Plundered Skulls And Stolen Spirits

"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

Introduction -- Resistance: war gods -- Only after night fall -- Keepers of the sky -- Magic relief -- Tribal resolution -- All things will eat themselves up -- This far away -- Regret: a scalp from Sand Creek -- I have come to kill Indians -- The Bones Bill -- We are going back home -- Indian trophies -- Ac.35b -- A wound of the soul -- Reluctance: killer whale flotilla robe -- Masterless things -- Chief Shakes -- Johnson v. Chilkat Indian Village -- Cranes' last stand -- The weight was heavy -- Our culture is not dying -- Respect: Calusa skulls -- The hardest cases -- Long since completely disappeared -- Unidentifiable -- Their place of understanding -- Timeless limbo -- Before we just gave up -- Conclusion

A leading anthropologist “explores the fraught project of repatriating Native American sacred objects in this moving and thoughtful work” (Publishers Weekly). Who own the objects that connect us to history? And who has the right to decide, particularly when the objects are sacred or, in the case of skeletal remains, human? As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated questions like these firsthand. In Plundered Skulls and Stolen Spirits, he examines how to weigh the religious freedom of Native Americans against the academic freedom of scientists—and whether the emptying of museum shelves elevates human rights or destroys a common heritage. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to recover their looted heritage from museums across the country. Colwell shares a personal account of this process, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.

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

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.

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 understanding museums, examines how museums collect Native materials, and explores protest as a fully American process of addressing grievances. Now that museums and American Indians are working together in the processes of repatriation, this book can help each side understand the other more fully.

The 1996 discovery, near Kennewick, Washington, of a 9,000-year-old Caucasoid skeleton brought more to the surface than bones. The explosive controversy and resulting lawsuit also raised a far more fundamental question: Who owns history? Many Indians see archeologists as desecrators of tribal rites and traditions; archeologists see their livelihoods and science threatened by the 1990 Federal reparation law, which gives tribes control over remains in their traditional territories. In this new work, Thomas charts the riveting story of this lawsuit, the archeologists' deteriorating relations with American Indians, and the rise of scientific archeology. His telling of the tale gains extra credence from his own reputation as a leader in building cooperation between the two sides.