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On our trip to Washington D.C. in eighth grade, we were able to visit several of the Smithsonian museums where we saw artifacts from cultures all around the world. These artifacts, like many others, came with the controversial question, should artifacts be returned to their cultures of origin? Many people, such as myself, see the many issues with returning artifacts to their countries of origin. I believe that museums should not have to return artifacts to the original countries because the trades are legal, the artifacts are unprotected, and people are interested in learning about the artifacts and cultures.
In many cases, the artifacts were moved around through legal trades and purchases. As seen in recent arguments over custody of different
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artifacts, the legal basis of the trade is a major determining factor. James Cuno , interviewed in passage 1, says he “ doesn’t support the return of legally acquired works.” In other words, if the artifacts are bought by legal means, then the country of origin has no claim over the object. Correspondingly, large museums such as the British Museum, agree that the property they purchased belongs to them. Even though there is question about the laws behind the purchase of the artifact, the safety of the item in question must be taken into account. Some countries do not have extra expenses to spare on museums; furthermore, money for protection. According to John Tierney, author of passage two, even though it may make sense to keep artifacts in the place where they originated “it can also be risky to leave everything in one place, particularly if the country is in turmoil or can’t afford to excavate or guard all its treasures.” To rephrase, if you put all of the priceless treasure from one civilization in the same, low protection building, it will be a gold mine for thieves and other criminals looking to sell artifacts on the black-market. Similarly, Rachel Donadio, the author of the third passage, informs us that in museums all over the globe, budgets are being cut left and right, with “few resources for maintenance, guards, and publicity.” Much like these artifacts are often not given enough protection, they are also neglected and unseen by people truly interested in learning about them and their cultures. People go to the museums to learn about cultures and civilizations through the artifacts they left behind;however, if these artifacts are moved halfway around the world, how is anyone going to get the full learning experience without traveling with it? Mortimer explains that people “enjoy seeing these relics of the ancient world as a way of understanding past cultures and sometimes connecting with their own heritage,” James Cuno, as well as other archeologist, agree that local museums are meant to provide relatively cheap education, along with getting you close to the real thing so you don’t have to travel more than a few miles. In conclusion, countries should not have to give back artifacts to their country of origin. The first counterargument to be proposed would be one made by people such as Zahi Hawass, an archeologist mentioned in passage two.
He would argue that although some of these artifacts were stolen hundreds of years ago, they should be returned to their countries of origin. The mistake made by Hawass was this: back then there were no restrictions on buying stolen goods; therefore,since the trades were made on a legal basis, the deals are still valid today. The topic of thievery brings us to the next counterargument: protection. Some people may argue that it makes sense to keep artifacts together. These people often disregard the fact that keeping these priceless treasures in the same place with minimum protection from thieves is almost a guarantee of robbery; nevertheless, even with the top most protection, there is still the slightest possibility that an artifact might go missing every now and then. The third argument that comes with keeping the artifacts in their country of origin is the education of people around the world who have not learned about this culture. Professors such as Malcolm III, mentioned in passage one, say that taking these artifacts away from their home land takes away from the experience of learning about the culture. For instance, if someone in Colorado wanted to learn about ancient Egyptians, they may not be able to afford to travel all the way to Egypt. These artifacts are used to teach all different types of people about the past cultures of our world, not just the people who live in the general area of where it happened. These are the reasons why their counter arguments are
invalid. Countries should not have to return artifacts to their countries of origin because of legal trades, unprotected conditions, and curious scholars. It is important for people of all different backgrounds to learn about past civilizations because without those cultures, our society would be completely different from what it is today. People are inspired everyday by the newfound knowledge of their culture and their heritage to go out and make a lasting difference in the world around us.
Other countries that are taking these artifacts that aren’t even theirs are way out of line. In the third
The controversy began almost one hundred years ago. Between 1801 and 1812, Thomas Bruce, 7th Earl of Elgin and British Ambassador to the Ottoman Empire, removed several sculptures from the Parthenon in Athens and shipped them to England, where he sold them to the British Museum in 1816. 167 years later, Melina Mercouri, Greek Minister of Culture, requested that the “Elgin” Marbles be returned. This request sparked one of the greatest debates the art world has ever known. For the past two decades, people have argued over who has the rights to these Marbles. The Greek position is certainly understandable from a cultural and emotional point of view. However, from the standpoint of legality and logic, it is hard to make a solid case against the Marbles’ continued presence in Britain.
“Skeletons in the Closet”, written by Clara Spotted Elk, is a well-built argument, but it can be enhanced to become immensely effective. Firstly, Elk’s position is effective in obtaining her purpose and connecting her audience to it, because she includes a broad scope and background of the problem in the first few paragraphs. She describes the amount of Indian skeletons preserved and contained by American museums, through the use of data and statistics. For instance, Elk states: “we found that 18,500 Indian remains…are unceremoniously stored in the Smithsonian’s nooks and crannies” (13-15). By using this data, the background of the argument is illustrated to assist the audience in understanding her argument. Now, by knowing this statistic, readers can connect with Elk and her assertion, since we realize that there are plenty of skeletons that
Parts of the sculptures that used to belong to the Parthenon are now residing within Britain’s Museum, and Christopher Hitchens argues that they be returned to Greece through his work entitled “The Lovely Stones.” Hitchens builds his argument by utilizing a short history of the incident and rhetorical questions.
Separating the Lancer Company into a brand of authentic, exclusively sold artifacts, and a brand of quality, limited distribution products, keeps the perception of Lancer Gallery high in the mind of consumers. This is beneficial because for those who buy authentic artifacts do so to show their social class or prestige, or, because they are interested in that country’s culture. By buying their artifacts from Lancer they be assured that what they purchases is not an imposter or anything that can be bought by the average Joe.
The debate of the reburial of excavated Native American sites has been going on for quite some time now. I believe that the wealth of knowledge gained from these discovered artifacts and bones yield much more valuable information than simply placing them back into the ground, causing them to be lost forever. The remains of Pre-Columbian Native Americans should not be reburied and should be studied and documented for the sake of history and a better understanding of it.
In the article “Bring Them Home,” the author talks of how countries “are seeking the return of objects important to their culture and history.” Examples of countries such as these would be: China, Iran, India, and Turkey. Why would these countries want their artifacts back if they have not seemed to miss them? Well, most of the time this happens because another country is in control of them and do not care for the objects themself. They do not care because they are not from that country and do not realize what value they hold to the people of that country. That is why countries should hold their own historical artifacts. It is their history, their culture, and it matters to the people to have the treasures from their land that could quite possibly be from when the land was first
In this manner, western cultures command great power by being able to represent their own heritage as a higher ranking than the “primitive” art of Third World nations that is often exhibited: “It also means the power to define and rank people, to declare some as having a greater share than others in the community’s common heritage—in its very identity” (Duncan 102). These are the important findings of Duncan’s (1991) analysis of cultural imperialism, which I agree with in terms of the greater influence of American and European museums to ritualize their status as a first world modern nation. More so, American/European museums get greater funding to superimpose their culture over museums in third world countries, which defines the overt power of the museum as a “temple” for first world art. These are important aspects of Duncan’s view that the disproportionate presence of western art throughout the world is based on a primarily imperialistic notion of cultural superiority in the presentation of American and European heritage on a global scale. In my opinion, I feel that western museums deliberately impose their cultural values in terms of “modernity” as a means of ranking themselves above lesser nations. Certainly, the increasing popularity of “primitive”
...ueen Isabella and King Ferdinand II of Spain. Christopher Columbus was also quite interested in acquiring treasures from what he thought was Asia. However, some people thought what Christopher Columbus did was as glorious as the creation of the world. In the end, Christopher Columbus’s “reputation had its ups and downs over the centuries” said Milton Meltzer (174). To conclude, through the power of technology, the courage and bravery of individuals, and having the right mindset of other nations and their cultures, beliefs, and traditions, there is nothing wrong with two nations interacting with one another. However, if two nations are interacting with one another through crimes against humanity, genocide, and no emotions, then that’s not discovery. It’s invasion.
James Riding points out this issue in his article, "James Riding In Presents a Pawnee Perspective on Repatriation, 1996."When Riding reported, "consequently, orgies of grave looting occurred without remorse" (p. 491) it brought to mind having seen Indian artifacts for sell. This has been a common practice for many years. It is impossible for me to guess how much loot has been carried off from Indian burial sites over the years. The important point is to note that this has taken place, and Native Americans do want these artifacts
What is an artifact? According to the dictionary, an artifact is “something made or given shape by man, such as a tool or a work of art, especially an object of archaeological interest” ("The Definition of Artifact"). In archaeology, the word “artifact” defines an object recovered by archaeological attempt, which might have a cultural attention. In the same way, the article “The Life of An Artifact” written by Michael Shanks mainly discusses some of the key points of interpretive archaeology and the relations between social sciences and material culture. The author believes that material culture plays an active role in society, and that the society is built upon the presence of artifacts. He emphasizes that “artifacts
In “Whose Culture Is It, Anyway? ”, Kwame Anthony Appiah begins by pointing out that some of the museums of the world, particularly in the West, have large collections of artefacts and objects which were robbed from developing and poor countries. He then raises a question: who owns these cultural patrimony and properties? Our first answer may be that since they make up the cultural heritage of a people, they belong to the people and culture from whom they were taken. Appiah has doubt about this and argues that if some cultural artefacts are potentially valuable to all human beings, they should belong to all of humanity. He thinks that when they make contribution to world culture, they should be protected by being made available to those who would benefit from experiencing them and put into trusteeship of humanity.
The argument against the site can supported by saying that the site could have belonged to civilizations other than Troy. However, the lack of definitive answers on the historicity of Troy is reason the University should have purchased the collection. With such “a rare and valuable collection of Trojan, Greek, and Roman antiques,” the University would have been able to validate the historicity of the site as being or not being Troy (“Terrell to Walton” 4). Subsequently, this would have allowed scholars at the University to make progress in answering the age old question: did Homeric Troy exist? If the site was not Troy, the University would have still aided archaeologists by ruling this site out, narrowing the search window, and allowing the search for Troy to move
Of the many crimes that are present in this day and age, one that not only vandalizes the property, but as well as historical background is that of art theft. A crime that has taken away the sanctity of churches as well as many other religious and historical sites. Thefts have ranged from WWII (World War II) to the times of the Holocaust. Of the items that were taken from the churches, relics were items of great priority. These items not only had great value to the churches they were stolen from, but a great value to relic collectors. Most of the items taking during these times were either sold or placed in underground storage. Most of these items that were place in these secret places were never to be seen again. From the times of these so called “relic hunters” to now, art theft has become something that has taken some extreme changes. It has evolved from crime that started with minor relic thefts to something that has become a worldwide crime in need of better prevention.