Journalists around the world, seem to love drawing comparisons in cultural property cases – usually stating that the case in question is that country’s Elgin Marbles. This story below is not the first time I’ve read an article about Australia’s Elgin Marbles. Whilst the article makes interesting reading & the case is definitely worthy of consideration, I think we really should avoid making these comparisons so regularly, while at the same time archaeologists are arguing that each case is unique & should be judged on its own merits. The fact that one artefacts is disputed does not automatically make it a direct (or even close) equivalent to another case.

The other interesting point to note is that this case involves Australia – a country that has lead the way in securing the return of Aboriginal remains from around the world, but at the same time has many unresolved issues of its own to sort out too.

These cases often seem very different to the countries on the other side of them.

From:
The Global Mail

War And Pieces
By Paul DaleyNovember 9, 2012

A beautiful mosaic pilfered from the Palestinian front during World War I now hangs in Canberra’s Australian War Memorial, shoved awkwardly behind a newly built wall, testament to a growing national embarrassment. The mystery of Australia’s Elgin Marbles.

OVER THE YEARS I’ve spent many hours sitting in front of the Shellal Mosaic at the Australian War Memorial, pondering its creators and admiring its exquisite artistry. It is stuck to a wall and softly lit behind a vast pane of glass in what was once a prominent position in the Hall of Valour, which honours all Australian Victoria Cross winners.
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Australian soldiers removed a mosaic dating from AD 561 from a ruined church near Gaza in 1917. Many questions continue to be raised about whether Australia should return this artefact, that they still have in their possession.

From:
Sydney Morning Herald

Questions raised over ‘looted’ mosaic
Andrew Taylor
August 14, 2011

IN 1917, a Byzantine mosaic created during the reign of Emperor Justinian was removed by Australian troops from the ruins of a church near Gaza. The Australians knew they were plundering the priceless antiquity during World War I, two authors now claim.

In a new book, authors Paul Daley, a Sun-Herald columnist, and Michael Bowers, raise questions about Australia’s continued possession of the mosaic, which has been in the Australian War Memorial collection since 1941.
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More coverage of the controversy surrounding the exhibition of the Dead Sea Scrolls at the Royal Ontario Museum.

From:
Forward – The Jewish Daily

Furor Over Dead Sea Scrolls Exhibition
By Michael Kaminer
Published July 15, 2009, issue of July 24, 2009.

Toronto — Crowds at the Royal Ontario Museum’s heavily hyped Dead Sea Scrolls exhibition — Dead Sea Scrolls: Words That Changed the World, which runs until January 3, 2010 — have far exceeded the museum’s own expectations. In the show’s first nine days, more than 18,000 people flocked to the museum’s spectacular new Daniel Libeskind-designed Michael Lee-Chin Crystal pavilion — about 52% above the exhibitors’ own projections.

But hosannas for the showing, featuring four scroll fragments on loan from the Israel Antiquities Authority and displayed in public for the first time, have not been universal. Last April, the Palestinian Authority appealed to Canada’s prime minister, Stephen Harper, to cancel the show, citing international conventions that make it illegal for a government agency to take archaeological artifacts from a territory that its country occupies.
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The Dead Sea Scrolls are on display in the Royal Ontario Museum – this is not without controversy though, as Palestinian Groups claim state that these artefacts come from the occupied territories.

In many ways, this is a case that could be solved easily – the issue is that the true reasons behind various aspects of the recent history of the scrolls are not ignored – but the museum is ignoring these problems for fear of upsetting other people (by stating the truth rater than ignoring it).

From:
Independent

Robert Fisk’s World: You won’t find any lessons in unity in the Dead Sea Scrolls
I looked at the texts in Toronto – a tale that was bound to pose a series of questions

Saturday, 11 July 2009

At last, I have seen the Dead Sea Scrolls. There they were, under their protective, cool-heated screens, the very words penned on to leather and papyrus 2,000 years ago, the world’s most significant record of the Old Testament.

I guess you’ve got to see it to believe it. I can’t read Hebrew – let alone ancient Hebrew (or Greek or Aramaic, the other languages of the scrolls) – but some of the letters are familiar to me from Arabic. The “seen” (s) of Arabic, and the “meem” (m) are almost the same as Hebrew and there they were, set down by some ancient who knew, as we do, only the past and nothing of the future. Most of the texts are in the Bible; several are not. “May God most high bless you, may he show you his face and may he open for you,” it is written on the parchments. “For he will honour the pious upon the throne of an eternal kingdom.”
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This article is covers a number of interesting aspects. Gaza is in a situation where it has few museums & much of its heritage has been lost to collections in Israel, leading to the potential for many restitution requests in the future. More interesting though is the reasoning behind charging for admission – the British Museum always puts free entry as one of its top arguments in debates over the Elgin Marbles, but possibly Jawdat Khoudary is right – people don’t learn to value the heritage when they can see it for free. Certainly, many others have noted that free admission does tend to come at a price.

From:
Independent

The refuge that allows Gaza to reflect on past glories
By Donald Macintyre in Sudaniya, Gaza
Saturday, 9 August 2008

It may seem an odd dilemma in a territory where more than half of families live below an internationally defined poverty line, but Jawdat Khoudary is wondering whether there should be museum charges in Gaza.

As the owner and creator of the Strip’s first purpose-built archaeological museum, he has no doubt that the most prized patrons, the organised parties of schoolchildren already starting to flock to it, must come for free. And having sunk a small fortune – he won’t say how much – into building this elegant and air-conditioned space overlooking the Mediterranean just north of Gaza City’s Shati refugee camp, he certainly isn’t trying to make money from it. But the 48-year-old owner of one of Gaza’s biggest construction companies worries that if he doesn’t charge a couple of shekels for individual entry, Gazans may not realise the value of their heritage as much as he does.
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