7 Days 15 December 1971

ВВС-Gentlem an's Convenience

Mum's the word fromAuntieFOR ANYO NE who doesn't

know, Talkback is the BBC's concession to audience participa­tion. A meagre half hour a week is devoted to answering criticisms and comments from a small panel of viewers chosen by some selec­tive process to face a BBC spokesman.

Until a fortnight ago, the programme appeared to be sticking to a particular formula: when a matter of policy was under fire, the most senior relevant official defended or explained it — the Head of Drama on drama policy, for instance — and the audience contained at least one “expert” — a journalist on the BBC’s Ulster tactics, the Chairman of the Writers Guild on drama.

A Funny ThingTwo weeks ago, however, a funny

thing happened on the way to the studio. The BBC had chosen “Women in the BBC” as the topic for the night and viewers were invited, as usual, to write in. Now there is one group that exists that could reasonably claim to be “expert” in the field of women in the communications industry. Called Women in the Media, it embraces journalists in both broadcasting and the Press, producers, directors and a scatter of publishers. Formed to work against discrimination in the media, and to try to ensure sympathetic treatment of women’s activities, the Media Group has existed since earlier this year.

Its first approach to Talkback evoked a positive response, and three members were chosen by the group to appear. These were asked to confirm to the BBC that they were willing to to do so. There was one other outstandingly well- qualified woman for a discussion such as this, Isobel Allen. She had actually written and researched the section “Women in the BBC” for Political and Economic Planning’s Women in Top Jobs. With some outside prompting, she finally rang the producer (a woman), who could not even confirm that the subject was as announced. This was two days before the programme was due for transmission. They knew about her book, they said, but they really thought the discussion, (if it took place presumably), should be confined to women on the screen as this was all the audience could be expected to know about. Since the ethos of the BBC is as responsible for women on the screen as much as those off it, her knowledge and experience surely still enabled her to make a valid contribution even in their limited terms of reference. She was also told that Paul Fox, Controller of BBC 1 was likely to be representing the Corporation. This level of seniority seemed to be in line with previous spokesmen.

Put DownMeanwhile the Media Group’s repre­

sentatives had telephoned in, as requested. Here I can only relate my own experience, but it seems to tally with the others I have spoken to. We were politely received and volubly put down; there had been a “fundamental rethink” since so many fluent and articulate viewers had written in expressing views akin to our own. Didn’t we agree that it was preferable to have a “Yorkshire housewife” to a

by Jill Mortimermiddle-class professional woman?

Yes and no.Furthermore, said the BBC, since

they did not want to face their critics with a “bland BBC spokesman”, they were putting up Desmond Wilcox, Head of the Man Alive Unit, with a supporting cast of three female tele­vision presenters: Jacky Gillott, Joan Bakewell and Esther Rantzen. Despair now took over. How far would three BBC female employees be prepared to go, in public, towards revealing a situation one knows exists — girl graduates manning typewriters, women leaving to look after their babies because an organisation that employs around 25,000 people would rather lose their talent than provide a creche, prejudice about the “instability” of women and their inability to fit into a male club atmosphere.

Not alright on the nightFinally, all was revealed on the night.

Desmond Wilcox announced that he “refused to act as a spokesman” for the BBC, thus eliminating one of the two main elements in such a programme. The audience contained such non­middle class non-professionals as a merchant banker, a scientist, a nurse, and a woman who had worked for Desmond Wilcox. The usual old public prejudices, which are amply reflected in the BBC’s attitude in an area where they might take a lead, were liberally aired. Women didn’t have the authority as newscasters, they couldn’t be believed when announcing political, economic, diplomatic news, though one man did suggest (guess what?) that they should have a monopoly in the fields of education, children’s and women’s affairs.

Before a perfectly professional experimental newscast by a woman was shown on film, we were subjected to an old clip of Mary Malcolm, dressed like the Queen on Christmas day, fluffing a continuity item. Nobody pointed out that those were the days when men dressed in dinner jackets to broadcast radio news, or that, to this day, male newscasters regularly fluff the national news on television. Nobody pointed out that Nan Winton, an extremely able television newscaster had had to with­draw because she could not get the service from studio staff that is necessary if one is to do the job with any degree of ease and confidence (see Women in Top Jobs).

ContortionsIn the final analysis, I suppose, this

programme was no more fruitless than any other Talkback. What does give cause for concern is why the BBC, having chosen its own subject, should then go into such extraordinary contortions over it. Perhaps they thought that Wilcox, champion of women in the BBC, provided the best image available. Maybe, but it was hardly an honest one. Or perhaps they felt that if all the reaction and prejudice could be voiced by the audience, “dissident” women and the women on the panel outside might at last release what the BBC is up against as far as public opinion is concerned, and quake in their shoes. But why did they go to such extraordin­ary lengths to keep off any independent women who had some knowledge of the subject? What were they really frightened of? The truth?

ARTS

Andre Malraux explodes with Gallic razamatazz as he faces the camera. The writer, adventurer, former Minister o f Culture under de Gaulle has clocked up another French record — the longest broadcast in the history o f French tv. Over 12 nights Malraux spoke to camera for 60 hours, which will be edited down to 18. Malraux currently lives in close retirement writing his majestic reminiscences, the remaining volumes o f which will only be published after his death. One thing may relax him: his pledge to go and fight for Bangladesh looks as though it need not be redeemed.

In mid-flow. Malraux had announced that he “would be prepared to carry a gun in Bangladesh.

18

All photographs by Jean Lattes/Gamma

An ELITE UPPER CLASS in full evening dress, plus bal­

letomanes avidly discussing the turn of a finger in a stale pas de deux: the traditional balletaudience. One of the most im­portant aspects of the Ballet- Theatre Contemporain is its demand for the true audience for dancing — everyone.

Jean-Albert Cartier, the director, de­scribes the traditional audience as “basically indifferent” and insists that dancing has rediscovered a broad public. This is a result of three things. One was Bejart’s “great revolution” in opening the Palais des Sports to dance: “when 5000 people came to see dancing, the audience aren’t just specialists”. The second is the kind of work the company do, and the third is their relationship with the people of Amiens, where they are based at the Maison de la Culture.

Create New WorksThe objective of the company is the

creation of new works, taking the Ballets Russes under Diaghilev as their model for “the synthesis . . . o f dancing, plastic arts — painting and sculpture — and contemporary music”. Their music ranges from Stravinsky to rock, choreo­graphers include the world-famous and the unknown, design artists include Delaunay, Soto, Cesar. They also work with students from the Beaux Arts, and the situation is open for any kind of artist to present work for consideration.

Francoise Adret, the resident choreo­grapher, is credited with “forging the machinery!” In order to work for very different choreographers, what she has developed is not unity of style, but unity of spirit — “Everyone in this sort of company has to feel at the heart of the company.” The company feeling was underlined by the ballet master, Octavio Cintolesi, for whom the work is “wonderful” because the artists are like a family, working together, and without “categories.” All the dancers are paid the same — there are no primadonnas — and, while touring, said Cintolesi, every­one from the director to the stage hands receives the same. Jean-Claude Giorgini, a dancer, said he preferred working with this company to others because there is great rapport with choreographers — most of them encourage dancers to participate in creation — and with the audience. Amiens is an industrial area, and audiences include workers, farmers, students

Demystifying DanceThe major reason for audience

rapport is the openness of the company. They organise discussions and meetings, and hold open rehearsals and classes, to which anyone can come. The theatre is open, free, to the public all day. Ticket prices are “a bargain”. So far, over 1300 (mainly young) people have attended their two free rehearsals at Sadlers Wells.

Aesthetic questions concern the choice and meaning of dances. Cartier elegantly describes dance as “sensitive geometry in space” with “an aesthetic aim”. For Francoise Adret, it’s an “engagement” which lets her say what she wants; what fascinates her is that dancers are people, and what she says is interpreted through their whole being. She and Cartier consider dance expresses contemporary and eternal themes. There are overt messages they recognise expressed in their dances: Hopop satirises “pop” culture-the narcissism, the sexism — and con­ventional ballet tricks. Although unin­tentionally, Dances Concertantes exposes the empty “normal” relation­ship between the leading and the corps dancers.

Complete WomenIt is striking in all their work that

women are complete human beings, not fragile, feeble, dependent objects: their position is equality. This is indicative of the content: from primitive fertility rites to sterile court ballet, the division of labour in society is reflected in dance. This leads to an important under­standing of how the unintentional in an

art form consisting of signs comes to have objective meaning for the spectator. The bodily democracy of the dancers is a significant part of the content of their technical ability, beauty, and unity. As an active means of expression, the human body becomes, itself, a work of art. The exhilarating totality of experiencing this company locates the revolutionary con­tent of dance: the potential of the human body indicates the potential of human beings to achieve the state Marx describes in the 1844 Manuscripts, when all men will be artists of their own lives.

The work of this company is pro­foundly erotic, satiric, hopeful and honest. Cintolesi explained that the honest creator is the one who creates from knowledge of the problems and happiness of our society. These creators have almost continual contact with their society, and this deeply influences their expressive work, although dances are not deliberately aimed at that public, and despite elements of paternalism in the company structure. One must, of course, ask; What happens in Amiens when the company does its stint at, being cultural goods in transit, repre- senting La France? Why are they at the Wells and not, say, the Oval? Still, what is clear is that their work is informed by their relationship with the people of Amiens. Cintolesi: “art, for us, is for all the people, like the sky, like the wind, like the sunshine . . . ”

ARTS 7 Days 15 Decem ber 1971

Chris Steele Perkins

Martin Sookias

19

ARTS7 Days 15 Decem ber 1971

The Bigger They Are the Softer They Fall

Special Treatm ent for Em inent "D e v ia n t"T HE M E D V E D E V BROTHERS

are twins. One of them, Zhores, is a distinguished and internationally famous biochemist and gerontologist. He is also, in terms of the Soviet ruling class, an intellectual and political deviant. But his distinction as a scientist means that he is powerfully protected by such members of the Soviet scientific establishment as Sakharov, whose contribution to the production of the Russian H-bomb has given him a large degree of political immunity. Both men have been active in the movement for the Rights of Man in the Soviet Union, which is supported by a number of the established scientists in that country.

Zhores Medvedev had been promi­nent in the controversy with Lysenko over inherited characteristics, (Stalin had backed Lysenko in the face of scientific evidence). In 1962 Medvedev attacked Lysenko in a text entitled Biology and the Cult o f Personality. This work, which first circulated un­officially as samizdat (the name given to works which appear without having been passed by the censor and are distributed more or less illegally) was then published by a Russian emigre

journal in West Germany. This, together with Medvedev’s other writings on the difficulties encountered by Soviet scientists in their relationships with foreign scientists, plus his activities in the human rights campaign were among the chief reasons why the Soviet author­ities decided to put him away. But because he is a member of the scientific elite they did not charge him under the criminal code and imprison him. Instead they applied the regulations on emer­gency hospitalisation of mentally ill persons which contain a clause dealing with conditions which cause “an irregular, aggressive attitude in the patient towards individuals, organisa­tions or institutions”. Having been

persuaded by heavy official pressures, backed by police officials, to present himself for a psychiatric examination, he was declared to be disturbed and confined in a lunatic asylum.

Even shocked the LiberalsIn this unhysterical and often

amusing book, he and his brother describe the process whereby Zhores was committed and how the scientific and “liberal” establishments were rallied to procure his release. Academicians, Old Bolsheviks, atomic scientists and top psychiatrists rallied to him, as did Tvardovsky, editor of Novy Mir, who published Solzhenitsyn’s Day in the Life o f Ivan Denisovich, and the film producer, Mikhail Romm. The author­ities capitulated before such pressures.

The case of Medvedev has aroused a great deal of indignation in Western liberal circles. They are, however, concerned to keep their indignation directed against conditions within the Soviet Union and refuse to allow any parallels to be drawn with the nature and function of psychiatry in our own

repressive society. Medvedev quotes the case of patients he met who were confined because of “poor adaptation to the conditions of the social environ­ment”. That hospitalisation of deviants from the social norm is common practice in the West the liberal pro­testers do not wish to admit.

In their descriptions of the wretched conditions in the “psychiatric prisons” of the Soviet Union with their cramped quarters, lack of exercise, routine use of sedatives and electric shock treatment, they limit their indignation to cases where intellectuals are involved; as if the other patients were not equally subject to duress and violation of their basic human rights.

They find their case a distraction from the campaign to bring the facts about psychiatric treatment of intel­lectuals in the Soviet Union to the attention of Western psychiatric con­gresses, where the delegates are curiously reluctant to discuss the subject for the simple reason that they too are guilty.

It is incidentally symptomatic of the

desperately low level of political educa­tion and of knowledge of the politics of the European working class movement among Sovietologists that they persist in spelling Zhores Medvedev’s first name as they do. It is in fact Jaurès for he is called after the French Socialist leader; he and his brother are both socialists. An embarrassing fact. Roy spells it out. “It must be stressed that the defects of our political structure are in no way distinctive features of the Soviet socialist state or inherent in it. These defects can and must be corrected within the framework of Soviet socialist society . . . Only the socialist revolution put into practice the main principle of democracy: government on behalf of and in the interests of the people”.

He admits that there are periods when certain important democratic freedoms can be temporarily restricted. He does not believe however that this state of emergency should apply during the building of socialism and com­munism. The Sovietologists, who have their own political axes to grind, are not likely to quote him.

Raking Up Bob's Old EmbersWhen reviewers compile lists of records that make "Ideal gifts for all he family" they are normally only making sure their full quota of invitations during the record companies' booze-up season. Their recommendations therefore mean next to nothing.

However there is one record that really should be given out this Christmas — Bob Dylan’s George Jackson. It is not merely a good song sung well, it is a moving tribute to a man who, as Dylan says, “wouldn’t take shit from no-one, wouldn’t bow down or kneel” .

The release of this single is a definite political act on Dylan’s part after some years of retreat behind his stockade. When he appeared at George Harrison’s Bangla Desh concert, Dylan sang songs

from his earlier albums including It's Alright Ma and even Blowing In The Wind. Now he has broken his political silence on record too.

On one side Dylan sings to his own acoustic guitar and harmonica accompaniment very much in the style of his Freewheeling album. His voice has also regained the clear power of that period. On side two he sings the song again, this time an extended version with a light and bouncy electric backing.

Straight to the PointGeorge Jackson is simply the basic

story of Jackson’s imprisonment and subsequent murder and Dylan’s stunned reaction: “I woke up this morning, there were tears on my bed/They killed a man I really loved/they shot him in the head/Lord Lord they cut George

Jackson down/Lord Lord they laid him in the ground.” The lyrics are straight­forward and there is no weighty moralising.

But the song is not just a straight return to early Dylan. Dylan seems to think it’s time he got out and about again and has made the murder of a respected miltant, a man in the public eye, the occasion for this. He sings, “Sometimes I think this whole world is one big prison yard/Some of us are prisoners the rest of us are guards” which brings the responsibility back on us instead of being shoved off on them.

With George Jackson dead, Rap Brown on trial, and Angela Davis soon to face trial for her life, George Jackson is a strong reminder of what has happened in America in 1971, and if there is such a thing as a genuine Christmas record this is it.

Classified AdvertisementsBooks

The Totality for Kids by Vaneigem (15p)

Sabotage - Its History, Philosophy and Function by Walker Smith (13p)

Omphalos — Ramifications ofSituationistTheory (17p)

Anarchism in Japan (20p)

Great Brain Robbery (20p)

Prices include postage from

LIB E R TA R IA , 95, West Green Road, N .1 5.

REVIEW BOOKS and others in fine condition bought by D. Levin, 13 Grape Street, London WC2. 01-240 2376.

L IT E R A R Y IN S T IT U T E OF G REAT B R IT A IN ,A rts House, Guernsey, Channel Islands, offers Home Study Courses in Free-lance Journalism, T V Scriptwriting, Contemporary Poetry and Fiction. Tuition by top British & American writers. Work dealt w ith inside a week.

A new monograph, What is class consciousness?, written by W ilhelm Reich in 1933, has just been issued as the first in a new series called Socialist Reproduction. Copies available from IS Books, Red Books, and Agit-Prop.

Womans Liberation, Black Power, Labour H istory, Marxism, Afro-Am ercian H istory, Colonial Revolu­tion, etc.Catalogues from Pathfinder Press,28 Poland St, London W 1V 3D 8

Removals

FLYING К light removals, transport, deliveries 01-348 0944 :

VA N A N D D R IV E R , 24 HOURS. 348 6516.

Small removals done, evenings or weekends. Metrovans 267 1253

GENTLE GHOST REMOVALS, ANY SIZE, CHEAPLY, ANYWHERE. 01-603 8581.

Cheapest van moves large and small NED LU D D 889 5715

Travel

Comprehensive International and European economy for travel over 60 world wide cities. 229 4368.

Most economical flights to and from India, USA, Canada, Pakistan, East Africa and most parts of the world. 187 T U F N E L L PARK RO AD, LONDON N7 607 5639.

JET FLIG HTS Charter Centre 229 9255 anytime.

Personal

Don't just sit there feeling sorry for yourself! DO SOM ETHING ABOUT IT! Make new friends through COM-PAT-TWO the experts in computer­dating, phone 437 4025, 7D, 213 Piccadilly, W1V O DX.

MARRIAGE & ADVICE BUREAU. Katharine Allen (ex-Welfare Officer, Ministry of Labour, War Office, Foreign Office). Personal Introductions. 7 Sedley Place, Woodstock Street, London W.1. 499 2556 Hours 1 0 -4

7 DAYS Staff member wants own room in friendly house/flat, preferably N. London & not too expensive, from January. Write Box 10, 7 D A Y S ..

Q U A E S ITO R . . .a centre for personal growth. Firday December 10 Drop-in group — an intro­duction to Encounter 7.30 pm £1. Saturday December 18 massage workshop with Vicki Mogilner from Esalen Institute in California. Monthly ongoing groups starting every week. Further details: Q UAESITOR, 22 AVENUE RD, NW8 586 0496.

Meet people through DATA M ATCH, the friendly organisation which brings people together. Free questionnaire from DATAM ATCH (SD), 40 IVES STREET, SW3. 584 3663.

GAY L IB E R A TIO N FRONT, Cosmic Carnival Dance Friday December 17, at Seymour Hall, Seym our Place, London W .1. Featuring..." Squidd, Pugma-Ho, Sahara Farm Lights, GLF disco, Galactic Delites. Tickets available from GLF office: 5 Caledonian Road, London N. 1. 01-837 7174 Price 5 0p.

VO LUNTEERS needed — community arts project — radical community centre inner London dock­land area: Christmas programme. To work mainly with kids, in all capacities. Committment essential some experience necessary. Write Jenny Harris C O M B IN A T IO N A T THE A L B A N Y Creek Road, D eptford, London S.E.8.

Part time secretary/organizer and a graphic designer/illustrator wanted by mini publishers (W. London). People really keen to build up a creative community, combining work with play, should write to Box 12.

FUNDS urgently needed by Drug Dependants CareGroup. Cash, cigarette coupons, trading stamps, gifts. Douglas Kepper, W alnut Cottage, M oorland, Bridgwater, Somerset.

Varitype 610 typesetter for rent. Reasonable terms. Contact: IM PRINT, The Cattle Market, Chichester, Sussex.

Anti-Internment League. Torchlight procession through West End, Sunday 19th December. Assemble Charing Cross Embankment 4pm.

ARE YOU THE KEY to open the door for unemployed unskilled young people locked in the system ?

An experimental youth project in Watford, based on a coffee bar, is developing a programme of preventive work to help unattached young people to come to terms with their difficulties.

Applicants must be resilient, committed to social reform, with some experience in creative group work as well as individual counselling.

Salary £1100—1750 (under review). Point according to age and experience. Further details and application forms from Y V F F , A bbey House, 2 /8 V ictoria Street, London S.W.1. Closing date Jan 3, 1972.

RELEASE gives information and advice on arrests, drugs, landlords, immigration, civil rights, pregnancy and other social, medical and legal problems.RELEASE office 727 8636 RELEASE Emergency 603 8654 (24 hrs)SUPPORT RELEASE BEFORE RELEASE SUPPORTS YOUOffice Hours: Mon to Fri 10—6. Late night (open until 10pm) Mon & Thurs.

ADVICE The immigrant advice centre invites you to a Grand Bazaar at their premises 313 Upper St. N1 on December 11 from 10 am onwards. Any contribution in the way of gifts very much welcomed. Don't be late. Buses 4a 19 38 73 104 171. Underground Angel and Highbury and Islington. 226 9365/6.

Dial-a-Plumber 659 3661.

20