Dance piece by Filipa Amorim.
Music by Miguel Resende Bastos.

for piano and live electronics

Comissioned by

Filipa Amorim | Theater Hagen

Year of Composition


Detailed Instrumentation

  • Piano
  • Electrónica stéreo ou quadrifónica

Approximate Duration

13 min.

Text by

Carolyn Kizer – Pro Femina


December 4th 2020, Theater Hagen; Filipa Amorim (dancer), Uros Ugarkovic (piano), Miguel Resende Bastos (electronics). (online premiere)



Pro Femina

From Sappho to myself, consider the fate of women.
How unwomanly to discuss it! Like a noose or an albatross necktie   
The clinical sobriquet hangs us: codpiece coveters.
Never mind these epithets; I myself have collected some honeys.   
Juvenal set us apart in denouncing our vices
Which had grown, in part, from having been set apart:
Women abused their spouses, cuckolded them, even plotted   
To poison them. Sensing, behind the violence of his manner—
“Think I’m crazy or drunk?”—his emotional stake in us,   
As we forgive Strindberg and Nietzsche, we forgive all those   
Who cannot forget us. We are hyenas. Yes, we admit it.
While men have politely debated free will, we have howled for it,   
Howl still, pacing the centuries, tragedy heroines.
Some who sat quietly in the corner with their embroidery
Were Defarges, stabbing the wool with the names of their ancient   
Oppressors, who ruled by the divine right of the male—
I’m impatient of interruptions! I’m aware there were millions   
Of mutes for every Saint Joan or sainted Jane Austen,
Who, vague-eyed and acquiescent, worshiped God as a man.   
I’m not concerned with those cabbageheads, not truly feminine   
But neutered by labor. I mean real women, like you and like me.
Freed in fact, not in custom, lifted from furrow and scullery,   
Not obliged, now, to be the pot for the annual chicken,   
Have we begun to arrive in time? With our well-known   
Respect for life because it hurts so much to come out with it;   
Disdainful of “sovereignty,” “national honor;” and other abstractions;
We can say, like the ancient Chinese to successive waves of invaders,   
“Relax, and let us absorb you. You can learn temperance   
In a more temperate climate.” Give us just a few decades   
Of grace, to encourage the fine art of acquiescence   
And we might save the race. Meanwhile, observe our creative chaos,   
Flux, efflorescence—whatever you care to call it!
I take as my theme “The Independent Woman,”
Independent but maimed: observe the exigent neckties   
Choking violet writers; the sad slacks of stipple-faced matrons;   
Indigo intellectuals, crop-haired and callus-toed,
Cute spectacles, chewed cuticles, aced out by full-time beauties   
In the race for a male. Retreating to drabness, bad manners,   
And sleeping with manuscripts. Forgive our transgressions   
Of old gallantries as we hitch in chairs, light our own cigarettes,   
Not expecting your care, having forfeited it by trying to get even.
But we need dependency, cosseting, and well-treatment.   
So do men sometimes. Why don’t they admit it?   
We will be cows for a while, because babies howl for us,   
Be kittens or bitches, who want to eat grass now and then   
For the sake of our health. But the role of pastoral heroine   
Is not permanent, Jack. We want to get back to the meeting.
Knitting booties and brows, tartars or termagants, ancient   
Fertility symbols, chained to our cycle, released
Only in part by devices of hygiene and personal daintiness,   
Strapped into our girdles, held down, yet uplifted by man’s   
Ingenious constructions, holding coiffures in a breeze,   
Hobbled and swathed in whimsy, tripping on feminine   
Shoes with fool heels, losing our lipsticks, you, me,
In ephemeral stockings, clutching our handbags and packages.
Our masks, always in peril of smearing or cracking,
In need of continuous check in the mirror or silverware,   
Keep us in thrall to ourselves, concerned with our surfaces.   
Look at man’s uniform drabness, his impersonal envelope!   
Over chicken wrists or meek shoulders, a formal, hard-fibered assurance.   
The drape of the male is designed to achieve self-forgetfulness.
So, Sister, forget yourself a few times and see where it gets you:   
Up the creek, alone with your talent, sans everything else.
You can wait for the menopause, and catch up on your reading.   
So primp, preen, prink, pluck, and prize your flesh,
All posturings! All ravishment! All sensibility!
Meanwhile, have you used your mind today?
What pomegranate raised you from the dead,
Springing, full-grown, from your own head, Athena?
I will speak about women of letters, for I’m in the racket.   
Our biggest successes to date? Old maids to a woman.
And our saddest conspicuous failures? The married spinsters   
On loan to the husbands they treated like surrogate fathers.   
Think of that crew of self-pitiers, not-very-distant,
Who carried the torch for themselves and got first-degree burns.   
Or the sad sonneteers, toast-and-teasdales we loved at thirteen;   
Middle-aged virgins seducing the puerile anthologists   
Through lust-of-the-mind; barbiturate-drenched Camilles   
With continuous periods, murmuring softly on sofas   
When poetry wasn’t a craft but a sickly effluvium,   
The air thick with incense, musk, and emotional blackmail.
I suppose they reacted from an earlier womanly modesty   
When too many girls were scabs to their stricken sisterhood,   
Impugning our sex to stay in good with the men,
Commencing their insecure bluster. How they must have swaggered   
When women themselves endorsed their own inferiority!   
Vestals, vassals, and vessels, rolled into several,
They took notes in rolling syllabics, in careful journals,   
Aiming to please a posterity that despises them.
But we’ll always have traitors who swear that a woman surrenders   
Her Supreme Function, by equating Art with aggression   
And failure with Femininity. Still, it’s just as unfair
To equate Art with Femininity, like a prettily packaged commodity   
When we are the custodians of the world’s best-kept secret:   
Merely the private lives of one-half of humanity.
But even with masculine dominance, we mares and mistresses   
Produced some sleek saboteuses, making their cracks
Which the porridge-brained males of the day were too thick to perceive,
Mistaking young hornets for perfectly harmless bumblebees.
Being thought innocuous rouses some women to frenzy;   
They try to be ugly by aping the ways of men
And succeed. Swearing, sucking cigars and scorching the bedspread,
Slopping straight shots, eyes blotted, vanity-blown
In the expectation of glory: she writes like a man!
This drives other women mad in a mist of chiffon.
(One poetess draped her gauze over red flannels, a practical feminist.)
But we’re emerging from all that, more or less,
Except for some ladylike laggards and Quarterly priestesses   
Who flog men for fun, and kick women to maim competition.   
Now, if we struggle abnormally, we may almost seem normal;
If we submerge our self-pity in disciplined industry;
If we stand up and be hated, and swear not to sleep with editors;
If we regard ourselves formally, respecting our true limitations   
Without making an unseemly show of trying to unfreeze our assets;   
Keeping our heads and our pride while remaining unmarried;   
And if wedded, kill guilt in its tracks when we stack up the dishes
And defect to the typewriter. And if mothers, believe in the luck of our children,
Whom we forbid to devour us, whom we shall not devour,
And the luck of our husbands and lovers, who keep free women.
Carolyn Kizer, “Pro Femina” from Cool, Calm, and Collected: Poems 1960-2000. Copyright © 2001 by Carolyn Kizer. Reprinted with the permission of Copper Canyon Press, P. O. Box 271, Port Townsend, WA 98368-0271,