"A fascinating account of both the historical and current struggle of Native Americans to recover sacred objects that have been plundered and sold to museums. Museum curator and anthropologist Chip Colwell asks the all-important question: Who owns the past? Museums that care for the objects of history or the communities whose ancestors made them?"--Provided by the publisher
Grave Injustice is the powerful story of the ongoing struggle of Native Americans to repatriate the objects and remains of their ancestors that were appropriated, collected, manipulated, sold, and displayed by Europeans and Americans. Anthropologist Kathleen S. Fine-Dare focuses on the history and culture of both the impetus to collect and the movement to repatriate Native American remains. Using a straightforward historical framework and illuminating case studies, Fine-Dare first examines the changing cultural reasons for the appropriation of Native American remains. She then traces the succession of incidents, laws, and changing public and Native attitudes that have shaped the repatriation movement since the late nineteenth century. Her discussion and examples make clear that the issue is a complex one, that few clear-cut heroes or villains make up the history of the repatriation movement, and that little consensus about policy or solutions exists within or beyond academic and Native communities. The concluding chapters of this history take up the Native American Graves Protection and Repatriation Act (NAGPRA), which Fine-Dare considers as a legal and cultural document. This highly controversial federal law was the result of lobbying by American Indian and Native Hawaiian peoples to obtain federal support for the right to bring back to their communities the human remains and associated objects that are housed in federally funded institutions all over the United States. Grave Injustice is a balanced introduction to a longstanding and complicated problem that continues to mobilize and threatens to divide Native Americans and the scholars who work with and write about them.
Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the co
During the twentieth century, American Indians across North America organized protests against traditional museum treatment of Native materials and the Native community. In response, museums began to change their methods. Spirited Encounters provides a foundation for understan...
Werner Herzog's 2011 film Cave of Forgotten Dreams, about the painted caves at Chauvet, France brought a glimpse of Europe's extraordinary prehistory to a popular audience. But paleolithic cave paintings, stunning as they are, form just a part of a story that begins with the arrival of the first humans to Europe 1.3 million years ago, and culminates in the achievements of Greece and Rome. In Europe before Rome, T. Douglas Price takes readers on a guided tour through dozens of the most important prehistoric sites on the continent, from very recent discoveries to some of the most famous and puzzling places in the world, like Chauvet, Stonehenge, and Knossos. This volume focuses on more than 60 sites, organized chronologically according to their archaeological time period and accompanied by 200 illustrations, including numerous color photographs, maps, and drawings. Our understanding of prehistoric European archaeology has been almost completely rewritten in the last 25 years with a series of major findings from virtually every time period, such as Ötzi the Iceman, the discoveries at Atapuerca, and evidence of a much earlier eruption at Mt. Vesuvius. Many of the sites explored in the book offer the earliest European evidence we have of the typical features of human society--tool making, hunting, cooking, burial practices, agriculture, and warfare. Introductory prologues to each chapter provide context for the wider changes in human behavior and society in the time period, while the author's concluding remarks offer expert reflections on the enduring significance of these places. Tracing the evolution of human society in Europe across more than a million years, Europe before Rome gives readers a vivid portrait of life for prehistoric man and woman.
This myth-busting compendium sets the record straight on American history, from famous-but-false legends to weird-but-true stories. American history is full of oft-repeated errors and outright fabrications—as well as truths that are stranger than fiction. Collaborating with The Colonial Williamsburg Foundation, Mary Miley Theobald has uncovered the real stories behind many well-known myth-understandings. Did pregnant women really seclude themselves indoors? Were uneven stairs made to trip up burglars? Did people only bathe once a year? Death by Petticoat reveals the truth about these and many other funny, surprising, and strange misapprehensions of history.
A searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of ÒvanishingÓ Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objectsÑcrafts, clothing, images, song recordingsÑby the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the Òvanishing IndianÓ and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptionsÑa vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectorsÕ methods also included outright theft. The resulting portrait of Indigenous culture reinforced the publicÕs confidence in the hierarchies of superiority and inferiority invented by ÒscientificÓ racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance.
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.
"More than one million cultural items - and the remains of nearly forty thousand Native Americans - have been repatriated since the 1990 passage of the Native American Graves Protection and Repatriation Act. The act, which addresses long-standing claims by federally recognized tribes, requires museums and federal agencies to return requested Native American cultural items to lineal descendants, culturally affiliated Indian tribes, and Native Hawai'an organizations. Drawing on case studies, personal reflections, historical documents, and statistics, Accomplishing NAGPRA reveals the day-to-day reality of implementing the act. The volume examines the grassroots, practical application of NAGPRA throughout the United States, reflecting the viewpoints of tribes, museums, federal agencies, attorneys, academics, and others invested in the landmark act"--Unedited summary from book cover.
In almost thirty interviews, Donatien Grau probes some of the world’s most prominent thinkers and preeminent arts leaders on the past, present, and future of the encyclopedic museum. Over the last two decades, the encyclopedic museum has been criticized and praised, constantly discussed, and often in the news. Encyclopedic museums are a phenomenon of Europe and the United States, and their locations and mostly Eurocentric collections have in more recent years drawn attention to what many see as bias. Debates on provenance in general, cultural origins, and restitutions of African heritage have exerted pressure on encyclopedic museums, and indeed on all manner of museums. Is there still a place for an institution dedicated to gathering, preserving, and showcasing all the world’s cultures? Donatien Grau’s conversations with international arts officials, museum leaders, artists, architects, and journalists go beyond the history of the encyclopedic format and the last decades’ issues that have burdened existing institutions. Are encyclopedic museums still relevant? What can they contribute when the Internet now seems to offer the greater encyclopedia? How important is it for us to have in-person access to objects from all over the world that can directly articulate something to us about humanity? The fresh ideas and nuances of new voices on the core principles important to museums in Dakar, Abu Dhabi, and Mumbai complement some of the world’s arts leaders from European and American institutions—resulting in some revealing and unexpected answers. Every interviewee offers differing views, making for exciting, stimulating reading. Includes interviews with George Abungu, National Museums of Kenya; Kwame Anthony Appiah, New York University; Homi K. Bhabha, Harvard University; Hamady Bocoum, Musée des Civilisationes Noires, Dakar; Irina Bokova, UNESCO; Partha Chatterjee, Columbia University; Thomas Campbell, Fine Arts Museum of San Francisco; James Cuno, J. Paul Getty Trust; Philippe de Montebello, New York University; Bachir Souleymane Diagne, Columbia University; Kaywin Feldman, National Gallery of Art; Marc Fumaroli, Collège de France; Massimiliano Gioni, New Museum; Michael Govan, Los Angeles County Museum of Art; Camille Henrot, artist; Max Hollein, Metropolitan Museum of Art; Henri Loyrette, Musée du Louvre; Jean Nouvel, architect; Zaki Nusseibeh, United Arab Emirates; Mikhail Piotrovsky, State Hermitage Museum; Grayson Perry, artist; Krzysztof Pomian, École des Hautes Études en Sciences Sociales; Mari Carmen Ramírez, Museum of Fine Arts, Houston; Fiammetta Rocco, The Economist; Sabyasachi Mukherjee, CSMVS Mumbai; Bénédicte Savoy; Collège de France; Kavita Singh, Jawaharlal Nehru University, New Delhi; Amit Sood, Google Arts & Culture.
