This article considers the constant tension facing several national panels in their consideration of Nazi spoliation claims concerning cultural objects. It will argue that this tension results from a shift in paradigms in dealing with Nazi-related injustices—from a strictly legal paradigm to a new victim groups-oriented paradigm, where addressing and recognizing the suffering caused by the nature of past crimes is central. While these national panels originate from this new paradigm and embody the new venues found for dealing with Nazi-looted art claims, this paradigm change at the same time presents these panels with a predicament. It seems impossible to abandon the legalist paradigm completely when remedying historical injustices in the specific category of cultural objects. Through a comparison between the Dutch and United Kingdom (UK) systems, this article will illustrate from both an institutional and substantive perspective that these panels seem to oscillate between policy-based, morality-driven proceedings (new paradigm) and a legal emphasis on individual ownership issues and restitution in kind (old paradigm). This article addresses this tension in order to provide insights on how we could conceptually approach and understand current restitution cases concerning Nazi-looted art in the Netherlands and the UK.

The following article considers the approach taken by the courts of the United States in claims concerning issues of state immunity and private international law with respect to the expropriation and restitution of cultural property, primarily in the context of Nazi Germany. It can be seen that the US courts have interpreted the provisions under the Foreign Sovereign Immunities Act so as to significantly widen the scope for individuals to bring claims against states and state entities in circumstances where the case, and the property concerned, has little or no connection with the jurisdiction and which at their core are domestic disputes.

Dance has rarely been accepted as the subject of copyright protection because works of dance and choreography have lacked commodified property-object status in intellectual property law. If dance is “haunted by its own ephemerality” and, thus, rarely embodied as property, then what of dance music? Music composed, performed, and recorded with a dance audience in mind has formed, on many occasions, the subject matter of intellectual property law claims, as the rancorous recent litigation over the nightclub (and online-streaming) hit “Blurred Lines” demonstrates. In this article, I utilize the case study of traditional Irish dance music to explore how traditional music occupies a space somewhat outside the formal legal system, defined by informal social norms such as reciprocity, sharing, and acknowledgment (attribution). I consider how Irish traditional music can be represented as heritage and as property, reflecting on the type of ownership at play in the Irish traditional music community. I observe that Irish traditional dance music provides an example of “heritage as resistance” – a mode of cultural and social practice that continues to thrive as a living tradition, even in the contemporary market-oriented world of the global North.

The Islamic State of Iraq and Syria (ISIS) occupied the city of Manbij and its countryside from 23 January 2014 until 12 August 2016. During this period, the region suffered greatly as ISIS monopolized control and brutally imposed its ideology. Fierce battles were fought for the control of oil wells, bakeries, mills, dams, and power stations, all of which were sources of revenue. Antiquities were soon recognized as another potential income source. This article demonstrates the ways in which ISIS began to administer and facilitate the looting of antiquities through the Diwan Al-Rikaz. Within this diwan, ISIS established the Qasmu Al-Athar, which was specifically responsible for looting antiquities. Based on interviews conducted in 2015 and primary documents, this article studies the specific ways in which ISIS facilitated the quarrying and looting of antiquities in Manbij and the rich archaeological sites of its countryside. Further, by examining the damage at a previously undocumented archaeological site, Meshrefet Anz, the looting of antiquities under the direct supervision of the Diwan Al-Rikaz is studied. Using documentary evidence including ISIS’s internal documentation as well as photographs collected by the author between 2014 and 2016, the article demonstrates the methods used by ISIS, reveals its financial motivations, and bears witness to the damage done at specific Syrian heritage sites.

While disputes concerning the return of antiquities and artworks have become increasingly prevalent and receive public attention, the parallel issue of returning unlawfully exported fossils is rarely discussed. The fossils of “Ubirajara jubatus” and Irritator challengeri are prime examples of such disputes: they were taken from Brazil unlawfully, as Brazilian researchers allege, and displayed in German museums. The return disputes were characterized by both parties relying on arguments based almost exclusively on public (international) law. This Article explores private law as an alternative approach to these and similar disputes, discussing whether the fossils are the property of Brazil and could, therefore, be claimed in an action for restitution under German law. It finds that both fossils belong to Brazil since the museums did not acquire good title through a good faith purchase or acquisitive prescription.

Most private international laws do not address cultural property specifically but, instead, apply the general lex rei sitae rule also to artifacts. Legal scholarship has revealed the flaws of the rigid application of the lex rei sitae principle to cultural goods and has proposed alternative connecting factors, such as the lex originis principle, to prevent forum and law shopping in this field. Reacting to the criticisms, some of the more recent private international law codifications have decided on the adoption of specific rules on stolen and illegally exported cultural goods that combine the lex rei sitae and the lex originis rules and provide room for the parties’ autonomy. This article draws the conclusion that these more recent legislative solutions do not necessarily promote legal certainty and predictability with regard to the governing law and are far from being a Holy Grail for the conflict of laws of cultural property, whether on a national level or within the European Union.