Museum Studies at Tufts University

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Museum Job Roundup 11/20/23

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We Need to Talk About NAGPRA: Noncompliance & Cultural Affiliation

Previously, we discussed what the Native American Graves Protection & Repatriation Act is and what it requires of museums and other institutions. NAGPRA is a federal law, so why do tens of thousands of ancestors and countless Native belongings remain unavailable for repatriation? Many institutions have massive numbers of Native Ancestors in their collections, not to mention funerary objects, sacred objects, and objects of cultural patrimony. In 1989, the Smithsonian Institution alone had 18,500 ancestors in its custody.[1] This has made repatriating ancestors a massive undertaking, requiring immense time, labor, and expertise. Beyond logistics, many academics argued that Native ancestors should be studied for the sake of science and education.[2] While this belief is not widely held today, the repercussions of this logic are still felt. Based on this argument, some institutions dragged their feet, resulting in today’s massive backlogs.

Many institutions are NAGPRA compliant or have made good-faith efforts to become compliant. However, some institutions had a vested interest in avoiding NAGPRA compliance. But how was and is that possible? There are two big elements of NAGPRA that have allowed non-compliant museums to fly under the radar: who NAGPRA applies to and how it is enforced. In my previous article, I discussed to whom NAGPRA applies: museums and government agencies. However, the way in which NAGPRA defines museums left a loophole. The statute states that “Museum means any institution or State or local government agency (including any institution of higher learning) that has possession of, or control over, human remains, funerary objects, sacred objects, or objects of cultural patrimony and receives Federal funds.”[3] What this has meant in practice is that only museums & institutions which have accepted federal, or state funding must comply. This resulted in some museums which had not already accepted federal funding not applying for funding in the future in order to avoid becoming subject to NAGPRA. These museums and institutions represent a significant gap in the data regarding ancestors and objects covered by NAGPRA held in museum collections. Databases like the one created by ProPublica depend on data published in inventories and summaries. Institutions that have not submitted inventories can often avoid public accountability.

The second element that has allowed some museums to avoid NAGPRA compliance is how the regulations are enforced. Enforcement and penalties for non-compliance are entirely dependent on individuals or groups officially reporting the failure of an institution to comply.[4] There are no regular or random inspections for NAGPRA compliance by the Department of the Interior. Furthermore, the civil penalties that museums face are minimal in practice. As of April 2022, only 20 institutions had been fined for non-compliance, with an average fine of only $2,955 per institution.[5] Essentially, the law has no teeth. 

Some museums have also acted in bad faith by complying with the letter of the law but not the true intent. One example of this is ‘culturally unidentifiable’ objects. In the past, museums claimed that they could not repatriate ancestors and funerary objects because they could not determine a cultural affiliation and designated ancestors as ‘culturally unidentifiable,’ or CUI.[6] Some museums set arbitrary dates to limit cultural affiliation. The Illinois State Museum set a guideline that “any individual buried prior to 1673, the date the first Europeans arrived in the State of Illinois, was not subject to NAGPRA.”[7] In 2010, the Department of the Interior enacted a new regulation that allows for culturally unidentifiable human remains and associated funerary objects to be repatriated. However, this rule does not cover unassociated funerary objects.[8]

But what is cultural affiliation and why is it so complicated? According to the NAGPRA regulations, “cultural affiliation means that there is a relationship of shared group identity that can be reasonably traced historically or prehistorically between members of a present-day Indian tribe or Native Hawaiian organization and an identifiable earlier group.”[9] Essentially, culturally affiliating something is determining what specific Native American culture an item originated with and the modern Native nations who might have a claim. You do not have to prove cultural affiliation definitively. The standard is “a preponderance of evidence,” meaning that there is substantial evidence to support your conclusion. There are different types of evidence that can be used to support cultural affiliation, such geographic affiliation, kinship, biological, archeological, anthropological, linguistic, folklore, oral traditions, and historical evidence. In recent years, more weight has been given to traditional Native knowledge and beliefs and the proposed new regulations codify that.

So why are there so many CUI ancestors and objects in museums? How do you not know where an object or person came from? It’s a lot easier than you’d think. Native belongings have entered museum collections through a variety of colonial pathways, including “inequitable trade, ‘expeditions’, looting, and theft.[10] All of these pathways often work to obscure the provenance of items. The actions of anthropologists, museums, academic institutions, and the United States government all contributed to unethical collections lacking provenance. Shortly after the Civil War, the Surgeon General’s Order of 1868 was passed. Grave robbing of Native graves existed long before this, but this order enshrined such acts in federal policy, ordering soldiers and other army employees to unethically obtain remains for the Army Medical Museum.[11]Adding insult to injury, Native remains, particularly skulls, were used to support bunk race sciences like phrenology to justify settler colonialism and genocide.[12] Other justifications such salvage ethnography, and ‘preserving evidence extinct races’ abounded.[13] In 1906, the government even designated Native remains as “federal property” with the Antiquities Act.[14] Grave robbing combined with poorly documented archaeology resulted in large collections of human remains and objects with virtually no documentation.

To be very clear, not all museums, in fact, I would say most are not engaged in Machiavellian scheming to avoid NAGPRA compliance. Today’s museum professionals have often inherited collections management disasters decades in the making. I know of at least one museum professional who was told the museum was NAGPRA compliant. A sort of oral history surrounding NAGPRA compliance existed. However, further research revealed that no documentation or inventories existed in the museum’s records. Upon contacting National NAGPRA, they found that the museum had never submitted an inventory. Many museums don’t realize they are noncompliant or that they are subject to NAGPRA. Cultural affiliation is also challenging and nuanced work, requiring expertise, labor, and funding. Resistance to NAGPRA and cultural affiliation is fading, but the road to compliance remains rocky. For more information on the Native American Graves Protection & Repatriation Act, I highly recommend NAGPRA Comics. These comics tell true stories of repatriation under NAGPRA and are collaborative in community-based.


[1] Jack F. Trope, “The Case for NAGPRA,” in Accomplishing NAGPRA: Perspectives on the Intent, Impact, and Future of the Native American Graves Protection and Repatriation Act (Corvallis, OR: Oregon State University Press, 2013), 24.

[2] Devon A. Mihesuah, “American Indians, Anthropologists, Pothunters, and Repatriation: Ethical, Religious, and Political Differences,” in Repatriation Reader: Who Owns American Indian Remains, ed. Devon A. Mihesuah (Lincoln, NE: University of Nebraska Press, 2000), 123–68.

[3] 43 CFR § 10.2 (d)(2), https://www.nps.gov/subjects/nagpra/upload/Existing-Regulation.pdf.

[4] “Civil Penalties – Native American Graves Protection and Repatriation Act,” National Park Service, October 14, 2020, https://www.nps.gov/subjects/nagpra/civil-penalties.htm.

[5] Mary Hudetz and Graham Lee Brewer, “Senate Committee Probes Top Universities, Museums Over Failures to Repatriate Human Remains,” ProPublica, April 21, 2023, https://www.propublica.org/article/senate-probes-universities-museums-nagpra-failures.

[6] Logan Jaffe Brewer et al., “America’s Biggest Museums Fail to Return Native American Human Remains,” ProPublica, January 11, 2023, https://www.propublica.org/article/repatriation-nagpra-museums-human-remains.

[7] Laurie W. Rush, “It’s Personal: My Lifetime Lessons Protecting Ancestors,” Indian Affairs Journal 192, no. Spring/Summer (2023): 6–8.

[8]

[9] 43 CFR 10.2 (d)(4), https://www.nps.gov/subjects/nagpra/upload/Existing-Regulation.pdf.

[10] Brandie Macdonald, “Pausing, Reflection, and Action: Decolonizing Museum Practices,” Journal of Museum Education 47, no. 1 (January 2, 2022): 8–17, https://doi.org/10.1080/10598650.2021.1986668.

[11] Jack F. Trope and Walter R. Echo-Hawk, “The Native American Graves Protection and Repatriation Act: Background and Legislative History,” in Repatriation Reader: Who Owns American Indian Remains, ed. Devon A. Mihesuah (Lincoln, NE: University of Nebraska Press, 2000), 126;  Jack F. Trope, “The Case for NAGPRA,” in Accomplishing NAGPRA: Perspectives on the Intent, Impact, and Future of the Native American Graves Protection and Repatriation Act (Corvallis, OR: Oregon State University Press, 2013), 22.

[12] Logan Jaffe Brewer et al., “America’s Biggest Museums Fail to Return Native American Human Remains,” ProPublica, January 11, 2023, https://www.propublica.org/article/repatriation-nagpra-museums-human-remains; Jack F. Trope and Walter R. Echo-Hawk, “The Native American Graves Protection and Repatriation Act: Background and Legislative History,” in Repatriation Reader: Who Owns American Indian Remains, ed. Devon A. Mihesuah (Lincoln, NE: University of Nebraska Press, 2000), 126.

[13] Logan Jaffe Brewer et al., “America’s Biggest Museums Fail to Return Native American Human Remains,” ProPublica, January 11, 2023, https://www.propublica.org/article/repatriation-nagpra-museums-human-remains.

[14]  Jack F. Trope and Walter R. Echo-Hawk, “The Native American Graves Protection and Repatriation Act: Background and Legislative History,” in Repatriation Reader: Who Owns American Indian Remains, ed. Devon A. Mihesuah (Lincoln, NE: University of Nebraska Press, 2000), 127;  Jack F. Trope, “The Case for NAGPRA,” in Accomplishing NAGPRA: Perspectives on the Intent, Impact, and Future of the Native American Graves Protection and Repatriation Act (Corvallis, OR: Oregon State University Press, 2013), 22.

Museum Job Roundup 11/13/23

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Museum Job Roundup 11/6/23

Welcome to the weekly roundup! We do our best to collect the latest job openings and welcome submissions from the community. For more opportunities, we recommend the following databases:

Featured Job

Collections Manager at The Bass Museum (Miami Beach, FL)

Full Time, yearly salary $50-60k

The Bass, Miami Beach’s contemporary art museum, seeks a full-time Collections Manager. The Collections Manager is a key member of the Curatorial and Exhibitions team supporting the documentation, care, and presentation of the permanent collection and loans for temporary exhibitions. Key responsibilities include the management of transportation of works of art, applying experience with insurance papers, contracts, and associated legal documentation. The Collections Manager communicates efficiently with a range of constituents at the Museum and beyond while multitasking responsibilities and commitments. The Collections Manager will apply best museum practices for archiving, storing, and maintaining works of art. For a full description of this position and applicaiton information, please see the listing on our website: https://thebass.org/jobs/

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Mother Love: Feminization of Water Moon Guanyin at the Boston MFA

“Guanyin, Bodhisattva of Compassion,” on display at the Boston Museum of Fine Arts, is a sculpture made of painted and gilded paulownia wood, produced in about 1200 AD during the Jin dynasty in China [1]. 1200 AD was a complex period in which the southern rulers were Southern Song emperors, and the north of China was seen as Jin. This sculpture of Guanyin may reflect the possibility that Buddhism and Bodhisattva were worshiped by more and more people at this tense time due to wars and social instability, and Guanyin sculptures naturally became numerous. However, since Buddhism or Bodhisattva was introduced to China during the 1st century BC from India, the birthplace of Buddhism, Bodhisattva was widely worshiped. Many Buddhist temples had statues and sculptures of the Bodhisattva and Buddha to receive prayers and offerings, especially during the Song and Jin periods [2]. This sculpture of Bodhisattva manufactured in the Jin/Southern Song period embodies feminine characters, revealing the feminization of Guanyin in Chinese history.

“Guanyin, Bodhisattva of Compassion” has soft feminine features and clothing. The appearance of this Guanyin is stunning as people walk in front of it. Taken as a whole, the bodhisattva seems like a gentle and benevolent female figure with downcast eyes, their smiling face peaceful and benign. The wooden sculpture is lighter than some stone sculptures, better suited to be placed high in the interior of Buddhist temples for people to revere and worship. Isolated in the privacy of a temple room in its original context, people could directly communicate with Guanyin. For eight hundred years, Guanyin gazed down from above, compassionate, forgiving, and sympathetic to all living beings. The bodhisattva wears a high bun hairstyle and a crown with an Amitabha Buddha, with a recess in the forehead that may hold a semi-precious stone or jewel [3]. Serene and graceful, they are elegantly dressed in several gorgeous necklaces on the upper body, draped with green flowing silk cape conveying a sense of ease, in a skirt painted red and decorated with green cloth at the waist. Nevertheless, their sexuality is barely recognizable with no obvious sexual characteristics when the chest is exposed, perhaps meaning that they could be male, female, or even nonbinary. 

As stated by the object label, the sitting position indicates this sculpture should be the central figure of a larger “Water-Moon Guanyin” [4] Although the water and moon are not displayed physically, the gesture might suggest that they sit on a lotus seat in the water. With the right leg bent and the left leg hung, the Bodhisattva sits in a relaxed manner, gazing at the reflection of the moon in the water, which reminds the viewers of the Buddhist teaching that all phenomena are illusory [5]. The elements water and moon are counted as female symbols in scholarly analysis, which accords with my recognition of traditional Chinese culture as well [6].

The special feature of this sculpture of Bodhisattva is that the Guanyin seems to own both a feminine face and a masculine or nonsexual body, which could be regarded as a transition of Bodhisattva from originally a male to a female figure in the spread of Buddhism and the process of Sinicization in China. The reasons for this feminization of Bodhisattva were complicated, according to Yu Chun-fang’s book of Kuanyin. As compassion was considered a maternal virtue in Chinese tradition, it appeared to be quite reasonable that a “Bodhisattva of Compassion” could be female [7]. 

“Guanyin, Bodhisattva of Compassion” in the Boston Museum of Fine Arts is astonishingly beautiful and remarkably calming, with distinct feminine characteristics and decorative elements of water and moon, despite a genderless torso. This displays the transformation process of feminizing the Bodhisattva when integrating it into Chinese culture.


[1] Object Label, Guanyin, Bodhisattva of Compassion (Museum of Fine Arts: Boston). 

[2] Ibid. 

[3] Ibid.

[4] Ibid. 

[5] Ibid. 

[6] Yu, Chun-fang. Kuanyin: The Chinese Transformation of Avalokitesvara (New York: Columbia University Press, 2001), 418.

[7] Yu, Kuanyin, 414.

 

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