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Museum Education and Archaeological Ethics: an Approach to the Illicit Trade of Antiquities

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Museum Education and Archaeological Ethics: an Approach to the Illicit Trade of Antiquities Argyropoulos, V et al 2014 Museum Education and Archaeological Ethics: An Approach to the Illicit Trade of Antiquities. Journal of Conservation and Museum Studies, 12(1): 2, pp. 1-8, DOI: http://dx.doi.org/10.5334/ jcms.1021210 RESEARCH ARTICLE Museum Education and Archaeological Ethics: An Approach to the Illicit Trade of Antiquities Vasilike Argyropoulos*, Eleni Aloupi-Siotis†, Kyriaki Polikreti‡, Rea Apostolides§, Wafaa El Saddik‖, Raymund Gottschalk‖, Mona Abd el Nazeer¶, Marina Vryonidou-Yiangou**, Peter Ashdjian**, Maria-Christina Yannoulatou††, Stefan Simon‡‡, Wolfgang Davis§§, and Vasiliki Kassianidou‖‖ Many museum educational programs and exhibitions worldwide, designed to communicate to the public the importance of archaeology, adopt a treasure hunt approach often inspired by emblematic mass culture fig- ures, such as Indiana Jones or Lara Croft. Alternatively they organize exhibitions on the identification of fakes in the spirit of TV series such as X-files or CSI. These programs usually avoid dealing with a fundamental issue in archaeological practice, which pertains to the paramount importance of context and the scientific consequences of its destruction through, among others, the illicit trade of antiquities. The hesitation in promoting this sensitive topic may be due to the fact that many objects in major museum collections are often unprovenanced. Although the ICOM Code of Ethics for Museums (2006, section 4.5) advises against displaying material of questionable origin, most museums do host such antiquities. The paper explores how museums can begin to discuss the issue of context using the materials produced by the European Culture project Witness the Past (WTP): film documentaries or educational kits and related activities aimed at children on the topic of the importance of context and the destructive effects of the illicit trade of antiquities. The WTP project was implemented in three European museums as well as in Egypt and Jordan. Keywords: Museum education; illicit trade of antiquities; ethics; children; Witness the Past Museum Outreach and the Hollywood Narrative the youth (Christidou 2010; Montemayor 2013). In the Public engagement in science has used many educational case of archaeology, the same approach has led several approaches, such as well-established TV programs and museums worldwide to adopt recent cinematic figures computer games making use of recognizable symbols around which they organize their education and outreach (i.e., the caricature of the mad scientist based on Einstein), activities for the public (e.g. Krucoff 2003). This has led to resulting in the development of stereotypes, which influ- extensive discussions by the academic and museum edu- ence the image of a scientific researcher, especially among cation communities concerning the merits and dangers of the so called ‘Indiana Jones’ approach as a means to attract interest in archaeology (Strong 2007). It is interest- * Department of Conservation of Antiquities and Works of Art, Technological Educational Institute, Athens, Greece ing that the recent Hollywood narratives of archaeologists [email protected] as romantic and adventurous individuals remind us of ear- † THETIS Authentics LTD, Athens, Greece lier, pre World War II public conceptions, often promoted ‡ Hellenic Ministry of Culture, Greece by archaeologists themselves (McGeough 2006). Unfortu- § ANEMON PRODUCTIONS, Greece nately, most archaeology-inspired cinematic productions ‖ Children’s Alliance for Tradition and Social Engagement, Germany present a distorted view of the motives of the archaeolo- ¶ Egyptian Museum of Cairo, Egypt gist by placing him/her at the service of fictitious govern- ** Pierides-Laiki Bank Museum, Cyprus ment agencies (Raiders of the Lost Ark) or of super wealthy †† Department of Educational Programmes, The Benaki Museum, individuals with a mission to save the world (Lara Croft: Athens, Greece Tomb Raider). In either case, the archaeologist’s research ‡‡ Rathgen Research Laboratory, Germany objective is absent from the narrative. McGeough (2006: §§ Visitor’s Service, National Museums Berlin, Germany 175) gives special emphasis to the funding issue in these ‖‖ Archaeological Research Unit, Department of History and films noticing that ’in most cases, the archaeologist uses Archaeology, University of Cyprus, Cyprus funds given by private donors or institutions to fund the Art. 2, page 2 of 8 Argyropoulos et al: Museum Education and Archaeological Ethics excavation. After the artifacts have been retrieved, the implication of the police, etc. From time to time, they archaeologist either splits the loot with the private donors, downgrade specific objects simply by quietly removing or is paid cash settlement by the museum or government them from display. Lately however, more museums appear agency that retained his services’. to tackle this problem systematically and openly. The Our own understanding of the ongoing discussions Brooklyn Museum of Art for example, has recently admit- concerning the impact of these narratives on archaeologi- ted that a third of its Coptic sculptures are modern fakes cal practice and outreach is that archaeology is trying to and set up an exhibition on them (Bailey 2008). Another ‘have it both ways’: first as a scientific discipline involv- example is the publication of the authentication studies ing systematic and often tedious work, and at the same carried out on the crystal skulls of the British Museum and time as a discipline that can excite the imagination and the Smithsonian Institution, both revealed to be modern attract young people. This ambivalence is best illustrated manufactures (Sax et al. 2008). with reference to the American Institute’s of Archaeology Museums organizing exhibitions on archaeological (AIA) definition of archaeology as being (AIA Education or art fakes are multiplying every year (e.g. The Kelsey Department 2013: 2) ‘…unlike the image in cartoons and Museum of Archaeology 2013). In 2010, four museums movies of archaeologists as treasure hunters, excavation (V&A Museum, Royal Ontario Museum, The National requires extremely careful work…unfortunately, fascina- Gallery (London), and Detroit Institute of Arts) decided tion with the past does not always translate to careful to discuss publicly the problem of forgeries. The visitors scientific study…’ to be read in conjunction with the elec- had the chance to see a diverse collection of fake artifacts tion of actor Harrison Ford to the AIA Board as ’…Harri- and/or paintings and become informed on the history of son Ford has played a significant role in stimulating the their production and unmasking. In certain cases, there public’s interest in archaeological exploration,…we are all was also a detailed scientific approach to the unmasking delighted that he has agreed to join the AIA’s Governing of the fakes, including information on the application of Board...’ according to Brian Rose, President of the AIA (AIA advanced techniques on disputed artifacts. The intriguing Media 2008). stories of how forgers create convincing fakes, manage to It is clear that an organization such as the AIA is able fool museum experts, and sometimes sell these fakes for to resolve and accommodate this ambivalence through shocking amounts of money are considered a means by thoughtful planning. The fact remains however, that for which to attract large numbers of visitors, and they do. the public at large, Hollywood’s narrative on archaeology In many cases ‘detective’ games are organized for the visi- is more likely to prevail (Rakestraw and Reynolds 2001). So tors where they are asked to crack the mystery themselves far the discussion on the impact of the Hollywood narra- and spot the fake objects against the original ones (Royal tive has focused on the public perception of archaeology Ontario Museum 2010, Detroit Institute of Arts 2010). The in the countries where this narrative originates, mainly game has become so popular that there are also websites the United States and the United Kingdom. One should where someone can play an online game on the topic keep in mind, however, that the public in the so-called (Brooklyn Museum 2009). ‘source’ countries (the Mediterranean, Latin America or On the one hand, exhibitions of fakes appear to be a the Middle East) are equally exposed and influenced by very smart way to educate visitors by making them take this narrative. Furthermore, most source countries rely on a closer look at the artifacts, learn about modern authen- archaeological and cultural tourism to support their econ- tication techniques and enjoy their visit by playing detec- omies, and in this sense the visitors’ attitude to archaeo- tive-like games (Newsom and Silver 1978). In art muse- logical sites and practices is of direct concern. ums, some believe that such exhibitions may ‘oversimplify The Witness The Past project (WTP website) was conceived questions of quality’ and for this reason are more suitable as a means to communicate to the source countries’ pub- for University art museums than general art museums lic at large and to children in particular the importance of (Newsom and Silver 1978), or that they promote the idea context in archaeological practice, and to counteract the of creating fakes. On the other hand, games like ‘spot the fetishized view of archaeological artifacts often promoted differences between fakes and real artifacts’ may promote by the Hollywood narrative and by another recent trend; the collection of antiquities as well as the idea that
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