Stripping Museums of Their Greatest Treasures

Overview

Recent years have seen increasing public and scholarly interest in the fate of many contentious objects that were obtained at the height of the British Empire and which have long been on public display in the museums of the United Kingdom. This course provides an opportunity to look beyond the newspaper headlines and explore the arguments both for and against museums returning a number of iconic artworks and artefacts to the countries from which they originated. Learners will examine the on-going disputes surrounding the repatriation of treasures such as the Elgin/Parthenon Marbles, the Rosetta Stone, the Benin Bronzes, the Koh-i-Noor diamond, etc.
Along with analysis of the civilizations that originally created such iconic and sought-after objects will be scrutiny of the British colonial adventures that resulted in the removal of such treasures from their countries of origin and incorporation into museum collections in Britain. Also under investigation will be the unabashed nationalism that frequently underpins arguments made by politicians demanding the return of contested cultural heritage from the United Kingdom. Throughout the course, we will explore the various legal, ethical, intellectual and historical arguments that have been promoted when attempting to reach decisions regarding the fate of culturally, politically and financially significant artworks and artefacts.
The course will consist of ten two hour lectures. Within each lecture, time will be set aside for group work and more general discussions of the topics and themes under consideration.

Programme 

The course will consist of ten two hour lectures. Within each lecture, time will be set aside for group work and more general discussions of the topics and themes under consideration.

• 1, Introduction: Overview of the Course and the Themes to Be Addressed
  Basic breakdown of the course structure and overview of the main themes to be addressed, along with the nature of the assessments.
• 2, The Rosetta Stone
  The artefact as a trophy of the war obtained from Egypt at the beginning of the 19th century. The Stone as the key to deciphering hieroglyphics and the advent of the discipline of Egyptology. Egyptian demands for the return of the artefact. The opening of the $1 billion Grand Egyptian Museum at Giza set for July 2025redoubling efforts to repatriate the iconic Stone.
• 3, The Elgin/Parthenon Marbles: Part I
  The history, architecture and artwork of the Parthenon and the other monuments located on the Athenian Acropolis. Removal of the sculptures by Lord Elgin, and purchase of the Marbles by the British government and subsequent display in the British Museum. Greek governmental repatriation efforts, especially those of the actress and politician, Melina Mercouri. The opening of the New Acropolis Museum in 2009 functioning as a ‘home-in-waiting’ for the Marbles. The concept of the ‘Universal Museum’. The threat of the ‘slippery slope’ of repatriation demands.
• 4, The Elgin/Parthenon Marbles: Part II
  Problematic issues facing the repatriation of the Marbles. Hellenic nationalistic approaches, including the failure to acknowledge the mass murder and ethnic cleansing that delivered the Parthenon into the hands of the Modern Greeks. Recent press reports of on-going high-level talks intended to resolve the long-running dispute.
• 5, Heritage Legislation
  Laws and conventions passed by the United Nations and other international bodies designed to prevent the scourge of art theft and acquisition of illegally obtained antiquities. The unsavoury relationship linking the looting of archaeological sites with the illicit antiquities trade and museum acquisitions.
• 6, Imperialism and Antiquities: Part I The African Experience
  The ransacking of Magdala (Ethiopia) 1868; The Anglo-Zulu War of 1879 (South Africa and demands for the return of objects such as those on display in Brecon Military Museum; The seizure of the Benin Bronzes (Nigeria) 1897.
• 7, Imperialism and Antiquities: Part II The Asian Experience
  The Koh-i-Noor and the dispute over who should possess this famous diamond that changed hands among the royal families of South and Central Asia, before being taken to London to be included among the Crown Jewels on display in the Tower of London; Indian treasures on display in the Clive Museum at Powis Castle; China, and especially the looting of the Old Summer Palace by the British and the French in 1860.
• 8, Nationalism and Heritage
  How political and cultural leaders have used possession of iconic artworks and artefacts to appeal to popular support. The relationship of present civilizations to those of the past; claims of ancestral and cultural ties to ancient artworks and artefacts. Analysis of the British Museum’s loan of the Cyrus Cylinder to Iran in 2010–11. Scottish nationalism underpinning a return of the Stone of Destiny from London.
• 9, Displaying the Dead: The Return of Human Remains
  The repatriation of human remains and burial assemblages to indigenous cultures. Human rights lawyers forcing return of skeletons of indigenous Australians held in British museums. Evaluation of the appropriateness of Oxford’s Pitt-Rivers Museum to publically display the shrunken heads in their collection. International implications of the dispute in the USA concerning the remains of Kennewick Man.
• 10, Concluding Thoughts and Discussions
  Review of previous lectures and discussion of the principal themes and arguments covered throughout the course. Debate as to the mounting pressures facing the trustees of museums in the United Kingdom, along with the British government, and the

Learning Outcomes

1. Identify and explain the historical, cultural, financial and political significance of a number of the most iconic – and most controversial – artworks and artefacts contained in the collections of museums in the United Kingdom; objects that regularly feature in news reports on mass media.
2. Evaluate a wide range of divergent opinions taken by scholars and the general public when approaching contested history and heritage.
3. Demonstrate an ability to identify and assess a range of primary and secondary source material, including not only a wide variety of literary accounts, but also artworks, architecture and archaeological material.
4. Comfortably engage with many of the broader debates concerning the future of British museums and the fate of contested objects in their collections.
5. Appreciate and understand how many objects in museum collections can be appreciated and understood very differently depending on one’s cultural, political and historical perspectives.
6. Apply a range of concepts – notably those featuring imperialism, colonialism, nationalism and capitalism – to better understand the nature of international disputes concerning contested culture.

Assessments

1. Written Report - 30%
2. Essay - 70%

Reading Suggestions

Reading suggestions will be offered throughout the course. 

Entry Requirements

This course is for everyone. No previous experience is needed and there are no formal entry requirements.

What Do I Need?

• Internet access.
• Access to a laptop or computer with a web camera and microphone; the use of headphones might also be of benefit.
• Use of the Chrome web-browser where possible.