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FAQ Volume 1 Issue 5 2014

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FAQ Volume 1 Issue 5 2014 Mission Statement We are a Feminist and Queer Collective working to counter misconceptions surrounding Women’s and Gender Studies through the publication of an annual Feminist and Queer review. We are increasing awareness and knowledge of Feminist and Queer issues through the voices, opinions, and experiences of University of 0DQLWRED XQGHUJUDGXDWH VWXGHQWV IURP DOO IDFXOWLHV :HÀUPO\ EHOLHYH LQ PXOWLSOLFLW\ RI PHDQLQJ DQG ZH WKHUHIRUHUHMHFWWKHLGHDRI VLQJXODUGHÀQLWLRQV)RUWKLVUHDVRQZHDUHRIWHQOHIWZLWKPRUHTXHVWLRQVWKDQ answers. But, through our publication we strive to empower ourselves and other undergraduate students with WKHWRROVQHFHVVDU\WRDGGUHVVWKHLPSRUWDQWTXHVWLRQV This publication will be a catalyst for change. We would like to thank the following donors for their generous support: + Margaret Laurence Endowment Fund + Women’s and Gender Studies Program We would like to thank the following individuals and groups for their consideration, commitment, and generosity in the support of this publication: + University of Manitoba Students’ Union Womyn’s Centre + Ryan Story / graphic designer of issue + Brynn Hughes / photographer + Shawn Farrell / logo designer + Dr. Liz Millward + Dr. Shawna Ferris We would also like to sincerely thank everyone who contributed their work to this issue. Editors’ note This publication is the Feminist and Queer Collective’s and Gender studies. The Women’s and Gender Studies ÀIWKDQQXDO)$4UHYLHZ:RUNLQJLQDQRQKLHUDUFKDO department and faculty is multifaceted and, thus, allows manner, the members of the collective seek to provide for the interdisciplinary and personal development of its undergraduate students with an opportunity to contribute students. We, as the collective, want to shed light on the to, engage with, and participate in feminist and value of our Women’s and Gender studies degrees and the TXHHUGLVFRXUVH courses we take within the department. 7KH)$4UHYLHZVWDQGVWRDFWLYHO\FKDOOHQJHDQG We hope that this publication not only showcases feminist complicate traditional notions of “academia”; allowing DQGTXHHUYRLFHVEXWDOVRLQVSLUHVIXWXUHDQGIXUWKHUHG undergraduate students to value and draw from personal HQJDJHPHQWZLWKIHPLQLVWDQGTXHHULVVXHVDQGWKHRULHV experiences, passions, and knowledge in order to articulate :HWKDQN\RXRXUUHDGHUVIRUWDNLQJLQWHUHVWLQIHPLQLVW IHPLQLVWDQGTXHHUWRSLFVLQWHUHVWVDQGLVVXHV DQGTXHHULVVXHVDQGIRUVXSSRUWLQJWKLVGLVVHPLQDWLRQDQG ,QWKHVDPHYHLQWKH)$4FROOHFWLYHVHHNVWRGLVSHOP\WKV expansion of social and political consciousness. surrounding who and what constitutes a feminist and, by association, the individuals who engage in Women’s Eden Friesen / Francess Amara / Alberta Johnson Rae Hutton / Jenna Modha / Charly Wreggitt Editorial Board The opinions expressed in this publication do not necessarily UHÁHFWWKHYLHZVRIWKRVHLQYROYHGLQLWVFUHDWLRQ Trigger Warning: this is a general trigger warning as we do not want to assume what may trigger or offend our readers. TABLE OF CONTENTS 6 8 9 12 14 16 20 GENDERED RABBIT LIVES ZOMBIES AND THERE'S NOTHING NON-INTIMATE AN EXAMINATION SEX ESTEEM VIOLENCE IN SNARE IN THE KITCHEN THE ABJECT CUTE ABOUT THE PARTNER FEMICIDE OF THE CULTURE MESS YOU LEFT AND CRIMINAL OF BICYCLE BEHIND JUSTICE MESSENGERING AS TRANSPORTATION MARCIA TOMS JENNIFER BLACK CHARLY WREGGITT CAROLYNE KROEKER PAM HADDER RAE HUTTON KAILEE TIBBS 22 26 29 30 36 39 41 WHAT IS THE WHO CONTROLS SURVIVING IN WHAT NOT LANGUAGE AND BENEFITS OF A LOST IDENTITIES DEFINITION OF THE MY BODY? BRIGHT LI(V)ES: TO WEAR LINGUISTICS ‘RACIAL VACUUM’ WORD “HOME”? GROWING IDENTITY PROJECT PROPOSAL IN SISTAH LIT FRANCESS AMARA AMANDA MIRANDA A. JENNA MODHA OWEN CAMPBELL SEGEN TABITHA FRIDFINNSON AYSANABEE ANDEMARIAM STEPHENSON 42 44 46 47 48 49 51 HARM THOUGHTS ON RIDICULOUS WOMAN BIG MOUTH BUTCH I STUDY WOMYN ARGUMENT NOTES REFLEXIVE PAPER: REDUCTION AND FEMINISM FROM AND GENDER EXPERIENCE NEOCONSERVATIVE A FEMINIST IN WITH RACISM IDEOLOGY TRAINING ALBERTA JOHNSON CHARLOTTE ALLISON AMBER LOGAN ZOË PENNER KYLE ST. GODARD FRANCESS AMARA OGAI SHERZOI 53 54 61 64 68 71 72 TOOTH AND NAIL FEMINISM 6.7 PERSONAL FEMINIST PRAXIS “ETERNAL A CONVERSATION THE PEOPLE OF THE OR HOURLY WAGE AUTOMOBILES, IN VIGILS AND SHE” FEMALE WITH THE KATTAWAPISKAK CAR CULTURE AND EMOTIONS LANDSCAPE HOMELESS RIVER SOCIAL DIFFERENCE CHANTAL SHIVANNA FAQ COLLECTIVE MARCIA TOMS CHARLY WREGGITT PAM HADDER NYLA COMEAU CHANTAL SHIVANNA RAMRAJ RAMRAJ 73 74 76 77 80 81 83 PROPOSITUM, REFLEXIVE MEMO: PRIVILEGE A REFLECTION AND VISUAL ART REVIEWING AND URBAN/REZ AEQUALITAS, SUBMISSION: CRITICAL ANALYSIS SUBMISSION DETERMINING COUNTRY: I AM LIBERTATUM OPEN YOUR HEART OF THE UNIVERSITY RISK FACTORS FOR WHAT I AM, ME CAMPUS TOUR INTIMATE PARTNER FEMICIDE JAMES TUROWSKI WINIFRED COOK JENNIFER BLACK RAE HUTTON MIKAYLA LALAMA MARCIA TOMS MIRANDA A. AYSANABEE 86 88 89 90 91 92 94 SEEKING ELIZABETH: BLACK AND BLUES ACCUMULATION AND ABORIGINALS WHAT MAKES HOME/NOT HOME TO AWAKEN A PREFERRED INCONSEQUENCE AND THE MEDIA ME A WOMAN? READING OF DIRTY GIRLS SOCIAL CLUB BY ALISA VALDES- RODRIGUEZ TRIPTI PRASAD EDEN FRIESEN KAREN HANAN FRANCESS AMARA LILLIAN SMITH REBECCA NYLA COMEAU QUINN DAVIS THE ABOLITION OF FENCES (AND ANYTHING THAT MAY LOOK LIKE ONE) 95 SARAH-MARIE CHAILLOT Volume 01 Issue 05 OMS T IA C MAR GENDERED VIOLENCE IN SNARE 6 University of Manitoba Feminist and Queer Review Lisa Jackson’s (2012) film, Snare, is viewed as unworthy and second class. healing and moving on (L. Jackson, a haunting depiction of the historic Bringing in this historical idea of hunting personal communication, January and contemporary violence that reminds us of this past and brings a 29, 2012). Coming face to face with plagues Aboriginal women within focus to how these racist notions are other victims of violence could force Canada. Simple in its format, the short still present in today’s contemporary a person to think about and face their film produces startling ‘in your face’ Canadian societies. own experiences. Having a community portrayals of the racial violence faced by of supportive women, who have similar Aboriginal women, while also providing The use of this hunting technique experiences to share, is certainly one insight into the ability to move forward also works to establish a notion that potentially beneficial way of healing and and heal after violence has occurred. women are viewed within contemporary moving forward. This last portion of the societies as ‘up for grabs’ and ‘ready film is just as powerful as the preceding Jackson’s decision to initially show the for the taking’. Hunting is often viewed sections. Once again, Jackson produces women’s feet and legs (as apposed as a masculine sport that places an ‘in your face’ image that now forces to their faces) produced a powerfully emphasis on the ‘best’ catch. This people to look directly into the eyes of daunting image that worked to invoke image places women in the same space female Aboriginal ‘victims’ of violence. fear of what was going to happen. The as animals, insinuating that they are We are forced to face this issue head faceless nature of the models in the nothing more than meat that should on and see that despite what may have beginning of the film gave off a stark be captured, enjoyed, and displayed happened, these women are strong reminder that these women could be by the hunter (man). This works to enough to stand back up and start anyone; people close to the viewers, display the notion that violence occurs to heal. or the viewers themselves. As well, the because of a dehumanization of women, faceless nature reminds us that women particularly Aboriginal women. This Dominant societies ability to hide behind are targeted for violence simply because form of dehumanization, along with myths that ‘violence only happens to they are women and that “male violence societal structures in Canada that favour specific groups’ or ideas that gendered against women… [is] a global problem a patriarchal model, result in women or racialized violence is minimal, has underpinned by social structures and being viewed as ‘less then’ compared led to horrendous situations of missing cultural norms” (Johnson & Dawson, to their male counterparts; racialized and murdered women throughout our 2011). The reality is that gendered and poor women are viewed as even country. This film stands in opposition violence does not target ‘specific’ more unworthy. These tactics are to those myths. The film beautifully, individuals; this is something that could comparable to what Lowman refers to and horrifyingly, displays racialized and easily happen to any female. as the “discourse of disposal” (2000). gendered violence for its audiences. This refers to the idea that certain It clearly indicates that these forms of The use of a snare as a means for groups of people are marginalized, violence are a terrifying reality with a capturing and hanging the women viewed as societal nuisances and historical component that has been upside down is very powerful. A snare are lacking adequate protection from ingrained in social structures and is “a contrivance often consisting of a social structures (the police and the policies that still exist in present noose for entangling birds or mammals” government, as examples), to the point day Canada. (Merriam-Webster Dictionary). The that violence becomes “perpetuated and image of the snare brings about images amplified” (Lowman, 2000) because of hunting and living off the land; of a lack of fear of being reported realities of the historical livelihood or held accountable by the public. amongst many Aboriginal
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