Women's Views on News |
- Protecting migrant women from violence
- Cannes still has a ‘woman problem’
- Events 3 June – 9 June 2013
- Sports round-up: 27 May – 2 June
- Women not in contemporary art
| Protecting migrant women from violence Posted: 03 Jun 2013 08:47 AM PDT
Imece is a women-only centre based in Islington, North London, set up to help women fleeing from all kinds of violence. It offers a holistic approach, providing support on a wide range of practical issues to women from all ethnic groups, particularly those from Turkish, Kurdish and Turkish Cypriot communities. "They have language issues, problems with immigration, their qualifications may not be recognised here. "We make sure the resettlement process is easy for them. “We offer specialist welfare rights advice, we support them to register with GPs or to get their children into school or nursery," said Kumbasar. Support is available for those who want to leave a violent relationship and establish a life for themselves. "We undertake a risk assessment. Women fleeing from enforced marriage or honour-based violence is high risk, as the woman may be killed. "The response might involve changing their names, changing their location. "Everything needs to change. If they are a student they need to change their school. "Honour killing is a huge issue in our community, which needs a complex form of support. It may need to involve the police, the education authority, the Home Office if it is [forced] marriage," said Kumbasar. A more 'standard' risk, involving violence but no death threats, might mean changing the locks on her flat or obtaining an injunction. Some women are fleeing state violence, especially in Turkey. Imece provides counselling and mental health support to help the women cope with their experiences. Turkish, Kurdish and Turkish-Cypriot people have been coming to Britain for the last 60 years. Turkish-Cypriots started arriving here after World War II to escape the civil war in Cyprus and in response to appeals by the British Government for labour. A military coup in Turkey in 1980 led some to seek political asylum in the UK. Kurdish people have been migrating to the UK since the 1970s from Iraq, Iran, Turkey and Syria. Imece, which is Turkish for ‘partnership’, was formed in 1982. Although Imece is a pan-London organisation it mainly works in Hackney, Haringey, Islington and Enfield, where most Turkish, Kurdish and Turkish Cypriot Londoners live. Although London has the greatest concentration of Turkish and Kurdish people there are also significant clusters in Glasgow, Manchester and Liverpool, but Turkish and Kurdish people can now be found in most parts of the UK, as they have fanned out across the country to set up businesses. The Turkish and Kurdish community is now a lot different from what it was in the early days. "At first people thought they would be here temporarily and set up organisations linked to political sects back home. But the situation in Turkey has got worse and they have stayed here. "Immigration legislation has changed a lot and doesn't allow people to come to Britain as refugees any more, even from war zones. The doors are closed now. "There are still some refugees but a lot of the newcomers are higher education students or men and women coming on spouse visas. "That is when we have lots of forced marriage[s]. Families are forcing their young daughters to marry their first cousin in Turkey in order to bring them here. "They don't inform the young girl, some have boyfriends here, their families trick the girls telling them they are going on holiday. "They come back as married women, and some of them end up knocking on our door," said Kumbasar. Imece researches the changing needs of its community so it can offer an improved response. It also provides training to practitioners like social workers so they can better understand what the women are going through. Although Imece was founded to support Turkish, Kurdish and Turkish Cypriot women it now receives funding from Islington Social Services to run an outreach project aimed at all Black and Ethnic Minority women. Kumbasar believes that culturally specific organisations like hers are necessary to help the authorities in Britain to fully understand what is going on in some cases. "A woman went to the police saying her ex husband contacted her saying he was coming back, so she had to leave. "She said they were separated because of violence, but more importantly, last time they saw each other her husband was with a man. "The police interpreted this as homophobia saying the woman assumed the man was going to abuse his son because he was gay. "We talked to the women and she told us the husband was with a guy who was 12 or 13 years-old and that he had always been interested in boys this age. "She told us the last time they met her husband had looked at the boy strangely and touched him in an inappropriate way," said Kumbasar. Imece was then able to support the woman and her family to move away from London. This year Imece launched a campaign against child abuse in Turkish and Kurdish communities. A recent conference attracted over 80 practitioners. "There are some child-rearing practices which might be seen by European communities as child abuse. "For example smacking and beating is used to discipline children in Turkey. "It is not only the parents who have a right to beat the child, but neighbours also. If they see a child misbehaving in the street they have a right to beat that child. "On the one hand we fight within our communities against these practices as well as explaining to the practitioners that this is a traditional practice and it will take time to change it. They need to work with the families rather than labelling them as abusers. "Child abuse is a problem in all communities as we have seen with the Savile case, but in my community it is a hidden issue. It is not being discussed. It is as if it is not happening. "We know that most of the children who are being abused are being abused by their own family members. "In Turkey it is the practice for newly-married couples to go and live with the extended family members. "In this situation, in a crowded household you increase the risk of sexual abuse. You don't have the spare rooms for children to have their own bedrooms. "This is our fear about the new bedroom tax. They are asking vulnerable people to rent out their rooms to strangers, but they don't know the language, they don't know the system. "They will not be able to vet lodgers and, if something goes wrong, they will not be able to report it to the authorities, so we suspect that this will lead to an increase in child abuse," said Kumbasar.  |
| Cannes still has a ‘woman problem’ Posted: 03 Jun 2013 05:30 AM PDT
As much as it pains female film lovers to say it, the Cannes Film Festival is not really a space for women. Cannes is, rather, a space for white men to espouse half-heartedly veiled sexism whilst watching each others' films and blowing smoke into the French Riveria. It is an androcentric pat-on-the-back fest that barely acknowledges female film-making, instead giving a platform to deeply misogynistic films, and to deeply problematic views on women. The festival regularly rebuts accusations that it has a 'woman problem' but, as Melissa Silverstein so astutely says, “every indicator is that the gender problem has become one of the most important stories out of Cannes’. Without giving much credence or publicity to the sexist nonsense that has been spat out by this years' male attendees, it is sufficient to say that any festival willing to venerate Roman Polanski and enable men to make discriminatory remarks about women with impunity does indeed have a 'woman problem'. This is not to mention the fact that in 66 years of the festival only one woman has (jointly) won the top directing honour, the Palme D'or, and in some years no women were even nominated. This year, only one director out of the 22 nominees was a woman. From this we can construe one of two things: the festival does not think women are worth bothering with, or it does not think any female-directed films are good enough to be entered or to win. For feminist cineastes neither is a particularly appealing prospect. Although this indeed begs the question of whether feminists should even bother about film festivals at all; a mere blot on a wider domestic landscape of systemic gender discrimination, gendered violence, objectification and narrowed opportunity. However, the fact remains that film and film festivals are hugely culturally influential; they can dominate headlines and influence film makers and those wanting to make films. Film and society also have a reciprocal relationship, interacting with and influencing each other, and helping to shape perception. So, what can British women find to smile about? Whilst dealing with the day to day battles against gendered austerity measures, rape culture, unequal pay and inadequate representation, is there anything in Cannes that serves to do anything less than make us, resignedly, weep? There was, thankfully, slivers of light through the crevices. Clio Barnard's second feature film, Selfish Giant, was shown in the Director's Fortnight section of the festival and, according to reports, she has been lauded as a 'significant new voice in British cinema'. Barnard's first film, The Arbor, was an extraordinary, experimental film about the British playwright Andrea Dunbar and her tragically short, brutal life on a housing estate in Bradford. Hopefully Barnard’s appearance at Cannes will open up her previously little-known film to a wider audience. That such women and their films are finding an, albeit smaller, platform at Cannes and are able to publicly champion the work of other British female directors such as Penny Woolcock, Lynne Ramsey and Andrea Arnold is encouraging and will hopefully in turn encourage aspiring female directors to pursue what can inevitably be a difficult and barrier-laden career. Carey Mulligan's attendance at an Independent Filmmaker Project party to honour women in film saw her publicly decry the 'lack of great material' for women in film, suggesting she has been ‘incredibly lucky’ in her career so far. She also stressed the importance of events to celebrate women in film, obviously attuned to those spurious claims of discrimination against men. These may be scant crumbs and as women we are probably, ultimately, supposed to be grateful for this bigger share of the pie: the fact that a lesbian love story featuring a ten minute sex scene won the Palme D'or. Although this is a refreshing break from the masculine heterenormativity usually on display one can't help but imagine how the predominantly heterosexual male gaze of the Cannes audience would have reconciled itself to a ten minute sex scene between two men. Probably not by awarding it one of film's top honours, that's for sure.  |
| Posted: 03 Jun 2013 04:02 AM PDT
Activism: 8 June 11:00 am: Remember Emily Wilding Davison On 8 June 1913, Emily Wilding Davison died from the injuries she sustained throwing herself under the King's horse at the Derby in the suffragette cause. Now the East London Feminists invite you to join them in commemorating Davison and all those who fought for women to have the vote – including the East London Federation of Suffragettes, who regularly organised massive rallies in Victoria Park. All welcome! 11 am: Gather at the junction of Mile End Road and Grove Road, 1 min from Mile End tube. Process up Grove Road to Victoria Park. 12 noon: Rally in Victoria Park (East Bandstand) – speakers include Diane Abbott MP and Claudia Fitzherbert 1 pm: Informal picnic in Victoria Park – bring your own food Banners, home-made placards and suffragette costumes very welcome – but not compulsory. To book click here Our aims are to commemorate Davison and all those who fought for women to have the vote, and to celebrate the role of East End women past and present in political struggle – particularly the East London Federation of Suffragettes, who regularly organised massive rallies in Victoria Park. We also plan to use the occasion to draw attention to the shocking under-representation of women in political office in the UK and abroad. We hope to have a range of speakers including female politicians and suffragette historians and are planning to involve local women's and community groups. Conferences: 8 and 9 June: RADFEM 2013: Resurgence of Women's Liberation The Camden Centre, opposite King's Cross/St. Pancras Station, London WC1H 9AU The aim of this conference is to re-build a radical feminist movement and support the re-emerging interest in radical feminism among women. Courses: 5 June 10:00- 16:00pm: Counselling survivors of domestic violence: Understanding the processes involved in working with clients affected by domestic abuse. at The Bond Company, 180-182 Fazeley Street, Birmingham B5 5SE cost: £120 Entertainment: 5 June – What The Frock! Open Mic Award The Square Club, 15 Berkeley Square, Bristol Lectures/Presentations: 4 June 18:30- 20:30: How posters have been used in radical, political, feminist, collective and community settings – London Admission free and all welcome, but please register for a ticket by clicking here. Or email for further information. Workshops: 9 June 13:00-17:00: Voices from the Women's Liberation Movement @ MShed  |
| Sports round-up: 27 May – 2 June Posted: 03 Jun 2013 03:00 AM PDT
Football: This week's games in the FA Women’s Super League saw wins for Birmingham, Arsenal and Liverpool, while Doncaster and Everton could not be separated. Birmingham City 2 -1 Chelsea: Josanne Potter’s 35-yard drive gave Birmingham their first win of the season on May 28. They took the lead through Isabel Christiansen in first minute of the second half, and Potter’s spectacular shot took them two up. Chelsea substitute Hannah Blundell pulled one back in the 7oth minute, but Birmingham held on for the win. Liverpool 3 – 2 Lincoln: Lincoln took the lead in the first half of this tight-fought match with a goal from Carla Cantrell on May 29. Liverpool pulled ahead with goals from Natasha Dowie and Louise Fors, and an own goal by Lincoln’s Bonnie Horwood. A lapse in Liverpool’s concentration allowed Precious Hamilton to claw back another goal for Lincoln 15 minutes from time. However, Liverpool manager, Matt Beard, was not complacent, “The goal we gave away in the first half was disastrous,” Beard said. "We caused ourselves little problems at times. “However, at the end of it we got the points that moves us level with Bristol and played some really good stuff in patches. They battled hard and we did well to see it out.” Everton 2 – 2 Doncaster Belles: Doncaster came from behind twice to earn a point at Everton on May 30. There were chances in the first half, but no goals. Everton took the lead in the second through Nikita Parris. Doncaster came back to equalise with a goal from Victoria Williams. Substitute Chantelle Boye-Hlorkah scored to put Everton in front once again, but Doncaster were not to be outdone and rescued a point thorough a Cheryl Foster penalty. Bristol Academy 2 – 3 Arsenal: Bristol suffered their first defeat of the season against a rejuvenated Arsenal side on May 30. It was the third defeat against Arsenal in 12 days after losses in the finals of the Continental Cup and FA Cup. Steph Houghton took the lead for Arsenal after half an hour. Ten minutes later, Scotland striker Kim Little gave the Londoners a 2-0 half time lead. The second half saw Natalia Sanchon pull one back for Bristol, but Arsenal restored their two goal cushion four minutes later with a goal from Gilly Flaherty. Bristol’s Grace McCatty was sent off for pulling down Ellen White, but Little missed the resultant penalty to keep the score at 3-1. Bristol were able to pull another goal back through a controversial penalty converted by Corinne Yorston. Netball: Wales were victorious in the Europe Netball Open Championship, held in Aberdeen this week. They took the gold on June 2 after an impressive hat-trick of wins. England caused controversy by picking an under-21 squad for the championship and paid the price when Wales took an historic win on May 31, with 37 points to England’s 33. Wales next faced Northern Ireland on June 1. They were trailing 20-18 at the end of the first half, but came back to win convincingly, 48-39. On June 2, they took their third game in a row to clinch the gold with another impressive performance to beat the hosts, Scotland. The final score was 56-43. Power Lifting: Natalie Blake claimed a silver medal at the European Championships in Russia with a lift of 93kg. Tennis: Disappointment as all three British hopes lost in the first round at the French Open at Roland Garros. Elena Baltacha succumbed meekly to New Zealand's Marina Erakovic on May 28, losing 6-3, 6-0 in only 56 minutes. Heather Watson was playing her first competitive match glandular fever forced her to take a break from the tour. She lost 6-2, 2-6, 6-4 to Swiss world number 56, Stefanie Voegele, on May 29. British number 1 Laura Robson played a different class of opponent, but the outcome was the same as she lost 6-3, 6-2 to former world number 1 Caroline Wozniacki on May 27. Robson was due to compete in the women's doubles later on in the week, but withdrew due to back pain. Her next scheduled tournament is on the grass at Birmingham, before heading to Eastbourne and on to Wimbledon at the end of June. With the withdrawal of Andy Murray before the start of the tournament, the three losses mean that Britain has no player in the second round of singles at Roland Garros for the first time since 2007. Triathlon: Britain's Non Stanford took the first World Triathlon Series event of her career in Madrid on June 2. The Welsh woman won by 26 seconds in a time of two hours, four minutes and 39 seconds. It was a hard-earned victory. “The first part of the swim was brutal, the hardest I have done for a long time,” she said. “I really had to work hard. The bike was never going to be easy. The other British girls really worked hard as well.” Stanford’s British team-mate, Jodie Stimpson, finished third. They now move on to Alanya in Turkey for the 2013 European Championships on 14 June. The next round of the World Triathlon Series takes place in Kitzbuhel, in Austria, in July.  |
| Posted: 03 Jun 2013 01:09 AM PDT
If you're an art lover, or a regular reader of Women's Views on News, then you may have heard about the audit which has been carried out by the East London branch of the Fawcett Society, East London Fawcett (ELF). The aim of their 'Great East London Art Audit' was to assess the representation of women in today's art world, specifically in London, one of the major arts capitals of the world. Gemma Rolls-Bentley, the arts director at ELF, along with a group of volunteers, decided to carry out the audit after an event they held in 2012 which looked at women in the arts. At that event, Rolls-Bentley discussed statistics published in 2010 by UK Feminista which showed that 83 per cent of artists featured in the Tate Gallery at that time were men, with the Saatchi Gallery following suit with seventy per cent of their works by male artists. The discussion sparked a larger and much broader investigation and last week, more than a year on, ELF published the results. Turns out the UK Feminsta stats were not an anomaly. The ELF audit looked at gallery statistics between April 2012 and April 2013, and was conceived to 'encourage a wider examination of the position of women within today's art world, and address contemporary issues surrounding gender inequality within London.' The research looked at the gender split between artists featured in the top 100 auction sales, the top 134 commercial London galleries, solo shows which featured in the exhibition programmes of 29 non-commercial galleries in London, and public artworks on display in the capital. ELF says the results of the research will 'hopefully provide an objective basis for future discourse on women in the arts.' And discourse there must be as the results are eye-wateringly male-centric. When kicking off the project, Gemma Rolls-Bentley sat down with the list of the top 100 auction sales of 2012. She says she 'spent a couple of hours writing M next to the artists. I got to the end and there wasn't a single F.' No women on the list at all. The F word was clearly off limits. And so the team of research volunteers went to work and found similar results across the genre. Of the 134 commercial galleries in London, between April 2012 and April2013, only 31 per cent of 3163 artists represented were women. And 78 per cent of London commercial galleries represented more men than women. Twenty-two galleries had more than 80 per cent male representation, but only 3 galleries (2 per cent) had the female equivalent. Only 5 per cent featured an equal number. In terms of non-commercial galleries in London, the team found that of the 133 solo shows featured between 29 galleries, only 31 per cent were by women. Some galleries – nearly a third – included no female shows whatsoever. Only one of them featured an equal number of male and female solo exhibitions. Lastly, ELF audited public artworks on display in London. In the main drags of the City of London and Westminster, where there are a large number of public works of art on display – 386 to be exact – only 8 per cent were by female artists. So a whopping 92 per cent were by men. Please don't think that this is simply because there are no women artists out there. The majority of students at art colleges and schools are in fact female. According to the Guardian, 61.7 per cent of undergraduates studying creative art and design in the years 2011-12 were female. So the ELF analysis defies simple logic, and simply reiterates the fact that women artists are still not taken seriously or given the same platform that their male equivalents take for granted. Hans Hoffman, an abstract-expressionist painter, once said of a work by Lee Krasner 'This is so good you would not know it was done by a woman.' That was in 1937. Georg Baselitz, lauded as one of Europe's most successful artists, once said ‘Women don't paint very well. It's a fact.' That was in 2013. It's depressing that things seem to have moved on so little in the last 100 years or so, when women artists are now in abundance, if not in the spotlight. And it's not just a British phenomenon. Of the 169 artists on display at New York’s Museum of Modern Art, only 13 are female, according to the Guerrilla Girls, a feminist group in America. The Guerilla Girls have been campaigning against inequality in the arts – both sexist and racist – since 1985, and it seems apt to leave the last word to them. Or rather, to one of their more memorable pieces of propaganda. In 1989, they published a poster featuring the naked female from a work by French Neoclassical painter Jean-Auguste-Dominique Ingres, wearing a gorilla mask. The tagline ran: 'Do women have to be naked to get into the Met Museum? Less than 5 percent of the artists in the modern art sections are women, but 85 percent of the nudes are female.’ Sad that they still have a point.  |
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