Gloria, played by
Nora Campbell, charge into the
station, in the thick of a lovers'
fight. Bert has come to the station
to leave Gloria, carrying his
carefully packed suitcase (which is
just about bigger than his small,
weak frame) but not really wanting to leave.
Hot on his tail is Gloria, who is
insisting that he may as well go,
since "he don't act romantic-like
anymore" and locks himself in the
bathroom for half the night rather
than face her in bed.
The resolution of the play can be
guessed within a minute or two of
the play's beginning; Bert and
Gloria go back home together.
However, this predictability is
intended and gives the audience
the chance to laugh along with the
utter absurdity of the relationship.
Catch up on your
practice
FOR  THE UPCOMING
TABLE SOCCER
TOURNAMENT IN
UMC:>     STUDENT UNION
BUILDING GAMES ROOM
OPEN EVERY DAY - SUB BASEMENT
Page Friday, G
THE        UBYSSEY
Friday, November 4, 1977 literature
Public absent at B.C. writers' weekend
By MERRILEE ROBSON
Some people, hearing of the
exploits of mayor Ed McKitka and
jther famous residents, may think
iiat the words Surrey and art are
mutually exclusive. And the title
Surrey Arts Centre must seem as
paradoxical as others like
progressive conservative, military
intelligence and jumbo shrimp.
The Surrey Arts Centre was the
jcation of the West Coast Writers
Veekend last week. It was billed as
'an exciting two day event
•ringing B.C. writers and the
ublic together." In fact, it ap-
teared to be bringing B.C. writers
ogether with other B.C. writers —
i worthy endeavor, but not what
was planned. The public was not
very visible.
The program featured Bill
Bissett, Susan Msgrave, Andreas
Schroeder, Jack Hodgins, Tom
Wayman and 26 other writers. The
readings went on for eight hours on
Saturday and six on Sunday. The
more renowned writers were
alotted 45 minutes or an hour for
their readings but those of lesser
fame followed one after another
every 15 minutes. The onslaught of
the different styles and moods
created a sensation like that of
watching National Film Board
shorts all afternoon.
Nellie McClung, in bright pink
lipstick and looking like a slightly
off-beat society matron, read about
dressing up as a martian in front of
the United Nations and about
Bellevue mental hospital. Gerry
Gilbert read about making a living
from non-academic, noncommercial poetry, which is
impossible. He was very strongly
against the Canada Council, rather
sour-grapishly is seemed.
And then Susan Musgrave, who
is Canada Councilled to the hilt,
quoted Eli Mandel as saying that
thinks to the Canada Council, at
any one time 75 per cent of
Canada's poets were in the air. And
here were all these poets, so
painfully, obviously earthbound.
Musgrave, fresh from a reading in
Ontario, was exempt.
However, the marathon readings
did not make up the entire
program. There were also a
number of workshops on
calligraphy, bookbinding, poetry
and children, and printing your
own book.
The advertisement also
promised a "display and history"
of B.C. literary magazines. The
number and variety of these
magazines was impressive. Unfortunately the magazines were
displayed in glass cases so all you
could  see  were  the  covers  or
selected pages. The display wasn't
designed to show the best aspects
of the magazines.
But, in spite of these things, the
weekend was probably very
rewarding for the writers involved.
For this reason it deserves the
support it received from the corporation of Surrey, the B.C.
Cultural Fund and the Canada
Council.
But, for the general public, the
weekend could have been better
organized. And several readings
spread over a number of weekends
would have been preferable.
WOTil
BY NICHOLAS READ
The Surrey Arts Centre is
jresenting a series of four lectures
jased on design principles in fine
irts beginning this Monday at 7:30
).m. The lectures will be given in a
vorkshop format so that par-
icipants will have an opportunity
0 discuss the evening's subject
vith the artist making the
iresentation. The four areas of
itudy are design, painting, music,
ind poetry. All sessions will be on
Mondays from 7:30 to 9 p.m. and
>re-registration is required by
elephoneing 596-7461.
The next Burnaby Craft Fair will
ake place this Sunday Nov. 6 from
1 a.m. to 5 p.m. in the Main Mall,
Century Park at Canada Way and
Jilpin. Pottery, toys, quilts,
eatherwork, and many other craft
orms will be on display and on sale
t the fair. Live music will be
irovided throughout the afternoon
md the popular children's paint-in
vill also take place.
Also for art enthusiasts, the
forth Shore Art Gallery in
Presentation House is featuring an
xhibition of prints entitled Con-
emporary Canadian Images from
tie Simon Fraser Collection at
Smon Fraser University. Gallery
ours are Wednesday to Sunday
rom 12 to 4:30 p.m. and Wed-
lesday, Thursday and Friday
venings from 7:30 to 9:30 p.m.
"resentation House is located at
09 West Fourth St., North Van-
ouver.
Patrick Lane, author of such
itles as Letters from the Savage
ilind, Mountain Oysters and
klbino Pheasants, is the featured
peaker at this evening's edition of
he Steveston Library's series of
eadings by seven Canadian poets,
.ane, a native of British Columbia,
till begin his presentation at 8
>.m. at the library, 3831 Moncton
It,, Richmond.
Flautist Jane Martin and
lassical guitarist Robert Jordan
re the featured artists at this
/eek's edition of the Burnaby Art
Jallery's continuing series of
iunday  Free  Events.   The  per-
Available in sizes 6%-14 A-EEE
Black & Burgundy
516 W.Hastings    770 Granville
formance takes place this Sunday
at 2:30 p.m.
The Green Thumb Players will
be presenting Medieval Enchantments this Sunday afternoon
at 2 p.m. at the Vancouver East
Cultural Centre. The play, by
Sheldon Rosen, is based on a tale
from' the middle ages and the
Green Thumb Players have
developed a musical show around
it evoking the way of life of that
era.
The Cecilian Ensemble will be
presenting an evening of Italian
Baroque music tonight at the
Ryerson United Church, 45th and
Yew. Musicians in the ensemble
include violinist Carlo Novi, cellist
Susie Napper and organist Patrick
Wedd. The performance begins at
8:30 p.m.
MUSSOC
AUDITIONS
for
'GOOD
NEWS!'
Sat., Nov. 5 at 1:00 - 5:00 p.m.
Room 205 S.U.B.
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"The    movie
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Tinding the one you love...
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Showtimes:  CORONET -  12:40, 2:50, 5:05, 7:20, 9:30. Sunday
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BOG ART FESTIVAL STARTS THURSDAY
:riday, November 4, 1977
THE        UBYSSEY
Page Friday, 7 Page 12
THE       UBYSSEY
Friday, November 4, 1977
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