Penn Museum unveils a new gallery that examines the struggles and resilience of Indigenous nations

For more than a decade, the Penn Museum has offered visitors an encyclopedic history and perspective on Native American history, with artifacts spanning from Alaska tribes to communities in the southernmost part of the continental United States.

On Saturday, the museum unveiled a new gallery showcasing the artistic, linguistic, spiritual, and revolutionary traditions of Native Americans across the country.

The Penn Museum’s "Native North America Gallery: Rooted in Resilience. Resisting Erasure" exhibit features more than 250 cultural items and art pieces.

Christopher Woods, Williams director of Penn Museum, said the new gallery builds on the institution’s expansive Native American collection while offering insights into the lives of Indigenous Americans today. It builds on a former gallery, which similarly focused on first-person narratives and consulted with Indigenous curators.

“We’re an archaeology museum, but this is really about Native American people today, and drawing on the connection between the past and the contemporary world. It’s important to show people that these are vibrant communities,” Woods said during a press preview. “Showing how strong they are, the nature of their resilience, the historical and cultural erasure, and having them speak in their own words is important.”

These works, which build on the previous exhibition, "Native American Voices: The People - Here and Now," that closed in July, offer a reframing of Native American history from four regions of the United States, including the Lenape Natives of the Delaware.

The immersive, multisensory exhibit includes a floral beadwork collar from the Northeast Lenape, a single-weave square basket from the Eastern Band Cherokee in the Southeast, a centuries-old clay ancestral mug from the Pueblo people of the Southwest, and a fringed ceremonial robe, known as a Chilkat blanket, from the Tlingit people of the Northwest.

Among the oldest items on view are chipped stone tools historically used by Native Americans, which were pulled from the Penn Museum’s collections. The newest items include a woven piece that was commissioned from Cherokee mixed media sculptor Brenda Mallory.

The gallery also includes images of regions the tribal nations have inhabited, interactive displays offering insight into the formation of their cultural items, tools, and regalia, and varying stories about their traditions, challenges, and resilience before and after European contact.

Alongside co-curators Lucy Fowler Williams and Megan Kassabaum, this comprehensive gallery was developed by cultural educators, archaeologists, and historians who are direct descendants and members of the tribal nations featured in the exhibit.

Among the eight Indigenous consultant curators, who served as narrative guides, were Jeremy Johnson, cultural education director of the Delaware Tribe of Indians, RaeLynn Butler, secretary of culture and humanities of the Muscogee (Creek) Nation, and Christopher Lewis, cultural specialist of the Zuni Pueblo.

The consulting curators assisted in creating the narrative flow of the gallery and worked with the Penn Museum to recover lost history and study their ancestors’ practices. They also contributed their own art and cultural items to the gallery.

Upon seeing the exhibition for the first time on Thursday, Johnson said it was an “emotional moment.”

“It was overwhelming,” he said. “It’s not just a room with a bunch of paintings or drawings. These are actual people I lived with, know, and are related to. I can tell you about every person here. Being able to give our tribal citizens, considering everyone is a relative, a voice was really emotional. We’ve always been seen as relics of the past.”

Kassabaum said the concept of the exhibit began four years ago, but many of the gallery’s elements were shaped by the consulting curators, who willingly shared their stories and welcomed Kassabaum and others into their communities.

Kassabaum and other Penn Museum consultants traveled to Oklahoma to spend a week with members of the Delaware Tribe. They brought back four items, including the floral beaded collar, and let their protectors relay how they were made.

Those kinds of connections can’t be made without the help of the consulting curators, Kassabaum said.

“These aren’t my stories and they’re not my experiences,” he said. “I have not experienced any of the trauma of these communities. I have not experienced the joy of these communities, and everything people have been willing to share with us has been incredible. … No matter how giddy or passionate I am about anthropology and archaeology, I can’t bring the same thing to the gallery. It was totally essential.”

Unlike other exhibitions sprawled throughout the country, Johnson said Penn’s inclusion of him and his Native “relatives” was based in good faith rather than historical or cultural exploitation.

“We know certain art museums have been problematic in the past, and are still doing that work,” Johnson said. “But I feel this is the first time we were asked in the right way. It was in the spirit of an actual collaboration, instead of asking for items to display, and that’s it. This was a good process, and we hope it stands as a model for future exhibits.”

The opening ceremony of the Native North America Gallery kicked off with remarks from Johnson and the other Indigenous consulting curators.

Their remarks were followed by traditional dance, songs, and storytelling by New Mexico’s Tewa Dancers. There was also an artist talk by Holly Wilson of the Delaware Nation, curatorial presentations led by Johnson and Joseph Aguilar of the San Ildefonso Pueblo, and a series of family workshops.

The gallery, which is now on display, is available for online and in-person viewing.

Visitors can reserve guided, in-person tours on select days. Tickets are priced at $26 for members and $30 for general admission. For more information, visit penn.museum.

– The Philadelphia Inquirer

A stolen musket from the Revolutionary War returns to Philly

An 18th-century musket that’s linked to the Revolutionary War was stolen in 1968 from Valley Forge Park, leading to years of investigation. When the cherry wood and brass-made firearm, once a part of the Valley Forge Historical Society Museum collection, went missing, it left many historians and investigators in limbo for decades.

But with help from Upper Merion Township detectives and the FBI’s Art Crime Team, the prized relic was returned to the Museum of the American Revolution on Monday.

The .78-caliber musket was displayed on a blue cloth-covered table, just under the dramatic painting, Siege of Yorktown in Virginia. Museum president and CEO Scott Stephenson held the antique in his hands, noting how the details etched in the gun’s 45-inch barrel and engraved butt plate noted its historic origins.

“There were no machines cranking these parts out,” Stephenson said. “This is literally hammer in hand, steel, iron, brass, and wood carefully pinning these pieces together.”

The retrieval of the 250-year-old firearm was a battle on its own. Until recent months, there was no trace of the musket for 56 years.

In 2009, Kevin Steele of the Montgomery County District Attorney’s Office reopened a cold case on the theft of antique firearms from the Valley Forge Historical Society Museum and several law enforcement agencies joined the effort to retrieve them. Among these firearms was the New England musket.

On the local level, Upper Merion Township Detectives Brendan Dougherty and Andrew Rathfon were tasked with retrieving the musket, as well as other Revolutionary War antiquities. Between 2016-2022, they were joined by the FBI Art Crime Team, the U.S. Attorney’s Office, and others on the investigation.

The collective effort resulted in the arrest of two people and the recovery of 50-60 historic items that were returned to 25 different museums along the East Coast. But dozens of artifacts were still missing, including the treasured musket.

In March, Massachusetts-based arms appraiser Joel Bohy spotted an early 1770s firearm during an antique gun show in Baltimore, which ended up being the one stolen from Valley Forge Park.

Bohy knew it was Rhode Island-made. The engraved butt plate signals its New England origins. But he didn’t know the significance of the artifact until he saw a press release from Upper Merion Township detectives.

“When I first saw the gun at the show, I was pretty excited about it because it’s a really rare gun,” Bohy said. “It was even more exciting when three weeks later, Upper Merion Township police sent me a press release with the missing things retrieved from the cases they worked on before. As as soon as I saw [the musket], I clicked on the images and went, ‘Oh my God, I saw this gun weeks ago.’”

Bohy reached out to Dougherty and Rathfon, who he had worked with on cases before. The next day, the FBI team interviewed Bohy, and the two parties were able to track down the musket and deliver it to the insurance solutions company, Chubb.

Chubb paid the insurance claim for the missing relic back in 1969, which meant that it was now its official owner. Since the Museum of the American Revolution acquired the collection of the Valley Forge Historical Society back in 2003, the organization decided to gift the musket to the museum.

“We’ve obviously devoted many years to this investigation and we’re still going. But it’s special because it was stolen from our home,” Dougherty said. “And to know after 56 years it’s home is nice because it’s such a local historic item.”

With the firearm now in the hands of Stephenson and the museum’s curators just days before July Fourth, Chubb executive Maria Thackston said it’s a “poetic” story of repatriation.

“We’re thrilled to give it back to them, allow them to continue to study it, and make it available for the public to enjoy it,” she said. “It’s our privilege.”

While there are no current plans to exhibit the rare firearm, the museum will continue to study the artifact until plans for display unfold at a later date.

Staff writer Raymond Ragland contributed to this article.

– The Philadelphia Inquirer