ENG 190 Project

Southern New Hampshire University

ENG 190: Research and Persuasion

February 25, 2024

The purpose of my research is to explore the ethical dilemmas museums encounter when

preserving and showcasing indigenous art. I would like to understand how these challenges can

be approached in a considerate and ethical manner. My research will help me understand the

multiple voices within my topic by providing me with evidence, arguments, and perspectives

from various sources, such as academic articles, museum websites, indigenous media, and

interviews. Research will also help me evaluate the strengths and weaknesses of different

positions, and to develop my own informed and critical stance.

My revised research question is: How can museums effectively collaborate with

Indigenous communities to address the ethical challenges of preserving and displaying

Indigenous art, while ensuring the respectful and responsible representation of the diverse views

and cultural values of these communities?

To effectively address the ethical challenges in preserving and displaying Indigenous art,

museums should adopt a stance of collaborative curation with Indigenous communities. This

approach ensures that the representation of Indigenous art is authentic, respectful, and aligns

with the cultural values and narratives of the Indigenous communities. Collaboration involves

Indigenous peoples in key decisions about exhibit design, interpretation, and educational

programming. This participatory approach is crucial for maintaining cultural authenticity and

ensuring that exhibitions resonate with the true meanings ascribed by the Indigenous creators and

custodians of this art.

Additionally, addressing ownership and ethical acquisition is vital. Museums must

critically evaluate the origins of their Indigenous art collections and pursue repatriation where

necessary. This not only respects the cultural sovereignty of Indigenous communities but also
addresses historical injustices. Museums should strive for transparency in their acquisition

processes and engage continuously with Indigenous communities, adapting exhibits to reflect

evolving cultures and practices, ensuring a dynamic, respectful, and educational representation of

indigenous art.

In In my essay, I will utilize a variety of sources to explore the ethical preservation and

display of Indigenous art in museums. This includes a journalistic article from the BBC for a

broad overview, academic papers for scholarly insights, and a curator's journal for practical

perspectives from museum professionals. While these sources may have biases, such as a

Western viewpoint or a theoretical slant, their combination offers a comprehensive analysis of

the topic, blending global perspectives, theoretical frameworks, and practical insights.

Diverse perspectives from my research on Indigenous art and heritage in museums and

archives have provided a comprehensive view of the topic. The inclusion of journalistic views

from Farago’s article, academic insights from Olson’s paper, scholarly analyses from Sullivan et

al., and historical perspectives from Deloria allows for a well-rounded understanding. This

approach avoids a narrow focus on a single perspective, ensuring a more complete grasp of the

complexities involved in the topic.

Sources:

Deloria, P. (2018) The New World of the Indigenous Museum Daedalus, 2018 Apr 01.

147(2), 106-115. https://www-jstor-org.ezproxy.snhu.edu/stable/48563023

Deloria’s 2018 article in “Daedalus” adds to the discourse by discussing the emergence

of Indigenous museums and their approach to cultural representation. Published in a respected

academic journal, its credibility is established. This article is relevant as it highlights the
significance of Indigenous-led representation in museums, offering an alternative perspective on

how museums can address ethical challenges in representing diverse views and cultural values.

Farago, J. (2015, April 21). To return or not: Who should own Indigenous art? BBC.

https://www.bbc.com/culture/article/20150421-who-should-own-indigenous-art

Jason Farago’s article from BBC (2015) delves into the debate over the rightful

ownership of Indigenous art. This article is credible due to BBC’s reputation for thorough and

balanced journalism. It is relevant to the research question as it directly addresses the ethical

dilemma surrounding the ownership and repatriation of Indigenous art, a core concern for

museums.

Olson, A. H. (2014). Imagining the way forward through museum space: Approaching working

relationships between museums and Indigenous communities.

https://escholarshiporg.ezproxy.snhu.edu/uc/item/84g8p91x

Olson’s (2014) paper, focusing on fostering positive relationships between museums and

Indigenous communities, offers strategies for respectful collaboration. Its academic rigor and

peer-review process make it a credible source. This paper is particularly relevant for suggesting

practical measures museums can take to work respectfully with Indigenous communities, thus

addressing the ethical challenges mentioned in the research question.

programs and cultural change in museums. Curator, 43(3), 231–260.

https://ezproxy.snhu.edu/login?url=https://search.ebscohost.com/login.aspx?

direct=true&db=aft&AN=505865823&site=eds-live&scope=site

Sullivan et al.’s article in “Curator” (2000) analyzes the impact of NAGPRA on

museums, especially regarding repatriation and cultural changes. The scholarly nature of the

journal ensures the article’s credibility. This piece contributes to the discussion by providing

insight into legal frameworks that affect how museums handle Indigenous artifacts, which is

crucial for ethical museum practices.

In examining the ethical challenges museums face in preserving and displaying

Indigenous art, various sources offer diverse perspectives, contributing to a comprehensive

understanding of the topic.

Indigenous art, with its majestic totem poles and intricate tapestries, carries whispered

stories passed down through generations. Yet, these voices have often been silenced as artifacts

were taken without consent. Now, a global movement demanding change has emerged, marking

a pivotal shift. Museums, recognizing past injustices, must actively collaborate with Indigenous

communities. This essay advocates for ethical practices that respect and accurately represent

diverse views and cultural values through the collaborative preservation and display of

Indigenous art.

Throughout history, Indigenous art has endured significant dispossession, often being

relegated to the sterile halls of museums, and stripped of its rich cultural context. This treatment

has distanced the art from its origins but also from the communities to which it inherently

belongs. However, the tide is gradually turning, thanks in part to initiatives like the Native

American Graves Protection and Repatriation Act (NAGPRA), which marks a significant step

towards rectifying past injustices. Yet, for these efforts to be truly transformative, they must

transcend mere compliance with legal mandates. A true partnership between museums and

Indigenous communities is the key—a partnership that respects the sovereignty and cultural

significance of Indigenous peoples. This approach is not merely an option but an ethical

imperative that recognizes the value of collaboration in preserving and interpreting cultural

heritage. By fostering a dialogue that is inclusive and respectful, we can ensure that Indigenous
art is preserved not just as historical artifacts but as living embodiments of cultural identity and

continuity.

This essay delves into successful partnerships, ethical considerations, and the benefits for

both communities and museums. It illuminates a path towards a future where Indigenous voices

reclaim their narratives, not only within their own communities but shared with the world,

fostering cultural appreciation. Museums hold the key to unlocking this future, one built on

collaboration and respect.

The act of "preserving" Indigenous art raises inherent ethical complexities. These artistic

expressions encompass more than objects; they embody cultural identities, ancestral connections,

and spiritual significance. Therefore, involving Indigenous communities as active partners in

decisions about their art is not merely a formality but an ethical imperative. As highlighted by

Farago (2015), the debate surrounding ownership and ethical responsibilities towards Indigenous

art persists. It is crucial to acknowledge that these artifacts are not cultural relics frozen in time

but living expressions tied to communities with ongoing relationships to their heritage. By

engaging in collaborative practices, we demonstrate respect for the inherent ownership rights of

these communities and recognize the profound cultural significance embedded within each piece.

This respect serves as the foundation for ethical museum practices, ensuring that preservation

efforts empower rather than exploit Indigenous communities and their artistic voices.

With the ethical groundwork laid, let us turn our focus to practical solutions. Fortunately,

successful models of collaboration offer guidance for museums navigating this ethical terrain. As
proposed by Olson (2014), we must envision a way forward through museum space, fostering

new relationships built on mutual respect and understanding. Numerous examples showcase

practical steps museums can take, such as the Te Papa Tongarewa museum in New Zealand

prioritizing Maori leadership in decision-making and narrative development. Similarly, the

Burke Museum at the University of Washington collaborates with Indigenous communities on

exhibit curation, ensuring accurate representation and sensitivity towards cultural protocols.

These models demonstrate that collaboration is not merely an ideal but a tangible pathway

towards culturally sensitive preservation and display of Indigenous art within museums.

In parallel with these collaborative efforts, legislation like the Native American Graves

Protection and Repatriation Act (NAGPRA) in the United States has emerged as a cornerstone

for change. As aptly stated by Sullivan, Abraham, and Griffin (2000), "NAGPRA has become a

catalyst for cultural change in museums." This act established a framework for repatriation,

leading to the return of numerous cultural artifacts and human remains to their rightful

Indigenous communities. It marks a significant departure from the past when such items were

often acquired through dispossession and displayed without understanding or consent.

Repatriation signifies more than just the restitution of objects; it represents a crucial step towards

recognizing the injustices faced by Indigenous communities and acknowledging their inherent

rights to their cultural heritage. The impact of NAGPRA extends beyond repatriation, fostering

an ongoing conversation, collaboration, and dialogue between museums and Indigenous

communities. This dialogue paves the way for more ethical and responsible practices in the

preservation and display of Indigenous art.

this viewpoint is incomplete without the direct knowledge and cultural insights of Indigenous

communities. Deloria (2018) notes, "The creation of the NMAI was, from a Native American

viewpoint, an effort to mend and reconcile the extensive and difficult history between Indian

people and American museums." This statement emphasizes the need to change museum

practices to truly collaborate with and honor Indigenous perspectives, guaranteeing their

narratives are represented accurately and ethically.

Collaboration, rather than mere acknowledgment, holds the key to ethically preserving

and displaying Indigenous art. As we navigate through examples and legislation, the imperative

for museums to evolve is undeniable. It is not enough to passively recognize; museums must

proactively forge partnerships, weaving Indigenous perspectives into the fabric of their

operations. This entails not just welcoming objects but valuing the voices behind them. Museums

must commit to fostering collaboration, understanding, and empowerment, ensuring Indigenous

communities can reclaim their stories. Let us challenge every museum to not only embrace this

ethical mandate but to lead by example, transforming commitments into tangible actions that

honor and amplify Indigenous voices. In doing so, museums do not just adhere to ethical

standards—they pioneer a future where culture and heritage thrive through shared stewardship.
 References

Deloria, P. (2018) The New World of the Indigenous Museum Daedalus, 2018 Apr 01.

Deloria, P. (2018) The New World of the Indigenous Museum Daedalus, 2018 Apr 01.

147(2), 106-115. https://www-jstor-org.ezproxy.snhu.edu/stable/48563023

Farago, J. (2015). To return or not: Who should own Indigenous art? BBC. Retrieved from

https://www.bbc.com/culture/article/20150421-who-should-own-indigenous-art

Fischer-Olson, A. (2014). Imagining the way forward through museum space: Approaching

working relationships between museums and Indigenous communities (Publication No.

FischerOlson_ucla_0031N_12353) [Master’s thesis, University of California, Los

Angeles]. eScholarship University of California. Retrieved from

https://escholarship.org/uc/item/84g8p91x

Sullivan, T. J., Abraham, M., & Griffin, D. J. G. (2000). NAGPRA: Effective repatriation

programs and cultural change in museums. Curator: The Museum Journal, 43(3), 231–

260. https://doi.org/10.1111/j.2151-6952.2000.tb01717.x