This past Thursday, we held our first Graduate Colloquium of the semester! Ryan Clark, MA, RPA, and IUP Alum, came to speak with us about what it is like working for the U.S. Army Corps of Engineers (USACE) as an Archaeologist in the New York District. Ryan also has 10 years of experience in the private sector, and during his time with USACE he has worked on projects ranging from Coastal Storm Risk Management, Navigation, Flood Risk Management, Ecosystem Restoration Programs, Military Support, and Regulatory Actions.

He broke his presentation into three sections. The first section gave a brief overview of the history of the USACE as well as parts of their civil works programs, which focuses on flood risk management, navigation, and ecosystem restoration. He discussed the USACE’s attention to emergency response and other missions with specific parameters. He noted that archaeologists usually find themselves working in the civil works or regulatory side focused on permit review, as well. He then discussed examples of the ranges of projects you might find yourselves working on while with the federal government, such as hurricane damage assessments, seawall designs, wetland habitat restorations, and fish passage barriers, to name a few. He emphasized that archeologists in this field learn about different areas of expertise as they interact with other experts from other fields. For example, if you find yourself working on a bird habitat project, you might learn about the different seasons they are around, which might change the way you approach sites with the same bird habitats in future projects.

His second section walked us through Section 106, NEPA, and how federal agencies like the USACE work within them when designing and planning projects. His flowchart simplified the processes. He went over the congressionally mandated 3 year, 3 million dollar, 3 stages of study limits for projects. He also gave an example of such a project, a harbor deepening project. He walked through the steps and phases of the study to emphasize what it is like working with different departments and teams to figure out where the greatest impact will be to cultural, historical, and environmental components of the area to be affected. Ryan noted that a big part of his job is coordination, as well as creating agreements and contracts to prepare for the effects of projects.

The third section focused on federal jobs and the application process, mainly on how to navigate USAJOBS. He began by stating that first you need to look for jobs using keyword searches with archaeology and anthropology or use the job family code 0193 Archaeology. Recently graduated graduate students will most likely be applying for jobs under the public only or student section, unless you have over a year of more of experience working for the federal government, which you will then be eligible to apply for other jobs with that requirement. Ryan noted that it is good practice to take note of the salary or pay scale for the job you are applying for, to make sure you are qualified for that level. Depending on your experiences, either federal or non-federal, while applying you need to match what you have done to its’ federal equivalency to make sure you are eligible for the pay scale level you are applying for. He also said to take note of relocation expenses to see if you are able to get them even though it is usually hard to do so, and also whether the job is temporary or permanent.

He then stated that reviewing the duties of the job is important. For one it is good to know what the job will require, but it also aids with creating a resume. A big thing he noted was that it is better to build a resume within USAJOBS rather than attaching one. By drawing out keywords from the duties section, you can craft a resume that will be more likely to be selected based on the keywords it contains from the language of the duties listed. It is important to translate things you have done into the scope of the job and if those hiring have questions about the extent or caliber of what you have done, they can ask for further clarification during an interview. It is also encouraged to have several resumes or cover letters that are tailored for different jobs. Ryan continued on his tips and tricks for USAJOBS, stating that if you want a higher-level job you should start lower. For example, if you want a GS-11 but don’t have the qualifications, you should look at the requirements for a GS-09 and apply for that job, and eventually work your way up into the job you want. He also noted that you should try to list yourself as closely as possible to expert on the questions they ask on the site, answering honestly by making sure you are actually qualified, but also making sure you are an expert so that you have a better chance of being selected.

To summarize; build your resume in USAJOBS using keywords from the position you want, have multiple resumes by type of job, don’t sweat the CV, translate prior work into relevant experience for the job you want, and check the requirements for the application.

Overall, Ryan emphasized that his job was not always what we would consider in the scope of archaeology. He does a lot of contract management, such as hiring people, and not as much fieldwork. However, while working on million-dollar projects and contracts he has gotten to work with a lot of cool things, such as a schooner, although he has no background in maritime archaeology. He likes the teamwork environment, and that he actually gets to use his job in the civil works sector to help people, giving a contemporary relevance to archaeological work.

We thank Ryan Clark for presenting for us, giving us insight into what it is like working for the federal government as an archaeologist, and helping us learn more about applying for these types of jobs!

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People visiting the National Museum of Afghanistan, Dec, 21, 2021. (AFP)

While discussing property law theory in one of our classes, Law and Ethics, I remembered the crisis Afghanistan was and is still facing and began to wonder about the state of their antiquities, cultural resources, and museums, under the Taliban’s rule. Little did I know that this had been a subject discussed heavily in the media only a few months ago, so I decided to dig into some past and current events to reveal the status and state of Afghanistan’s cultural history.

After years of conflict and negotiations, in February 2020 the U.S. government and the Taliban signed a peace agreement, which included a timeline by which U.S. troops would withdrawal from Afghanistan. While the U.S. pledged full withdrawal withing 14 months, the Taliban pledged “to prevent territory under its control from being used by terrorist groups and enter into negotiations with the Afghan government.” Unfortunately, with no official cease-fire in place, the Taliban eventually resumed attacks on Afghan civilians, their government, the Afghan National Defense and Security Forces (ANDSF). Despite U.S. air strikes and raids against the Taliban, the Taliban’s violence and suicide attacks allowed them to make territorial gains throughout 2020 and 2021. In April 2021, President Joe Biden announced the removal of U.S. military forces by September 2021 from Afghanistan. The Taliban increased their attacks on urban areas and border crossings, and by mid-August, they had captured all provincial capitals, causing the Afghan President Ashraf Ghani to flee, along with thousands of citizens.

One of the Buddhas of Bamiyan before it was destroyed by Taliban. (Associated Press)

Afghanistan is no stranger to devastation and violence, especially when it comes to their cultural resources. During the Soviet occupation in the 1980s many of their archaeological sites were illegally excavated and looted. 12^th century items from the palace of Mas’ud III were looted and sold on the black market in the 1990s during the Afghanistan civil war. In 1992, after the end of communist rule, an estimated 70% of the 100,000 pieces in the National Museum in Kabul’s collection, were looted or damaged. From 1994-2001, the “Dead Sea Scrolls of Buddhism,” some dating to the 2^nd century A.D., were stolen and sold to collections around the world. The Taliban destroyed many libraries and museums, persecuted academics, and outlawed art from 1996-2001. Despite the Taliban Minister of Culture claiming in 1999 that Afghanistan’s Buddhist heritage would be protected under his rule, in 2001 the Taliban proceeded to blast with dynamite and artillery the well-known Buddhas of Bamiyan cliff statues, which dated to the 6^th century.

The destruction of one of the Buddhas of Bamiyan. (Getty Images)

Today, with Afghanistan once again controlled by the Taliban, and repeated claims that Afghanistan heritage will be safe, the international community is still skeptical. Although there have been statements claiming they have forbidden the selling of antiquities on the black market, instructed fighters to protect and safeguard historical sites, and vowed to stop the looting of archaeological digs, many think the Taliban could easily hold Afghanistan’s cultural heritage hostage in the future. As academics, archaeologists, and curators flee the nation, preservation projects are put on hold, and looting increases, many also question if the artifacts and cultural objects will fall prey to neglect.

Since the destructions in the 1990s and into the 2000s, documentation of Afghan cultural heritage has improved with the creation of museum collection catalogues, archaeological site maps, 3-D models of heritage building, and much more, but the threat of destroying the collections, sites, buildings, and artifacts themselves remains. Although a contingency plan to remove 50,000 of the treasures and move them to safter locations had been created in case of an emergency, the Taliban’s quick takeover prevented this plan from happening.

The National Museum of Afghanistan.

After being seized by the Taliban in August 2021, the National Museum of Afghanistan reopened late November of the same year, under the protection of Islamic Emirate soldiers. As expected, visitor numbers have dropped, but some hope the reopening is a sign that their Afghan heritage might remain protected and see it as a chance for residents of Kabul, travelers, and younger generations a chance to learn about the history and culture held in the more than 80,000 artifacts contained in the museum. The Taliban have also allowed Mohammad Fahim Rahimi, the director of the museum, the remain in his position. However, some see the reopening as a political move, as music in public areas has still been banded, limitations on radio and television have been put in place, street murals have been painted over, and in Bamiyan just last year the Taliban blew up a statue of the Shitte militia leader Abdul Ali Mazari, whom they killed in 1995. The fundamentalist Taliban are known for their ideological rejection of art that is not considered Islamic or art that portrays living beings. The museum itself contains artifacts, such as their pottery collection, decorated with images of animals and humans, but apparently no changes have been made to restrict what is being displayed. While some also assume the Taliban is trying to project a more “moderate” image, others see reopening as a way to get sanctions lifted and international aid unsuspended.

A museum employee in front of a destroyed statue in the basement of the Kabul Museum in 2001. (AP Photo/Marco Di La Lauro.

The National Museum of Afghanistan is currently open only three days a week, Monday, Wednesday, and Friday, with staff being unpaid and visitors only allowed admission with a permission letter from the Islamic Emirate. The Taliban is also in control of the Mes Aynak, an ancient Buddhist monastery, including the 10,000 artifacts excavated from the site. They control the new museum in the Herat citadel, smaller museums and collections in Kandahar, Ghazni, and Balkh, as well as The Afghanistan National Institute of Music.

Afghanistan is first and foremost facing a humanitarian crisis, as people flee and many who remain sink into poverty. Many cultural heritage staff in Afghanistan and others who have fled, claim to have received threats from the Taliban, as well. When it comes to the safety of the cultural heritage of Afghanistan for now, many can only watch and wait.

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Further Reading:

https://www.nationalgeographic.com/history/article/taliban-destroyed-afghanistan-ancient-treasures-will-history-repeat-itself

https://www.cfr.org/global-conflict-tracker/conflict/war-afghanistan#:~:text=After%20the%20Taliban%20government%20refused,across%20the%20border%20to%20Pakistan.

https://theconversation.com/the-talibans-rule-threatens-whats-left-of-afghanistans-dazzlingly-diverse-cultural-history-167780

https://www.nytimes.com/2021/12/17/arts/design/afghanistan-national-museum-reopens.html

https://www.dailysabah.com/arts/afghan-national-museum-reopens-for-visitors-amid-taliban-aid-pleas/news

https://news.artnet.com/art-world/the-national-museum-of-afghanistan-reopens-2044902

https://www.rescue.org/article/crisis-afghanistan-unprecedented-hunger-after-conflict

https://www.nytimes.com/2021/08/20/arts/taliban-afghan-cultural-heritage.html#:~:text=the%20main%20story-,Taliban%20Vows%20to%20Protect%20Afghan%20Cultural%20Heritage%2C%20but%20Fears%20Persist,the%20destruction%20of%20prior%20years.