’We are not trash’: Horrors suffered by Canada’s Indigenous women

Hilda Anderson-Pyrz, chair of the National Family and Survivors Circle, poses at the entrance of the Prairie Green landfill, where the bodies of Morgan Harris and Marcedes Myran are believed to be buried, in Stony Mountain, Manitoba, Canada, on April 28, 2024. (AFP)
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Updated 24 June 2024
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’We are not trash’: Horrors suffered by Canada’s Indigenous women

  • Indigenous women are wildly overrepresented among the victims of femicide in Canada

PRINCE RUPERT, Canada: A mountain of windswept garbage. Beneath it, bodies. For years, the remains discarded by a serial killer have languished in a landfill — the latest chapter in a long history of violence against Canada’s Indigenous women.
Morgan Harris and Marcedes Myran were raped, killed, dismembered and thrown out with the trash in Winnipeg, Manitoba. Police believe their remains are buried deep inside the Prairie Green landfill.
The partial remains of another victim, Rebecca Contois, were found in two places — a garbage bin in the city and in a separate landfill. The body of a fourth, unidentified woman in her 20s — dubbed Buffalo Woman — is still missing.




Red ribbons symbolizing Missing and Murdered Indigenous Women are tied to a fence at the Prairie Green landfill, in Stony Mountain, Manitoba, Canada, on April 29, 2024. (AFP)

Their murderer, Jeremy Skibicki, now 37 and linked to white supremacists, confessed in 2022 and has been tried. A verdict is expected next month.
But their relatives have been unable to lay them to rest, as the excavations to find their remains have not yet begun.
Indigenous women are disproportionately targeted by violence in Canada, and often poorly protected by authorities accused of paying little attention to their plight.
Instead, they are thrown “into the trash,” says Elle Harris, the 19-year-old daughter of Morgan Harris.




Aerial view of the Prairie Green landfill, where bodies of murdered women are reportedly buried, in Stony Mountain, Manitoba, Canada, on April 28, 2024. A mountain of windswept garbage. (AFP)

A member of the Long Plain nation, Elle is dressed in a traditional skirt, her hair twisted into a long braid.
She says her mother had a difficult life, spending years homeless after losing custody of her five children due to a drug addiction.
“My mom was taken just like that, just like nothing. And I wish I could see her one more time, to talk to her again,” she tells AFP.
Instead, she and her family are keeping vigil near the Prairie Green landfill, where they have set up teepees, a sacred fire, red dresses and a banner demanding empathy: “What if it was your daughter?“
For months — through the wind-blasted Winnipeg winter — they have taken turns staying in the makeshift camp, seeking, says Elle, “to prove that we are something, we are not trash, we can’t just be thrown into the garbage.”
It has also formed part of their campaign to pressure authorities to excavate the site, which has remained in use since Skibicki’s confession, with new truckloads of debris regularly arriving to be piled on top of what is already there.
The go-ahead for the digging was finally given at the end of 2023, shortly after Winnipeg elected Canada’s first Indigenous provincial leader, Wab Kinew.
But the searchers must sift through tons of garbage and construction rubble, and such an operation involves considerable risks due to the presence of toxic materials such as asbestos, according to independent experts.
Ultimately, it could take years and cost tens of millions of dollars.
Morgan Harris’ family has vowed to maintain their vigil until her remains are recovered.

Skibicki targeted Indigenous women he met in homeless shelters, prosecutors told his trial, which began in late April. A judge is expected to issue a verdict on July 11.
At the time of his arrest, the then-Minister of Crown-Indigenous Relations Marc Miller said the case was part of “a legacy of a devastating history” of Canada’s treatment of Indigenous women “that has reverberations today.”
“No one can stand in front of you with confidence to say that this won’t happen again and I think that’s kind of shameful,” he said.
Indigenous women are wildly overrepresented among the victims of femicide in Canada.
They represent about one-fifth of all the women killed in gender-related homicides in the country — even though they are just five percent of the female population, according to official figures documenting an 11-year period up to 2021.
In that year in particular, the rate of gender-related homicide of Indigenous victims was more than triple that of such killings of girls and women overall, the report said.
“Canada is looked at as a country that upholds rights,” said Hilda Anderson-Pyrz, an activist who has championed Indigenous women for years.
But when “we’re being disposed of like garbage in landfills, that clearly says something is very wrong in this country.”
In 2019, a national commission went so far as to describe the thousands of murders and disappearances of First Nations women over the years as a “genocide.”
Isolated, marginalized, and heavily impacted by intergenerational trauma, they face disproportionate violence due to “state actions and inactions rooted in colonialism and colonial ideologies, built on the presumption of superiority,” the commission concluded.
It is a conclusion shared by some of the families of Skibicki’s victims.
The young children of Marcedes Myran do not understand why she is in a landfill, admits their great-grandmother Donna Bartlett, who is raising them in her small, cluttered house in an outlying neighborhood of Winnipeg.
Marcedes was a kind, happy girl who loved to play jokes, the 66-year-old recalls.
She laments authorities’ reluctance to search the landfill.
“If (the women) were white, they would have done it right away,” she says.

Further west, in British Columbia, is a stretch of road hundreds of miles long known as the “Highway of Tears” — a stark monument, activists say, to the many ways Canada has failed Indigenous women.
Here, nature is spectacular — the snow-capped mountains, the immense trees, the meandering Skeena River, waterfalls and abundant wildlife such as foxes, bears and eagles.
But on the side of the highway is an incongruous sight: red dresses nailed to posts symbolizing vanished women, faded photos of young girls with dazzling smiles, messages promising rewards for any clues to where they have gone.
Since the 1960s, as many as 50 women — and a few men — have vanished along this 450-mile (725-kilometer) highway linking Prince Rupert, on the Pacific Coast near Alaska, to Prince George.
All are believed to have been young and Indigenous. Many vanished while hitchhiking or walking home along Highway 16. No community in the region was spared.
Tamara Chipman, who was a member of the Wet’suwet’en First Nation, was heading to Prince Rupert to see friends when she was last seen hitchhiking on September 21, 2005. She was 22, the mother of a little boy.
Her aunt, Gladys Radek, described a feisty young woman who “loved fast boats and fishing and also life,” in a region marked by social disintegration and drugs.
In these isolated and impoverished communities, connected only by this single highway flanked by deep forests, without proper telephone networks or public transportation, many young people are forced to hitchhike to get around.
They often encounter temporary workers who have come for jobs at local mines: mainly well-paid, single men.
The case of Chipman, like the majority of disappearances on the route, has never been explained.

When Lana Derrick went missing in the area 25 years ago, “we had some challenges in the beginning getting support from the RCMP to take the case seriously,” says her cousin Wanda Good, referring to the Royal Canadian Mounted Police.
It is an observation made by many of the families — that efforts to find women stigmatized as drug addicts, prostitutes or alcoholics can be middling at best.
In several cases the families say they have organized the first searches themselves — both for their missing loved ones, and for any witnesses.
The head of the RCMP admitted to the national commission in 2018 that, for too many Indigenous families, “the RCMP was not the police service that it needed to be during this terrible time of your life.”
Studies show a deep-rooted distrust between police and Indigenous people. It dates back to decades when police were used as the armed wing of Canadian governments, as they imposed a policy of forced assimilation on the country’s First Peoples.
At the RCMP’s British Columbia headquarters on the outskirts of Vancouver, Constable Wayne Clary, a veteran homicide investigator, tries to explain the tragedy of the Highway of Tears.
“The northern areas are very, very isolated. Some of the activities that these women engage in, and not just Indigenous, but other women, they make themselves available for men who prey on women,” he says.
He rejects accusations of botched investigations, but acknowledges: “In the past, communication may not have been there.”

Clary is part of the E-Pana unit, created in 2005 — more than 30 years after the disappearances began — to “determine if a serial killer, or killers, is responsible.”
Eighteen women are on the unit’s list — 13 homicides and five disappearances spanning from 1969 to 2006. No connection has been established between the cases so far.
The investigations remain open, but new homicides are not handled by the special unit. The last — that of Chelsey Quaw, a 29-year-old Indigenous woman reported missing after leaving home from Saik’uz First Nation — dates back to last November.
In recent years, there has been progress, notes Good: the police listen more to families, and new relay antennas have been installed for mobile communications on the road.
“We are moving forward, but at a very, very slow, snail’s pace,” she says.
But it is a collective tragedy which the country refuses to confront, believes Radek, 69.
Speaking slowly and gravely, her voice at times rising in anger, she describes how she began traveling the country “to tell the stories of all these women with broken destinies, to be the voice of these families, because they were silenced.”
Her dilapidated van is covered with photos of the missing. When she passes through local villages along the Highway of Tears, residents often stop her to talk.
Her fight now takes her outside of Canada to conferences and demonstrations seeking to raise awareness of the women’s plight.
“I’ll never stop looking,” she says.
 

 


Two pistols owned by Napoleon up for auction with estimated value of up to $1.6m

Updated 01 July 2024
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Two pistols owned by Napoleon up for auction with estimated value of up to $1.6m

  • French emperor once intended to use the weapons to kill himself
  • Later gave pistols to squire to thank him for his loyalty

PARIS: Two pistols that Napoleon Bonaparte once intended to use to kill himself are up for auction this weekend, expected to reach up to €1.5 million ($1.6 million), an auction house said Monday.
The richly decorated guns inlaid with gold and silver feature the engraved image of Napoleon in full imperial pomp.
They are said to have almost been used to end the French ruler’s life in 1814 when he was forced to give up power after foreign forces defeated his army and occupied Paris.
“After the defeat of the French campaign, he was totally depressed and wanted to commit suicide with these weapons but his grand squire removed the powder,” auctioneer Jean-Pierre Osenat told AFP.
Napoleon instead took poison but vomited and survived, and later gave the pistols to his squire to thank him for his loyalty, Osenat added.
They are expected to fetch €1.2 to 1.5 million at Sunday’s auction in Fontainebleau, south of Paris.
Memorabilia of the emperor is extremely sought-after among collectors.
His famous black cocked hat with its blue, white and red trimmings sold for 1.9 million euros in November.
Upon his abdication, Napoleon went into exile on the island of Elba off the coast of Italy.
He would soon grow bored and make a dramatic return to France, only to have his career definitively ended when he was defeated by the British at the Battle of Waterloo in 1815, dying in exile on the island of St. Helena six years later.


Making Olympic timekeepers’ bells: a labor of love

Updated 01 July 2024
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Making Olympic timekeepers’ bells: a labor of love

LA CHAUX DE FONDS: The air is stifling hot, with a heavy, metallic smell that sticks in the throat and stings the eyes.
In his foundry with smoke-blackened walls, Alois Huguenin uses an enormous ladle to pour molten bronze at 1,250 degrees Celsius (2,282 degrees Fahrenheit) into a metal frame.
For three generations, the century-old traditional foundry in La Chaux-de-Fonds in northwestern Switzerland — the cradle of the country’s famous watchmaking industry — has been crafting the bells used at the Olympic Games.
The bells are rung for a range of disciplines including athletics, track cycling, mountain biking and boxing.
Almost half a century after his grandfather made the first bell for the Moscow Olympics in 1980, Huguenin was preparing the bells for the upcoming Paris Games.
“If all goes well, one Olympic bell is three hours of work,” the 30-year-old, equipped with an apron, gloves and a protective screen, told AFP recently.
Huguenin said he had already delivered 38 bells for Paris, at the request of the Games’ official timekeeper Omega, which has its chronometric testing laboratory around 30 kilometers away in Biel.
“The bell is used to indicate to the athletes, as well as to the spectators, when the last lap has started,” said Alain Zobrist, who heads OmegaTime and is in charge of chronometry within the wider Swatch Group.
It tells the athletes “they must give it their all to reach the finish line as quickly as possible,” he told AFP.
Recalling that Omega has been timekeeping at the Olympics since 1932, he acknowledged that the bells constitute “a very traditional element.”
“Today, chronometry is done electronically. The bells are a nod to our past,” he said.


Ten minutes after pouring the molten bronze — with the texture and bright orange-yellow color of volcanic lava — Huguenin can unmold the thick liquid, with a temperature of just 200C.
With heavy blows of his hammer, he breaks the hard, black-sand mold in the frame, as smoke billows out.
The bell that emerges is covered with a crust, revealing the work that remains to be done: deburring, sanding, filing and polishing.
Huguenin made his first Olympic bell for the 2020 Tokyo Games.
While not as obsessed by bells as some collectors can be, Huguenin says he is proud his creations are seen by billions.
“I put the same energy, the same passion into all the bells I make,” he said, explaining that he also makes bells for livestock, and increasingly for individual events like weddings.
“But to know that we are participating in our own small way in the big Olympic celebration is a source of pride.”
Huguenin said Olympic bells had been part of his life as far back as he could remember.
“Each edition, we watch TV to try to see if we can spot them,” he said, recalling how he kept an eye out for his father’s bells when he was younger.
And “for a few years now, I have been looking out for the bell that I made.”


The bells used for each Olympics remain the same, with only the edition logo changing.
They are always emblazoned with the colorful Olympic rings, stand about 20 centimeters (7.9 inches) high and measure 14 centimeters (5.5 inches) across.
But each bell is nonetheless unique, Huguenin insisted, due to the use of traditional techniques, and recycling.
The clayey Paris sand used for his mold is not synthetic and is reused several times, he said, noting that some grains have been in service for 100 years.
As for the copper-tin alloy used for the bronze, it is made of individually-sourced recycled materials.
On the shelves near his wooden workbench, Huguenin keeps a souvenir collection of bells with defects that were made for previous Games in Atlanta, Rio and Athens.
But a few weeks before the opening of the Paris Olympics, he already has one eye on the future.
Bells need to be made for the 2028 Los Angeles Games, of course, he said, but “first there are the Winter Olympics in Milan Cortina” in 2026.
“I’m going to get started on it this autumn,” he said.
“I’m always one step ahead.”


Crowd control at Japan’s Mount Fuji as hiking season begins

Updated 01 July 2024
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Crowd control at Japan’s Mount Fuji as hiking season begins

  • Online reservations have also been introduced this year by authorities concerned about safety and environmental damage on Japan’s highest mountain

MOUNT FUJI: Mount Fuji’s summer climbing season began on Monday with new crowd control measures to combat overtourism on the Japanese volcano’s most popular trail.
An entry fee of 2,000 yen ($13) plus an optional donation is being charged for those taking on the Yoshida Trail, and numbers are capped at 4,000 per day.
Online reservations have also been introduced this year by authorities concerned about safety and environmental damage on Japan’s highest mountain.
“I really like the idea because if you respect the mountain, you have to limit the people,” hiker Chetna Joshi told AFP at the trail’s Fifth Station — a busy starting point for hikers that is reachable by car.
The 47-year-old from India compared the crowds seen at Fuji in recent years to the “traffic jam” of climbers at the peak of Mount Everest.
Although windy and drizzly weather on Monday prevented hikers from reaching the summit, Joshi said ascending part way was still a “great experience.”
“I love mountains. I think it is not giving me permission this time, that’s OK. I accept it,” she said.
Record tourist crowds are flocking to Japan post-pandemic, with many wanting to see or scale Mount Fuji.
The mountain is covered in snow most of the year but draws more than 220,000 visitors each July-September climbing period.
Many trudge through the night to see the sunrise from the 3,776-meter (12,388-foot) summit.
Some sleep on the trail or start fires for heat, while others attempt to complete the hike without breaks, becoming sick or injured as a result.


The once-peaceful pilgrimage site has three other main routes that will remain free to climb.
But the Yoshida Trail — accessed from Tokyo relatively easily — is the preferred option for most holidaymakers, with around 60 percent of climbers choosing that route.
Each summer, reports in Japanese media describe tourists climbing Mount Fuji with insufficient mountaineering equipment.
The new measures were introduced “first and foremost to protect lives,” governor Kotaro Nagasaki of Yamanashi prefecture has said.
In a reminder of the dangers, last week four bodies were found near the summit, according to local media reports.
“I personally feel like I’ve over-prepared,” Geoffrey Kula, a climber from the United States, told AFP.
“Having looked at the forecast, being ready to swap out multiple outfits if clothes get wet and things like that. Yeah, it just seems like another crazy adventure.”


Monthly visitors to Japan exceeded three million for the first time in March, and then again in April and May.
The tourism chief has deemed the country’s ambitious goal of attracting 60 million foreign tourists well within reach, having last year welcomed more than 25 million.
Mount Fuji is about two hours from central Tokyo by train and can be seen for miles around.
The mountain is a symbol of Japan that has been immortalized in countless artworks, including Hokusai’s “Great Wave.”
But as in other tourist hotspots, such as Venice — which recently launched a trial of entry fees for day visitors — the influx has not been universally welcomed.
In May, a town near Mount Fuji mounted a large barrier at a popular viewing spot for the volcano in an attempt to deter photo-taking by an ever-growing number of tourists.
Residents were fed up with streams of mostly foreign visitors littering, trespassing and breaking traffic rules in their hunt for a photo to share on social media.
Similar woes have befallen the country’s ancient capital of Kyoto, where locals have complained of tourists harassing the city’s famed geisha.


Portrait of King Charles unveiled for Britain’s Armed Forces Day

Updated 29 June 2024
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Portrait of King Charles unveiled for Britain’s Armed Forces Day

LONDON: A new photographic portrait of King Charles wearing military uniform was released on Saturday to mark Britain’s Armed Forces Day.
The photograph shows the King wearing his Field Marshal No 1 Full Ceremonial Frock Coat with medals, sword and decorations.
The King, who is Commander-in-Chief of the armed services, returned to public-facing engagements early last month after being diagnosed with cancer in February.
The release of the photograph coincided with a video message to members of the armed services from Queen Camilla. She called them “a source of inspiration, reassurance and pride.”


Video game designers battle to depict climate impacts

Updated 28 June 2024
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Video game designers battle to depict climate impacts

PARIS: Game designer Sam Alfred is keenly aware of the challenge he faces in trying to build a video game with climate change at its heart.
Lists of best-selling games are filled with titles pushing destruction and violence rather than constructive engagement with the environment.
Yet “Terra Nil,” a strategy game designed by Alfred and released in March last year, puts players in charge of rebuilding ecosystems — and has since attracted 300,000 players, according to the publisher Devolver Digital.
“I’ve lost count of how many people have dismissed the game or made fun of the game, because of its nature, because it’s a game which is not about shooting people or rampant expansionism,” said Alfred.
“The environment was the focus of the game. The one angle was trying to show players and other game developers and people that it’s possible to build a strategy game without exploitation of the environment.”
True to his word, the 30-year-old South African asks players of Terra Nil to help decontaminate radioactive zones with sunflowers and save the Great Barrier Reef among other climate-related tasks.
He is not the first designer to include an environmental message in their games — nor is he the first to be criticized for it.
In 2017, “Cities: Skylines,” a city-building game, introduced its “Green Cities” offshoot where players could create their ideal metropolis while taking into account pollution and environmental management.
“I remember the Green Cities extension was something that surprisingly polarized the audience,” said Mariina Hallikainen, managing director of Colossal Order, the Finnish studio behind the game.
“There was actually feedback that we are now ruining the game by going political.”
The team behind the game deny there was any overt political message, flagging that players could choose whether to make their city green or not.
And other studios have not been discouraged from putting climate into their games.
The daddy of all strategy games, “Civilization,” included climate change in and offshoot of its sixth edition in 2019.
With an estimated three billion people playing video games at least once a year, climate campaigners have long targeted them as a potential audience.
Even the United Nations has tried its hand at creating a climate game — “Mission 1.5” — that it said reached more than six million people.
Industry figures have joined together in several collectives to see how they can include the climate in their games.
Studios, trade associations and investors formed “Playing for the Planet,” an alliance backed by the United Nations that has held a “Green Game Jam” each year since 2020.
Other industry figures bandied together to form a climate branch of the International Game Developers Association (IGDA) in 2019.
“You have a superpower: you’re gamemakers,” Arnaud Fayolle, artistic director at publisher Ubisoft and key mover in the IGDA’s climate branch, told their conference last year.
“You can talk to three billion players around the planet who already trust what you have to say, you can teach complex problems in fun and engaging way that schools never can match.”
The IGDA branch brings together nearly 1,500 industry professionals, university professors and ecology and climate specialists, who share their expertise to infuse video games with climate issues and encourage gamers to get involved.
“The idea is to generate a positive cultural impact through aesthetics, storytelling, game mechanics and technology,” said Fayolle.
This is where people like Sam Alfred earn their money.
“A lot of our mechanics in the game are our way of trying to translate either real-life natural processes or real-life ecosystem restoration practices into game form,” he said.
“That means oversimplifying them and it means, you know, taking some creative liberties.”