Margaret Bird clings to the last words her mom Happy Charles spoke to her before she disappeared.
Those words — “I’ll try every day” — sent the 24-year-old from the Lac La Ronge Indian Band in northern Saskatchewan on a quest to find a way to honour her mother. She was last seen alive at the age of 42 on April 3, 2017, approximately 240 kilometres south of her home in Prince Albert, Sask.
Her story is just one of thousands involving missing and murdered Indigenous women and girls in Canada.
Although the inquiry heard from 2,380 family members, survivors of violence and experts, many of those who lost loved ones say they did not get a chance to share their stories during the inquiry process.
Now, a new project — supported by a $13 million commemoration fund established by Ottawa after the inquiry ended — is trying to shine a light on those untold stories through art.
Margaret Bird (second left) sings with her sisters in front of a missing persons sign for her mother, Happy Charles. (Margaret Bird/Supplied)
Pima’tisowin e’ mimtotaman, an Indigenous-led initiative meaning We Dance For Life, launched an interactive educational website today to honour the lives of missing and murdered Indigenous women and girls through what it calls art-based healing and a national awareness campaign.
Artwork to tour across the country
Organizers are connecting about 180 family members from Ontario, Quebec and Western Canada with artists who will work collaboratively with the families on creating pieces of commemorative art.
Bird, who did not get a chance to personally testify at the inquiry, said the project is giving her a chance to channel her mother’s last words into action.
“This initiative is important to me because my mom was an artist,” Bird said. “It represents her views on moving past hardship with kindness and forgiveness.”
A woman is embraced by Prime Minister Justin Trudeau in Gatineau, Que., on June 3, 2019 during ceremonies marking the national inquiry’s release of its final report. (Adrian Wyld/The Canadian Press)
Assuming COVID-19 restrictions permit it, organizers plan to bring families together for gatherings this summer to work on their art and take part in ceremonies. The artwork will then be toured across the country.
If public health measures do not allow for in-person meetings, organizers say they will try to arrange smaller or virtual gatherings.
“It gives them a sense they’re not alone,” said Sarah Cleary, a Quebec artist from Pekuakamiulnuatsh First Nation who will be working with the families.
“We want to make them feel we are praying for them. We are there for them. It’s really about opening up our hearts.”
Still no timeline on Ottawa’s response to national inquiry
We Dance For Life received $572,265 from the federal government for the campaign. It’s one of more than 100 projects that are being created through the federal government’s commemoration fund for missing and murdered Indigenous women and girls.
“They have long-lasting legacies — whether it’s a piece of art that we’ll walk by for the rest of our lives, a new group bringing new practices into place, a new way of gathering, a new way of seeing things and being together,” said Joanna Baker, director general of women’s programs at Women and Gender Equality Canada, which is leading the fund.
Women and Gender Equality Canada is developing a national action plan to combat gender-based violence which will include Indigenous-led solutions, said press secretary Marie-Pier Baril. It is also working with Crown-Indigenous Relations and Northern Affairs Canada to finish a national action plan to respond to the National Inquiry into Missing and Murdered Indigenous Women and Girls.
Watch: Indigenous Services minister says MMIWG national action plan can be ready in ‘relatively short order’
Marc Miller spoke with the CBC’s Oliva Stefanovich during a regular pandemic briefing 1:45
It’s not clear when those plans will be ready.
During a press conference in Ottawa today, Indigenous Services Minister Marc Miller did not say when government’s response to the national inquiry will be released.
“I’m confident that we can get something out in relatively short order, but I can’t commit to a timeline,” Miller said.
Connecting families during isolation
Katelyn Nani Bell, an Ontario multidisciplinary artist in Wiikwemkoong First Nation, said We Dance For Life is connecting families at a time when many feel isolated because of the pandemic.
“It brings that sense of visiting with one another and connecting,” Bell said.
“It’s about time these women and girls are heard, and also the families to have that healing, if they haven’t had it yet.”
Bird said she misses performing with her three sisters in their drum group, New Dawn. She said We Dance For Life is giving her a new sense of meaning.
“It gives me a sense of hope and a bigger connection.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
