Virtual Museums for Digital Repatriation

This project would advance the community driven digital sovereignty of tribal members by building an Indigenous knowledge network of art and storytelling in all mediums that can be navigated remotely, from anywhere. As a two pronged approach this project engages Indigenous communities start to finish in ethic protocols and in culturally grounded educational opportunities by providing the tools and training that they need to implement the program in their own communities. 

When culturally significant objects are displaced from their communities a cultural thread is cut, risking the unraveling of a community and it's ties to the land and what was it made from it. Despite some museums making proactive repatriation efforts, and Indigenous Peoples continuously shaping new laws in real time, the truth is that most of our historical artifacts were deemed illegal for us to have and use, stolen, and placed into these museum collections under literal lock and key. By training Indigenous researchers to work with museum artifacts, and then giving them digital sovereignty of those data sets offers a partial solution to the gap in access to our own histories by making them more widely assessable in an immersive and/or interactive medium, via virtual reality, gaming, or touchscreen. 

A Virtual Museum is everything a physical museum is, with the added benefit of it more widely assessable as it can be accessed from anywhere, remotely. The contents of this museum would consist of 2D, 3D, and 4D objects, which would reside within a 360 environment built (3D modeled) within an immersive engine such as Unity. All assets contained would be captured at a high resolution and can be interacted with. Walk up to a painting, and you can zoom into the smallest pixel, get more information about the work, and perhaps even hear a dialogue with or about the Artist. Walk up to a object and you can walk around it or zoom in to pick it up and turn it around in your hand. Delicate objects safely cradled in cotton and humidy controlled rooms suddenly are now in the hands of the children of the ancestors of the work. Walk into a sphere and be transported to another place all together, perhaps "home" or the home of others who have invited you in to see the world through their lens. 

Below is a walk through one of our prototypes, where you can see all of the above demonstrated. 

IAIA Virtual Museum Walk Through

By training Indigenous Peoples connected to the artifacts to work this pipeline they are being brought back into the loop that Institutions have historically cut them out of. I am hopeful that we are at a time and place in history in which we can divert the direction of how we handle archaeology and repatriation, that the people whose stories are being told are involved and that their point of view is clearly represented both virtually and in real life. This project does not work without collaboration and that in and of itself is the start to the healing of communities separated from their artifacts/kin. 

As this project originated at the Institute of American Indian Arts it would be beneficial in many ways to continue this relationship. For one, they own their own museum and accompanying collection from the Museum of Contemporary Native Art, secondly they have several majors that intersect with the technology being used (Digital Arts, Museum Studies), and most importantly the students belong to tribes that spread the continent so this training would enable them to pursue and expand the project within their own communities or at large. 

Our team lead has several personal relationships with major Institutions, all of whom have expressed a great want for Indigenous collaboration but supposed lack of funding there of. A hybrid on site/remote trained team with it's own equipment would enable communities to travel and collect data then complete the work back at home with the input of their communities. 

Since it's inception this project has been Indigenous led in a collaborative manner. Jesse Ryker-Crawford initially began the process of funding it via the museum studies program at the Institute of American Indian Arts where she now sits as Dean. My team (consisting of IAIA work/study students), who was physically just down the hall, jumped in with funding we received from the Department of Defense to create immersive/interactive environments for our Digital Dome and Virtual Reality. Since then our team lead, Feather (Anishinaabe), has received personal grants and fellowships to continue research in this vein and it has been her goal to have it funded and implemented on a much larger scale. Feather has worked with both Indigenous youth and elders per multi media storytelling and wishes to empower individual communities to engage with their own artifacts. Funding would allow multi generational travel (students of all ages), to visit with their stolen artifacts in a way that is custom to them, and giving them the digital sovereignty to control the assets derived is crucial to the trust of the entire project. Each tribe would have the sole rights to the data sets collected, and if the Institutions want to use them, there would be a fee associated. They could also choose to open source them, that is up to the tribes individually. 

In the design of its virtual buildings, Indigenous knowledge is present. The team lead 3D modeler, Nathaniel Fuentes embrued his Pueblo beliefs into the placement of the sun, the entrances, and the shape of the structures. In placing the data sets and the training into the hands of the ancestors of these artifacts they are then given freedom to decide how they want them displayed, which they are very rarely asked for when they are displayed in Institutions.  

I would say that we are in the pilot stage in that we have received multiple rounds of funding from more than one discipline, and the project was soft launched at the Institute of American Indian Arts but it never reach a stage of sustainability as a business model. The design is also a prototype, and meant to be built on or changed as needed. 

What is most appealing to us in collaborating with MIT Solve is the access to excellent technology and engineers, especially data engineers and digital architects. We developed the techniques we did based on what was available to us at the time, access to the minds and tools of MIT would expand our artistic capabilities exponentially. We are a very transdiciplinary team, it is our belief that our ideas are only strengthened by various mediums and modes of thought. Yes, technology is expensive, but chances are it is already available on your end, leaving the main expense going to where it should, the Indigenous Peoples conducting the work. 

We developed this project out of curiosity, profit was not in the initial plan. We would benefit greatly from business guidance that would enable us to make this a sustainable ongoing project that can fund itself infinitely. 

Additional key holders to Institutions open to this sort of collaboration would also be useful in cultivating relationships that often were not initially fostered with care. 

Feather Miigwan has been deeply interested in bringing spaces, places, and cultural artifacts to those who have been displaced from them via the digital realm. From her research as a fellow of Smithsonian's NMAI Artist Leadership Program to her team's Department of Defense funded projects at her alum (the Institute of American Indian Arts) she strives to make what has been stolen and stored more assessable to a wider audience, especially those communities whom it belongs to. As the initial project funding, build out of the prototype, and testing of the pilot initially occurred at IAIA it is the ideal community prepared for the technology advancements and training for this project. An added bonus is that those involved then can take this training back into their communities, where digital cultural preservation has many important uses. 

We would not be the first to digitize a museum's collection. We would however be the first team of Indigenous Peoples digitally repatriating artifacts that is continuously training itself to distinctly tell thier own stories. The sheer act of an Indigenous person being in a museum collection is monumental, as for most of these Institutions existence, we have not been allowed that sort of access. Putting the handling of artifacts literally back into the hands of those whose ancestors they were stolen from is not only monumental, but just the right thing to do. It is our hope that this project would be the beginning of many conversations and more importantly, actions towards decolonizing Institutional thought that they own objects that culturally do no belong to them. If this sort of catalyst could open the iron gates of collections to make them more equitable and assessable to all communities, especially those whom they stories belong to then I would consider this project one of the major successes our generation needs.

1. Activity: Digitizing Museum's Collection of Stolen Artifacts

   • Team will work on digitizing the artifacts held in museums. This involves using technology to create digital replicas of these artifacts.

2. Output: Creation of Digital Replicas

   • The immediate result of the team's activity is the development of digital replicas of stolen artifacts. These replicas will be accurate representations of the original artifacts.

3. Outcome: Virtual Reality Repatriation Experience

   • The digital replicas will be used to create immersive virtual reality (VR) experiences. Indigenous communities and other stakeholders will be able to virtually interact with these artifacts, exploring their cultural significance and history.

4. Impact: Cultural Revitalization and Healing

   • By engaging with the digital replicas within the VR environment, Indigenous communities can reconnect with their cultural heritage and reclaim ownership of their history. This process fosters cultural revitalization, empowerment, and healing among Indigenous peoples who have been historically marginalized and disenfranchised by the theft of their cultural artifacts.

The impact goals for our solution aim to facilitate cultural revitalization and healing within Indigenous communities affected by the historical theft of cultural artifacts. Our goals are as follows:

1. Cultural Reconnection: Enable Indigenous individuals and communities to reconnect with their cultural heritage through immersive virtual reality (VR) experiences.

   • Indicator: Number of Indigenous community members engaging with the VR repatriation experiences.
   • Measurement: Regular tracking of participation metrics and user feedback.

2. Empowerment and Ownership: Empower Indigenous peoples by facilitating their ownership and stewardship of their cultural artifacts and narratives.

   • Indicator: Percentage of artifacts digitally repatriated and accessible through the VR platform.
   • Measurement: Monitoring progress towards digitization goals and accessibility of artifacts within the VR environment.

3. Healing and Well-being: Contribute to the healing and well-being of Indigenous individuals and communities by providing spaces for cultural expression and affirmation.

   • Indicator: Changes in self-reported levels of cultural pride, connection, and well-being among participants.
   • Measurement: Pre- and post-participation surveys assessing changes in cultural identity, sense of belonging, and emotional well-being.

4. Community Engagement and Collaboration: Foster collaboration and partnerships between Indigenous communities, museums, and cultural institutions to support ongoing repatriation efforts.

   • Indicator: Number of partnerships established with museums and cultural institutions for artifact digitization and VR repatriation.
   • Measurement: Documentation of collaborative agreements and feedback from partner institutions on the effectiveness of the digitization and repatriation process.

By regularly tracking these indicators and evaluating our progress against these impact goals, we aim to ensure that our solution is making meaningful strides towards cultural revitalization, empowerment, healing, and community collaboration within Indigenous communities.

A variety of hard and softwares are implemented in our solution, starting at photography and ending in virtual reality! Laser scanning, photogrammetry, and any new tool that enables immersive and interactive experiences combined with Indigenous knowledge/technology, including the seven generation teaching of how anything we do will effect the next seven generations results in treating tech as kin, and working together to tell our authentic stories.

Tulsa, OK, Santa Fe, NM. 

If selected then the team would also be working with MIT and if funding allowed travel to other tribes or institutions as well. 

The current team is small as the project has been dormant a since Covid. We would expand upon this team post funding but could produce prototypes as is. 

Feather Miigwan: feathermiigwan@gmail.com 321-704-5115

Nathaniel Fuentes: 725-261-3573

Jason Baerg: 416-557-8833 baerg.art.directions@gmail.com

The lead has worked on this project solid for two years and off and on for seven. The team worked on this project for two years but has also worked together on other projects for over a decade.

Creating a diverse, equitable, and inclusive environment is foundational to our team's values and mission. As an all-Indigenous led group, we understand the importance of diversity not only in terms of cultural backgrounds but also in experiences, perspectives, and skills. Here's how we ensure diversity, equity, and inclusion within our team:

1. Leadership Representation: Our leadership team reflects the diversity of Indigenous communities, encompassing individuals from various tribes, regions, and cultural backgrounds. We prioritize diverse perspectives at decision-making levels to ensure that all voices are heard and valued.

2. Recruitment and Hiring Practices: We actively recruit and hire team members from diverse backgrounds, including Indigenous individuals, as well as individuals from other underrepresented groups. Our recruitment process focuses on identifying talent from a wide range of sources to minimize barriers to opportunity and ensure equitable access to employment.

3. Training and Development: We provide ongoing training and professional development opportunities for all team members, with a particular emphasis on cultural sensitivity, anti-oppression, and inclusive leadership. By investing in the growth and development of our staff, we create a supportive environment where everyone can thrive and contribute their unique strengths.

4. Open Communication and Feedback: We maintain an open-door policy and encourage open communication among team members. We actively seek feedback from staff on their experiences within the organization and continuously strive to improve our practices based on this feedback.

5. Community Engagement and Partnerships: We engage with Indigenous communities and organizations to foster collaboration and ensure that our work is culturally respectful and relevant. By building strong relationships with community stakeholders, we create opportunities for meaningful participation and co-creation.

6. Welcoming and Inclusive Environment: We prioritize creating a welcoming and inclusive workplace culture where all team members feel respected, supported, and valued. This includes celebrating cultural traditions and promoting a sense of belonging for everyone on the team.

By prioritizing diversity, equity, and inclusion within our team, we not only strengthen our organization but also enhance our ability to effectively serve and empower Indigenous communities. We recognize that our commitment to these principles is an ongoing journey, and we remain dedicated to continuous learning and improvement.

Our business model is centered around providing value to both Indigenous communities and cultural institutions through the digitization and virtual repatriation of stolen artifacts. Here's how we provide value to our key customers and beneficiaries:

1. Products and Services:

   • Artifact Digitization: We offer services to museums and cultural institutions to digitize their collections of stolen Indigenous artifacts. This involves using advanced technology such as 3D scanning and imaging to create accurate digital replicas of these artifacts.
   • Virtual Reality Repatriation: We develop immersive virtual reality (VR) experiences that allow Indigenous communities and other stakeholders to interact with the digital replicas of stolen artifacts. These VR experiences provide a platform for cultural revitalization, storytelling, and educational outreach.

2. Value Proposition:

   • For Indigenous Communities: Our digitization and VR repatriation services enable Indigenous communities to reconnect with their cultural heritage and reclaim ownership of their history. By providing access to digital replicas of stolen artifacts, we empower communities to preserve and share their cultural knowledge and traditions.
   • For Cultural Institutions: We offer museums and cultural institutions a responsible and ethical solution for addressing the legacy of stolen artifacts in their collections. By digitizing these artifacts and providing virtual repatriation experiences, we support institutions in fulfilling their obligations to Indigenous communities while also enhancing their educational programming and audience engagement.

3. Revenue Streams:

   • Service Fees: We generate revenue through fees charged to museums and cultural institutions for digitization services and the development of virtual repatriation experiences.
   • Licensing and Subscriptions: We may explore additional revenue streams such as licensing agreements for the use of our VR repatriation platform or subscription-based access for educational institutions and organizations.

4. Key Partnerships:

   • Indigenous Communities: We collaborate closely with Indigenous communities and organizations to ensure that our work is culturally respectful and aligned with community needs and priorities.
   • Museums and Cultural Institutions: We establish partnerships with museums and cultural institutions to gain access to their collections for digitization and virtual repatriation projects.

5. Impact Measurement:

   • We measure our impact by tracking metrics such as the number of artifacts digitized, the engagement levels of Indigenous communities with VR repatriation experiences, and feedback from stakeholders on the cultural, educational, and healing outcomes achieved through our services.

Overall, our business model is designed to create value for both Indigenous communities and cultural institutions while also generating revenue through ethical and responsible practices. We are committed to advancing the goals of cultural revitalization, reconciliation, and healing through our innovative approach to digital repatriation.

This project has thus far received several Institutional grants via the museum studies department, as well as the Digital Arts and Digital Dome department. Feather and Nathaniel were team members under the Digital Dome grant and wrote/recieved two grants for a 250,000 each from the Department of Defense for creating immersive and interactive spaces at a historically underprivileged college. Feather has received fellowships from the Smithsonian, MSU, and SWAIA to further this research and her personal practice. All team members are open to seeking additional funding and detailed reports are available for those funding opportunities.