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After 120 Years Stored in a Museum, an Indigenous Shrine Returns Home

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After 120 Years Stored in a Museum, an Indigenous Shrine Returns Home

In the early 1900s, Franz Boas, who is considered one of the founders of American anthropology, became fascinated by a large shrine associated with Indigenous whaling rituals off the coast of British Columbia.

He had been sent a photograph of the shrine, which belonged to members of an Indigenous group called the Mowachaht. It showed a wooden structure on a small island, surrounded by a tangle of cedar and spruce, that sheltered 88 carved wooden human figures, four carved whale figures and 16 human skulls.

Boas decided to acquire it for the American Museum of Natural History in New York, where he was a curator. He was driven by a concept known as “salvage anthropology,” in which researchers saw collecting Native cultural possessions as a way to safeguard them from destruction as Indigenous populations plummeted.

Even at the time, the acquisition was controversial. A researcher named George Hunt traveled to Yuquot, a village near the shrine, to try to purchase it for the museum. According to letters between him and Boas that were published in “The Yuquot Whalers’ Shrine,” Aldona Jonaitis’s 1999 book on the subject, a chief agreed to sell it for $500, only to return the money the next day following objections from his community.

Hunt wrote that he eventually convinced two chiefs to split $500 in exchange for the shrine. But he added that the chiefs made him agree not to take the shrine until much of the community had left the island for the Bering Sea, where they often went seal hunting.

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In 1905, the same year that the full collection arrived in New York, Boas left the museum. The museum ultimately decided not to exhibit the large shrine in its entirety. For the next 120 years, it sometimes displayed or lent out some of the carvings, and it created a small model that was on view from the early 1940s to around 2019. Mostly, the shrine was kept in storage.

Its loss was keenly felt by the community it came from, now known as the Mowachaht/Muchalaht First Nation. For decades, there have been calls to repatriate the shrine, and talks over its fate, but those plans never came to fruition.

Until now.

On Thursday, a truck containing the many pieces that make up the shrine began its long journey to Vancouver Island, off the southwest coast of Canada, in one of the most significant international repatriations in the museum’s history.

“We’re ready for it to come home,” said Marsha Maquinna, who is eight generations removed from the Mowachaht chief who presided over the shrine in the early 1900s. “We, as a community, have lots to heal.”

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The story of the shrine’s return can be attributed in large part to the museum’s changing approach to its Native collections and the human remains it holds. And it involved an unlikely pair of facilitators: a father and son from California who only recently discovered their connection to the First Nation through Ancestry.com.

Like other major American institutions, the museum had long been criticized for its history of slow progress on repatriation and outdated Native exhibitions.

Efforts to address those criticisms have been going on for years, but the museum’s new president, Sean Decatur, sent a signal that he took them very seriously last year when he closed down two major halls exhibiting Native American objects. He cited a “growing urgency” for museums to change their relationships to Indigenous cultures.

When it comes to Native human remains, funerary objects and other cultural items recovered in the United States, a law passed in 1990 set up a protocol for museums and other institutions to repatriate the holdings in consultation with tribes and descendants. New federal rules that strengthened aspects of the protocol took effect last year. But the law does not apply to international Native groups.

Of the human remains that the museum still holds, more than half of the 12,000 individuals represented are from outside the U.S. In 2023, the museum overhauled its stewardship of the human remains in its collection, emphasizing its commitment to working with communities internationally on repatriation.

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Last year, talks to repatriate the shrine — known to some as the Whalers’ Shrine and to others as the Whalers’ Washing House because of its association with purification rituals — took on new urgency.

They had been going on for decades. In the 1990s, representatives from the Mowachaht/Muchalaht First Nation visited the museum to view the collection. Amid a surge of activism around Native repatriation, calls to return the shrine grew louder.

A 1994 documentary about the First Nation, called “The Washing of Tears,” captured the view that the repatriation of the shrine would be a source of spiritual healing for a community trying to save its culture and ways of life.

“It represented our strength,” Jerry Jack, a hereditary chief, said in the documentary. He referred to the shrine by a traditional name: cheesum.

“I think that when that cheesum was taken away from us it was a real shocker for our people,” he said. “It took away our spirituality.”

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In the years that followed there were waves of efforts to complete the repatriation, but plans kept stalling.

At times there were disagreements among members of the First Nation over how to carry out the return. And museum officials did not put forward many solutions.

Then, a few years ago, Albert Lara, a retiree living near Sacramento, Calif., began digging into his genealogy. Lara’s grandfather had told him stories as a child about his Indigenous heritage, but Lara, 75, was not aware of his connection to the Pacific Northwest until he sent a cheek swab to Ancestry.com. The results suggested a connection to members of the Mowachaht/Muchalaht First Nation.

Lara reached out to First Nation officials and got in touch with Margaretta James, who was president of a local cultural society and had been involved in the repatriation efforts for more than 30 years.

His son, Alex Lara, remembers himself and his father asking James, “Is there anything we can help you with?”

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James replied, “Well, as a matter of fact, there is.”

Both of the Laras had worked with Native American tribes in California during their careers — Albert with Native veterans as part of the state employment development agency — and James saw them as genuine in their desires to help.

Last April, the Laras began communicating with the museum about the shrine. A letter from the First Nation’s chief executive made them authorized representatives for the group.

In the ensuing months, a plan was put together for the most logistically complicated part of the repatriation: transporting the large shrine back to Yuquot. The First Nation decided that a delegation of its members would see it off on its more than 3,000-mile journey from New York.

On Tuesday, in a room off the natural history museum’s Northwest Coast Hall, more than two dozen First Nation members stood among the boxes and crates containing the pieces of one of their most prized cultural treasures.

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They had come from a 200-person reserve near the village of Gold River, ranging in age from elders to grade school children. Many remembered how their parents and grandparents spoke about the lost shrine.

“Listening to what my dad said, anything we have doesn’t belong in a place like this,” said Jerry Jack, whose father — who has since died — called for the return of the shrine in the 1994 documentary.

Museum officials signed over ownership of the shrine to the First Nation. Decatur, the museum president, told the delegation that the shrine had been held “far too long here in New York City in this museum, far away from its true home.”

The First Nation representatives offered a series of gifts, including carved wooden masks by local artists. They sang a victory song in their language of Nuu-chah-nulth. A group of men and boys brushed the packages containing the shrine with cedar boughs as part of a cleansing ritual before their departure.

The Laras flew in from California, with Alex Lara overseeing the logistics of the shrine’s shipment. (The transport and the delegation’s trip is being paid for by the Canadian government, which recognized the shrine as a national historic site in the 1980s.)

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A century ago, it took months for the shrine to travel from Vancouver Island to New York City. Now, it’ll take less than a week to make its return.

Unwilling to put their ancestors’ remains on a cross-country drive, the 16 skulls were securely placed in reinforced carry-ons that First Nation members took back with them on their flight home, accompanied by documentation to get them through security.

The shipment by truck includes six large cardboard boxes, four wooden crates — the heaviest of which is nearly 400 pounds — and the wooden structure that housed the shrine, which includes several towering poles as tall as 23.5 feet.

Those packages are scheduled to travel west by truck, and then by ferry to Yuquot. From there, according to the current plan, a helicopter service will airlift the pieces to a church, where they will be kept until the community decides on a more permanent resting place.

“It’s been generally known that it’s going to go back to the island from whence it came,” James said. “But it needs to be protected.”

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Kirsten Noyes contributed research.

New York

Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

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Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

Film

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Leo McCarey’s “Make Way for Tomorrow” (1937). The Criterion Collection

‘Make Way for Tomorrow’ (1937), directed by Leo McCarey

The log line: After the bank forecloses on their home, an elderly couple must separate, each living with a different one of their adult children. 

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The pitch: “It’s a film that Orson Welles famously said ‘would make a stone cry,’” says Sachs, 60, about McCarey’s movie, singling out a long sequence at the end that depicts “a date through certain lobbies and bars of New York City that offers a snapshot of Midtown in the ’30s.” 

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Tippy Walker (left) and Merrie Spaeth in George Roy Hill’s “The World of Henry Orient” (1964). United Artists/Photofest

‘The World of Henry Orient’ (1964), directed by George Roy Hill

The log line: A wily 14-year-old girl and her best friend follow a ridiculous concert pianist, on whom they have a crush, around the city.

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The pitch: Hill’s 1960s romp inspired Sachs’s film “Little Men” (2016), which is about boys around the same age as these protagonists. “It’s an extraordinarily sweet film that also seems, to me, very honest,” he says. 

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Rip Torn (left) in Milton Moses Ginsberg’s “Coming Apart” (1969). Courtesy of the Everett Collection

‘Coming Apart’ (1969), directed by Milton Moses Ginsberg

The log line: Rip Torn plays an obsessive psychiatrist who secretly films all the women passing through his home office, inadvertently capturing his own mental breakdown. 

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The pitch: Shot in one room with a fixed camera, Ginsberg’s film “really feels of a time,” says Sachs. It’s also “very sexual and very free,” reminding him of what’s possible when it comes to making movies. 

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Don Murray and Diahn Williams in Ivan Nagy’s “Deadly Hero” (1975). Courtesy of the Everett Collection

‘Deadly Hero’ (1975), directed by Ivan Nagy

The log line: A disturbed, racist cop saves a cellist from a crook, only to become her tormentor. 

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The pitch: Harry, 80, and Stein, 76, were extras in Nagy’s film, which stars Don Murray, Diahn Williams and James Earl Jones as the cop, the cellist and the crook, respectively. The pair call the movie “[expletive] weird,” but also say that their day rate — $300 — “was the most money we’d ever made on anything” up to that point.

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Chantal Akerman’s “News From Home” (1976). Collections Cinematek © Fondation Chantal Akerman

‘News From Home’ (1976), directed by Chantal Akerman

The log line: An experimental documentary by Akerman, a Belgian filmmaker who moved to New York in her early 20s, the film features long takes of the city and voice-over in which the director reads letters from her mother. 

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The pitch: “I’m intrigued by how beauty contains sadness in the city,” says Sachs. Not only is her film a “beautiful record of the city” but it captures “what it is to be alone here, to have left some sort of community and, in particular for Chantal, separated from her mother.”

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Michael Wadleigh’s “Wolfen” (1981). Orion/Courtesy of the Everett Collection

‘Wolfen’ (1981), directed by Michael Wadleigh

The log line: Albert Finney stars as a former N.Y.P.D. detective who returns to the job to solve a violent and bizarre string of murders. 

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The pitch: Wadleigh’s film is not only a vehicle for Finney, says Stein, it also “has a lot of footage from the South Bronx when it was still completely destroyed” by widespread arson in the 1970s.

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Seret Scott in Kathleen Collins’s “Losing Ground” (1982).

‘Losing Ground’ (1982), directed by Kathleen Collins

The log line: Collins’s film — the first feature-length drama for a major studio directed by an African American woman — observes a rocky relationship between a college professor and her painter husband.

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The pitch: Sachs calls “Losing Ground” “a revelation.” The characters are “so human and fascinating and extremely modern,” he says, adding that he loves a movie that “exists in some very complete version of the local.”

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Griffin Dunne in Martin Scorsese’s “After Hours” (1985). Mary Evans/Ronald Grant/Everett Collection

‘After Hours’ (1985), directed by Martin Scorsese

The log line: In Scorsese’s black comedy, an office worker (Griffin Dunne) has a surreal and bizarre evening of misadventure while trying to get back uptown from a woman’s apartment in SoHo. 

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The pitch: Harry and Stein recommend this zany tale and borderline “nightmare” for the way it captures a bygone era of New York. “It’s this great image of [Lower Manhattan] when it was still raw, you know, Wild West territory,” Stein says. 

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A scene from Edo Bertoglio’s “Downtown 81” (1980-81/2000). Courtesy of Metrograph Pictures

‘Downtown 81’ (shot in 1980-81, released in 2000), directed by Edo Bertoglio

The log line: Bertoglio’s film is a striking portrait of a young artist who needs to raise money so he can return to the apartment from which he’s been evicted. 

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The pitch: Jean-Michel Basquiat stars as the artist in this snapshot of life in New York during the ’80s. Despite all the drama surrounding it — postproduction wasn’t completed until 20 years after filming, and for many years the movie was considered lost — the film is notable, says Stein, because “it’s got all the characters and all our buddies in it.”

These interviews have been edited and condensed.

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13 Actors You Should Never Miss on the New York Stage

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13 Actors You Should Never Miss on the New York Stage

Theater

Quincy Tyler Bernstine

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Sara Krulwich/The New York Times

A master of active stillness, the 52-year-old Bernstine (imposing in the 2024 revival of John Patrick Shanley’s “Doubt,” above) has that great actorly gift of making thought visible. A natural leader onstage, she compels audiences to follow her.

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Victoria Clark

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One of the theater’s best singing actors, with Tonys for Adam Guettel and Craig Lucas’s “The Light in the Piazza” (2005) and David Lindsay-Abaire and Jeanine Tesori’s “Kimberly Akimbo” (above, 2022), Clark, 66, performs not on top of the notes but through them, delivering complicated characterization and gorgeous sound in each breath.

Susannah Flood

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Flood, 43, is a true expert at confusion, a good thing because she often plays characters like the twisted-in-knots Lizzie in Bess Wohl’s “Liberation” (above, 2025). What makes that confusion thrilling is how she grounds it not in a lack of information or purpose but, just like real life, in an excess of both.

Jonathan Groff

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The rare musical theater man with the unstoppable drive of a diva, Groff, 41, sweats charisma, as audience members in ringside seats at Warren Leight and Isaac Oliver’s Broadway musical “Just in Time” (above, 2025) recently discovered. Giving you everything, he makes you want more.

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William Jackson Harper

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Unmoored characters are often unsympathetic. But whether playing a confused doctor in the 2024 revival of Anton Chekhov’s “Uncle Vanya” or a delusional bookstore clerk in Eboni Booth’s “Primary Trust” (above, 2023), Harper, 46, makes vulnerability look easy, and hurt hard.

Joshua Henry

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Sara Krulwich/The New York Times

There are singers who blow the roof off theaters, but the 41-year-old Henry’s voice is so huge and deeply connected to universal feelings that he seems to be singing inside you. Currently starring in the Broadway revival of “Ragtime” (above, by Lynn Ahrens, Stephen Flaherty and Terrence McNally), he blows the roof off your head.

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Mia Katigbak

Superb and acidic in almost any role — in distress (Annie Baker’s 2023 “Infinite Life,” above) or in command (2024’s “Uncle Vanya”) — Katigbak, 71, finds the sweet spot in even the sourest truths of the human condition.

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Judy Kuhn

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Sara Krulwich/The New York Times

With detailed intelligence and specific intention informing everything she sings, Kuhn, 67, is (among other things) a Stephen Sondheim specialist — her take on Fosca in “Passion” (above, 2012) was almost literally wrenching. It requires intellectual stamina to keep up with the master word for word.

Laurie Metcalf

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Sara Krulwich/The New York Times

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The fierce, sharp persona you may know from her years on “Roseanne” (1988-97) is about a tenth of the blistering commitment Metcalf, 70, offers onstage in works like Samuel D. Hunter’s “Little Bear Ridge Road” (above, 2025). She goes there, no matter the destination.

Deirdre O’Connell

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Sara Krulwich/The New York Times

For 40 years an Off Broadway treasure, O’Connell, 72, handles the most daring, out-there material — including, recently, a 12-minute monologue of cataclysmic gibberish in Caryl Churchill’s “Kill” (above, 2025) — as if it were as ordinary as barroom gossip.

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Conrad Ricamora

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Revealing the Buddy Holly in Benigno Aquino Jr. (in the 2023 Broadway production of David Byrne and Fatboy Slim’s “Here Lies Love”) or the queer wolf in Abraham Lincoln (in Cole Escola’s “Oh, Mary!,” above, last year), Ricamora, 47, is uniquely capable of great dignity and great silliness — and, wonderfully, both together.

Andrew Scott

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Sara Krulwich/The New York Times

It’s a tough competition, but Scott, 49, may have the thinnest skin of any actor. Whether he’s onstage (playing all the characters in Simon Stephens’s Off Broadway “Vanya,” above, in 2025) or on film, every emotion — especially rue — reads right through his translucence.

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Michael Patrick Thornton

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Some actors are hedgehogs, projecting one idea blazingly. Thornton, 47, is a fox, carefully hoarding ideas and motivations. Keeping you guessing as Jessica Chastain’s benefactor in the 2023 revival of Henrik Ibsen’s “A Doll’s House” or as a pathetic lackey in last year’s production of Samuel Beckett’s “Waiting for Godot” (above, center), he holds you in his thrall.

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How a Geologist Lives on $200,000 in Bushwick, Brooklyn

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How a Geologist Lives on 0,000 in Bushwick, Brooklyn

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Here’s one way to make New York more affordable: triple your income. After moving from Baton Rouge, La., in 2016 to attend graduate school, Daniel Babin lived mostly on red beans and rice or homemade “slop pots,” renting rooms in what he called a “cult house” and a building on a block his girlfriend was afraid to visit.

Then, in January, he got a job as a geologist with a mineral exploration company, with a salary of $200,000, plus a $15,000 signing bonus. A new city suddenly opened up to him. “I can take a woman out on a $300 dinner date and not look at the check and not feel bad about it,” he said. He also now has health insurance.

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Mr. Babin, 32, a marine geologist who also leads an acoustic string band, now navigates two economic worlds, one shaped to his postdoctoral income of $70,000 a year — when his idea of a date was a walk in Central Park — and the other reflecting his new income. In this world, he is shopping for a vintage Martin Dreadnought guitar, for which he will gladly drop $4,000.

Finding a New Base Line

On a recent morning at Mr. Babin’s home in Bushwick, Brooklyn, where he shares a 6,800-square-foot cohousing space with 17 roommates, he was still figuring out how to manage this split.

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Daniel Babin lives in a cohousing space modeled on the ethos of Burning Man, the annual arts festival in Nevada.

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“I’m feeling less inclined to just let it rip than I was a few months ago,” he said of his spending habits. He socks away $1,500 from each paycheck, and has not moved to replace his 2003 Toyota Corolla, an “absolute dump” given to him by his father. “Hopefully, I’m returning a little bit to some kind of base-line lifestyle that I’ve established for myself over the last five years,” he continued. “Because the fear is lifestyle inflation. You don’t want to just make more money to spend more money. That’s not the point, right?”

Lightning Lofts, the cohousing space where Mr. Babin has lived since January 2024, bills itself as part of a “social wellness movement” and seeks to continue the ethos of Burning Man, the annual communal art and cultural festival in the Nevada desert.

For a room with an elevated loft bed and use of common areas, Mr. Babin pays $1,400 a month in rent, plus another $250 for utilities and weekly housecleaning.

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He was first drawn to the organization through its events, including open mic “salons” where he played music or read from his science fiction writings. These were free or very cheap nights out, unpredictable and fascinating.

“You would see dance and tonal singing, and some dude wrote an algorithm that can auto-generate A.I. video based on what you’re saying — beautiful storytelling,” he said.

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“So I just showed up every month, basically, until they let me live here.”

The room was a good deal. He had looked at a nearby building where the rent was $1,900 for a room in a basement apartment that flooded once a month. “Ridiculous,” he said.

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But beyond its financial appeal, Mr. Babin liked the loft’s social life. “I used to be chronically lonely, and I just don’t feel lonely anymore,” he said. “Which is fantastic in a crazy place like New York. It’s so alive and it’s so isolating at the same time.”

Splurging on Ski Trips

Before Mr. Babin got his new job, he used to go to restaurants with friends and not eat, trying to save up $35 for a “burner” party — in the spirit of Burning Man — or Ecstatic Dance, a recurring substance-free dance party. He loved to ski but could not afford a hotel, so he would carry his old skis and beat-up boots to southern Vermont and back on the same day.

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“Going on a hike is a pretty cheap hobby,” he said, recalling his money-saving measures. “Living without health insurance is a good one.”

He still appreciates a good hike, he said. But on a recent ski trip, he splurged on new $700 boots and another $300 worth of gear. “I’m like, this is something I’ve wanted for 10 years, so I deserve it,” he said.

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He bought a $600 drone to take pictures for his social media accounts, and then promptly crashed it into the Caribbean (he’s now replacing the rotors in hopes of returning it to health).

He cut out the red beans and rice, he said, but his usual meal is still a modest $13 sandwich from the nearby bodega or $10 for pizza. “If I’m getting takeout and it’s less than $17, I don’t feel too bad about it,” he said.

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A Future After Cohousing

A big change is that dating is much more comfortable now, and he feels more attractive as a marriage prospect. “It turns out that a lot more people pay attention to you if you offer them dinner instead of a walk in the park,” he said.

He is now thinking of leaving the cohousing space — not just because he can afford to, but because his work has kept him from joining house events, like the regular potluck dinners. “I sometimes feel like a bad roommate, because part of being here is participating,” he said. “I feel like there might be someone who would enjoy the community aspect more than I’m capable of contributing right now.”

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He sounds almost wistful in discussing his former economizing. If it weren’t for the dating issue, he said, he would not need the higher income or lifestyle upgrades. “I never really felt like I was compromising on what I wanted to do,” he said.

He paused. “It’s just that what I was comfortable with has changed a little bit.”

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We are talking to New Yorkers about how they spend, splurge and save.

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