Month: October 2022

1.2: Self Appraisal

1.2 Self Appraisal

Identify your key responsibilities and list the main areas of work you have been involved in. Briefly highlight the skills and competencies that are relevant to this project/work area.

1. Project Management:

In the lead up to our event, it was crucial that we met twice a week as a group to review what needed to be done for the week. I assisted in creating meeting agendas and minutes, as well as organising virtual and in person sessions for our group. In addition to this, I created a Google Drive for the project which included folders which housed the material we needed for the event, including email invites, a budget spreadsheet, marketing packs and more. As a group, we created weekly action points which needed to be attended to in order to ensure we were progressing at an appropriate rate before the event. Within group settings, I tend to take a very proactive role, and therefore had to challenge myself to delegate the work equally to create a working environment which catered to the goals and ideas of the collective group.

2. Communicating with Speakers and Partner Institutions:

As a part of our event, we had four speakers and two moderators provide presentations and discussion panels. From the onset of the second semester, I was communicating frequently with our speakers and arranging one-to-one meetings to discuss their goals for the event and what topic they would be presenting on. This allowed me to develop my communication and time management skills, as it was crucial to ensure that our speaker’s were being responded to on time and kept up to date on any and all changes to the event. The sensitive nature of the event context meant working closely with experts such as Zaki El-Salahi, a leading member of the Edinburgh Sudanese Community Partnership. We frequently kept in contact and held meetings with Zaki to ensure that we were approaching this event in the most respectful way possible, and allowing for others to open up the dialogue for conversation on the topic which still resonates closely to many ancestral communities today. Additionally, I worked closely alongside the curator of the Anatomical Museum, Malcolm MacCallum, in order to discuss the ways in which the displays in the museum connect to our event and the Skull Collection more broadly. We established the exhibition title Face to Face: the Hidden Histories as a means of informing audiences of the hidden narratives that are within the museum display cases.

3. Distributing Marketing Packs and Creating an Event Brite Page:

I was responsible for creating the first draft of the marketing pack which we would use to send to institutions and individuals we felt could best promote our event. This included an event blurb, a link to our Event Brite page, as well as pre-written texts for social media platforms such as Facebook, Instagram and Twitter. The marketing material was successfully promoted by a range of institutions, including: Surgeon’s Hall Museum, National Museum of Scotland, the School of History, Classics and Archaeology, and Edinburgh College of Art. It was important for our group that the event attracted a diverse audience, including students, heritage professionals, community activists and scientists. In order to achieve this, the marketing material needed to be diligently organised, dispersed to the appropriate groups and proofed multiple times before final submission. After creating the Event Brite webpage for the event, I was able to monitor the number of ticket sales and share the link directly to our guests for ease of booking. Both marketing and webpage management were new skills for me, and required an extensive amount of time management, creativity and background research.

4. Speaking at the ‘Hidden Histories’ Tour:

The final component of our event centred around a tour of the Anatomical Museum which was titled Face to Face: the Hidden Histories. The goal of this was to expand upon some of the display narratives within the museum, and to relate these displays to the story of the Skull Collection. For my talk, I focussed on issues surrounding consent and identity within the museum, particularly the display of infant and fetal remains. This involved the creation of a new, alternative label for the display as well as speaking to the audience about the relation of the display to the event. I was required to write concisely while also ensuring that all the relevant information was on display for the label. Additionally, I spoke to members of the audience about the issues surrounding the display, and answered questions surrounding the history of the collection of infant and fetal remains in museums.

Label created for Face to Face: the Hidden Histories museum tour.

Looking ahead, list your key objectives for the GRP. 3-7 SMART (Specific, Measurable, Achievable, Relevant and Timed) objectives should be noted with realistic timescales and focused outcomes. The objectives should cover the project itself and your own role.

The main objectives for this project were as follows:

Tell the complex stories of the Skull Collection from a perspective of decolonial thought and struggle: First and foremost, this event was centered around decolonial museum practice, and seeked to address the complex history of the collection while also providing dignity and restoring humanity to those within it. We achieved this through our selection of speakers, discussion with audience members and tour of the museum.
Acknowledge metadata gaps in the Skull Collection: During Semester 1, our group. met biweekly with Ruth Baxter, curator of the Anatomical Museum, to bridge our understanding of the collection with hands-on work. We catalogued and researched the South American collection in order to better understand Ruth’s role as a curator, and also to disperse this information onto a spreadsheet for future use.
Design event structure and host event: Given the complex nature of this collection, it was clear that a traditional exhibition would not be the best route forward for our project. We decided to host an event centred around dialogue as a means of opening up discussions on colonialism within the museum. My title, ‘Face to Face: A Dialogue on the University of Edinburgh’s Skull Collection’ was chosen as the event title, as well as ‘Hidden Histories’ for the museum tour. The planning of the event required constant communication between group members, speakers, and the museum curators. Together, we put together an event which had 50 people in attendance and ignited meaningful discussion surrounding the history and the future of the collection.
Event evaluation: Following the event, we compiled the data from our surveys and also had a professional illustrator and photographer capture aspects of the day. This information was not only beneficial for our own assessments, but also to help the museum in putting on similar events in the future. The videos and recordings of the event were also compiled and plan to be uploaded to the Anatomical Museum webpage.

My own personal objectives were as follows:

1 . Create a network of communication with our speakers: After months of communication, I was able to establish well-working professional relationships with our speakers. The ability to network with professionals within the field and beyond was deeply beneficial in my understanding of the type of work that goes into hosting an event like Face to Face.

2. Enact real change for the future of the collection: The event sparked discussion amongst many members of our audience, including higher-ups from the university itself. At the reception, I was interviewed by a journalist for Live Science, and was able to explain the importance of conducting decolonial museum practice within university institutions as a means of addressing a wrongful past and making room for improvement and greater inclusion in the future.

Discursive self-reflection

Use this section to, 1) reflect upon the progress of the project to date (both as a whole and with regards to your own specific area/role). 2) Critically reflect upon your experience working with the group. Here you may consider your contribution so far, the value of your specific strengths and expertise, the effectiveness of group communications and your performance in group meetings. How might the group [have] enhance[d] its performance?

Overall, the project was an invaluable experience which proved to be a unique and rewarding challenge for the entire group. Coming from a range of backgrounds, we were all able to utilise our own specialist skills in knowledge in order to create a well rounded event. The group struggled with communication and delegation of the workload at the start of the year, but quickly turned this around by the second semester. My own contributions included proactive leadership, communication with our speakers and partner institutions and engagement with the curators of the Anatomical Museums. My background in conflict archaeology allowed me to view the collection as one born out of colonial thought and theory, something which I personally hoped to express to our audience. I was able to attend every session held by Ruth Baxter of the Anatomical Museum, and gained valuable insight on the inner-workings of the space and the role of the curator in dealing with such complex subject matter. Despite differences in our working styles and opinions on the future of the collection, as a group we all shared a collective goal of humanising the individuals held within the space. I believe our event was a great success in achieving this.

Oct 26, 2022

1.1: Case Study Analysis

By Fiona Child

On 12/04/23

In 1.1 Case Study Analysis

The Natural History Museum of Vienna and Maori Repatriations

One of the most well-researched and recent cases of colonial repatriation requests come from the Maori populations of New Zealand in regard to their stolen ancestral remains by Austrian taxidermist, Andreas Reischek. During the late 19th century, Reischek extensively travelled across New Zealand, recording and collecting a variety of natural and ethnographic artefacts- which he hoped to later sell for profit to the Natural History Museum of Vienna (O’Hara, 2020, p. 438). The greatest point of contention from the Maori is in relation to the unlawful theft and transportation of the Kawhia mummies. These remains, belonging to a Maori man and child, were traditionally buried and protected within the Kawhia Caves. The rumoured presence of the mummies ignited Reischek’s interest in their acquisition, which he carried out in 1881 (Kolig, 1986, p. 59). Since this time, a century-long repatriation process began in an attempt to return the mummies to their rightful home. In 1985 the first of these repatriation requests was successful, and the body of Chief Tupāhau was safely returned and reburied in New Zealand. Despite this progression, the Kawhia mummies, alongside numerous other stolen remains, were still in possession of the Natural History Museum of Vienna.

Reischek’s published work of his New Zealand expeditions, Yesterdays in Maoriland, details his encounters with the Maori population, and the processes by which he obtained stolen remains. (Childs, 2017)

Mana and Tapu: Respecting Maori Funerary Tradition

Understanding not only the provenance, but also the religious and cultural significance of the Maori remains was essential in their repatriation. In the Maori tradition, mana represents the prestige and importance of an individual, while tapu is regarded as a sacred and ethereal place, which extended to graveyards and burial sites (Hole, 2007, p. 6). Despite a clear understanding of Maori tradition and belief, Reischek desecrated tapu during his removal of human remains from sacred areas, including the Kawhia mummies. In regard to anatomical significance, the head is believed to be the most sacred of body parts, and is in itself both an embodiment of mana and tapu. In Maori culture, the heads of relatives were kept and displayed during important events, and conversely, removed and displayed by enemy tribes as a sign of victory. However, in both instances, the theft or purposeful removal of a head from its resting place is a violation of tapu and could potentially result in death (Hole, 2007, pp. 6-7). When modern repatriation requests were first made in the aftermath of the Second World War, the pertinence of Maori religious values was not considered. Instead, the Austrian government defended the actions of Reischek by citing the outdated and controversial methods used by many 19th century anthropologists. It is not until the 1980s, during which the first set of repatriations began, that the cultural significance of these remains to living ancestors was examined in greater detail.

Te Papa and the Natural History Museum of Vienna: Modern Reconciliation

Following the return of Tupāhau’s body to New Zealand in 1985, repatriation programmes in New Zealand began to accelerate, particularly that of the Museum of New Zealand, also known as Te Papa. The museum sought to repatriate both Maori and Moriori remains to their living ancestors, and restore a level of dignity and respect to the remains which were stolen. Within Te Papa works the Repatriation Advisory Panel, composed of local tribal members, who research in-depth the provenance of stolen remains, the areas they may have once belonged to, and the burial customs which are most suitable for each individual (O’Hara, 2020, p. 448). Since the onset of the programme in 2003, over 400 Maori individuals have been returned home from institutions across the globe. In September 2022, the Natural History Museum of Vienna formally recognised the role they played in the illegal and controversial obtainment of Maori remains, and conducted a repatriation ceremony before the return of 64 individuals to New Zealand, including the Kawhia mummies (nhm-wien.ac.at).

Repatriation Ceremony at the Natural History Museum of Vienna. (Roßbroth F., 2022).

Informing Future Projects and Research

Unfortunately, the narrative of 19th century anthropological research in foreign countries is not unique to Reischek and Austria. Institutions across Europe are left to confront unpleasant histories which were written by their predecessors. Within the University of Edinburgh, the Skull Collection of the Anatomical Museum awaits further investigation into the provenance of the remains, the issue of display, and ongoing repatriation requests. Thinking of the ways in which the Natural History Museum of Vienna approached the issue of their Maori collections, we can inform future decisions on the projects happening within our own community. Members of the NHM Vienna staff have taken part in lectures discussing the looted remains within the museum (https://www.youtube.com/watch?v=Zo8MMl_Hjtk) as well as establishing a committee dedicated to provenance research. With these ideas in mind, it may be beneficial to the Skull Collection to establish a similar committee- whether amongst students or faculty, which is dedicated to the research of origin and cultural value within the collections.

In 2011, Te Papa opened an exhibition called Tai Timu, Tai Pari, Tainui: Journey of a People. This exhibition explored the dynamic between ancestral remains and colonial acquisitions, sparking a renewed interest in the repatriation of Maori individuals within local tribal groups. In regard to the University’s Skull Collection, the inclusion of art in place of human remains is a possible route forward when navigating these difficult narratives. It is important as scholars that we do not erase the history of how these skulls were obtained, but rather challenge this history by honing in on our own human instinct to restore and honour the dignity of these people in the most appropriate way possible- including repatriation with modern ancestors. Pulling from the ideas of the Te Papa projects, repatriated remains should always return to their country of origin when possible, and should be thoroughly researched and examined by the indigenous communities to which they belong. The intersection of art and repatriation could be analysed further within the Skull Collection as a means of acknowledging our own modern thoughts and feelings, as well as openly discussing and investigating the racial and colonial standards which were in place within our own University system at the time. A potential starting point for such research can occur within our own local galleries and museums, researching artwork and artists whose provenance correlates to that of the skulls held in the anatomical museum. As is the case for both the NHM Vienna and the University Skull Collection, human remains should not be seen as traditional static objects. These remains are continuously evolving and unearthing histories which assist in revealing many of the outdated and systemic issues within museums and galleries today.

Fitting the Character by Tayo Adekunle, a British Nigerian artist, is a 2021 work commissioned by the University of Edinburgh. This piece highlights the inherently racist practice of phrenology used within the Skull Collection. This artwork is a catalyst from which other artists can respond to the collection through artistic expression. (Adekunle, 2021).

Bibliography

Adekunle, T. 2021. Fitting the Character. [Online]. [Accessed 11 October 2022]. Available from: https://exhibitions.ed.ac.uk/exhibitions/mind-shift/fitting-the-character

Childs, R. 2017. The Amazing Andreas Reischek. [Online]. [Accessed 10 October 2022]. Available from: https://kapitiindependentnews.net.nz/the-amazing-andreas-reischek/

Hole, B. 2007. Playthings for the Foe: The Repatriation of Human Remains in New Zealand. Public Archaeology, 6(1), 5-27.

Kolig, E. 1986. Andreas Reischek and the Maori: Villainy or the Nineteenth-Century Scientific Ethos? Pacific Studies, 10 (1), 55–61.

Naturhistorisches Museum Wien. 2022. Repatriation Ceremony for Ancestors Returning to Aotearoa New Zealand. [Online]. [Accessed 10 October 2022]. Available from: https://www.nhm-wien.ac.at/en/presse/pressemitteilungen2022/repatriation_aotearoa

O’Hara, C. 2020. The Andreas Reischek Collection in Vienna and New Zealand’s Attempts at Repatriation. In: Cressida, F., McKeown, T. and Keeler, H. ed(s). The Routledge Companion to Indigenous Repatriation. 1st edition. Routledge: 438–451.

Roßbroth F., K. 2022. Repatriation Ceremony for Ancestors Returning to Aotearoa New Zealand. [Online]. [Accessed 11 October 2022]. Available from: https://www.apa-fotoservice.at/galerie/30676

NHM: Natural History Museum

Oct 12, 2022