{"id":3586,"date":"2020-04-27T14:01:31","date_gmt":"2020-04-27T18:01:31","guid":{"rendered":"https:\/\/carleton.ca\/culturalmediations\/?p=3586"},"modified":"2020-04-27T14:04:15","modified_gmt":"2020-04-27T18:04:15","slug":"grad-research-the-repatriation-of-cultural-artifacts-to-the-global-south","status":"publish","type":"post","link":"https:\/\/carleton.ca\/culturalmediations\/2020\/grad-research-the-repatriation-of-cultural-artifacts-to-the-global-south\/","title":{"rendered":"Grad Research: The Repatriation of Cultural Artifacts to the Global South"},"content":{"rendered":"

\u2014The following story was written by Taia Goguen-Garner and published by the Faculty of Graduate and Postdoctoral Affairs. Pansee Abou Elatta is also completing the Curatorial Studies Graduate Diploma.<\/em><\/p>\n

\"PaneeMuseums are full of cultural artifacts. These artifacts are often circulated, displayed, and seen throughout the world. The reality of this is that some of these artifacts were stolen from their homelands.<\/p>\n

PhD student, Pansee Abou Elatta in\u00a0Cultural Mediations<\/a>\u00a0is researching the history of the decolonial struggle to return stolen cultural artifacts to their nations of origin.<\/p>\n

\u201cI\u2019m especially interested in how our understanding of incredibly iconic Ancient Egyptian artifacts \u2014 like the Bust of Nefertiti, the Rosetta Stone, and the Paris Obelisk \u2014 has been defined through these very public protest campaigns as part of broader anti-colonial efforts,\u201d explained Abou Elatta.<\/p>\n

Abou Elatta\u2019s interest in this research piqued when moving from Egypt to Canada. She realized that museums were often the only place where others could learn about her nation of origin.<\/p>\n

\u201cSeeing the stereotypical way that Egypt was often represented made me skeptical of the way we invest cultural institutions with the authority to tell a single version of history that\u2019s treated as absolute truth,\u201d shared Abou Elatta. \u201cThis project was an effort to write some of the histories that haven\u2019t been as well-represented, but that have impacted our culture to an enormous extent.\u201d<\/p>\n

Her research is working towards writing\u00a0modern histories<\/em>\u00a0of artifacts that almost everyone is familiar with. This refers to how these artifacts became a part of European collections, how they\u2019ve gained popularity and how their meaning has been contested.<\/p>\n

\u201cThe story we\u2019re familiar with stars European archaeologists and Egyptologists, but a huge part of the untold story is one of communities working together to write their own nation\u2019s history in the face of colonial oppression,\u201d said Abou Elatta.<\/p>\n

The graduate student is conducting this research by looking at historical media coverage of repatriation campaigns. She is focusing on the way protestors presented a competing view of their nation\u2019s history and how the Western public responded. She is also looking at how museums themselves positioned their claims to these artifacts in response to protests.<\/p>\n

She highlights that, in recent years, museums have become a lot more interested in the question of decolonization. Although the discussion is often framed as a recent realization of museum professionals rather than the global project that has been led by colonized peoples for centuries.<\/p>\n

\u201cBy drawing attention to this underrepresented history, I hope the terms of the discussion on museum decolonization can be shifted to emphasize those most impacted by it.\u201d<\/p>\n

Abou Elatta\u2019s experience as an Egyptian-Canadian artist, curator and activist goes hand-in-hand with her research.<\/p>\n

\u201cI see the ways that activist histories are erased from popular memory on a daily basis, and the ways that social movements constantly need to re-invent the wheel as a result,\u201d stated Abou Elatta. \u201cMy art practice is a way for me to envision new possibilities, new futures that are unbound by these histories of violence and oppression as a way of reminding others and myself who share similar experiences of what we\u2019re working towards.\u201d<\/p>\n

Dr. Monica Patterson,<\/a>\u00a0an Assistant Professor in the\u00a0Institute of Interdisciplinary Studies<\/a>, the Assistant Director of the\u00a0Institute for Comparative Studies in Literature Art and Culture<\/a>\u00a0and Director of\u00a0Curatorial Studies<\/a>\u00a0along with\u00a0Dr. Ming Tiampo<\/a>, Professor of\u00a0Art History,<\/a>\u00a0have been supervising Abou Elatta throughout her research.<\/p>\n

\u201cBoth two incredible scholars with a wealth of experience on museums, representation, culture, and colonialism,\u201d emphasized Abou Elatta. \u201cThey\u2019ve helped me find my focus in this project, and encouraged me to do the work I\u2019m most inspired by. I\u2019m incredibly grateful for their support!\u201d<\/p>\n

Professor Carolyn Ramzy<\/a>, and\u00a0Professor Karim Karim<\/a>\u00a0are Abou Elatta\u2019s committee members as their expertise on Egypt and media representations of Muslims (respectively) has been important in developing her research.<\/p>\n

Abou Elatta hopes to continue producing research that works in the service of decolonization, creating space for underrepresented histories and imagining liberatory futures.<\/p>\n

You can find out more about the PhD in Cultural Mediations by\u00a0clicking here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2014The following story was written by Taia Goguen-Garner and published by the Faculty of Graduate and Postdoctoral Affairs. Pansee Abou Elatta is also completing the Curatorial Studies Graduate Diploma. Museums are full of cultural artifacts. These artifacts are often circulated, displayed, and seen throughout the world. The reality of this is that some of these […]<\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_mi_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[5,1],"tags":[],"yoast_head":"\nGrad Research: The Repatriation of Cultural Artifacts to the Global South - Cultural Mediations<\/title>\n<meta name=\"description\" content=\"\u2014The following story was written by Taia Goguen-Garner and published by the Faculty of Graduate and Postdoctoral Affairs. 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