logo
Prince Harry Follows in Diana's Footsteps as Specter of Land Mines Returns

Prince Harry Follows in Diana's Footsteps as Specter of Land Mines Returns

New York Times3 days ago
In 1997, wearing body armor and surrounded by warning signs emblazoned with skulls, Diana, Princess of Wales, drew the world's attention to the brutal and enduring consequences of land mines by walking through a minefield in Angola, which was then enduring a civil war.
On Wednesday, her son, Prince Harry, made the same journey through a partially cleared minefield, at a time when countries are beginning to break away from the international anti-land mine treaty drawn up in the months after Diana's visit.
Harry visited Cuito Cuanavale, a remote community around 350 miles from the live minefield that Diana walked through in Huambo 28 years ago.
During a previous trip in 2019, Harry had retraced his mother's steps on the same piece of land, which had been made safe and reclaimed for homes, schools and businesses.
Both he and his mother traveled with The Halo Trust, a British land mine clearance nonprofit.
The group said that Harry had joined a group of de-miners in what it believes to be Africa's largest remaining minefield, and helped to destroy two anti-tank mines from the conflict that raged between 1975 and 2002.
The timing is symbolic. Months after his mother's visit to the southern African country in January 1997, 164 nations signed a United Nations convention banning antipersonnel land mines, leading to a virtual halt in global production of the weapons and the destruction of stockpiles.
This year, at least five countries will leave the convention. Poland, Estonia, Latvia and Lithuania announced their withdrawal in March, saying in a joint statement that the security of their region had 'fundamentally deteriorated' since Russia's full-scale invasion of Ukraine in 2022, and that it was 'essential to evaluate all measures to strengthen our deterrence and defense capabilities.'
The withdrawal will come into effect in September, and Finland will follow two weeks later. Antipersonnel land mines are already being used in the Ukraine war — including some supplied by the United States — and the latest announcements have raised fears that the indiscriminate weapons, and the terrible destruction they wreak on children and civilians, will spread once more.
The Halo Trust said that at least 60,000 people were known to have been killed or injured by land mines in Angola since 2008, and the true total was likely to be higher. Of those, 80 deaths have come in the past five years, despite continued clearance efforts.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Libya deports 700 Sudanese migrants in crackdown on trafficking
Libya deports 700 Sudanese migrants in crackdown on trafficking

Yahoo

time2 hours ago

  • Yahoo

Libya deports 700 Sudanese migrants in crackdown on trafficking

CAIRO (AP) — Eastern Libyan authorities have sent hundreds of Sudanese back to their war-torn home country, officials said Saturday, in a crackdown on migrants seeking to flee conflict and poverty for Europe by way of the the Mediterranean nation. Seven hundred Sudanese who were detained recently in central and southeastern Libya, were deported Friday by land to Sudan, the Directorate for Combating Illegal Migration in eastern Libya said in a statement. The statement said some of the deportees suffered from infectious diseases including hepatitis and AIDS. Others were deported because of either criminal convictions or 'security reasons,' it said, without elaborating. The deportation was part of an ongoing crackdown campaign on migrant trafficking in eastern Libya, which is controlled by forces of powerful military commander Khalifa Hifter. Last week, the coast guard in eastern Libya said it intercepted a boat carrying 80 Europe-bound migrants off the eastern city of Tobruk. The campaign includes raids on trafficking hubs across eastern and southern Libya. A raid earlier this month freed 104 Sudanese migrants, including women and children, who were held in a trafficking warehouse in the town of Ajdabiya, about 480 miles (800 kilometers) east of the capital, Tripoli, according to town security authorities. Libya has in recent years become a transit point for those fleeing wars and poverty in the Middle East and Africa, and seeking a better life in Europe. Human traffickers have benefited from more than a decade of instability, smuggling migrants across Libya's borders with six nations, including Chad, Niger, Sudan Egypt, Algeria and Tunisia. The North African country was plunged into chaos following a NATO-backed uprising that toppled and killed longtime autocrat Muammar Gaddafi in 2011. Oil-rich Libya has been ruled for most of the past decade by rival governments in eastern and western Libya, each backed by an array of militias and foreign governments. Thousands of Sudanese have fled to Libya since their country plunged into chaos in April 2023 after simmering tensions between the Sudanese military and a powerful paramilitary group exploded into street fighting across the country. They are among the more than 240,000 Sudanese migrants who live in Libya, according to the U.N.'s International Organization for Migration. Solve the daily Crossword

South Africa coalition strained after trade envoy fails to visit US
South Africa coalition strained after trade envoy fails to visit US

Yahoo

time3 hours ago

  • Yahoo

South Africa coalition strained after trade envoy fails to visit US

By Tim Cocks and Alexander Winning JOHANNESBURG (Reuters) -South Africa's main coalition partners are embroiled in a spat over how to respond to looming tariffs from a hostile Trump administration, after the smaller party said the president's aide was denied a U.S. visa to negotiate with Washington. The Democratic Alliance said on Tuesday that the United States had formally rejected President Cyril Ramaphosa's chosen interlocutor, Mcebisi Jonas, and had denied him a diplomatic visa in May. The DA provided no evidence for the claim, which its leading international relations official Emma Louise Powell repeated in a statement on Thursday. Presidency spokesperson Vincent Magwenya, in a response, did not say whether Jonas had been denied a visa. "President Ramaphosa has not had a need for Mr. Jonas to visit the United States on urgent business," he said in a statement. He added that Jonas had been working in the background with the trade and foreign ministries. Since his appointment in April, the government has not mentioned Jonas as having met with any U.S. officials. He was not part of a delegation that travelled to Washington in May, a trip during which U.S. President Donald Trump assailed Ramaphosa in the Oval Office with false claims of mass killings of white South African farmers. Magwenya declined to comment further when Reuters contacted him on Thursday. Jonas did not immediately respond to a text message requesting comment. The U.S. embassy in Pretoria did not immediately respond to a request for comment. Washington's 30% tariff for South Africa kicks in on August 1. Central bank governor Lesetja Kganyago warned on Wednesday that it could trigger 100,000 job losses. Ramaphosa's African National Congress is furious that the white-led DA, which like Trump has criticised South Africa's racial diversity policies, made an independent visit to the United States earlier this year to plead the country's case to U.S. politicians. The erstwhile enemies forged an unlikely coalition after the ANC lost its outright majority in elections last year. But they have clashed over equity laws, education policy and the budget, which the DA has held up on grounds of corruption and waste. Ramaphosa fired a DA deputy minister for failing to get permission to take part in the U.S. trip. "As the ANC continues to engage with ... the likes of Russia and Iran, the DA will continue to ... engage with the international community of democracies," Powell said in a statement defending the DA's U.S. trip on Thursday.

Can you mount an art exhibition about race in the age of Trump?
Can you mount an art exhibition about race in the age of Trump?

Yahoo

time8 hours ago

  • Yahoo

Can you mount an art exhibition about race in the age of Trump?

It is one of the most evocative works from the American Civil War: A sculpture of a Black man who had escaped from slavery helping an injured White Union soldier lost in hostile territory. When it was unveiled in 1864, John Rogers' 'The Wounded Scout, a Friend in the Swamp,' was celebrated for its anti-slavery message and patriotic tone. But in 2025, a Smithsonian exhibition, 'The Shape of Power: Stories of Race and American Sculpture,' asked visitors to reconsider the message behind the piece. On display, the sculpture is paired with a description that prompts viewers to consider how the work, and others by Rogers 'reinforced the long-standing racist social order,' despite its pro-Union and emancipation sentiment. The exhibition's efforts to challenge enduring ideas about race and American sculpture became a subject of President Donald Trump's ire earlier this year. In an executive order, he condemned the exhibition for stating that 'sculpture has been a powerful tool in promoting scientific racism,' that 'race is a human invention' and that the United States has used race 'to establish and maintain systems of power, privilege, and disenfranchisement.' 'Museums in our Nation's capital should be places where individuals go to learn — not to be subjected to divisive narratives,' the executive order said. Trump has championed a cultural agenda built around celebrating, as the executive order put it, 'shared American values' and 'unmatched record of advancing liberty, prosperity, and human flourishing,' and he has put Vice President JD Vance, who serves on the Smithsonian's Board of Regents, in charge of stopping government spending on exhibits that don't align with that agenda. That has forced the Smithsonian into an awkward position. In June, the Smithsonian began a review of content in its museums. The institution has repeatedly said it is committed to being 'free from political or partisan influence' – but the review has raised serious questions over whether the world's largest museum complex will curb candid discussions about the country's past, beginning with exhibits like 'The Shape of Power.' Sasa Aakil, a young artist who helped with 'The Shape of Power,' said that it would be 'catastrophic' if the Smithsonian were to change many of its exhibits. 'America has never been good at truth. That's why so many people are doing the work that they're doing. That's why this exhibition exists.' Humbler displays, notable reactions For the amount of attention it garnered from the president, the exhibition at the Smithsonian's American Art Museum has a surprisingly humble, intimate feel. Tucked away on the third floor of a sprawling neo-classical building shared with the National Portrait Gallery in downtown Washington, the exhibit holds 82 sculptures dating from 1792 to 2023. The pieces are arranged according to a series of topics with prompts asking visitors to consider how they encounter the pieces. A large passage of text on the wall at the exhibition entrance says: 'Stories anchor this exhibition,' and that through it, visitors can discover how artists used sculpture to 'tell fuller stories about how race and racism shape the ways we understand ourselves.' The stated goal of for the exhibit is 'to encourage visitors to feel invited into a transparent and honest dialogue about the histories of race, racism, and the role of sculpture, art history and museums in shaping these stories,' its curators have written. Ferdinand Pettrich's 'The Dying Tecumseh,' for example, portrays a Shawnee warrior's death during the War of 1812. Completed in 1856, he is shown in a relaxed pose, reclining as if asleep. In reality, he died in battle and his body was mutilated by American soldiers. Pettrich, according to the exhibit, made the sculpture as political propaganda for Vice President Richard Mentor Johnson, who had claimed he killed Tecumseh and made the alleged act part of his campaign slogan. It also reinforced racist ideas about Native Americans during a time when the United States was rapidly expanding westward, the exhibit said. Yards away from Hiram Powers' 'Greek Slave,' a famous 19th century sculpture, is Julia Kwon's 'Fetishization,' a 2016 work featuring a hollow, female torso wrapped with a vibrant patchwork of silk bojagi, Korean object-wrapping cloth. The intention, Kwon told CNN, is to comment 'on the gravity and absurdity of the objectification of Asian female bodies.' Asked about its objections to the exhibit, Lindsey Halligan, a White House official who Trump has tasked with helping to root out 'improper ideology' at the Smithsonian, told CNN in a statement: 'The Shape of Power exhibit claims that 'sculpture has been a powerful tool in promoting scientific racism,' a statement that ultimately serves to create division rather than unity.' 'While it's important to confront history with honesty, framing an entire medium of art through such a narrow and accusatory lens overshadows its broader cultural, aesthetic, and educational value,' Halligan said in a statement. 'Instead of fostering dialogue or deeper understanding, the Shape of Power exhibit's approach alienates audiences and reduces complex artistic legacies to a single, controversial narrative. After all, it's hard to imagine Michelangelo thinking about racism as he chiseled David's abs – he was in the relentless pursuit of artistic perfection, not pushing a political agenda.' (Michelangelo's work is not part of the exhibit.) Some see value in the president's push to reshape the museums. Mike Gonzalez, a fellow at the Heritage Foundation, a conservative think tank, expressed optimism about the Smithsonian's review, arguing that the institution should not mount exhibitions that examine the US through 'a prism of the oppressed and the oppressor.' 'I think, you know, you have to tell the whole story, not a small part of the story that is designed to make people feel grievances against their own country,' he said. But critics say the administration's review has the potential to undermine the nation's ability to understand its complicated history through art. Examining art from the past has the potential to hit at the core of how Americans understand their country, Northwestern University art history professor Rebecca Zorach told CNN, and that's the value of exhibitions like 'The Shape of Power.' 'Art provides ways to process these issues. I think some people are afraid of what it means to kind of have that opportunity,' Zorach said. The administration's claims of a 'divisive, race-centered ideology' are a 'real caricature' of what museums and other cultural institutions are trying to do, she said. It was also 'astonishing' that the administration would dispute a scientifically accepted view that race is a construct, she added. Probing questions Sasa Aakil, a 22-year-old artist who was a student collaborator on 'The Shape of Power', told CNN the exhibition was not designed to make people feel resentment towards their country, but to consider the broader context of the art. She recalled the first time she saw 'The Dying Tecumseh.' It unnerved her, she said, especially as she learned more about the distorted version of the history the artwork relayed. For Aakil, the statue is a reminder that museums have always made some people uncomfortable. 'Many of these sculptures were always problematic, were always painful and were always very violent. And this exhibition is forcing people to see that, as opposed to allowing people to live in a fantasy,' she said. Another piece, 'DNA Study Revisited' by Philadelphia artist Roberto Lugo, is intended to push back against the ways sculpture has been used to bolster ideas about racial classifications. In a self-portrait, Lugo uses different patterns that correspond to parts of his ancestry, drawing from Spanish, African, Portuguese and indigenous peoples of the Caribbean. Lugo told CNN that he believes art is 'a way for us to understand the world through someone else's experiences.' 'Through exhibitions like this, I hope we can begin to normalize storytelling from diverse communities,' he added. 'Every story matters, and art gives us a voice in a world where we have too often been silenced.' While it's unclear what changes, if any, the Smithsonian will make to 'The Shape of Power,' the institution has changed exhibits that have drawn controversy in the past. In 1978, religious groups sued over an evolution exhibition that they alleged violated the First Amendment, but a court sided with the Smithsonian, and the National Museum of Natural History kept the exhibit up. But in 1995, the Smithsonian reduced the size and scope of an exhibit on Enola Gay, the B-29 bomber that dropped an atomic bomb on Hiroshima, after veterans' groups and lawmakers complained about what it said about World War II. And in 2011, the National Portrait Gallery, which shares the same building as the American Art Museum, debuted 'Hide/Seek,' the first major museum exhibition on gender and sexual identity at the Smithsonian. The show featured the video 'A Fire in My Belly' by the late artist David Wojnarowicz, which includes a scene where ants crawl over a crucifix, prompting uproar from the Catholic League and conservative members of the House of Representatives. It was quickly removed, but not without criticism from those that argued that the Smithsonian was capitulating to homophobic censorship. The planned run for the 'The Shape of Power' exhibition began November 8, 2024, and is to continue through September 14. The Smithsonian did not respond to multiple requests for comment for this story. Solve the daily Crossword

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store