a bridge for child traffickers

P au P, 4 Oct. 2012 [AlterPresse] Lake Azuei, also called Brackish Pond, is not only Haitis main natural lake covering over 110 km2 of land, but is also visually spectacular. Aquatic plants dot the area mixed with alligators, eels and fresh tilapia fish. But it is also a place of high activity for child traffickers.

The lake represents a strategic area uncontrolled and unprotected between Haiti and the Dominican Republic, a bi national threat to the stability of relations between the two countries.

« The lake is used by Haitian Dominican trafficking networks to get Haitian children across into the neighboring country, » says Father Antoine Lissaint, Director of the Jesuit Refugee and Migrant organization, at a workshop in Fonds Parisien (a small village 10 kilometers from the Dominican border) bringing together Haitian and Dominican reporters.

« The majority of all children trafficked from one country to the other dont cross the main land border. We observed that most children cross the lake in canoes, says Lissaint.

The Jesuit director reveals that the favorite prey of traffickers are children ranging from eight to sixteen years old as well as women. He adds that other border issues include an alarming level of violence and constant tension between the inhabitants from both sides of the island.

Lake Azuei : another border, a wild nike air max tn border

Both small boats and canoes chaussure air max 90 pas cher air max move back and forth on Lake Azuei. In rainy weather, the waters rise and spill over the banks flooding the roads linking the two countries. But the Haitian state is nowhere to be seen.

« The Haitian air max command government doesnt control the traffic on the lake which the traffickers use to move the children back and forth, » says Lissaint, adding that he doesnt know the exact number of child trafficking victims and level of smuggling that happens at the border.

« Up air max nike until now, we havent been able to control the entire Haitian Dominican border. This is not only an immigration problem, but is a complex problem that the Haitian government must solve, he adds. « Some Haitian border areas dont have any immigration controls.

According to local residents, people on both sides of the island are involved in supporting the trafficking operations, and Dominicans are hired to accompany the trafficked persons beyond the maritime boundary.

Azuei represents all the negative sides of the bi national market says Marie Michèle Polynices, Vice President of the Malpasse Traders Association during the air max 90 workshop.

« The lake is a major problem. When it floods, it destroys the border market. We constantly have to build temporary protection measures to continue working, she says. « A plan to prevent the lake rising is really needed. »

Haitian officials and stakeholders involved in border issues spoke at the bi national workshop carried out nike air max pas cher from the 19th to the 22nd of July 2012 in Barahona, Dominican Republic, which included both Haitian and Dominican journalists. [mm kft rs gp apr 04/10/2012 21:00]

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A closer look at the Victory of Samothrace

The statue, made of white Paros marble, stands 2.75 m (9 feet) tall, including the wings. The base (2.01 m, 6 feet 7 ins) and the pedestal (36 cm, 1 foot 2 ins) are sculpted from grey white veined marble from the quarries of Lartos on the island of Rhodes. To shorten the skirts, the cloth is gathered by a belt, hidden by the folds which hang over the hips. The fabric over the stomach and the left thigh is shot over with wrinkles that seem to skim over the skin underneath. A large gathering of folds have slipped between the figure’s legs, leaving the left hip and leg uncovered. The right hip and leg are covered to half way down the calf. The cloak has swept open, with a fold of cloth streaming out behind the figure, so that we see the inside of the cloth. The unfastened cloak is held against the Victory’s body by the sheer force of the wind.

The statue is best seen from a three quarter left view, where the lines of composition are seen at their clearest: a long vertical line leading up the right leg to the top of the torso, and a slanting line leading up the left leg and thigh to the torso. The frontal view is structured by the line of the right leg outlined by the fabric of the cloak, while the left leg is almost entirely hidden behind the folds of drapery. The hips and shoulders likewise are square to the viewer, and the torso is quite straight. The sculpture is much plainer on this side, as the artist must have thought it was not worthwhile expending so much effort on a side rarely seen by onlookers. The right wing currently attached to the statue is a mirror image cast of the left wing. Two surviving fragments from the original right wing indicate that it was raised higher, slanting upward and outward. A tiny fragment from the top of the right arm shows that the arm was raised slightly away from the figure’s side and was bent at the elbow. Their position has been recreated thanks to the shape of the surface where they would have been placed. The right foot was just alighting on the ship’s deck, while the left was still in the air. Only the position of the head, which doubtless looked straight ahead, and the left arm, probably down by the figure’s side, remain hypothetical.

The Hellenistic period saw numerous naval battles between the kingdoms inherited by the successors of Alexander the Great as they fought for control of the Aegean Sea. The best known of these developments was the invention of oar boxes, which were wooden structures jutting out from the ship’s flanks. They were used to bear the weight of several tiers of longer, more powerful oars. The oar boxes on the base of the statue are particularly well preserved. The rams from the Samothrace base have been lost entirely. They would have been carved in stone, like those on the base of the naval monument in the agora of Cyrene in Libya. The diagram shows the keel, the large ram extending from the main wale, the smaller ram extending from the stem at the level of the upper wale, the oar boxes with the oar slots, the gunwale, the prow ornament, and the fighting deck.

The statue of the Victory of Samothrace consists of several blocks of marble, carved separately and then assembled. The sculptor solved the problem by carving the outer face of each wing in one tier and slotting them into a sort of console decorated with feathers sculpted at the back of the main block forming the body. Moreover, a slight downward slope in the horizontal surface on which the wings rested meant that their weight was borne by the body, so that two metal dowels were all it took to hold them in place. On a rectangular base consisting of six adjoining slabs stand seventeen blocks, originally held together with metal pins, forming three horizontal courses, rising slightly towards the front. The course of the oar boxes at the back consists of two adjacent blocks, the deck of three. The gap at the back of the top level was not part of the original work. It housed a large block weighing slightly over two metric tons, left in Samothrace, with a cavity into which the statue was slotted. How is this possible? When the statue is fixed into position in the cavity, its center of gravity is directly over the short back part, weighing down on it with 2.5 to 3 metric tons of marble. This holds the front of the prow up in the air. This complex system was designed to give the stone keel the natural appearance and dynamic forward thrust of a genuine wooden ship. The statue thus played an essential role in maintaining the balance of the work as a whole. The statue and its base clearly belong together, and were obviously designed together as a single monument by a sculptor of great virtuosity, even genius.

The island of Samothrace is located in the Aegean Sea, off the coast of Thrace, in north eastern Greece. The island is a tall mountain that rises above the waves. They continued digging to find the head and arms, but in vain. They did, however, find numerous small fragments of drapery and feathers, leading Champoiseau to the correct conclusion that the statue represented the goddess nike air max tn Victory. He sent the statue and the fragments to France, where they arrived at the Louvre a year later, on May 11, 1864. He left them air max 90 pas cher in place, thinking they were part of a tomb. In 1875, the architect of the Austrian archaeological mission working on the Samothrace sanctuary examined the blocks, producing drawings of them. He concluded that correctly assembled, they would form the prow of a ship constituting the base for a statue. He thought of Greek coins he had seen dating from the reign of Demetrius Poliorcetes, depicting Victory standing on the prow of a ship. Champoiseau heard about this discovery in 1879, and set about having the blocks from the prow sent to Paris, along with the slabs from the pedestal beneath. The main features of this were as follows: the right side of the marble torso was placed in position on the body, the left side and the belt were recreated in plaster. The left wing was put together from several marble fragments and strengthened at the back by a metal frame before being put in place. As only two fragments of the right wing survived, it was replaced by a mirror image cast of the left wing. Only the head, arms, and feet were not remodeled. The statue was placed directly on the ship, whose blocks were shaped and the gaps filled. Neither the ornamentation on the prow nor the rams were recreated. To heighten the visual impact yet further, a modern block was added between the statue and its base during renovations in 1934.

The sanctuary of Samothrace, famed throughout Antiquity, consisted of a cluster of buildings dedicated to the worship of the Great Gods and ceremonial Mysteries. The sanctuary thus had to be extended, and work began on the heights overlooking the site. A monumental entrance was built to the east. The monument stood in a small building, of which only the foundations remain, protected by recently restored retaining walls but partly hidden under rocks from landslides. The building had three walls, opening at the front onto the terrace with its portico. Given the excellent state of preservation of the Victory’s marble surface, the building would certainly have had a roof. From the evidence of the foundations, the Victory was placed not perpendicular to the back wall of the building, but at a slight angle. The Great Gods of Samothrace were invoked by initiates for protection in situations of danger, for example the threat of shipwreck or battle. A stele in Larissa, Thessaly, dedicated to the Theoi Megaloi or Great Gods, depicts them as horsemen galloping across the heavens like the Dioscuri, accompanying a winged Victory bearing a wreath. She is bringing it for the man who dedicated the stele, shown at the bottom with his wife preparing france air max a banquet in honor of the gods. So an offering representing a Victory on the prow of a battleship is perfectly suited to the nike aire max site. It was doubtless consecrated in thanks to the gods after a victorious naval battle. Unfortunately, the excavations have not uncovered the dedicatory inscription, which would tell us the circumstances whereby the monument was built, the name of the donor, and maybe even the identity of nike air max bw the sculptor.

No statues produced anywhere throughout the Greek world during the Hellenistic period bear comparison with the Victory of Samothrace. Some experts have thus concluded that the statue as a whole was made in Rhodes and that the work was an offering by the people of Rhodes to the sanctuary in Samothrace. However, there is no clear evidence that the statue, like the base, was sculpted on Rhodes, as the virtuoso handling of the drapery certainly called for more skill than would have been found in the type of workshops that produced the base. Sculptures from the highly productive workshops of Pergamon, capital of the Attalid dynasty, in Asia Minor, offer a better comparison. The Great Altar in particular is close in style to the Victory of Samothrace, especially the Gigantomachy frieze decorating the base. Hundreds of gods, goddesses, and monstrous giants, carved in very high relief, do battle across the panels. The eastern Mediterranean saw many battles between rival fleets following the accession of Philip V of Macedonia in 221 BC. Philip’s air max 90 defeat in 197 BC and the humiliating defeat of the ruler of Antioch at the hands of the Pergamon forces in 189 BC led to the end of such naval battles. After that, there were no further battles of the sort commemorated by the Victory of Samothrace for many years. It thus seems likely that the sculptor worked on the Victory in Samothrace between 220 and 185 BC, before beginning work on the Great Altar of Pergamon.

The Greeks represented concepts such as Peace, Fortune, Vengeance, and Justice as goddesses at a very early date. Victory was one of the earliest of these incarnations. She is a female figure with large wings that enable her to fly over the earth spreading news of victory, whether in athletic competition or in battle. She is a messenger (angelos in Greek) who sometimes uses a trumpet to make her message better heard. As she flies, she brings the victor the insignia of victory a crown, fillet, palm, trophy of arms, or naval trophy. She is found in a multiplicity of forms statues, reliefs, vessels, coins, and terracotta or bronze figurines. Such figures followed the stylistic evolution of Greek art, undergoing constant development. They immediately adopted and adapted her as a symbol of Rome’s domination of the known world (orbi), an incarnation of imperial power, and an emblem of the virtue of the Roman people. She is shown standing on a globe, crowning the emperor and holding a shield inscribed with the glory of Rome. Angels holding globes and crosses stood close to God as representations of his power and glory. However, although angels owed part of their role to Greek and Roman representations of Victory, their image was rather different. Early Christian depictions of angels show them with a halo and dressed in male garb typical of Antiquity a long, wide sleeved tunic covered with a pallium, or long cloak, worn draped diagonally across the chest or thrown over the shoulders. They were winged messengers who came down from heaven to announce God’s will to mankind. Angels only began to wear female garments in the late medieval period, when the draped cloak was no more nike air max 90 pas cher than a small drapery worn like a shawl and the tunic became an elegant tight sleeved gown with a high waist. The artistic popularity of antique models during the Italian Quattrocento meant that angels began to resemble female Victories, although the Christian context leaves no doubt as to their identity.


Daytime at the Cannes Festival is disorienting. Attendees, if they are out in the sun behind dark glasses, are mostly suffering from the club parties or exclusive concerts at the Villa Schweppes that just ended as the sun came up. I believe that also they view movies, although I can’t vouch for that personally. They look fragile and tender as they tentatively negotiate the sidewalks of this village teeming with invaders from the film world. It is not exactly like the Red Carpet moments. This is a city of the Night.

People look more human by lunch time. Late lunch time, after they’ve ingested some deliciousness at one of the pizzerias facing La Croisette. There is always a running debate about whether Vesuvio or Cresci make the best pizza. The Technikart air max safari contingency prefers Cresci, and I am personally in awe of their eggplant pizza.

Cannes isn’t about cooking, of course. Heaven forbid anyone would be expected to cook, except the caterers like myself. The chic apartment I scored through a friend of a friend has a magazine worthy kitchen of clearly virginal equipment. I cooked for eighty here two years ago and I think that was the first time anyone had used it. The thing here is buffets and cocktail parties, the ‘aperos.’ Cannes is all about glamour, but it’s also all about business. I have never even stepped on the shadow of a film star because I’m sequestered in the kitchen, but I’ve walked into many surreal business conversations as I’ve presented my food. Buffet gatherings are very serious, even compared to embassy events.

Cocktail party food has to appeal first to the eye. All the better if it tastes spectacular as well. I saw this showy presentation in an Italian magazine and had to steal it. The filling is my own invention, air max 90 pas cher but you can modify it many ways air max 2013 even as a coffee time sweet, filled with jam and covered with sugar. Use your imagination! It is key not to make the filling overly thick or it will ooze out during baking.

There’s absolutely no need to make your own puff pastry for this! Frozen pastry made with real butter and pre rolled, works great.

This will make a 12 inch/30 cm Sunburst, to serve about six as an hors d’oeuvre.

2 disks of puff pastry, rolled into rounds of 12 inches/30 cm, about 3/16th inch/5 cm thick

1 egg, beaten with a teaspoon of water, a teaspoon of oil, and a pinch of salt

3 tablespoons Dijon mustard

1/2 cup/125 ml prepared green or black olive paste (I prefer green if you can get it or find it)

8 very thin slices Parma han

1/2 cup/100 g grated Gruyere, or other grated melting cheese

1/2 cup/80 g mixed sunflower and sesame seeds

Line a heavy pizza pan with nonstick baking paper. air max bw pas cher Place one round of puff pastry on it. Brush the outer inch/2.5 cm edge of the dough with the egg wash. In the center, spread the Dijon mustard evenly, stopping at the egg washed border, then spread the central part with the olive paste. Place the Parma ham evenly over the filling, then sprinkle with the cheese.

Cover with the other sheet of puff pastry and press the edges to seal. Paint the top with egg wash and press the mixed seeds over the top. Refrigerate for 30 minutes (or up nike air max 2013 to a day) before the next step.

Heat the oven to 400 F/200 C. Place the rack in the lower third of the oven. Take the chilled Sunburst out of the refrigerator and, with a knife chaussure air max or sharp scissors, cut from the edge towards the center, stopping about 1 1/2 inches/ 3.5 cms from the midpoint. Cut more ‘rays’ about 1 1/2 inches/3.5 cms apart, all over the disk.

One by one, take a ‘ray’ by the outer edge and twist it rather tightly. Bake in the nike air max classic bw hot oven for 25 30 minutes, lifting it to look underneath to be sure the pastry is done. Let cool a bit before serving. To eat, guests break off the ‘rays.’ They can fight over the center and they will. In Cannes guests demand little plates and napkins to prevent stains on designer gowns. Lots of them are borrowed.