#and a book on repatriating cultural heritage

[gravehags]

oh good my [checks notes] book on the vatican’s ethnological collection, lil gravies roast beef flavor, and piercing aftercare fine mist will be delivered today

[wecandoit]

what i read | aug-sep

notes: (1) '*' indicates a content warning for references to death, abuse, violence, obvious triggers for mental illnesses (2) bolded links show sources that i found super interesting or introduced me to a new/profound concept

Books

The Island of Missing Trees by Elif Shafak

Articles/Essays

Revisiting the Languages of Love: An Empirical Test of the Validity Assumptions Underlying Chapman’s (2015) Five Love Languages Typology

Topical treatments for acne

The True Story of the Koh-i-Noor Diamond—and Why the British Won’t Give It Back

Repatriation of the Kohinoor Diamond: Expanding the Legal Paradigm for Cultural Heritage

Challenging the colonisation of birth: Koori women's birthing knowledge and practice

A cognitive developmental approach to understanding how children cope with disasters

Nature-Based Early Childhood Education and Children's Social, Emotional and Cognitive Development: A Mixed-Methods Systematic Review.

Bronfenbrenner’s bio-ecological model: a theoretical framework to explore the forest school approach?

How AI Generates Images from Text

Discrimination Has Trapped People of Color in Unhealthy Urban 'Heat Islands'

A Newly Discovered Brain Signal Marks Recovery from Depression

Poems

Message to My Beloved Sibling

Movies/Videos

The Kingmaker by Lauren Greenfield

Teenage Mutant Ninja Turtles: Mutant Mayhem by Jeff Rowe

[mightyflamethrower]

Indians Erased From American Museum of Natural History

According to progressive doctrine, it is racist not to expunge Indians from American culture. Leftist bullies have imposed name changes on sports teams and iconic landmarks like Squaw Peak in Phoenix. They deleted the Indian maiden from butter packaging. They even canceled the crying Indian from the old public service ads that encouraged us not to litter. Now they are purging Indians from museums:

History lovers slammed the American Museum of Natural History for shuttering all its Native American-related displays Friday, with one disappointed historophile saying the now-empty major exhibition halls and display cabinets show “history being made secret.”

Museum director Sean Decatur explains why nearly 10,000 square feet of exhibition space that featured Indians now stands empty:

“The halls we are closing are artifacts of an era when museums such as ours did not respect the values, perspectives and indeed shared humanity of Indigenous peoples.”

That is, Indians have been canceled because moonbattery.

Again the federal government imposes wokeness:

The alterations are a response to new federal regulations that went into effect this month regarding the Native American Graves Protection and Repatriation Act…

In Ray Bradbury’s Fahrenheit 451, firemen don’t put out fires; they start them, burning down houses in which books have been discovered. Likewise, in our real life dystopia, museums don’t preserve history; they erase it.

Future generations will hardly know that Indians existed, another aspect of American heritage having been senselessly destroyed by the cultural vandalism of liberal social engineers.

[pandolfo-malatesta]

The Problem in British Libraries, Archives, and Museums Submitted in partial fulfillment of the requirements of the MSc I’m apparently doing in the Sociology of the Lockwood & Co. Universe

As the Problem made itself known, there was most likely a period when many cultural heritage institutions in the UK closed, whether temporarily or permanently, due to hauntings.  Not everything old is a Source, but the nature of collecting items of historical significance and sometimes unclear provenance means that the possibility of a repository owning at least one Source is higher than it would be for, say, the average household.  In a similar vein, not every work of art is a Source, but there are likely those with which an artist, owner, or muse had a strong connection and to which a spirit became tied.

Probably the most well-known piece of legislation regarding the collections in the British Museum is the British Museum Act 1963.  It’s well-known because it sets out the Museum’s famously and contentiously strict rules about deaccessioning (that is, removing items from a museum’s collection altogether, whether to sell, destroy, or repatriate them).  The policy is usually boiled down to the fact that the Museum can’t easily get rid of stuff it owns, no matter how dodgily it came to own said stuff.  The text of the 2018 “British Museum policy: De-accession of objects from the collection” states that

“Under the [British Museum] Act [1963], Trustees do not have the power to sell, exchange, give away or otherwise dispose of any object vested in them and comprised in the Collection unless - (a) the object is a duplicate of another object held in the Collection, or (b) in the opinion of the Trustees the object is unfit to be retained in the Collection and can be disposed of without detriment to the interests of the public or scholars; (c) it has become useless for the purposes of the Museum by reason of damage, physical deterioration, or infestation by destructive organisms.”

To my mind, subsections (b) and (c) above suggest that the deaccessioning policy in the L&Co universe would be more lax than in the real world.  “Unfit to be retained in the Collection” is fairly ambiguous and could certainly describe a Source; and “destructive organisms” would definitely include Visitors.  (I’m so glad I looked up this text because I love the application of that phrase to ghosts, and I also know that in that universe there would be arguments about whether or not it really applied.)  So it’s possible that, given the ability to transport objects safely, the British Museum may have been more open to repatriating items than they currently are.  From events in The Empty Grave I think it’s reasonable to infer that the Problem is limited to Great Britain*, so returning objects to their home countries might have the effect of neutralizing them as Sources.

Of course, there are objects and artworks that museums would be loath to lose.  Those could be kept on display in enclosures made of silver, iron, and silver-glass.  Extra security might be warranted, though, to prevent Sources from being stolen and/or Visitors from being released.  Silver-glass might also affect how colors look; museums and galleries could circumvent this distortion by posting true-color reproductions alongside informational texts.

While the average public library probably wouldn’t experience much trouble with their collections--their materials belong to the institution, not to an individual, and that the items circulate would keep any one person from becoming too attached to them--special libraries, rare book collections, and archives potentially would.  Here, however, some special collections have an advantage.  Beginning in the Middle Ages, when books were more time-consuming and expensive to produce, some institutions, particularly cathedral libraries, kept their collections secure by chaining books to shelves or tables.  If the chains were made of iron, as I think it’s safe to assume they are, these libraries, still in existence in places like Wells Cathedral, would have a built-in defense against Visitors.

And some buildings themselves would guard against hauntings: for example, the Herbarium at Kew Gardens is in a building with iron features, including a spiral staircase and columns.

Whereas works of art known to be Sources could still be viewed safely using established precautions, archival materials suspected of harboring Visitors present additional difficulties.  Archival materials tend to be documents with inherent significance and significance within the context of the rest of the collection; removing a piece of the collection is not ideal.  Add to that the fact that researchers handle documents individually, and that the information that they’re looking for is not always contained in the text of the documents but in the material itself and therefore that transcriptions or other reproductions do not always meet the researcher’s needs.  With all this in mind it’s clear that destroying documentary Sources is not the best option.  That said, I’m not sure what the best option would be.  Run outside in the sunshine, unfold whatever document so all of the writing is visible, and stick it in a silver-glass float-style frame?  It’d keep the interns busy, at least.

As most LAMs tend to be open during the day, when supernatural activity wanes, materials could be handled and viewed relatively safely.  But additional measures could allow them to carry out their missions all the more efficiently.

Thanks for coming to my TEDTalk.

*

Future topics for consideration: comparative safety of different forms of transport, both domestically and internationally; the global impact of the UK’s stagnation and decline; the fact that Doc Martens totally makes ectoplasm-resistant boots.

*

*if it somehow included all of the British Isles: lol imagine the Derry girls as agents

[kamreadsandrecs]

Title: Cabinet of Curiosities: History from Philippine Artifacts

Author: Ambeth Ocampo

Genre/s: nonfiction, history, Philippine history, essays

Content/Trigger Warning/s: brief discussions of war, genocide, colonialism, and imperialism

Summary (from the publisher): “Cabinet of Curiosities: History from Philippine Artifacts” by Ambeth Ocampo takes readers on a captivating journey through Philippine history by exploring a diverse array of 100 artifacts. This collection of essays, inspired by Ocampo’s acclaimed newspaper series, unveils the rich tapestry of the Filipino past through tangible objects that have played significant roles in shaping the nation’s identity.

From prehistoric relics to works of art by renowned Filipino artists, Ocampo’s meticulous research and engaging storytelling bring these artifacts to life, revealing the hidden stories and cultural nuances they carry. The book goes beyond traditional historical narratives, proving that history need not be confined to the written word, as even mute artifacts can provide profound insights into the Filipino experience.

“Cabinet of Curiosities” not only celebrates the Philippines’ cultural heritage but also challenges conventional historical perspectives, making it a must-read for history enthusiasts and those curious about the country’s fascinating past.

Buy Here: https://www.anvilpublishing.com/shop-anv/trade-books/history-culture/cabinet-of-curiosities/

Spoiler-Free Review: Not bad, not bad at all! I guess the overall choppiness of the narrative is attributable to the fact that this is a collection of short essays, but otherwise it’s pretty fun! I liked how it wasn’t just things like statues and coins and jars and such, but included literary works and even a menu. The connections he drew between artifacts, history, and culture make for some very interesting reading, and really live up to his aim of making these “mute” artifacts “speak” in the same way that written history does.

I noted though that he seemed to get a wee bit defensive on the matter of repatriation. He makes a good point about how several of the artifacts he mentions were spared from destruction because they weren’t in the country when the Battle of Manila happened (because the Americans practically leveled the city - it was the second most-devastated city, after Warsaw, at the end of World War II), but at the same time I kind of think this question of repatriation is one that should be revisited and reconsidered in the current period. Maybe not for all artifacts currently out there, but for a few.

I also noted how Ocampo pecked at contemporary political and social issues here and there, wherever they were relevant to a particular artifact. For example, when discussing the Murillo Map that helped bolster the Philippines’ territorial claims against China in the UN arbitral court, he briefly tackles the Philippines’ ongoing dispute with China over the West Philippine Sea. It would have been interesting if he’d been able to expand a bit more on those political ideas, but I also recognize that this book might not be the best place for them; besides, he’s got columns and socmed accounts on which he can expand on his ideas as he wishes.

Another thing that Ocampo points our regularly, especially when discussing precolonial artifacts, are the efforts of local archaeologists to preserve remnants of the Philippines’ past before the colonizers arrived. Between the less-than-ideal preservation conditions and looting both past and present, being an archaeologist in the Philippines is a very difficult and dangerous job, and Ocampo makes note of that in the essays accompanying many of the precolonial artifacts featured in the book. Their persistence and oftentimes downright heroic efforts are the main reason why the enormous gaps in our knowledge of the Philippines’ precolonial past are slowly but surely getting filled in.

So overall, this was a nifty and informative read. While there were times when I wished Ocampo had gone into greater detail and depth into the history of a particular artifact, for the most part the essays were fine on their own as starting points for creating greater interest in Philippine history as a whole.

Rating: four and a half artifacts

[vesselsart]

What are your most niche interests?

Hello! This is a fun question! I've been thinking on this for a while but I think that I finally have an answer now so strap in while I give another overly long reply :) I don't have a huge amount of interests really since I don't really have the free time or energy for them and I'm not really a very online person either so some of the things that I call niche here are probably more so just that way to me, what with not being super aware of audience bases. But anyway, time to learn things about me!

- Interview with the Vampire is my favourite film! I suspect it might be less niche now since the show has come out, but whenever I've mentioned the film to people in the past, they rarely know of it so in my book, it stays niche. I also like German Expressionist films, which are definitely niche - Nosferatu is probably the most well known, but I personally enjoy The Cabinet of Dr. Caligari a bit more.

- Welcome to Night Vale is, and always has been, my favourite podcast. I know it's pretty wild to call this niche given the impact that it had on the internet in the last decade, however it seems to me as if that impact was pretty localised to the US. It's the art that is least recognised when I trade at cons, and also my least recognised cosplay, so it for sure feels more niche in the UK, in my experience. I also adore Hello from the Magic Tavern which is at least niche in the UK also.

- Mothman is my favourite cryptid, which isn't niche in itself since he's definitely one of the more popular ones, but I think that my very deep and vested interest in him is what makes this one niche. Mothman is very, very important to me <3 What a good guy!!

- The Maine are my favourite band! Another instance of likely less niche in the US than they are here, given that they do Sad Summer Festival and 8123 Fest and what have you. But every time I mention them to someone, they've never heard of them, and they're still playing relatively small venues on their UK tours. For such a long running emo band, I'm surprised that they aren't more well known, but also if they ever became a stadium band, I think it would break my heart a little bit so I'm glad to keep them small and close.

- Pretty much all of my academic interests are very niche. I did my degree in Art History and Classical Studies, and my dissertation was about how formal institutions can utilise digital technologies to better facilitate the repatriation of Native American heritage. A large amount of my undergraduate work was about Native American culture and heritage, but I have rich and varied academic interests! I'm also very interested in: Greco-Roman queer literature, Neo-Classical architecture, frescoes (particularly ceiling frescoes), cults, religious studies as a whole, and all things pertaining to death rituals, afterlives, and death deities.

That's all that I can think of for now, but if anything else comes to mind and the mood strikes me, I'll try to come back here and share an update!!

[travelmd]

Finland Visa Application in India: Your Comprehensive Guide

Finland, with its stunning landscapes, rich cultural heritage, and robust economy, has become a popular destination for travelers from India. Whether you are planning a vacation, studying abroad, or pursuing business opportunities, obtaining a Finland visa is a crucial step in your journey. This comprehensive guide will walk you through the Finland visa application process in India, ensuring a smooth and successful application.

Understanding the Different Types of Finland Visas

Before diving into the application process, it is essential to understand the various types of visas available for Finland. The type of visa you need depends on the purpose of your visit. Here are the main categories:

1. Schengen Short-Stay Visa (Type C)

This visa is ideal for tourists, business travelers, and individuals visiting family or friends. It allows you to stay in Finland and other Schengen countries for up to 90 days within a 180-day period.

2. National Long-Stay Visa (Type D)

If you plan to stay in Finland for more than 90 days, you will need a National Long-Stay Visa. This visa is suitable for students, researchers, employees, and family members of Finnish residents.

3. Transit Visa

A Transit Visa is required if you need to pass through the international transit areas of Finnish airports.

4. Seasonal Work Visa

This visa is for those seeking seasonal employment in Finland, typically in sectors like agriculture and tourism.

Steps to Apply for a Finland Visa in India

1. Determine the Type of Visa You Need

As mentioned, the first step is to identify the type of visa that aligns with your purpose of visit. Ensure that you understand the specific requirements and restrictions associated with each visa type.

2. Gather Required Documents

The next step involves collecting all necessary documents for your visa application. The required documents may vary based on the type of visa, but generally include:

Valid Passport: Your passport must be valid for at least three months beyond your intended stay in Finland.

Visa Application Form: Complete the Schengen visa application form accurately. You can find the form on the official website of the Embassy of Finland or the Visa Application Centre (VAC).

Photographs: Two recent passport-sized photographs adhering to Schengen visa photo specifications.

Cover Letter: A detailed cover letter explaining the purpose of your visit, travel itinerary, and duration of stay.

Travel Insurance: Proof of travel insurance with a minimum coverage of €30,000 for medical emergencies, repatriation, and hospital care.

Flight Itinerary: A confirmed return flight reservation.

Accommodation Proof: Hotel bookings or an invitation letter from your host in Finland.

Financial Proof: Bank statements for the past six months, income tax returns, or salary slips to demonstrate financial stability.

Additional Documents: Depending on the visa type, additional documents like employment letters, admission letters from educational institutions, or business invitations may be required.

3. Schedule an Appointment

Book an appointment at the nearest Visa Application Centre (VAC) or the Embassy of Finland. Appointments can typically be scheduled online through the VAC website. Ensure that you choose a date well in advance of your intended travel dates, as appointment slots can fill up quickly.

4. Attend the Visa Appointment

On the day of your appointment, arrive at the VAC or embassy with all your documents. Be punctual and prepared for a brief interview where you may be asked about your travel plans and the purpose of your visit. Submit your biometric data (fingerprints and photograph) as required.

5. Pay the Visa Fee

Pay the applicable visa fee. The fee varies depending on the type of visa and is generally payable in cash or via a bank draft. Ensure that you keep the payment receipt as proof of payment.

6. Track Your Application

After submitting your application, you can track its status online using the reference number provided at the time of submission. Processing times can vary, but it typically takes around 15 calendar days for short-stay visas.

7. Collect Your Passport

Once your visa is approved, you will be notified to collect your passport. You can collect it in person or opt for courier delivery if the service is available.

Tips for a Successful Visa Application

1. Start Early

Begin your Finland visa application process well in advance of your travel dates to accommodate any delays or additional requirements.

2. Double-Check Your Documents

Ensure that all documents are complete, accurate, and up to date. Incomplete applications can lead to delays or rejections.

3. Be Honest

Provide truthful and consistent information in your application and during the interview. Any discrepancies can lead to rejection.

4. Prepare for the Interview

Be ready to answer questions about your travel plans, accommodation, financial situation, and return plans. Confidence and clarity are key.

5. Maintain Sufficient Funds

Ensure that your bank statements reflect adequate funds to cover your stay in Finland. This demonstrates financial stability and your ability to support yourself.

Common Reasons for Visa Rejection

Understanding the common reasons for visa rejection can help you avoid pitfalls:

Incomplete Documentation: Missing or incorrect documents can lead to rejection.

Insufficient Financial Proof: Inadequate funds to support your stay.

Unclear Travel Purpose: Ambiguity in your travel plans or purpose.

Criminal Record: A history of criminal activity can impact your application.

Previous Visa Violations: Violating visa conditions in the past.

Renewing or Extending Your Visa

If you need to extend your stay in Finland, you must apply for a visa extension well before your current visa expires. Extensions are granted under specific circumstances, such as medical emergencies or unavoidable delays.

Conclusion

Obtaining a Finland visa in India involves a meticulous process, but with proper preparation and attention to detail, it can be a smooth experience. Whether you are visiting for leisure, education, or business, following the steps outlined in this guide will help you navigate the application process effectively.

[im-traveller]

A Comprehensive Guide to Belarus Visa for Indian Citizens

Introduction: Belarus, with its rich cultural heritage, picturesque landscapes, and historical charm, has become an increasingly popular destination for Indian travelers. However, navigating the visa process can be daunting. In this guide, we'll delve into the intricacies of obtaining a Belarus visa for Indian citizens, providing a step-by-step overview and essential tips for a smooth application experience.

Understanding the Visa Types: Belarus offers various visa types to accommodate different travel purposes. For Indian citizens, the main visa types include tourist visas, business visas, and transit visas. Each type serves specific travel needs, whether it's leisure exploration, business engagements, or transit through Belarus en route to another destination.

Key Requirements for Indian Citizens: To apply for a Belarus visa, Indian citizens must fulfill certain requirements:

Valid Passport: Ensure your passport has a validity of at least six months beyond your intended stay in Belarus.

Completed Application Form: Fill out the visa application form accurately and truthfully.

Passport-sized Photos: Provide recent photographs meeting the specified size and quality standards.

Travel Itinerary: Include details of your trip, such as flight bookings, accommodation arrangements, and planned activities.

Financial Proof: Demonstrate sufficient funds to cover your expenses during your stay in Belarus.

Travel Insurance: Obtain travel insurance covering medical emergencies and repatriation.

Additional Documents: Depending on the visa type, additional documents like invitation letters or business-related documents may be required.

Application Process: The Belarus visa application process involves several steps:

Obtain the Application Form: Download the visa application form from the official embassy website or collect it from the embassy/consulate.

Complete the Form: Fill out the form accurately, providing all required information.

Gather Documents: Collect all necessary documents as per the visa type you're applying for.

Submit Application: Submit your completed application form and supporting documents to the Belarus embassy or consulate.

Attend Interview (if required): Some visa types may require an interview. Attend the interview as scheduled.

Await Processing: Allow for processing time as the embassy reviews your application.

Visa Collection: Once approved, collect your Belarus visa from the embassy or consulate.

Tips for a Successful Application:

Apply well in advance of your travel date to avoid last-minute hassles.

Double-check all documents for accuracy and completeness before submission.

Follow the embassy's guidelines and instructions closely.

Maintain open communication with the embassy for any updates or clarifications.

Be prepared for an interview if required, and provide honest and concise answers.

Conclusion: Securing a Belarus visa for Indian citizens opens doors to a world of exploration and cultural immersion. By understanding the visa types, meeting requirements, following the application process diligently, and seeking expert guidance when needed, Indian travelers can embark on a memorable journey to Belarus with confidence and ease.

[rahulchavan123]

Your Ultimate Guide to Obtaining a Germany Visa for Indians

Introduction

Are you an Indian citizen dreaming of exploring the rich cultural heritage, picturesque landscapes, and vibrant cities of Germany? Whether you're planning a leisurely holiday, pursuing higher education, or seeking employment opportunities, obtaining a visa is the first step towards realizing your German adventure. In this comprehensive guide, we'll walk you through the process of securing a Germany visa for Indians, covering everything from visa types and requirements to application procedures and tips for a successful application.

Understanding Germany Visa for Indians

Before diving into the specifics, let's clarify the basics of obtaining a Germany visa for Indian citizens. Germany offers various types of visas, each designed to cater to different purposes of travel, including tourism, business, study, work, and family reunion. As an Indian passport holder, you'll typically need to apply for a Schengen visa to visit Germany for short-term stays of up to 90 days within a 180-day period. However, if you plan to stay longer or engage in specific activities such as employment or study, you may need to apply for a national visa (also known as a long-stay visa).

Germany Visa Types for Indians

Schengen Visa: This visa allows Indian citizens to travel freely within the Schengen Area, which includes Germany and 25 other European countries. It is suitable for short-term visits, such as tourism, business meetings, or family visits, with a maximum duration of 90 days.

National Visa (Long-Stay Visa): If you intend to stay in Germany for longer than 90 days or engage in activities such as employment, study, or family reunion, you'll need to apply for a national visa. This visa is issued for specific purposes and requires additional documentation.

Germany Visa Requirements for Indians

While the exact requirements may vary depending on the type of visa and your specific circumstances, there are certain common documents and criteria that Indian applicants must typically fulfill when applying for a Germany visa. These may include:

Completed Visa Application Form: Fill out the visa application form accurately and truthfully, providing all required information.

Passport: Your passport must be valid for at least three months beyond your intended stay in Germany and contain at least two blank pages for visa stamps.

Passport-Sized Photos: Provide recent passport-sized photographs meeting the specified requirements, such as size, background color, and facial expression.

Travel Itinerary: Submit a detailed itinerary of your trip, including flight reservations, accommodation bookings, and planned activities in Germany.

Travel Health Insurance: Obtain travel health insurance covering medical expenses, emergency medical evacuation, and repatriation for the duration of your stay in Germany.

Proof of Financial Means: Demonstrate sufficient funds to cover your expenses during your stay in Germany, such as bank statements, sponsor letters, or proof of employment and income.

Purpose of Travel: Depending on the purpose of your visit, additional documents may be required, such as invitation letters, employment contracts, enrollment certificates from educational institutions, or marriage certificates for family reunion.

Germany Visa Application Process for Indians

Once you've gathered all the required documents, it's time to submit your visa application. Here's a step-by-step overview of the Germany visa application process for Indian citizens:

Schedule an Appointment: Visit the website of the German consulate or embassy in India to schedule an appointment for your visa application submission.

Complete the Application Form: Fill out the visa application form online or download it from the consulate's website and complete it manually.

Gather Required Documents: Collect all the necessary documents as per the checklist provided by the consulate, ensuring they meet the specified requirements.

Attend Visa Appointment: On the day of your appointment, arrive at the consulate or embassy on time and submit your visa application along with the supporting documents.

Biometric Data Submission: Provide your biometric data (fingerprints and photograph) at the consulate's visa application center, if required.

Pay Visa Fee: Pay the applicable visa fee at the time of submitting your application. The fee may vary depending on the type of visa and your age.

Wait for Processing: After submitting your visa application, wait for it to be processed. The processing time may vary depending on the consulate and the type of visa.

Collect Passport: Once your visa application is processed, collect your passport from the consulate or visa application center. If your visa is approved, it will be affixed to your passport.

Tips for a Successful Germany Visa Application

Plan Ahead: Start the visa application process well in advance of your planned travel dates to allow ample time for processing and unforeseen delays.

Provide Accurate Information: Double-check all the information provided in your visa application and supporting documents to ensure accuracy and avoid any discrepancies.

Follow Instructions Carefully: Read the visa application instructions and requirements carefully, and follow them meticulously to avoid unnecessary delays or rejection.

Submit Complete Documentation: Ensure that you submit all the required documents as per the checklist provided by the consulate, and organize them neatly for easy review.

Be Honest and Transparent: Provide truthful and transparent information in your visa application, as any misrepresentation or false information could lead to visa refusal or even a ban on future applications.

Seek Professional Assistance: If you're unsure about any aspect of the visa application process or requirements, consider seeking assistance from a reputable visa consultant or immigration lawyer.

Conclusion

Obtaining a Germany visa for Indian citizens may seem like a daunting task, but with proper preparation and understanding of the process, it can be a smooth and straightforward experience. By familiarizing yourself with the visa types, requirements, and application process outlined in this guide, you'll be well-equipped to navigate the visa application process with confidence. So start planning your German adventure today, and soon you'll be immersing yourself in the rich culture, history, and hospitality that Germany has to offer!

[betterviewtourism]

Applying for a Schengen Visa in UAE (Dubai & Abu Dhabi) - Betterview Tourism LLC

Introduction

If you're planning to travel to Europe and explore its diverse cultures, stunning landscapes, and historical marvels, applying for a Schengen Visa is an essential step. This article will guide you through the process of obtaining a Schengen Visa in the United Arab Emirates (UAE), with a particular focus on the cities of Dubai and Abu Dhabi.

Understanding the Schengen Visa

The Schengen Visa is a unique visa that allows travellers to visit 26 European countries with the freedom of movement across borders. These countries are part of the Schengen Area, which is a group of nations that have agreed to abolish passports and other types of border control at their mutual borders. Whether you're planning a leisure trip, a business visit, or a cultural exploration, the Schengen Visa covers it all.

Selecting the Right Embassy

To apply for a Schengen Visa in UAE, you must determine the embassy or consulate of the country you intend to visit as your main destination. If you plan to visit multiple Schengen countries, you should apply at the embassy of the country where you will spend the most time. In case you will spend equal time in multiple countries, apply at the embassy of the first country you plan to visit.

Necessary Documents

To ensure a smooth application process, gather all the necessary documents before your appointment at the embassy. These documents typically include:

Visa Application Form: Fill out the Schengen Visa application form completely and accurately. Ensure you sign it at the end.

Passport: Make sure your passport is valid for at least three months beyond your intended stay in the Schengen Area, and it has two blank pages for visa stamps.

Passport-Sized Photos: Provide recent passport-sized photos that meet the specific requirements of the embassy.

Travel Itinerary: Submit a detailed itinerary of your trip, including flight reservations and accommodation details.

Proof of Accommodation: Provide confirmed hotel reservations or an invitation letter from your host if you're staying with family or friends.

Travel Insurance: Obtain travel insurance covering a minimum of 30,000 euros for medical emergencies and repatriation for the entire duration of your stay.

Financial Documents: Show proof of sufficient funds to cover your expenses during the trip, such as bank statements, pay slips, or sponsorship letters.

Employment Proof: If you're employed, include a no-objection certificate from your employer, stating your leave period and position.

Business Documents: For business visits, provide a letter from your company explaining the purpose and duration of your trip.

Additional Documents: Depending on your purpose of visit, you may need specific documents such as student certificates, marriage certificates, etc.

Booking an Appointment

Before submitting your application, most embassies require you to schedule an appointment. Visit the official website of the relevant embassy to book your appointment online. It is advisable to book the appointment well in advance as appointment slots may fill up quickly, especially during peak travel seasons.

Attend the Interview

During your appointment, attend the interview at the embassy or consulate. Be prepared to answer questions about your travel plans, financial situation, and the purpose of your visit. Stay confident and provide honest and concise answers.

Visa Processing Time

The visa processing time varies depending on the embassy and the time of year. Typically, it takes around 15 days to process a Schengen Visa. However, during busy periods, it may take up to 30 days. Plan your application accordingly and avoid last-minute bookings.

Conclusion

Obtaining a Schengen Visa is your gateway to exploring the rich heritage, breathtaking landscapes, and vibrant cultures of Europe. By following the proper procedures and ensuring all required documents are in order, you can increase your chances of a successful application. Whether you plan to visit picturesque cities, indulge in culinary delights, or immerse yourself in history, the Schengen Visa opens doors to unforgettable experiences across Europe. Apply today and embark on your European adventure!

[capturedcollectives]

A Critical Tale of Charms, Spells, and its Benevolent Thieves - Stolen Ethiopian Healing Scrolls in the UK

By: Feaven Abera

What do you think a spell scroll might look like? We would imagine some obscure ancient characters and maybe a pointy hat. Old spell books and their myths supply the most vivid of imaginations and sometimes teach the most significant lessons.

Today’s Object of the Week is a handmade spell scroll from what is now present-day Ethiopia. Made of parchment containing incantations and charms written in Ge’ez — the ancient language known only by priests and monks — it is a cultural hybrid of Islamic and Christian traditions and is usually hung above a person's bed. Illustrations of angels holding swords are for protection from diseases and evil spirits, and notice how one of them is marked with the Star of David.

Images of the healing scrolls at the V&A South Kensington (courtesy of their online collections database)

This scroll was brought to England after the siege of Maqdala in 1868 when the British Army led an expedition into the Abyssinian Empire. In 1861 after a miscommunication between Emperor Tewedros and Queen Victoria. Tewedros held British patrons hostage as a result of feeling rejected by Europe. After a battle that left significant Abyssinian soldiers dead, Tewedros released the prisoners, whom the British realized were treated kindly. The Emperor also sent a peace offering, but with the British Army learning that they had spent 9 million pounds on a “hostage rescue,” General Napier decided to reject the offering and storm Maqdala to take the Emperor. The latter committed suicide before he could be taken, and Napier and his soldiers looted cultural materials — like this scroll — and brought them back to Britain.

V&A Blog Post of the artifacts from Maqdala

This scroll resides in the National Library at the V&A Museum South Kensington and is accessible to anyone. However, In November 2021, after years of negotiation, Ethiopia saw the most significant return of artifacts from the Battle of Maqdala, which didn’t include this scroll but another 13 artifacts that are now displayed in Ethiopian Museums.

 

Article on the 2021 repatriation of 13 Maqdala Artifacts to Ethiopia

But this doesn’t go without worry. With a current conflict happening since 2020 between the Ethiopian government and the Tigray Peoples, concern about the safety of the objects has been a popular topic of discussion. Yet when we look at the already violent and colonial nature of how these artifacts were procured in the first place, is it valid to deny the return of these objects regardless? 

Twitter thread of peoples thoughts on the Maqdala exhibit

Like any other place in the west, the UK is home to many migrants. Immigrants from Ethiopia have expressed the importance of being able to see themselves in this museum through these objects. Therefore, how do we solve this repatriation puzzle while still giving representation in a culturally diverse country? 

There have been broad topics about the idea of “loaning” objects. Where institutions of a source country will give their artifacts on “loan” to other museums abroad, this idea can prove a great solution in recognizing the sovereignty of cultural heritage from host countries and allowing people from around the world — migrants or not — to share in the knowledge of other cultural institutions. Communities can express these interests through petitions or even letters to their institutions and government leaders because this is not only the museum's responsibility, but we should also consider how our collective heritage is being negotiated through public policy.

So perhaps the next time you see this scroll — or any cultural artifact — try and think about where and how it might have been brought in front of you. And perhaps what you may be able to do about it.

Further Reading:

Reid, Panthea. “Virginia Woolf, Leslie Stephen, Julia Margaret Cameron, and the Prince of Abyssinia: An Inquiry into Certain Colonialist Representations.” Biography 22, no. 3 (1999): iv–355. http://www.jstor.org/stable/23540033.

Rodgers, Nini. “The Abyssinian Expedition of 1867-1868: Disraeli’s Imperialism or James Murray’s War?” The Historical Journal 27, no. 1 (1984): 129–49. http://www.jstor.org/stable/2639345.

Windmuller-Luna, Kristen. “Ethiopian Healing Scrolls.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/heal/hd_heal.htm (April 2015)

[ucflibrary]

This November take the time to introduce yourself to breadth and depth of indigenous cultures that have existed on the American continents for thousands of years. 

November in the United States is Native American Heritage Month, also referred to as American Indian and Alaska Native Heritage Month. It celebrates the rich history and diversity of America’s indigenous peoples and educates the public about historical and current challenges they face. Native American Heritage Month was first declared by presidential proclamation in 1990 which urged the United States to learn more about their first nations.

Click on the link below to see the full list, descriptions, and catalog links for the featured Native American Heritage titles suggested by UCF Library employees. These books plus many more are also on display in the 4th floor Reading Room of the John C. Hitt Library.

  #NotYourPrincess: voices of Native American women edited by Lisa Charleyboy and Mary Beth Leatherdale Whether looking back to a troubled past or welcoming a hopeful future, the powerful voices of Indigenous women across North America resound in this eclectic collection of poems, essays, interviews, and art that combine to express the experience of being a Native woman. Stories of abuse, humiliation, and stereotyping are countered by the voices of passionate women making themselves heard and demanding change. Sometimes angry, often reflective, but always strong, the women in this book will give teen readers insight into the lives of women who, for so long, have been virtually invisible. Suggested by Megan Haught, Research & Information Services/Student Learning & Engagement

 1491: new revelations of the Americas before Columbus by Charles Mann Contrary to what so many Americans learn in school, the pre-Columbian Indians were not sparsely settled in a pristine wilderness; rather, there were huge numbers of Indians who actively molded and influenced the land around them. The astonishing Aztec capital of Tenochtitlan had running water and immaculately clean streets, and was larger than any contemporary European city. Mexican cultures created corn in a specialized breeding process that it has been called man’s first feat of genetic engineering. Indeed, Indians were not living lightly on the land but were landscaping and manipulating their world in ways that we are only now beginning to understand. Suggested by Sandy Avila, Research & Information Services

 Conflict Resolution for Holy Beings: poems by Joy Harjo In these poems, the joys and struggles of the everyday are played against the grinding politics of being human. Beginning in a hotel room in the dark of a distant city, we travel through history and follow the memory of the Trail of Tears from the bend in the Tallapoosa River to a place near the Arkansas River. Stomp dance songs, blues, and jazz ballads echo throughout. Lost ancestors are recalled. Resilient songs are born, even as they grieve the loss of their country. Suggested by Emily Horne, Rosen Library

 Indian Work: language and livelihood in Native American history by Daniel H. Usner, Jr. Representations of Indian economic life have played an integral role in discourses about poverty, social policy, and cultural difference but have received surprisingly little attention. Daniel Usner dismantles ideological characterizations of Indian livelihood to reveal the intricacy of economic adaptations in American Indian history. Suggested by Megan Haught, Research & Information Services/Student Learning & Engagement

 Ledfeather by Stephen Graham Jones Jones’s beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life. Suggested by Sara Duff, Acquisitions & Collections

 Ojibwa Warrior: Dennis Banks and the rise of the American Indian Movement by Dennis Banks with Richard Erdoes Dennis Banks, an American Indian of the Ojibwa Tribe and a founder of the American Indian Movement (AIM), is one of the most influential Indian leaders of our time. In this work, written with acclaimed writer and photographer Richard Erdoes, Banks tells his own story for the first time. The authors present an insider’s understanding of AIM protest events—the Trail of Broken Treaties march to Washington, D.C.; the resulting takeover of the BIA building; the riot at Custer, South Dakota; and the 1973 standoff at Wounded Knee. Enhancing the narrative are dramatic photographs, most taken by Richard Erdoes, depicting key people and events. Suggested by Megan Haught, Research & Information Services/Student Learning & Engagement

 Past, Present, and Future: challenges of the National Museum of the American Indian by National Museum of the American Indian Seven leading thinkers on the presentation of Native American history and contemporary cultures discuss how the essential ideas behind the creation of the National Museum of the American Indian initially were implemented and potentially could evolve. In addition to honoring the leadership and contributions of the museum’s founding director, W. Richard West, Jr., the authors explore such topics as repatriation, the representation of Native voices in exhibitions and programs, and the museum’s ongoing effort to develop its intellectual authority. Suggested by Megan Haught, Research & Information Services/Student Learning & Engagement

 Sabrina & Corina by Kali Fajardo-Anstine Kali Fajardo-Anstine’s magnetic story collection breathes life into her Latina characters of indigenous ancestry and the land they inhabit in the American West. Against the remarkable backdrop of Denver, Colorado—a place that is as fierce as it is exquisite—these women navigate the land the way they navigate their lives: with caution, grace, and quiet force. Suggested by Sara Duff, Acquisitions & Collections

 The Beadworkers: stories by Beth Piatote Beth Piatote's luminous debut collection opens with a feast, grounding its stories in the landscapes and lifeworlds of the Native Northwest, exploring the inventive and unforgettable pattern of Native American life in the contemporary world. Told with humor, subtlety, and spareness, the mixed-genre works of Piatote’s first collection find unifying themes in the strength of kinship, the pulse of longing, and the language of return. Suggested by Sara Duff, Acquisitions & Collections

 The Marrow Thieves by Cherie Dimaline

Humanity has nearly destroyed its world through global warming, but now an even greater evil lurks. The indigenous people of North America are being hunted and harvested for their bone marrow, which carries the key to recovering something the rest of the population has lost: the ability to dream. In this dark world, Frenchie and his companions struggle to survive as they make their way up north to the old lands. For now, survival means staying hidden … but what they don’t know is that one of them holds the secret to defeating the marrow thieves.

Suggested by Christina Wray, Student Learning & Engagement

 The Night Watchman by Louise Erdrich Based on the extraordinary life of National Book Award-winning author Louise Erdrich’s grandfather who worked as a night watchman and carried the fight against Native dispossession from rural North Dakota all the way to Washington, D.C., this powerful novel explores themes of love and death with lightness and gravity and unfolds with the elegant prose, sly humor, and depth of feeling of a master craftsman. Suggested by Sara Duff, Acquisitions & Collections

 There, There by Tommy Orange As we learn the reasons that each person is attending the Big Oakland Powwow—some generous, some fearful, some joyful, some violent—momentum builds toward a shocking yet inevitable conclusion that changes everything. There will be glorious communion, and a spectacle of sacred tradition and pageantry. And there will be sacrifice, and heroism, and loss. Suggested by Sandy Avila, Research & Information Services

[anythingisabookmark]

Deep Time Dreaming: Uncovering Ancient Australia - Billy Griffiths

This would be a fantastic book for people with an interest in archaeology. For non-archaeology enthusiasts it’s still worthwhile. While I don’t care for long passages about Pleistocene this and that and university appointments, it was a gentle entry into the nuanced and infant world of Australian archaeology.

At times the passages felt like a roll call of academics. But then I realised this is what academic articles are - basically a very long list of scholars (by Last Name, First Initial, Year), a statement of their findings, and a sentence or two to build on or renege their findings. The way Griffiths has written this book makes otherwise tedious journal article discussions come to life and actually of interest to normal people.

Three interludes break up the book with commentary on important events occuring in the Australian Archaeology community at the time. These set the scenes for the findings in the following chapters.

I was surprised at the range of topics covered. There was Mungo Man, the Tasmanian Aboriginal existence, Truganinni,, rock art, tools, migration, and my new related binge - the Franklin River Dam activism movement. I’ve seen a few “NO DAMS” yellow triangle bumper stickers still kicking around and never actually got to the bottom of it. Turns out the story is brilliant. It’s the beginning of fervent conservationist Bob Brown’s career in politics, how Hawke won the 1981 election, the power of donkey votes, and grassroots activism and blockades. I’ll post some related binges separately.

The conservation movement was loosely tied to archaeology; there were findings in the Kutikina caves (in Southwest Tasmania) that tied the Tasmanian Aboriginal presence to the Pleistocene (ice age). Tasmanian Aboriginal activist Rosalind Langford critiques the convenient ‘discoveries’ in the caves that were tied to conservation efforts. How can White people own conservation for a land that isn’t theirs?

Langford made an amazing entry to the Australian Archaeology Association Journal in 1983. It is a ripper and must be read in full. It brings up pertinent points on Australian archaeology. Does history belong to all of mankind, or the group whose history it is? Why are we reliant on (often problematic) archaeology to assist with land rights claims when the land is ours to begin with? Is it fair that the value of the scientific research relies on the values and sacred spaces of a culture, to increase in significance for the reasearching culture?

“The Issue is control. You seek to say that as scientists you have a right to obtain and study information of our culture. You seek to say that because you are Australians you have a right to study and explore our heritage because it is a heritage to be shared by all Australians, white and black. From our point of view we say you have come as invaders, you have tried to destroy our culture, you have built our fortunes upon the lands and bodies of our people and now, having said sorry, want a share in picking out the bones of what you regard as a dead past. We say that it is our past, our culture and heritage, and forms part of our present life. As such it is ours to control and it is ours to share on our terms. That is the Central Issue in this debate.”

Read Our Heritage, Your Playground

Ultimately the book discusses the fraction of knowledge we have about ancient Aboriginal culture and artefacts, and how recently (basically like yesterday in the scheme of things) we began to be interested in them. With so many mistakes made in the early years of Australian archaeology, it’s been a journey to reach a collaboration with the Traditional Custodians of the land of research. There are so many nuanced issues of permission, sacred-secret artefacts, Aboriginal diasporas, colonisation, land rights, and conservation that all intersect with archaeological interests.

From Langford’s journal piece:

“...we will fight to prevent our heritage being treated as an historic commodity. We are the custodians. You can either be our guests or our enemies. That decision can only rest with you.”

Lateral reading and viewing

Our Heritage, Your Playground is the journal article by the Tasmanian Aboriginal woman Rosalind Langford.

The Last Tasmanian is mentioned as a problematic depiction of Aboriginal History in Tasmania. There is are thousands of ethnically Tasmanian Aboriginals that moved to nearby Flinders Island after colonialism that are neglected from this story. It's a product of its time and worth viewing to understand the attitudes and mistakes made by white people telling black stories.

The Mungo Man is on NITV and SBS OnDemand until the end of June. The repatriation of excavated bones to Traditional Custodians to rebury is finally happening.

The Franklin River Dam Movement - Bob Brown himself reflecting on the importance of the Franklin River Dam campaign after nearly 30 years.

Paperback, 384 pages

Published February 26th 2018 by Black Inc. URL https://www.blackincbooks.com.au/books/deep-time-dreaming Literary Awards Adelaide Festival Award Nominee for Non-Fiction (2020)

Billy Griffiths is the author of The China Breakthrough and co-editor with Mike Smith of The Australian Archaeologist’s Book of Quotations. He is a research fellow at the Alfred Deakin Institute for Citizenship and Globalisation.

[theancientgeekoroman]

Hi there! I'm a fellow museum studies student and classicist currently completing my undergrad. The issues of repatriation, museum ethics, and the Parthenon Marbles are of particular interest to me. I was wondering what advice you would give to someone in my position about graduate studies and entering the field? Thanks so much!!

Hello, friend! 

So, for the issues of repatriation and museum ethics, I would start from the level of where you currently live and work your way up from there, because the laws might differ at each level. Contact local museums where you live and ask them if they have a Code of Ethics and if they allow people to view it (usually places would have it online for people to view/download as a PDF if they have one). 

So, start with your town/city and check their laws about art and antiquities, then move to your state or province (or equivalent), then your country, and then move on to international law. It’s good to familiarize yourself with laws of places where you might be dealing with in the future depending on your expertise (e.g., Classicists should think about Greek and Italian laws, as well as lesser expected countries, such as Bulgaria, if your ancient artifacts come from or have come from these countries, etc.) So, I’ll give you some good starters for some of those things below:

For ethics, here are good places to start, with the American Alliance of Museums ethics page: https://www.aam-us.org/programs/ethics-standards-and-professional-practices/ethics/ and the International Council of Museums ethics page: https://icom.museum/en/activities/standards-guidelines/code-of-ethics/. Many museums follow both of these so it would be a good primer for you to familiarize yourself with these here. 

For repatriation (if you’re from North America) of Native American and First Nations art, artifacts, and remains, I would suggest these sources to read and familiarize yourself with:

The Changing Presentation of the American Indian: Museums and Native Cultures: https://www.amazon.com/Changing-Presentation-American-Indian-Cultures/dp/0295984597/

Decolonizing Museums: Representing Native America in National and Tribal Museums (First Peoples, New Directions in Indigenous Studies): https://www.amazon.com/Decolonizing-Museums-Representing-Directions-Indigenous/dp/0807837156/

Plundered Skulls and Stolen Spirits: Inside the Fight to Reclaim Native America’s Culture: https://www.amazon.com/Plundered-Skulls-Stolen-Spirits-Americas/dp/022629899X/

Repatriation Reader: Who Owns American Indian Remains?: https://www.amazon.com/Repatriation-Reader-American-Indian-Remains/dp/0803282648/

Spirited Encounters: American Indians Protest Museum Policies and Practices: https://www.amazon.com/Spirited-Encounters-American-Policies-Practices/dp/0759110891

Indian Arts and Crafts Act of 1990: https://www.doi.gov/iacb/act

Native American Graves Protection and Repatriation Act site: https://www.nps.gov/nagpra/

And blog sites like this might help, too: Repatriation of Aboriginal Remains and Artifacts in Canada: https://culturalpropertylaw.wordpress.com/2010/09/13/repatriation-of-aboriginal-remains-and-artifacts-in-canada/

Books about Museums and Maori People:

Exhibiting Maori: A History of Colonial Cultures of Display: https://www.amazon.com/Exhibiting-Maori-History-Colonial-Cultures-dp-1845204751/dp/1845204751/

Museums and Maori: Heritage Professionals, Indigenous Collections, Current Practice: https://www.amazon.com/Museums-Maori-Professionals-Indigenous-Collections-ebook/dp/B01H5L2AFE/

General Links about International Law on Repatriation (more can be found by search):

http://www.artlaw.online/en/read-it/articles/repatriation-of-cultural-property-to-its-state-of-origin-as-international-customary-law

https://icom.museum/en/news/international-repatriation-of-human-remains-of-indigenous-peoples/

https://www.nps.gov/nagpra/special/international.htm

https://www.nytimes.com/roomfordebate/2015/01/21/when-should-antiquities-be-repatriated-to-their-country-of-origin/when-repatriation-is-clear-cut

For formal training about things like art law and repatriation in museums, here are some places for you to check out (including one MOOC):

FutureLearn MOOC: Antiquities Trafficking and Art Crime (University of Glasgow): https://www.futurelearn.com/courses/art-crime

You can take this for free but if you want the certificate, it costs money, but I think the course itself, content-wise, is worth the three weeks they give you

Institute of Art Law (UK): https://ial.uk.com/courses/

They have courses both for people with legal training as well as for people who are in fields relevant to art law but without legal training

They offer both distance and in-person training

LLM Art Law at the University of York: https://www.york.ac.uk/study/postgraduate-taught/courses/llm-art-law/

Master of Science in Art History: Collecting and Provenance in an International Context at the University of Glasgow: https://www.gla.ac.uk/postgraduate/taught/artcollectingprovenance/

This program is the only one I know of that focuses on artifact provenance by allowing you to focus on both law and art history at a graduate level

Postgraduate Certificate in Antiquities Trafficking and Art Crime at the University of Glasgow: https://online.gla.ac.uk/programme/university-of-glasgow-antiquities-trafficking-art-crime-1544700394205

Three required courses, all taken online, so you don’t have to be in Scotland for them

Two of the three required courses are optional courses for the MSc mentioned above

Additionally, there are some law schools in the United States that offer either a combination JD/MA in Art History or a certificate in Art and Museum Law or Heritage Studies (or related), found below:

Boston University: JD/MA in Preservation Studies: https://www.bu.edu/academics/law/programs/jdma-preservation/

Case Western Reserve University: The Dual JD/MA Degree Program in Law, Art History and Museum Studies: https://law.case.edu/Academics/Degrees/Dual-Degrees/JD-MA-Art-History-and-Museum-Studies

I looked at their available Art History/Museum courses and they have a good selection that would be relevant for Classicists!

DePaul University: JD with Certificate in Arts and Museum Law: https://law.depaul.edu/academics/jd-programs/certificates/Pages/arts-and-museum-law.aspx

University of Georgia: JD/Master of Historic Preservation: https://ced.uga.edu/degrees/mhp/mhp-other-degree-options/jd-mhp/

And for a general reference for museum law, I recommend this book, which can be difficult to get through, but is a must-have for museum professionals, imo: A Legal Primer on Managing Museum Collections: https://www.amazon.com/Legal-Primer-Managing-Museum-Collections/dp/1588343227

A few other books that might be relevant to your interests are here:

International Law, Museums and the Return of Cultural Objects: https://www.amazon.com/International-Museums-Return-Cultural-Objects/dp/0521732409/

Trafficking Culture: New Directions in Researching the Global Market in Illicit Antiquities: https://www.amazon.com/Trafficking-Culture-Transnational-Criminal-Cultural-dp-1138692492/dp/1138692492/

One of the authors (Donna Yates) of this book is the professor for the University of Glasgow Antiquities Trafficking and Art Crime PgCert mentioned above, so this book would be a good investment

The Center for Art Law blog site also has a good list of other possible places for course/training (some of which I have already mentioned): https://itsartlaw.com/art-law-resources/art-law-courses-and-programs-worldwide/

OKAY! So, now that I have possibly overwhelmed you with all the options (apologies if I didn’t give enough resources for your country, I wasn’t sure where you were, and I’m most familiar with academics in the U.S./U.K.). For consideration of what you might want to do in graduate school, you should consider what you’d like to focus on - for example, if you think law school is what you’re aiming for, you can figure out which program is best for you. If you want to go to graduate school for your specialty (like Classics or Museum Studies), see if you’d be able to take a couple courses about art law from the Law School and have it count towards your degree or see if your program has a course focused on law (my MA in Museum Studies had a law course because one of our professors had an LLM and she was a Native American History Ph.D. student, so it was full of good information about things like repatriation). If you can manage to go abroad for the degree, see what your options might be. A lot of artifact provenance is learned on the job, so the only place you’d get an official degree focused on it (unless my followers know of anywhere else) is at the University of Glasgow. I don’t know of any other program, certificate or otherwise, that gives you the training for artifact provenance. Check out Ph.D. programs, too, some universities (at least in the US) have JD/Ph.D. and Ph.D./MBA options, so if you were thinking of being a Curator with a trajectory to become a Director, I would suggest one of those programs. 

A few more artifact provenance (and related) links that may be of use/interest to you, too:

Chasing Aphrodite: https://chasingaphrodite.com/

The EU Provenance Project: http://www.gridprovenance.org/

International Foundation for Art Research: https://www.ifar.org/provenance.php

I hope this helps, and let me know if you have any further questions or want me to expand/elaborate on anything! 

[man-creates-dinosaurs]

People seemed to like my last pair of book reviews back in January so I thought I’d follow it up with one for February. As mentioned in the last review I planned to re-read W.J.T. Mitchell’s The Last Dinosaur book which I did. I also read another strange-but true book similar in some ways to the one I’m going to be reviewing here; but having nothing to do with dinosaurs. I think I’m going to save that one for another time however and instead focus on this one book instead…    

Paige Williams’ THE DINOSAUR ARTIST: OBSESSION, BETRAYAL AND THE QUEST FOR EARTH’S ULTIMATE TROPHY (Hachette Books, 2018) is about the world of illegal fossil trafficking. The book primarily revolves around the trial of Florida-based commercial fossil hunter, prepper and dealer Eric Prokopi who in 2014 was tried and plead guilty to smuggling a nearly complete skeleton of Tarbosaurus bataar (T. rex’s East Asian cousin) out of Mongolia and attempting to sale it for over $1-Million at Heritage Auctions in NYC. Perhaps the most remarkable thing about Prokopi’s story – and the world of black-market fossils as outlined in Williams’ book – is just how un-dramatic it is. Though Mongolian law forbids the exportation and sale of fossils found within the country those same laws are so poorly enforced that anyone with the time and inclination can simply drive out to the Gobi desert and start picking up dinosaur fossils; which are usually weathering right out of the ground. Not sure where the fossils are? Get a Mongolian paleontologist to tell you. They’re so poorly paid that many engage in illegal fossil trafficking on the side. Getting the fossils out of the country is not particularly hard either as bribery is so ubiquitous in Mongolia as to practically be part of the culture. Once the fossils are back in the US – or the UK or Japan or wherever – it’s simply a matter of finding a buyer which can mean anything from the kind of high profile auction where Prokopi attempted to sale his Tarbosaurus skeleton to regional trade shows (the biggest being in Tucson) to simply listing the fossils on eBay. And there are plenty of buyers. The Heritage Tarbosaurus wasn’t Prokopi’s first. He had previously sold two Tarbosaurus skulls to actors Nicholas Cage and Leonardo DiCaprio respectively.

Professional paleontologists often regard people like Prokopi as pariahs looking to get rich off natural history.[1] The fact that the fossils they excavate and sale can just as often end up in a celebrities’ foyer instead of a museum just makes matters worse. However one of the things which Williams’ The Dinosaur Artist does best is place Prokopi’s story in a larger social and historical context where separating academic paleontology from commercial paleontology isn’t easy. In fact it’s impossible. This is perhaps best exemplified in the book via Mongolian born and American educated paleontologist Bolortsetseg Minjin who for years has been advocating for the repatriation of all Mongolian dinosaurs currently residing in the US. It was Minjin who blew the whistle on Prokopi’s Heritage Tarbosaurus auction; a whistle which was heard due to Minjin’s connections inside the Mongolian government which is itself closely tied to the US Republican party.[2] And while Minjin publicly denounces commercial fossil dealers like Prokopi her Mongolian paleontology outreach programs are underwritten by men like Silicon Valley’s Nathan Myhrvold and NYC investor Gerry Ohrstrom both of whom – like Cage and DiCaprio – like to use dinosaur skeletons as home décor and conversation starters.    

Williams’ book also treats readers to a crash course on such important and controversial figures in the history of paleontology as Mary Anning – the early 19th-Century English commercial fossil hunter and dealer who discovered the first complete skeletons of ichthyosaurs and plesiosaur – as well as Roy Chapman Andrews; the American Museum of Natural History fossil hunter and future museum president who in the early 20th-Century discovered the first dinosaur eggs in Mongolia (one of which Andrews sold to finance future excavations) as well as the first protoceratops and velociraptor fossils – fossils which despite only being “loaned” to the AMNH by the Mongolian government have never been returned despite requests as recent as 2015.[3] Also covered is the infamous trial over “Sue;” a Tyrannosaurus rex skeleton uncovered by the commercial Black Hills Institute in the early 1990s and which was subsequently seized by the FBI on the grounds that it had been removed from land belonging to the Sioux tribe; which in turn means land owned by the US government. Sue was eventually auctioned off at Sotheby’s in NYC where it was purchased for a staggering $8,362,500 via a war-chest put up by Walt Disney Studios and McDonald’s who then gifted it to the Chicago Field Museum.[4] All of which in turn raises questions about who really owns – and can own – dinosaur fossils and thereby earth’s history.

While I highly recommend The Dinosaur Artist I also have one major criticism; namely that the book is utterly devoid of any photos. None of Eric Prokopi [click here], Bolortsetseg Minjin [click here] or any of the book’s other main characters and none of Prokopi’s smuggled Tarbosaurus either [click here]. Pictures of these folks (and dinosaur skeletons) can easily be found via a simple Google search but it’s baffling why they are not in the book. If this was an academic press I could understand as in my experience they tend to be pretty cagey about photos (questions of copyright and such) but Hatchet is a major book publisher and this book is supposedly aimed at a mainstream audience. I say “supposedly” because despite the fact that it is written in the very readable style of a New Yorker piece – Williams is a journalist for The New Yorker by trade – it is in many ways formatted like an academic text. The book runs 278 pages with an additional 132 pages dedicated to a short bibliography, index, geological chart and copious endnotes. All-in-all however Williams’ The Dinosaur Artist constitutes an exhaustively researched and utterly fascinating look into the world of illegal fossil trafficking.     FOOTNOTES:

[1] The Prokopis were not rich and were living essentially paycheck-to-paycheck. The Heritage Tarbosaurus would have gone to paying off the massive amount of debt they had accrued in purchasing and renovating their first real home.

[2] There is a MASSIVE political angle to this story. One which I’m not sure Williams fully exploits. For example, at one point the notorious Far Right financiers, the Koch Brothers, get mentioned without Williams managing to in turn mention the Koch’s heavy involvement in US paleontology. See Asher Elbein’s 2014 Salon article “The Right’s Dinosaur Fetish” for the lowdown on that.

[3] According Williams the AMNH appears to have no intention of ever repatriating their Mongolian dinosaur fossils. Some of the paleontologists she interviewed even said they believe the fossils are better off in America than in Mongolia.  

[4] What Walt Disney got out of this was that they were able to showcase the preparation of Sue’s skeleton at their newly opened Animal Kingdom theme park in Florida. McDonald’s got to use Sue in an advertising campaign. They also got to put a McDonald’s in the Field Museum.  

[designfordisplay]

Marstine, J. (Ed) (2006). New museum theory and practice: An introduction. Malden, MA: Blackwell.

Notes:

Museums are so ubiquitous/omnipresent in our  ‘“cultural landscape that they frame our most basic assumptions about the past and about ourselves”.

A lot of people’s perceptions of history are based of what is displayed in museums. This can be dangerous as it can manipulate and focus people’s mindsets, not allowing for alternate and contradicting histories - Hiroshima vs Enola Gay.

Huge controversy over who the items may belong to - a lot of Maori taonga was confiscated and taken and is not connected to its whakapapa. These such items on display have tikanga surrounding how it should be handled etc.. te papa enforced the mana taonga principle to ensure cultural significance and history are taken into consideration when dealing with taonga. Tribal elders are also asked for advice. Other places do not have respect for the items in their possession or do not care that they are reunited with their whakapapa - what ever culture they may be from. Such as the elgin marbles of greece who are in in the possession of the British Museum where they refuse to return them - stating that they were “rescued” and that the british are keeping them still to guard against damage from the neglect, earthquakes and pollution they might face in greece. Timothy webb says that they have come to represent britain as the “inheritor of democracy from ancient athens” and in turn, justifying their “political” decisions such as “colonisation and domination of other peoples”. Greece is seeing this as a humans rights issue- sculptures were gained through illicit means (stolen) and they are being denied of their heritage.

We see museum objects as ‘unmediated anchors to the past’ - teachers often take students to museums making real of the things talked about in class.

But they’re not authentic a lot of the time, museums are about individuals making subjective choices - mission statements, architecture, exhibition display etc.. what is meant to be a neutral space is influenced by ‘subconscious’ opinions.

What does it mean for something to be ‘authentic’? “Claiming authenticity is a way for museums to deny the imperialist and patriarchal structures that have informed their institutions. They control the viewing process and suggest a tightly woven narrative of progress, an ‘authentic’ mirror of history.

Andreas Huyssen believes that museums are a mass medium, “a hybrid space somewhere between public fair and department store”. ‘They are a response to the quest for authenticity fueled by the cultural amnesia of our times; the information overload and fast pace of the digital revolution evoke a desire for stability and timelessness.

Museums are well trusted, american association of museums survey, 87% deem museums trustworthy vs 67% books and %50 tv news.

New museum theory (critical museum theory/new museology) - while workers ‘naturalise’ their policies and procedures as professional practice, the decisions made reflect underlying value systems that are encoded in institutional narratives. Its about decolonising and giving those represented control of their own cultural heritage (mana taonga principle) real cross-cultural exchange. 1960s artists began to demand a voice in determining how their works were displayed, interpreted and conserved. The civil rights movement challenged the museum to be more inclusive.

What is a museum? These categories are not mutually exclusive and overlap.

Shrine: longest standing and most traditional view of the museum is as a sacred place. Has therapeutic properties, place of sanctuary removed from the outside world.collections are fetishised, objects ‘possess’ an aura that offers spiritual enlightenment. Leads people to assign meanings to objects unrelated to their original function. Objects are prioritised over ideas. Collections are thought to be reborn in museums, where they are better guarded and more appreciated. The shrine idea is influence by church, palace and ancient temple architecture - processional pathways, staircases, dramatic lighting.. Create and performative experience. ‘All museums stage their collected and preserved relics… (museums) use theatrical effects to enhance a belief in the historicity of the objects they collect.’ - Prezoisi.

market-driven industry: museums often position themselves as being ‘pure’ and unsullied by commercialisation. Obviously people understand the items are valuable but this information is usually hush hush - would commoditise the objects. Heritage and tourism are collaborative tourism. Museums have borrowed from the theme park and cinema to create a spectacle that engages all the senses.

colonising space: often look to/reference a postcolonial (eurocentric perspective) history. Appropriate objects from non-western cultures to tell their own history. Naturalise the category of ‘primitive’. Indigenous individuals were rarely acknowledged - seen as following conventions while ‘original’ western artists were seen as groundbreaking and intellectuals. Destroys rather than preserves. UNESCO declared that repatriation is a basic human right. Mansuline gaze

Post-museum: no longer a museum. Will acknowledge the politics of representation, actively seeks to share power with the communities it serves and the source communities. Encourages diverse groups to respond in museum discourse. Curator takes responsibility for representation. Doesn’t shy away from difficult issues but exposes conflict and contradictions. Redress social inequalities. Promote social understanding. Responsibility always rests with the researcher

Greater accountability, sensitivity and openness

Michel foulcault - epistemes -

Renaissance:15/16/17th century humanist desire to understand the world through seeking universal knowledge.science over theology. Finding relationships between objects, microcosm of god. Curiosity cabinet - mediates between the microcosm of humankind and the macrocosm of god and the universe. Precursor of the museum to represent the world in miniature - was private though

Classical: mid 18th century world was too complex, chaotic and fragmented to be contained in the cabinets. Linnean taxonomy classifies the natural world by genus and species. Repositories, study collections that were privated were founded for scholarly research. The rare in the laws of nature was rejected and seen as uncharacteristic or were made to fit in. displays were linear and embrace an ideology of progress.

modern: late 18th century marks the end of elitist institution and beginning of democracy. Military practice became standard. Biology and philosophy arose. Disciplinary public museum  -accessible to all. Aimed to fashion modern citizens. Art was royal, aristocratic or ecclesiastical contexts and reclaimed national patrimony and democratise and secularise the viewer. Temporary exhibitions were formed to celebrate napoleon's birthday.

(can’t change) Many believe museums still conform to this modern model. They may create new spaces and exhibitions for consumptions but at heart, remain elitist institutions. The decision making process often refrains from scrutinising their own histories. Continue to attract (more art galleries) an educated upper and middle class audience, often times remaining irrelevant to marginalised groups. They aim to generate consensus rather than conveying differing perspectives. Curators are above education department. Quantitative vs qualitative.

Are museums able to change or are they becoming obsolete?

(can change) they can because deconstructing the traditional value systems in just the beginning. Can occupy a third space, beyond elitism and consumerism. Some curators are eager to share power by initiating open dialogue and forging new partnerships with groups previously disenfranchised. There are many organisations that are taking diverse approaches to the representation of race, ethnicity, class and gender. Time of the museum as a ‘great collector’ is past. Provenance is important to consider!! Finding culturally sensitive ways to treat non-western objects. Museum is more than a material collection - a lot are still stuck with this. FORUM.

Biggest change comes with the relationship between institution and audience - should be equal. Some are supporting educational research that theorised the museum experience. Acknowledging diverse learning, lectures, performances, videos, workshops etc…

Constitionaries

Visitors must be critical about the choices made by museums.