o AGMANZ JOURNAL 20.2 HE PURAPURA l RUIA MAI l HANG/A TEA AOTEAROA AND THE PAClF/C.‘ CREA TING NEW CUL TURAL STRA TEG/ES 1989

QUARTERLY OF THE ART GALLERIES & MUSEUMS ASSOCIATION OF NEW ZEALAND 123PACIFALEC -'A” ‘ Traditional dsf ' I'-r and sleeping mars If from throughour the Pacfic ‘J'r WAIKATU MUSEUM 0“ F A RT..- AND HISTORY 5'..- 12 'JU NYE , , l 6A UGUST¥

123“,,” H a m i Ph1. (071) l38t6- 053131 o AGMANZ Journal 20.2 1989

CONTENTS

Cheryl Brown Editorial

Eteuati Ete Tuning into the Pacific 15 Cheryl Brown Pacific Collections within New Zealand Museums 17 Ruth Tamura Preserving Hawaii's Moving Images 20 Laura M. Torres Souder Museums, Monuments and the Struggle of Indigenous People: A Chamorro Testimony 21 Cheryl Brown In Service: Museum Liaison Officers 24 Stuart Park AGMANZ Professional Liaison Committee 28 Shane Pasene Te Taonga Maori 39 Repons 30 Letters 31

AGMANZ Journal is the quarterly magazine of the Art Galleries and Museums Association of New Zealand. Correspondence concerning editiorial matters should be addressed to the Editor, AGMANZ, PO Box 467, Wellington. Copy deadlines are 1st February, May, August and November. Published texts and extracts may be reproduced provided full recognition is given to the author and the source. Printing: Kerslake, Billens and Humphreys Ltd, Levin. This issue was typeset and designed on a Desktop Publishing System bythe Dunmore Press Ltd., Palmerston North.

Cover: Fatu Feu'u, Salamasina (1987), National Art Gallery, Wellington. All Conference photos courtesy of Sarjeant Gallery, Wanganui. Editorial

This Journalconcentrates on the issues This issue also represents the be- ourown symbols of meaning'. Closerto which are emerging within our profes- ginning of a closer association with the home, curators concerned with Pacific sion as it grows to embrace the realities museums of Te Moananui A Kiwa, and Island treasures in the four metropolitan of a changing cultural focus. focuses on the comments of profes- museums talk briefly about the collec- it includes coverage ofthe 1989 AG- sional staff in several Pacific institutions tions. MANZ Conference in Wanganui, which and what they perceive as happening In addition to the major themes of had as its theme, ‘Management for within their regions. bicuituralism and our place in the Pa- Change’. The primary focus was the Eteuati Ete, MASPAC’s Pacific ls- cific, the Journal also includes matters issue of biculturalism and the ramifica- land Officer, gives us an insight into the of general business, such as Stuart tions on the Association of the first goal Pacific island Community and their in— Park’s report on the activities of the in its revised Corporate Plan: To volvement with the Pacific Dmm Festival AGMANZ Professional Liaison Com— strengthen and actively develop the which was held at the National Mu- mittee to the Museum of New Zealand/ partnership between Maori and Pakeha seum. Ruth Tamura, President of the Te Papa Tongarewa. within the Museums of Aotearoa New Hawaiian Museum Association, dis- Zealand. cusses moving image preservation in Cheryl Brown The Hon. Fran Wilde, MP for Wel- Hawaii, while Dr Laura M. Torres Souder Shane Pasene lington Central and Minister for Disar- draws ourattentiontothe struggleofthe Tim Walker mament and Arms Control, who opened Chamorro people of Guam, and the the conference, set the context of dis- need for museums to acknowledge Co-Editors cussion by addressing the issue of the indigenous cultures and ‘explore ways Treaty of Waitangi. of making senseof history and creating Reflections on Conference Shane Pasene Contract Worker, Conservation Department, National Museum

Takiri ko to ata of issues, ranging from developing new Waitangi. The realisation of how much Kia korihi ai te Manu, management structures to new ap- impact these words had on AGMANZ Tihei Mauriorall proaches to collections. The hui was members became apparent at the AGM He mihi nui, he mihi aroha ki te Ropu interesting. held on the final day. When faced with Hanga Kaupapa Taonga. An integral part of the conference the realities and opportunities, i ask Na tenei ropu e pikau nga mahi dealt with a Maori perspective or inter- whether AGMANZ was found lacking? whakahirahira a nga pretation of biculturalism. Sir Kingi lhaka However, to say that thethree day hui whare-pupurf-taonga puta noa i te motu. and Kuku Wawatai, respectively, i feel was unsuccessful would be totally un- Ina hoki ia, he mihi whakanui ki to tatou worth mentioning. Kakanorua speaks true. There were genuine efforts to Kuia a Mina, about the existence resulting from the redress matters by individuals within Nana ano hoki i arahi te waka i Waen- fruits of two seeds; Rua meaning two, AGMANZ, and in the final analysis ganui i te Aoturoa nei. and Kakano meaning seed. Sir Kingi positive aspects far outweighed the then went on to say: ‘One seed may negative. A magnanimous title such as ‘Manage- prove more productive than another.’ Notable events for me were the ment for Change’ brings to mind many This was later re—emphasised in the Sarjeant Art Gallery‘s exhibition Whatu implications for any organisation. With speech of Kuku Wawatai when speak— Aho Rua/Te Ao Maori, curated by AGMANZ coming of age, this theme ing about te whakatauki taken from the Rangihiroa Panoho. This was an effec- appeared to be an appropriate step in famous haka ‘Mangumangu taipo’: tive juxtaposition of contemporary and the right direction. Fran Wilde in her traditional Maori art which enriched my opening address stated we were there E kore te uku appreciation of a living culture, high- ‘to discuss the tremendous challenge E piri kite rino lighted by a Conference dinner at Putiki inherent in managing museums and art Ka whitia e te ra Marae serving also to enrich my puku. galleries in a period of rapid change. Ka Ngahoro Other informal gatherings throughout This to me epitomised the essence of the Conference helped to give me more what the members of the Associatio (The clay clinging to the iron when it of an insight at a personal level of the had come to deal with. - is wet, but when the sun shines the clay Museums Association of Aotearoa New The papers and panel discussions falls away from the iron.) Zealand incorporated/l“e Ropu Hanga offered many challenges for a profes- Both speakers analogies posed ques- Kaupapa Taonga. sional body of such a diverse nature, tions about the relationship between and provided a forum for airing a variety Maori and Pakeha under the Treaty of This Thing Called Biculturalism Tim Walker Curator, National Art Gallery

I have to admit that I didn't leave Wel- quite abstract once we returned to the until they are made, we have no effec- lington for the AGMANZ Conference in realities of our workplaces. tive way of moving on. The basis of Wanganui with the greatest expecta- In Wanganui, the range of topics and dialogue, surely the first prerequisite for tions. From the papers circulated be— keynote speakers followed the general an effective negotiation of the issues forehand, it looked as though it would be pattern of 1988 and the principal was involved in biculturalism, seems more very similar to last year’s gathering in once again biculturalism. This issue possible than it had a year ago. Wellington. On the surface, the most has been demanding our attention for a Certainly the Conference revealed a positivefeature for mewas thatthistime number of years now and it was fasci- profession - dominated numerically, at it represented a chance to get out of nating to gauge how we as individuals, least, by non-Maori people — in the midst Wellington for a few days and renew as institutions and as a profession are of change. in the eagerness to be acquaintances with colleagues from other defining and responding to its challenges. ‘right’, to be ‘bicultural’ mistakes were parts of the country. The Conference organizers seemed to evident. Awkward juxtapositions be- Although i had found the Wellington have acknowledged the importance of tween speakers were apparent; strange Conference - my first as a member of keeping the challenges coming and, lapses in protocol occurred. It’s a hope- AGMANZ - useful in helping me put building on the achievements of 1988, ful sign, however, that we are collec- faces to names, and valuable in terms managed to do this in an effective and tively close enough to the ‘heat’ to incur of the challenges it produced, there was focused way. As a delegate at both these minor afflictions, and more heart- a frustrating sense of too much listen- Conferences, it was possible to observe ening still, that we appear more and ing, and too little discussion of opinions the changes in attitude which have more able to identify and address the and issues surroundingthisthing called occurred overthe past year. The issues issues which cause them. It was pre- bicultu ralism.‘ I had, perhaps, expected may not be any easier and we may not cisely because the Conference set up a more in the way of workshops, more be more comfortable with them, but, to programme which focused our atten- participation and more sharing of re a heartening extent, we seem better tion on real issues, that I found it invigo— sources, information and opinions. As it able to deal with them in an open and rating and pertinent, reassuring and was, the Conference had been three non—defensive manner. We are better challenging. days of sitting and listening to talk that, able to listen, more willing to accept that Kuku Wawatai, Principal of Tanga— for all its potency and clarity, became mistakes will be made and know that roa College and Deputy Mayorof Manu-

The Tangata Whenua sing a waiata to support Wanganui City Councillor Paul Mitchell after he had welcomed AGMANZ dele- gates. kau City, addressed himself to the is- number, however, would have been from the lecture theatre. These would, sues of corporate planning in a bicultu- better served by a more informal and I imagine, be especially effective - and ral world. He introduced a necessary intimate workshop format. welcomed - in the early afternoon bracket sense of perspective to the Conference Although the conference was ex- and would enable a level of practical when he outlined the extraordinary ex- tremely successful in setting up the knowledge and experience to be shared. tent to which Manukau City has gone to issues which needed discussion, there That said, I commend the organizers adopt a truly bicultural policy. was no real chance for that discussion of the 1989 Conference for achieving I say necessary, because it some- to take place. Restraints on the time what was a focused and stimulating times appears that many museum and provided for questions after each ad- event. I certainly look forward to the art gallery professionals imagine that dress did not allow any in-depth discus- 1990 Conference with a renewed level we are to the fore in navigating the sion, and when discussion did develop of expectation. In the meantime, the difficult and uncharted waters of bicultu- during tea and meal breaks, it was problem remains of returning to our ralism. The reality is — and it is made generally within groups of delegates various workplaces. There we must, in clear when our own initiatives are com- who already knew one another and each the first instance, continueto implement pared to those outlined by Kuku Wa- other’s opinions. the changes we are now able to man- watai and those being developed as The value of the Conference would age as a result of the Conference. To government departmental policy by the be considerably enhanced by the inclu- achieve this, we must surely first look at State Services Commission - that as sion of a number of less formal work- the question of biculturalism as it relates publically-owned cultural institutions we shops ordiscussion sessions held away to staffing in our institutions. are, more often than not, lagging behind in our attempts to effect significant change. Far from being hesitant about the rate at which we are allowing changes to occur, major new initiatives are re- quired to fundamentally alter many aspects of our profession. Kuku Wawatai had his own definition of the elusive biculturalism. It was, he said ‘when Maori and Pakeha can confront one another and share the resources of one another’s cultures’. He was also careful to emphasise the ramifications cultural difference has on this process. Using the example of the difference between the way a Maori might korero on a marae - often a series of statements, reflections, insights or visions without any apparent logical order - and the way a Pakeha might address a group in a lecture, Kuku Wawatai urged delegates to go right back to the beginning as they sought to ‘confront’ one another. This became a valuable and important challenge, one which the organizers of the next Conference should bear in mind. Kuku Wawatai’s comments on the fundamental cultural differences which exist in the way people verbally share their thoughts and experiences needs to be bou nced-off the almost exclusive reliance on the lecturer/audience for- mat during AGMANZ Conferences. Clearly, many of the speakers were comfortable with the conventions of the Kuku Wawatai, Principal of Tangaroa College and Deputy Mayor lecture theatre context and delivered of Manukau City, challenges delegates to always consider a well—argued, logical papers. An equal Maori perspective when managing change. A Brief Review of Conference Cheryl Brown Executive Officer, AGMANZ/MAANZ

The Venerable Sir Kingi lhaka of Te Community Facilities Committee and a more integrated future’. He talked Aupouri, our second speaker, gave us Mayor of Hamilton gave us a greatly about the issues under the tour head- his perceptions of what biculturalism appreciated review of the restructuring ings of ‘control, community, commit- means to him. occurring in the local government and ment and culture’. Albert Stafford of Arthur Young, who public funding sectors. As part of the forum discussion fol- has facilitated the development of the In a session called Developing Sup- lowing this presentation, National Art AGMANZ Corporate Plan, said that cor- port Structures in Local and Regional Gallery Director Luit Bieringa, spoke of porate planning is essentially a man- Museums, Mary-Lynne Cullinane placed the need for more debate on the new agement tool which assists organisa- a neat perspective on proceedings by museum and expressed his concerns tions in mapping out their future direc- drawing a picture of a local museum that the new museum has collapsedthe tion. He presented us with a brief his— holding a cake stall to raise funds to pay ‘diversity within unity’ approach to that tory of the AGMANZ Corporate Plan- the AGMANZ subscription; Ann Pick- of a homogenised ‘colonial’ one. ning exercise, looking briefly at the ever etts from Waipu told of community dis- Barbara Mare, Jenny Harper, Rangihi- changing environmental factors affect- tress when local body reorganisation roa Panoho, Dr John Yaldwyn, Greg ing our organisations, asked if we need meant that the Waipu Centennial Re- McManus and John Takarangi talked of to be market driven, looked at potential serve Board was targeted as an organi- the new perceptions on managing col- threats and potential opportunities for sation to be abolished. Roger Fyfe from lections and outlined ways in which they cultural organisations and asked which the Taranaki Museum and Mary-Lyn are reassessing (or not re-assessing) type of organisation we were: one that Cullinane from the Captain Cook Me- collection management. made things happen; one that watched morial Museum talked about the con- There were times to relax, but as things happen; or one which wondered cerns of their museums and the need usual at these Conferences not enough what had happened. for support structures. time to catch up with each other or to in the same session, Kuku Wawatai Dr Michael Volkerling, Executive deal with issues in detail. of Ngati Porou presented a stimulating Director of the Board of Trustees of the AGMANZ Council has been directed korero on the Maori perception of cor— National Art Gallery and Museum, out- to investigate the possibility of holding porate planning. With amusing anec- lined the need for new management next year’s Conference and AGM in the dotes he very clearly elucidated the structures for the Museum of New Bay of Islands, if possible at the Treaty differences between Maori and Pakeha, Zealand/Te Papa Tongarewa. The House and we are already making the pitfalls of the corporate planning present National Museum and Art Gal- enquiries. exercise and the hopes for the future. lery must be seen, he said, as ‘elements Ross Jansen, Chair of the Lottery within a single organisation destined for

Alexa Johnson (Auckland City Art Gallery), Barbara Mare (Gavan—Brewster Art Gallery), Rangihiroa Pancho (Sarjeant Gal- lery) and Greg McManus (Manawatu Museum) field questions during the 'New Approaches to Col- lections' discussion. Report of the President for the Year 1988-1989 Mina McKenzie

The theme of our Conference, ‘Man- ‘To improve the Association’s com- tion, Virginia, USA. to New Zealand agement for Change’, reflects the munication with the Tangata Whenua and he gave a very successful series of changes taking place in every facet of of Aotearoa’ lectures and workshops. Dr Michael our society. Times of great and rapid but which now reads: Ames from the University of British change generate uncertainty and inse- ‘To strengthen and actively develop Columbia, Vancouver also toured, giv— curity. Many of us are experiencing the the partnership between Maori and ing lectures in several centres. Dr Mes’ upheaval in our workplaces. For those Pakeha within museums of Aotea— visit was organised with the assistance of us who are Maori, the challenge is roa New Zealand.‘ of the Canadian Government and Min- enormous. We must come to grips with As we approach 1990 let us demon- ister of Arts, Dr Michael Basset. AG- the changes taking place in society at strate that these are not idle words. The MANZ was happy to form partnerships, large as well as attempting to take our challenge is to seek and welcome a bi- however brief, with all those who as- rightful place as partners in Aotearoa cultural view in all aspects of our work in sisted these two wonderful men to visit New Zealand. For those of us who are our association and in our museums. Aotearoa. Visits such as these help us Pakeha, the Treaty of Waitangi poses I do not intend to write a long list, but to invigorate and enthuse the museum difficulties especially when it has not it would not be a true reflection of the community here and help us to keep in been a subject we are familiar with. Yet year if I did not mention some of the touch with fellow museum profession- it is the cornerstone of our society. activities of the Executive Officer and als in the world beyond Te Moananui A Forty two years ago our predecessors the Council. Kiwa. resolved to form the association we call The Executive Officer, Cheryl Brown, I thank all those members of the AGMANZ. Their vision was to create has dealt with the difficult and often Council and the Association who have the opportunity to exchange ideas and lonely job of establishing the AGMANZ left their work desks to work for AG- experiences, to debate museological office at the National Museum. I thank MANZ. Stuart Park ledthe Professional issues and philosophy to better prepare John Yaldwyn for making the office and Liaison team of Elizabeth Hinds, Bill themselves fortheir work. Our associa- the services of the National Museum Milbank, Cheryll Sotheran and John tion must continue to provide the forum available to AGMANZ. l also thank the Takarangi on a journey throughout for debate. it must be the catalyst for staff at the National Museum for sup- Aotearoa to consult with you about Te the development of new ways of seeing port given to our Executive Officer, both Papa Tongarewa - The Museum of New and understanding. it must and can personally and professionally. In addi- Zealand. At a seminar with the Project provide the leadership in developing bi~ tion to setting up AGMANZ office, Cheryl Development Board and staff, the Maori cultural partnership between Maori and Brown has unravelled the mysteries of Liaison Committee (Nga Kaiwawao) and Pakeha. We must strengthen our asso- her computer, has compiled lists of a representative of the Cultural Conser- ciation, our profession and our profes- members and organisations, written and vation Advisory Council, their presenta- sionalism to ensure that our museums received innumerable letters, taken and tion was a distillation of yourcomments. are relevant to all the people of Aotea- produced minutes and answered and We look forward to a speedy develop- roa New Zealand into the 21 st century. made endless telephone calls on our ment of that project which has been Last year at the Annual General behalf. Contact has been made with supported by AGMANZ since its incep- Meeting we presented the ‘AGMANZ many kindred organisations and with tion. Corporate Plan - 1988 - 1991’ for your the Lottery Board. The management Our thoughts are with the staff of the approval. The plan was prepared at the plan has been worked to and monitored. National Art Gallery and the National request of the Department of Internal Thank you Cheryl! A year of learning Museum. Theirs is the enormous task Affairs and the New Zealand Lottery and consolidation is over and we move of continuing to care for the collections Board which provides funding for forward into a period of meeting the placed in their custody under the exist- AGMANZ projects. In December last immediate and future needs of our ing Act of Parliament while at the same year the plan was reviewed. Many of members as our priority. time preparing for the radical changes the tasks set in that first plan had been Last year AGMANZ, in association which are being developed elsewhere. completed and new objectives have been with the New Zealand-US. Education Bill Milbank is a member of the Cul- identified. The only significant change Foundation, brought Dr William Tram- tural Conservation Advisory Council. Its is to the wording of Goal 1 which for- posch, Director of Interpretive Educa- members represent a broad range of merly read: tion at Colonial Williamsburg Founda- interests and expertise and, as its Chairperson, l am grateful for the pres— controltodiscussapaperonthe various processes to your attention. ence of the AGMANZ view. structures identified as being a possible We welcome the appointment of Our three representatives on the mechanism for the employment of Liaison Officers Tony Cairns to the former Art Galleries and Museums museum education officers. The dis- National Museum and John Coster to Advisory Committee to the New Zea tances between us all often makes rapid the Auckland lnstitute and Museum. land Lottery Board - Elizabeth Hinds, communication difficult, especially when This year a programme of practical Sherry Reynolds and Cheryll Sotheran agents of Government are in Wellington workshops will be offered not only to - made representation to the Lottery and we are scattered the length and meet the needs of a wide range of Board on the restructuring of the distri- breadth of the country. We persevere interest but also to augment the aca- bution committees. We are working to as best we can. demic papers offered at Massey Uni- ensure that sound museological advice Jenny Harper and Alan Baker have versity. is available to members of the new made a valiant effortto bring a draft of a I thank all the institutional members committee when considering applica- new Code of Ethics forward. This is a of AGMANZ for your continuing sup- tions from AGMANZ members. mammoth job especially when we con- port. Members of staff would not be free Sherry Reynolds works on our be- sider the implications of bi-culturalism to offer themselves for AGMANZ Cou n— half as a member of the Auckland Heri- for which there are no models to follow cil without that support which goes far tage Trust. She is a long standing in the codes of museum associations in beyond the payment of your subscrip- member of the Board of the New Zea- other nations. Our target date for the tions. For those of you who put your- land Historic Places Trust and while not first draft may be difficult to achieve selves fonrvard as prospective AGMANZ our nominee as of right she brings her because of the time needed for the Council members, thank you. Your long experience to the work of a related Maori viewpoint to be enunciated and Council tries to meet all the challenges organisation. prepared for discussion. and demands which come to us from Stuart Park has been reappointed to We congratulate David Butts on his Central and Local Govemment and from the New Zealand Committee of appointment as the foundation Lecturer Maori authorities. The work outwards is UNESCO. He also has represented the in Museum Studies at Massey Univer- difficult and sometimes frustrating. We lending institutions on the Te Maori sity. A member of AGMANZ and a must also always look inwards to the exhibition management committee on former member of the Council, he was personal needs ofthe members and the which l represent AGMANZ. We hope one for the first to graduate from the professional needs of our collections. that the work of that committee is finally AGMANZ Diploma of Museum Studies We must provide ‘hands on’ experi- over. Members of AGMANZ have been course. Jenny Harper and Stuart Park ences to promote practical and techno- involved with the review of the Antiqui- have been nominated to serve on the logical skills needed in our museums. ties Act. Roger Smith was our repre- Board of Studies forthe Diploma. l hope We must provide the opportunity for sentative on the Frances Hodgkinson that our members will support the initia- professional and personal growth for all Fellowship Board. Yes, I seem to be tives of AGMANZ in setting up this those individuals who together with our writing a list! University based course of studies, which institutions have joined togetherto form The Education Committee convened was accomplished with the support of the Art Galleries and Museums Asso- by Cheryll Sotheran of Sherry Reynolds, the Lottery Board and Massey Univer— ciation of New Zealand Te Ropu Hanga James Mack, Bill Milbank, Judi Wright, sity. It is a milestone inthe development Kaupapa Taonga. Ann Betts and Gillian Chaplin, has made of our profession. numerous representations to the De- A newsletter will soon be produced Kia kaha, kia manawanui, tena partment of Education on conditions of on a trial basis to bring you more infor- koutou, tena koutou, tena koutou katoa. employment of Education Officers in mal and personal information. This will museums and galleries. At the end of leave the Journal to address and pro- Mina McKenzie April, AGMANZ is convening a meeting mote more museological debates as President of all interested Directors and Boards of well as bring innovative techniques and Opening Address Hon. Fran Wilde MP for Wellington Central, Minister for Disarmament and Arms Control

the hard reality of ‘telling it like it is’. While taking into account the trau— mas which society has been through in the rapid change of the last few years, I believe that New Zealanders as a community are now laying the founda- tions for a future which will be more independent — and, for the country - more secure than the dependence-on— others-mentality which has crept into the national psyche in the past. However, l’m not going to announce anything today! In fact, l’m going to be totally self-indulgent and give some personal opinions on afew issues which l believe are of relevance to you and of great importance to our society. Statistics tell us that New Zealan- ders are among the highest museum and gallery users in the world. We have an increasing hunger for knowledge about our own culture. This results in art gallery and museum visits exceeding our population every year - that’s more than four million visits! Most visits are purely voluntary and unstructured, giv- ing lie to the idea that as a nation we’re only interested in rugby, racing and been Tourists are the other big visitor group to our museums and galleries. They go to see what is different and unique about It is most appropriate that you are meeting tions in the last years of the 20th cen- New Zealand, and how they see us is here in Wanganui, a city with a rich tury. often the result of their experiences cultural heritage, represented in one of I note also that AGMANZ has joined there. Overseas visitors provide our the country’s finest provincial museums the world of corporate plans and man- institutions with income and in return and in the beautiful Sarjeant Art Gallery. agement structures and all those other demand the high standards they expe- Wanganui has a tradition of cultural hallmarks of an organisation which takes rience at home. However, I believe the preservation long envied by other parts itself seriously, wanting to survive and domestic market is the most critical of New Zealand. prosper in the lean, mean ’80s. one. You are here to discuss the tremen- Congratulations! I suppose if i were New Zealanders are increasingly dous challenges inherent in managing Minister of Arts, I would be here today realising the vital significance of the museums and art galleries in a period of armed with some sort of announcement repositories for our art and artefacts. In rapid change. The approach outlined in as a sort of carrot to dangle before you a rapidly changing world, art galleries your programme is a particularly healthy to encourage your management of and museums play a crucial role in response to the major structural over— change. anchoring us in our past, preserving our hauls facing funding and administrative Of course there is no guarantee you present and showing us paths to the bodies around New Zealand, and to the would like what I told you. Government future. changes in the nature of your institu- has got beyond the pork barrel and into With the 1990 commemoration just around the corner, more attention Will period after 1975. Situation has been to the detriment of be focused on our past and our cultural The Treaty of Waitangi may well both our cultures. expression than has ever before been have been badly drafted. And there are Today, while television and radio the case. 1990 will be a year of reflec- certainly two differing versions: Maori swamp New Zealand with American tion and a celebration of our diversity as and English. But it is important to re- and British culture, there is an even a nation. It will be an opportunity to memberthat our system of government greater imperative to protect and pro- uncover and share a great deal of infor- and the existence of our nation is a mote what is truly ours. mation about our heritage already in result of the signing of that treaty in In some ways, the Te Maori exhibi- museums, and I understand that a 1840. To deny treaty rights to the Maori tion has become seen as a symbolic number of projects of this type are is to deny the Pakeha right to be here. turning point in New Zealand cultural undewvay. 1990 is also a chance to The Labour Government remains perceptions. Te Maori did more than display the latest innovations of a vi- committed to putting right the injustices show the incredible richness of Maori brant community of New Zealand art- of the past, with careful consideration of art to the world. The museum and art ists, and l hope galleries will be rising to today’s situation. This is not ‘raising institutions and the Maori community the occasion. false hopes’, as some have said but met with new terms of reference and This is a period of emerging con- rather facing up to real issues. found a great deal of common ground. sciousness of identity. Some have called To find a resolution of the different Te Maori demonstrated ways in which it a maturing of nationhood, others just issues involved, we have to find new some of the barriers separating institu— a noisy adolescence! In any case, New structures and solutions, find a basis to tions from large sections of the popula- Zealanders have never been as inter- move forward. The Waitangi Tribunal is tion can be dissolved. Te Maori was ested in our identity, in the development one such respected legal mechanism also a watershed in the way people of our own cultures, as we are today. for hearing grievances, which in some viewed Maori culture. The traditional views of New Zea- cases are as old as our nation. On other Although the old policy of assimila- land history are being reassessed. There issues such as fisheries development, tion was officially rejected years ago, is now a growing realisation amongst the Government is attempting to find a there has still been a sneaky sort of Pakeha people that we are part of the basis for settlement which is fair to feeling pervading much of our society South Pacific, not a distant piece of everybody. Only political ends are served which casts suspicion on anyone who England. This is a process which wor- by spreading confusion about the impli- was ‘not like us’. In a sense, Te Maori ries a large number of Pakeha used to a cations of the Treaty, and by encou rag— pushed itself into the mainstream with more comfortable, and sometimes smug, ing the fears of worried Pakeha. such powerthat it highlighted the Shah. view of our development as a nation. Despite the sometimes radical Maori biness and shallowness, the total in— Central to change is an acceptance views which are aired as we search for adequacy, of the ‘not like us’ rationale. of the significance of the Treaty of answers to deal with change, despite I said earlierthat 1990 is an opportu- Waitangi. The Treaty of Waitangi is raised and angry Pakeha voices at times, nity to celebrate our diversity. New morethat just a document signed nearly reformed structures and new ways of Zealand’s great strength should bethat 150 years ago. Claudia Orange, in her working are being created. we do have in our society different ways book on the Treaty, describes the tre- The Treaty is a mechanism through of approaching life, different ways of mendous confusion which has arisen which we can strive to achieve a part— solving problems and different ways of since it was signed. nership for the future. The Race Rela- expressing values. We even have dif- Many Pakehas have in the past tions conciliator has said that we are in ferent hierarchies of values. This is not considered the Treaty little more than a a ‘race against time’. Maori people tell something to be suppressed or denied. signing over of power to European control. me that they are simply tired of having It should be seen as the future strength Yet for Maori people, it was not that. It the things that affect their lives con- and vibrancy of our society. What we was an entry into a partnership wherein trolled forthem by Pakeha. For all ofus, need now are institutions and structures rights were protected rather than alien- that sends out a significant challenge. which accommodate those differences. ated. Now many Pakehas are fright— All people have the right to be in control Your idea of interest and operation ened by the implications of honouring a of their own culture, their own destiny. can give an important lead in this re- treaty they have largely ignored for It’s about access to resources. spect. lithe idea of partnership is going decades. Pakehas and the institutions we have to be lifted from the Treaty of Waitangi Some people seem determined to established in Aotearoa have to change. and placed squarely in our everyday cast aspersions on the significance of Maori people are meeting us more than lives, it seems to me to be a good idea the Treaty. Just last week, Jim Bolger half way, patiently explaining their view to start in the institutions where there is called the Treaty ‘badly drafted, badly and perspectives, demonstrating a de- already a meeting of the two cultures, negotiated and badly understood’. He termination to preserve a taonga long and some degree of mutual respect. suggested that the National Party, if neglected bythe Pakeha New Zealand. This means opening up the planning elected to the government, would limit Maori cultural expression has for a long and administration of your institutions - claims to the Waitangi Tribunal to the time been publicly smothered. This ensuring the sharing of specialist skills which may take years to acquire. It is leries have a role in this process. Not it the first time I saw how a piupiu was not enough to sit back and invite Maori only are they able to provide us with made. The cunning use of natural re- to participate in your institutions, then snapshots of particular times in the past, sources is amazing in our petro-chemi- wonder why they do not feel able to but they also can give us indications of cal society. Wouldn’t it be great for kids accept the challenge. Training, consul- the dynamics of change. visiting our museums to see how this is tation and understanding are needed to I think that we have some really done, instead of simply staring at a involve Maori people, and also a willing— exciting new directions being explored lifeless object hanging in a glass show- ness to change and adapt to their needs here at the moment with the blending of case, carefully shielded tromthe human and perspectives. l was particularly European art forms with traditional Maori touch out of respect for its age? I know pleased to read of the Maori Museum and Pacific Island cultures. A few months this idea begs the question of resources. and Art Gallery Training Programme, ago I was invitedto open an exhibition of But I also knowthat there are artists and which is a good start! the work of Samoan artist Fatu Feu’u craftspeople willing to share their skills. We must also not overlook the fact and some other young Pacific Island Surely it is not beyond wit or imagination that the fabric of New Zealand society, artists in Wellington. Their work was a to build up the living sides of our muse- while it has two main threads, also has graphic representation of this blending. ums and galleries. others woven into it. Recognising the I believe that galleries and museums At the beginning of this speech I place of the tangata whenua and the must take seriouslytheir role in present- talked about New Zealanders being in special partnership and mutual obliga- ing these developments. the process ofcreating a self-reliant and tions created between the Maori people And I’ve got another suggestion. It secure society. Security implies being and the Crown by the Treaty of Waitangi may be a conservator’s nightmare, but in possession of enough self—knowledge does not detract from the integrity of I’d really like to see the concept of an to be able to learn the lessons of the other cultures in New Zealand. artist-in-residence being promoted. past. We are blessed with a variety of Presuming you could find people who In this respect, museums and galler- groups in our population, from Chinese were not too shy about working occa- ies are key players. Your presentation and Indian to Dutch and Greek. An sionally in public, and even if it were only and elucidation of the dynamics of our especially significant minority are the for a couple of months, could we not see cultures and your outreach into the Pacific Island groups in our community. more of this sort of thing? community, will be significant factors in Because of New Zealand's kinship and I would include craftspeople in this. creating understanding and self-knowl— cultural links with Polynesia in particu- When will we have spaces in our muse- edge. This means that your discus- lar, we have special responsibilities to ums for the inheritors of the traditional sions on the management of change foster their material culture. Many Pacific craft skills to show us how it’s done? must refer not only to your own needs Island countries simply do not possess When will visitors to our institutions and aspirations but to your obligations the conservation facilities available here. have explained to them the old ways to the community. Cultures do not stand still and the and, if appropriate, be shown how the You have my best wishes for a suc- survival of peoples depends on the ability crafts have been adapted to take ad- cessful conference discussing these of their cultures to adapt to changes in vantage of modern materials and tools? issues and for your future work. their environment. Museums and gal- I remember how fascinating I found

Delegates relax during the buffet dinner at the San'eant Gallery. Sandy Adsett's ’Whare Toa' (1988) and 'Heke series no. 2', part ofthe Te Ac Maori exhibition, are on the walls. Biculturalism and Museums from a Maori Point of View Archdeacon Sir Kingi Ihaka

(Sir Kingi Ihaka began by greeting the Conference participants with a mihi in Maori.)

It was Easter 1952that lwas inducted at St Paul’s Church, Putiki, to be in charge of the mission of the Anglican Church amongst the Maori from Parewanui in the south of Wanganui and up the Wanganui River to Pipiriki, and from Wanganui to Opunake in Taranaki - an area which covered a number of tribes, with differing dialects, traditions, cus- toms - and which claimed no less than three ancestral canoes: Aotea, Kura- haupo and Tokomaru. I believe that I received a major part of my training for the world at large here in Wanganui. By the time l was transferred to Wellington in 1958, l had served in no less than 20 local organisations on a voluntary basis and at one time was a member of the Board of Trustees of the Wanganui Museum. i am no strangerto the organisation AGMANZ, and l would like to extend to you all my personal thanks and appre- ciation for the work which you have throughout the years accomplished. I am convinced that but for the work which you have throughout the years accomplished. i am convinced that but for the work of museums and art galler- ies throughout New Zealand, a large number of Maori artefacts would have been lost to the Maori world and to New Zealand. The practice and custom of whatsoever. I arranged for them to be word ‘bicultural’, compounded further burying artefacts with the dead has left hung, restored and cared for in the by the fact that there are in vogue two the Maori stripped of their personal taonga Wanganui Museum. Maori words to interpret rather than except, for most, those which are on I have been invited to address you translate the term ‘bicultural’. deposit in museums and art galleries. on the subject of Biculturalism in Muse- The Church of the Province of New I recall, whilst living at Putiki, visiting ums from a Maori point of view. I am Zealand, commonly called the Anglican a charming Maori lady during which delighted and honoured to give you my Church, has published an extensive and time l noticed certain articles protruding point of view on biculturalism in muse- exciting report of its Bicu ltural Commis- from under the verandah of her house. ums, but you must realise of course that sion on the Treaty of Waitangi and On investigating what the articles were, it is a personal point of view, and what l defines bicultural development as the I discovered to my amazement, a pile of say may not be acceptable to other ‘process whereby two cultures grow original Goldie paintings, stored there Maori. The difficulty lies in the fact that and develop within one nation in a spirit with practically no adequate wrappings there are so many definitions of the of mutual respect and responsibility’. The Commission states that ‘the Treaty handicap the Maori in the use he can should also apply to all New Zealan- (of Waitangi) provides for the recogni~ make of the facilities generally avail- ders and whoever may enter it. tion - indeed the guarantee - of things able, government will continue to pro- - I would like on arrival to be greeted Maori, of the land and interests associ- vide special facilities for as long as they and welcomed in my own language: ated with it, and of the wide range of may be needed and it is hoped that ‘Tena Koe’ (korua, koutou) and ‘Nau treasures encompassed within taonga’. other organisations will do the same. mai’. Greeted, and welcomed and Bicultural development is translated by Today, we are confronted with ‘bicul~ farewelled in Maori: ‘Haere ra’ (not, E this Commission in Maori language as turalism’. What does this mean to me Noho Ftal). It would be a place where Te Kaupapa Tikanga Rua, which in my as a Maori? and when appropriate, the Maori lan— opinion does not adequately conveythe As a child, I used to sit at the feet of guage is used and heard. Questions spirit of the term ‘bicultural develop— my mother and admire the way she in Maori should be answered in Maori. ment’. plaited flax mats and kits, but it took me Because of the importance of the The Maori Language Commission some years to know such terms in English language and the part it plays in all has coined the word kakanoma for bicul— and Maori as warp and woof, whenu aspects of Maori culture, a major num- tural, and the word literally means two and aho. l doubt whether my late mother berofthe staff should be fluent in both (rua) seeds (kakano) — an existence re— even knew or heard such terms. Cul— Maori and English. This should apply sulting from the fruits of two seeds. But ture may be defined as the warp and to non-Maoris also. even that has problems. One seed may woof of a person's existence - a per- A bicultural museum should provide prove more productive than the other. it son's inside and outside world. It is a adequate means to practice bicultu- is the same problem which faces one pattern of spiritual, emotional and physi- ralism. Fartoo often certain practices when attempting to translate from one cal realities, all of which interact in the and rituals have been reserved for language to another and a problem which life of society and of the individual and VlPs and tourists. exists today in trying to define various which reinforce one another. It is some- An adequately equipped bicultural terms in the document of the Treaty of thing richer and deeperthan the love of museum should not only be regarded Waitangi. music or a knowledge of art. Culture as the depository of artefacts, but also l have a concern regarding the use determines how museums, art galleries should play an important role in the of technical terms insofar as the Maori is and institutions are organised and con— education of society. The staff should concerned. We were in the 1960s bur- structed; how we view them; who looks be trained to correct errors (eg., the dened with various racial policies: as— after the taonga; by what means; the performance of the wero in buildings), similation, integration, segregation and role of the curator and individual mem- and be ready to answer questions on symbiosis. in 1962, the Department of bers of the staff; what we expect of various matters affecting Maori tradi- Maori Affairs issued a series of special them, and the value we place on such tions and customs. studies on the ‘lntegration of Maori and institutions. So much so then, for ‘cul- There should be a fair number of Pakeha’. The Department suggested ture’. Maori members of the Board of Trus- certain principles which might have value What then is a Maori point of view tees of bicultural museums, all of whom as a guide to action, two of which were insofar as biculturalism in museums is must be fluent in the Maori language as follows: concerned. Quite frankly, no matter and, of course, be comfortable in the 1. Regardless of any racial or cul- how well and beautiful one may define use of the English language. The age tural differences, Maoris have a natural the word ‘biculturalism’, in fact no mat of token representative has long and a legal right to full equality with all ter how many definitions we may enun- passed. other New Zealanders. ciate, all will prove fruitless and ineffec~ Finally, for me, biculturalism means 2. It is in the country’s interest for all tual unless we translate words into ac- cooperation, partnership and interde- citizens to have access to the facilities tion. To me biculturalism in museums pendence between two distinct cul- which will enable each one to attain the will mean: tural groups - the Maori and Pakeha - fullest possible development of one’s — A museum in which i as a Maori will within one nation. personality. Where cultural differences feel at home and be comfortable in; it Speech to AGMANZ Conference Fioss Jansen: Mayor of Hamilton and Chair of the Lottery Community Facilities Committee Report by Cheryl Brown, Executive Officer, AGMANZ

The Lottery Community Facilities Wilson, Ian Mitchell, Louise Rosson and ments up to $20,000. Committee was established in 1988 by Seti Fiti. Applications will be dealt with regu- the Minister of lntemal Affairs to as- AGMANZ has had a key role in the larly on a regional basis. Mr Jansen sume responsibility for the distribution development of funding to art galleries then went on to tell us about the amal- of Lottery Funds in assisting the provi- and museums, and officers of the Lot- gamation of the regional govemment, sion of community, cultural, recreation tery Services Division recently met with talking about amalgamation of the and sporting facilities, and to ensure a the representatives of AGMANZ to dis- municipal and counties association in co-ordinated approach to the funding of cuss and bring fonivard appropriate 1988. those areas. The new committee takes mechanisms to provide our committee In a few months time there will be a over the functions of the four commit- with the information necessary to make reduction of some 526 units of local tees previously administered by New informed decisions on applications for government, territorial and ad hoc au- Zealand Lottery General - Art Galleries funding. thorities to 91 units. and Museums Scheme, Local Authority The current budget is $8 million; $2 Community Facilities Funds, Commu- million being set aside for a circulating A copyofMrJansen ’spapermaybe nity Facilities in Schools Scheme and loan fund, and a further$2 million will be obtained from the AGMANZ/MAANZ the Cultural Facilities Scheme. Mem- set aside for distribution at a regional office. bers of the committee are: Lorraine level for small scale projects with pay-

The Hon. Russell Marsha/l, MP for Wanganui and Minister of Foreign Affairs, delivers the closing address. Seatedfrom leftare Conference hostBil/Milbank; C.E. Poynter, Mayorof Wanganui; and, Mina McKenzie, President ofAGMANZ. Tuning into the Pacific Eteuati Efe Pacific Island Officer, MASPAC

The concept behind museums to most Tokelauans, and Tongans - took part in Pacific Island communities in Welling- Pacific islanders is an alien one. So a unique evening of presentations ton who were given the responsibility of much so, in fact, that newly arrived demonstrating not only how, but more organising the Festival, as the Perform— immigrants from the Pacific Islands at importantly why, where and when drums ing Arts Committee comprises Pacific first view museums and art galleries are used in the individual islands. lsland representatives from throughout with the same curious fascination they Drums of all shapes and sizes were the country. hold for zoos and aquariums — as pecu- liarities pertaining to western culture. Coming from environments where the creation and maintenance of arte- facts are part and parcel of their cul~ tures, Pacific Islanders are hard pressed to see the importance of displaying rel- ics of the past inside glass cabinets. To a Pacific Islander, atreasure gets its mana and value from its practical function within cultural rituals and cere- monies, and their importance decreases to sentimental value when taken out of the cultural context. It is difficult to talk to an islander about the importance of conserving tapa, for example, when the bark cloth is presented in highly formal occasions where conservation is over- ridden by protocol. This indifference to the work of museums often leads to the ommission of museum visits from the recreational activities of many island- Cook Island drummers at the National Museum greet people prior to the ers. opening of the Pacific Drum Festival. However, that attitude is slowly chang- ing as museums more actively encour- age Pacific lslanders to promote and brought to life with varying rhythms and As a Wellingtonian on the Perform- develop their art forms through exhibi~ tones transcending cultural boundaries ing Arts Committee, Alfred Hunkin tions and performances in museums to portray common elements, although convened the Festival working commit- and art galleries. Pacific Islanders, in the innate essence of individual groups tee, which consisted of island group return, are responding positively and, in was maintained through the style of leaders and experts in traditional per— some cases, they have taken the initia- presentation and in distinctly contrast- formances. Regular fortnightly meet- tive to approach museums, requesting ing approaches. ings were held from September 1988. assistance with the promotion and In each group demonstration, drum From the outset, the working committee maintenance of their cultures. experts and elders spoke of the depth resisted the temptation to stage just One such initiative cametofruition in with which drumming has permeated another entertainment show—piece January this year, when the walls and the cultural fabricof each society,taking dominated by performances. instead, halls of the National Museum reverber- the audience on a guided tour of the the committee identified information and ated with the sounds of the Pacific as Pacific with images evoked by oratori- education about drums as important the Pacific Drum Festival opened at the cal skills, drum beats, chants and songs. elements of the Festival. It was there— Museum’s Theatrette, with an evening The Festival was initiated and funded fore resolved that an evening of demon- of high drama and entertainment. by the Performing Arts Committee, a strations from each of the participating Six Pacific lsland groups - Cook sub-committee of the Maori and South Pacific Island groups about the various islanders, Fijians, Niuean, Samoans, Pacific Arts Council. But it was the roles drums played in their societies,

15 Tuning into the Pacific

And many more were to return to the museum two months later to attend the opening of the Pacific Mats exhibition. Again, the Maori and South Pacific Arts Council provided financial assistance; however, the initiative and the curation was provided by museum staff. Evident at the exhibition opening was the relaxed, almost leisurely at- mosphere which prevailed, as the Pa- cific lsland communities mingled freely in the foyer. It was perhaps a feeling of relaxation, secure inthe knowledgethat they as a people were being accommo- dated in a building which had in the past been outside their vision of culture. it was pride in not only being a Pacific lslander, but also in being recognised and acknowledged as a member of the Pacific family of nations. As the second and third generations Fijian dancers performing a war dance. of Pacific Islanders increase in num- bers, and as the influence of western would be the first event of the Festival. consultative work of assistant director, culture becomes more evident in the Following discussions with National James Mack, who is seeking input from Pacific, many Pacific Islanders will feel Museum staff, the working committee Pacific Islanders for renovations to the more secure with the concept behind agreed that the Museum Theatrette would Pacific Hall. museums. be the ideal venue forthe opening night ofthe Festival. Points forthe move into the Theatrette were its provision at no cost to the organisation, and the possi- bility of the Museum’s Pacific drum collection being displayed on the night of the Festival. Mr Hunkin spoke of how rare many of the drums stored by the museum were and that many were no longer made in the islands. In effect, the decision to use the Museum Theatrette was an acknow- ledgement by the working committee of the importance of the Museum in main- taining and promoting their cultures. For many, it provided a different perspective on the Work of museums, and a renewed respect for the work of missionaries and anthropologists who had collected and recorded valuable in- The Tongans formation and materials from the Pacific. in Alongside relics of the past, Pacific Is- performance. landers could see their cultural heritage (Photos by Stuart and its evolution through artefacts which Sontier) now encapsulated the ancient protocols and provided more significance of the traditions today. Many of the members ofthe working committee have maintained close ties with National Museum staff through the 16 ANNUAL SUBSCRIPTION RATES

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Executive Officer, AGMANZ, P. O. Box 467, Wellington } Something Rotten in the State of the Collections: A Conservator‘s Survey Will Help Jeavons Baillie, Conservation Officer, National Library and Lyndsay Know/es, Private Conservator

All museums and art galleries have a groups of objects, either comprehen- vey is done in conjunctiOn with a building responsibility to take adequate care of sively or by sampling, to assess the review, there will be some overlap with their collections. Some larger institu- amount of treatment required to stabi- that assessment. The information gath- tions are sufficiently well placed to be lize them. ered would include: able to employ conservators whose - the types of objects in the collections efforts are directed exclusively towards The Building Review and their general condition; this concern. However few institutions The purpose of the building review is - the storage, display and packaging of are in this happy position. to determine whether the building is these objects, identifying problems in Some institutions do occupy well— appropriate for the storage and display a general way rather than focusing on designed buildings with collections stored of the museum material housed there, an item-by-item examination; and displayed adequately. In such cases identify inadequacies, gauge their sig— — the handling of objects and associated the main conservation need may relate nificance and make recommendations training; to the objects themselves. Would that for dealing with them. The information - the systems of documentation and this were true of most places! However, gathered will relate to: their suitability for recording informa- it is more usual for conservation prob- - the site, its locality and vulnerability to tion about the condition of the objects lems to exist at all levels including the disasters — natural and man made; and for subsequent use in assessing building, space allocation and storage - the exterior of the building, its condi— treatment needs. equipment as well as the condition of tion and maintenance; The report based on this survey will the objects themselves. In this article - the interior of the building, its constru— identify broad needs and recommend we endeavourto put these various situ— ction, building services and mainte- priorities for further action, for example, ations in a general perspective and nance; upgrading storage facilities or a pro— suggest how they may be approached. - other occupants - are they friend or gramme of treatment related to one Everyone knows that conservation foe; collection. In cases where broader needs is expensive. Effective use of the lim- - the administration of the building and are being met or othenrvise dealt with, a ited resources that any institution can its contents; more detailed survey of objects may be devote to conservation will depend on a - the physical environment in all places most useful. thorough understanding of the factors where objects are kept; that contribute to the well-being of the - security; A Survey With a Viewto Carrying Out paintings, artefacts and other objects - incidence of pests and their control; a Treatment Programme that make up the collections. To obtain — housekeeping; This type of survey would involve the a comprehensive understanding of the - disaster preparedness; detailed examination of individual items; state of the collections and their needs - an overview of the types of museum every item in a collection may be exam- and to identify priorities, it is necessary material held by the institution. ined or a sampling may be taken from to undertake a survey of the collections Covering such a wide range there which time and costing would be worked and the environment in which they are may be occasions when other experts out. Detailed reports should include: stored and displayed. in some institu- may be required to take part in the con- - a condition report; tions where no funds have been allo- sultation. The report will identify strengths a treatment proposal; cated for conservation work, a survey and deficiencies and the relative signifi- a conservation priority rating; may also be useful in creating an aware- cance of these in relation to the well- an estimate of cost. ness of the need for a greater commit- being of the collections. It will make Surveys immediately preceding treat— ment to conservation. recommendations on whether the defi- ment are best carried out by a specialist A full conservation survey may in- ciencies can be reasonably remedied. in the field and preferably should be volve several phases: done by the conservator who is to su- 1. A review of the building, its location General Collections Survey pervise or carry out the treatments. design, construction, maintenance and This type of survey will be directed at management. determining what sort of care and treat- What Type of Survey Do You Need? 2. A review of the collections, their ment the collections need and establish Staff in institutions without conser— comparative conditions and the way priorities in relation to broad categories, vators obtain conservation information they are stored, handled and displayed. rather than among individual items. by reading, by consulting museum liai- 3. A more detailed examination of smaller Depending on whether or not this sur- son officers, private and institutional- Something Rotten in the State of the Collections based conservators and by attending 3. Talk to other institutions who have - information on packing methods and workshops. This gives them a ground- had surveys done. What were their materials; ing in the possible conservation prob- problems and goals, how well were the - information on lighting systems and lems and requirements of their collec- goals achieved, how would they do it levels in exhibition spaces; tions and a basis on which to institute now with hindsight? - records of temperature and humidity some beneficial changes. It may also 4. How are the recommendations likely in exhibition and storage areas; highlight the need for a detailed survey to be implemented, what sort of docu- - details of training for staff in handling of the building and collections and the ment will be necessary to have the and other preventative conservation writing of a comprehensive conserva- recommendations acted upon (e.g., will measures; tion management plan, resulting in the a management plan be necessary to - general information about the collec- co-ordinated upgrading of the building, argue for extra funding?) tion and collection policies. the training of staff in preventative 5. Choose aconservator/conservators. The institution should be able to supply measures and the treatment of individ- Advice on an appropriate conservator any information it has gathered on some ual items in the collection. could be sought from museum liaison or all ofthese matters, orto have some- 80 where doyou start? It is tempting officers, conservation departments in one familiar with them to discuss them to direct conservation efforts to areas metropolitan institutions, or the NZ with the conservator. where results will be most evident, and Professional Conservator’s Group. It this usually means treatment of individ— may beusefultoasktoseeother survey For an itemized survey ual objects. This temptation is to be reports that the conservator has been - catalogue information on individual resisted. involved in writing. items; The general problems of the build- 6. Discuss and plan the survey(s) with - records of previous treatments; ing, storage and environment - all of the conservator and all staff. If you - disasters; which impinge on the every object — may know of particular problems which you - basic sorting and selection based on seem intractable, but conservators are want addressed, be sure to discuss perceived conservation need and us trained to approach these broad prob- these as soon as possible. lt may also age; lems and deal with the components be necessary to discuss these plans - usage (e.g., display, study, travel and systematically. The recommendations with the controlling body, particularly if frequency of any or all of these). arising from surveys will suggest solu— extra funds are to be sought or tempo- 7. Allot a reasonable amount of time tions which the conservator feels will be rary changes to the public face of the and staff and ensurethat there will be as within the means of the institution. institution are required. little as possible in the way of conflicts In short, if in doubt, err towards a The most expensive part ofthe sur- when the survey actually takes place - more general survey. Having elected to vey will be the conservator’s time, so it don’t set impossible goals (e.g., 200 carry out a survey, it can only be under- is important to realise a lot of basic, items to be surveyed in a 7 hour day, taken successfully with the full co-op- background work can by undertaken by which means 2 minutes each and no eration of all members of staff and the the curatorial and other staff which will morning tea!) Survey work is extremely visiting conservator(s). Sufficient time enable better use of the conservator’s tedious and physically exhausting, so it and resources must be set aside for the time. This may include: may be advisable to try and spread it planning process, the actual survey and over an extended period of time (e.g., 1 the writing and implementation of the For a building survey and general or 2 days per week for a period of management plan. This may meanthat collection survey months). Obviously this may not be for a period of time other activities may - building plans; realistic if the conservator has to travel have to be curtailed or, in someextreme - any previous reports on the building any distance, but it may still be possible situations, the institution is closed to the and other conservation reports; to plan the day so that at least two public. - names of architects or engineers who different types of work are being carried have experience of the building; out (e.g., talking to staff about the build- Summary of an Action Plan - details of recurring problems (e.g., ing followed by detailed reports of indi- 1. Have any surveys been undertaken leaks, heat build up); vidual objects). in the past? If so, the reports should be - incidents involving pests including 8. Costing of a survey. This will include carefully re-read, recommendations insects, fungi, plants; charges for the conservator's time, ac- noted and if none have been taken, ask - problems with air pollution (e.g., dust, commodation, travel and the prepara- why not. Would another survey be any car exhaust); tion of a report more successful? What changes need — fire fighting equipment - automatic and 9. Working conditions forthe conserva- to be made to ensure success? hand held; tor. Working in a temporary capacity in 2. Background reading. This is impor- - security details; an institution can be a lonely and frus- tant in order to help clarify the specific - names and duties of people who carry trating experience but, with a little thought, needs of the institution, its staff and out routine maintenance; optimal conditions can be arranged. collections and the ways in which a — cleaning routines; Allocate a suitable space and if the conservator can help. (See bibliogra- - disaster preparedness - equipment person is going to be in an institution for phy) available; any length of time (e.g., a week), treat Something Rotten in the State of the Collections them like a new member of staff and and distributed to all staff members. it tions Ltd., 1981. givethem asuitable ‘induction’. Ensure may be necessary to initiate in-house Clapp, A. Curatorial Care of Works ofArt on that any technical assistance required workshops on handling and ensure Paper. Nick Lyons Books, New York, is readily available and that necessary that new staff are properly trained. 1987. equipment such as lights and ladders a discussion of the storage facilities Collings, T.J. Archival Care of Still Photo- are provided. it would probably be wise and suggestions for upgrading. graphs. Society of Archivists informa- to appoint a staff memberto ‘look after’ a discussion of particular problems. tion Leaflet 2. the conservator, to liaise between her or a discussion on disaster planning. Conservation and Restoration for Small Mu- him and other staff and to ensure that a discussion on treatment of individual seums. Western Australian Museum, the conservator has everything required objects. it is usually important that Perth, 1981. and is comfortable. This may require objects are given a priority grading The Conservation of Cultural Property. that the staff member works almost which will take into account the state UNESCO, 1979. constantly with the conservator, or it of the object and its likely usage and Couture, Carol, et al. The Life of a Docu- may mean just frequent ‘checks’. Make importance, both locally and nation- ment. Vehicule Press, Montreal, 1986. sure your conservator gets morning and ally. For instance, an object may be in Dolloff, F.W. and Parkinson, R.L. How to afternoon tea and is invited to lunch. very poor condition and therefore be Care for Works of Art on Paper. Mu- Much useful discussion takes place dur- given a high conservation rating, but seum of Fine Arts, Boston, 1979. ing times of informal contact. where there are numerous similar Finch, K. and Putman, G. Caring for Tex- 10. it is extremely frustrating for a con- objects in better condition in this or tiles. Barrie & Jenkins, London, 1977. servator to be closely involved with an other collections, it may be given a low Gulbeck, P. The Care of Antique and institution for a short period of time and curatorial rating. The overall decision Historical Collections. American Asso— then never hear from them again, not may be not to treat the object but just ciation for State 8 Local History, 1984. knowing if any of the advice in the to house it in such a way as to mini- Keck, OK. A Handbook on the Care of survey(s) is being followed, it the infor- mizethe possibility of furtherdamage. Paintings. American Association for State mation is helpful, if the format is easy to All of the above could be incorpo- & Local History, 1965. use or if any of the recommendations rated in a conservation management Pomerantz, L. Is YourContemporaryPaint- are going to be carried out. Because plan which the institution could write in ing More Temporary Than You Think? institutions are so individual, no two consultation with the conservator. This international Book Co., Chicago, 1962. surveys are the same and conservators would set out the priorities and specific Reilly, J.M. Care and Identification of 19th will want to learn from each one - what goals for, say, the next five years. Century Photographic Prints. Eastman they found useful and what proved prob- Remember conservation surveys can Kodak Company, Rochester, New York, lematic. Conservators also tend to be an important step in collections 1986. become personally involved with the management and museum planning, Rempel, S. The Care of Photographs. Nick welfare of the collections in their care so both directly for the information they Lyons Books, New York, 1987. keep in touch. provide and indirectly through the proc- Sandwith, H. and Stanton, F. The National ess of self-examination they require. Trust Manual of Housekeeping. Allen What to Expect They are a good way of educating staff Lane, 1984. This will depend on the preliminary in making the physical requirements of Scott, R.R.(ed.) New Zealand Pest and discussions with the conservator where collections part of all museum proce- Beneficial Insects. Lincoln University your requirements are stated and rea- dures, whether or not a conservator is College of Agriculture, 1984. sonable goals worked out. Remember actually in the building. Seagar, C.P., Hillary, S.L. and Walk, 8. Art this is a co-operative venture. The sort Care. Northern Regional Conservation of goals that could be worked towards Postscript Service, 1986. may be: it is hard work implementing the Stoiow, N. Conservation and Exhibitions. - a discussion of the building and the recommendations of a survey and put- Butterworths, 1986. general environment, a staged plan ting into practice a management plan - Stoiow, N. Conservation Standards for for its upgrading. This could include don’t put them in the bottom drawer or Works of Art in Transit and on Exhibi- general weather-proofness of the build the ‘too hard basket’. if your initial tion. UNESCO, 1979. ing, security, internal environment - planning is realistic, you should be able Story, K.O. Approaches to Pest Manage- light ing, temperature, relative humid- to achieve it all with only minor adjust- ment in Museums. Conservation Ana- ity, pest control, air pollution control. ments - keep them in your ‘action bag’ lytical Laboratory, Smithsonian institu- - a discussion of the handling of and review and adjust regularly. tion, Maryland, 1985. the collections and suggestions for Taylor, M. A Manual for Handling and what a handling manual might con- Bibliography Packaging of Museum Objects. tain, which would address general Appelbaum, B. and Himmelstein, P. Plan- Thomson, Garry. Museum Environment, handling techniques as well as par- ning fora Conservation Survey. Museum 2nd Edition, Butterworths, 1986. ticular problems experienced in that News 64, No. 3 1986 pp. 5-10, 12-14. Upton, MS. and Pearson, C. Disaster building with that collection. Such a Baynes-Cope, A.D. Caring for Books and Planning and Emergency Treatment in manual could be written by the staff Documents. British Museum Publica— Museums, Archives and Allied Institu- tions. AICCM, Canberra, 1978.

Pacific Collections within New Zealand Museums Cheryl Brown Executive Officer, AGMANZ

Since much of this Journal is devoted to information about Pacific Island muse- ums, I thought it pertinent to talk briefly with those concerned with Pacific island collections in New Zealand’s metropoli— tan museums. I also wanted to find out what, if any, projects are in place to develop access to these collections.

James Mack, Assistant Director, Public Services, National Museum An observation that the Pacific Island Hall was in dire need of refurbishing and that those people for whom the collec- tions had most meaning should be in- volved, led James to embark on a proc— ess of consultancy with Pacific Island communities in Wellington. ‘The most important things’, said Tokelau weaving group members Katalina Pasilio (right) and Malia Sesale Perez James, ‘are how strongly the current showing weaving skills at the National Museum during the Pacific Mats exhibition. National Museum staff feel about the (Photo: The Evening Post) Pacific Island collections, and that we think the rich historical material associ- to lobby for the money so that we may the National Museum, and is currently ated with the Pacific Islands are part of redo the Pacific Hall, enabling it to reach showing The Sounds of Oceania, an the very lifeblood of the Museum. How the aspirations of the Pacific Island exhibition of more than 1 50 instruments else can we as New Zealanders feel the people, and we will continue to lobby for from the islands of the Pacific. A major pulse of the Pacific Ocean without lis- a budget that will allow us specifically to catalogue, Sounds of Oceania, accom- tening to its historic and contemporary purchase Pacific Island material. panies the show. wash.’ ‘Possibly the biggest buzz of the ‘The museum has close associa- James sees himself as a Pacific recent Pacific Mats show, which was tions with people from Niue and Samoa, Islander: ‘l get very excited about the curated by Roger Neich and Mick Pender- but I don’t think we are reaching the full activities of Pacific Island weavers, and grast at the Auckland Institute and potential,’ says Roger. ‘When there is a my professional soul hears things Museum, was to hear a young man who show which concentrates on one coun- demographers say about our future had never been to the Museum before trywithinthe Pacific, theturnout is much audiences. If we aren’t aware of what saying that he had seen a photo of his greater. People like to see a lot of their they are saying, then museums will be late auntie presenting an ‘ie toga at a own material, but aren’t so interested in alienated or even denied by those Pacific kava ceremony in Samoa.’ seeing only one or two pieces in a joint Island communities. show.’ ‘I was saddened to discover that Roger Neich, Curator, Roger wrote a UNESCO report on morethan 90 per cent of the consultant Auckland Institute and Museum the proposed National Museum of group who participated in the Pacific Roger says that the Museum is not Western Samoa and has himself a close Mats show didn’t know there was a doing anything special regarding Pa- relationship with that country. Pacific Hall. We need to work hard; we cific Island material and, like other need to addressthese wonderful collec- museums, the emphasis is currently on Lyn Williams, Curator, tions. refurbishing the Maori Hall. The mu- Canterbury Museum ‘I believe it is as important to consult seum is, however, proposing to do a ‘We are proposing to redo the Pacific with the Pacific Island community as we temporary exhibition every two years Hall within the next ten years,’ Lyn says, proceed towards refurbishing the Pa- which looks specifically at one Pacific ‘but the refurbishing of the Maori Hall cific Hall, as it is to consult with any Island culture. must take immediate precedence.’ particular culture group who’s artefacts The museum curated the Pacific Mats Lyn notes that there are frequent re— the museum exhibits. We will continue exhibition, which was seen recently at quests for ‘something Melanesian’ from

17 Pacific Collections within New Zealand Museums the education officers, but there is cur- tapa and other Polynesian textiles,’ Dimitri of Pacific arts and cultures in the Mu- rently nothing from the Pacific on dis- adds. seum’s programmes is yet to be ex- play at present apart from some mol- The concept of the Museum of New plored in detail, and will involve consul- luscs. Zealand/Te Papa Tongarewa rests on a tations with representatives of Pacific There is little contact with the Pacific New Zealand-centred bicultu ral frame- Island communities in New Zealand. Island communities in Christchurch, but work which acknowledges Pacific con- As James Mack pointed out, the de~ the Canterbury Museum has developed nections in all areas - Papatuanuku, mcgraphers are telling us that in 20 a close contact with the Cook Islands Tangata Whenua and Tangata Tiriti. years time, the potential audiences of Museum. Lyn also assisted in setting Within this concept, the culture and the museums of Aotearoa New Zealand up the Niue Museum with Gavin Kee history ofthe Pacific Islands are specifi— will be largely Polynesian. Will we then from the National Museum two years cally recognised, and a distinct focus for havethe resources to attractthat poten- ago. Michael Trotter and Roger Duff traditional and contemporary Pacific tial audience? also have strong research contacts with Island cultures will be provided within While it is more important and nec- the Cook Islands and Niue, althoughthe the history department of Tangata Tiriti. essary to look at the display of Maori connection is through research rather The work of Pacific Island artists will material and to not, as Kuku Wawatai than display. also be addressed within the art depart- says, ‘drown in a morass of multicultu- ment of Tangata Tiriti. ralism’ before we address the very real Dimitri Anson, Curator, As with all areas of the museum, it is issue of the place of the tangata Whenua, Otago Museum expected that programmes will show re— we must keep one eye on the future and Dimitri had the same response as the lationships between various subject consider a very important part of our other two metropolitan museums — that areas. However, the actual expression community. current resources of time and money were going towards the refurbishing of the Maori Hall. The Otago Museum holds one ofthe largest Melanesian collections within Australasia not withstanding Australia’s colonial past within this region. Much of the material is on display in one of the more recent Melanesian galleries in the country. ‘The Pacific Island community,’ says Dimitri, ‘is very keen to be involved in the Museum, and they attend and take part in many of our functions. They have often helped us to organise mu- seum—based children’s holiday pro- grammes. Members of the Pacific Is- land community are, these days, al- ways present and take part in ceremo— nial welcomes in the Maori Hall, exhibi- tion openings and other functions in— volving the tangata whenua.’ The museum lends materials to various community groups in Dunedin, particularly kava bowls and slit-gongs for use in ceremonies. About two years ago there was a successful commemo- ration of Fiji’s National Day held in the Museum, where a temporary display had been set up by the staff to comple- ment the performance and celebrations. ‘The preservation and display of Pacific textiles is important. Margery Blackman, our honorary textiles cura- tor, who has studied Pacific textiles in museums in New Zealand and over- seas, is keen to mount a show of our

18 Pacific Collections within New Zealand Museums

Pacific Artefacts in New Zealand Museums

g .g § 8 ‘3 1% 5 ‘2; i a 8 8 g? 5 6 .9 EE m m = % .3 8 5 e 5 .5 a as i i MUSEUM l—IxE‘”§“25‘£xo u) l— 2 I < > z a) Efll——§a32 i— m 0. Cr. 2

Kaitaia 16 1 1 1 4 3

Russell 35 1 1 1 '20 3 2 7

Dargaville 4 1

Auckland 20851 805 422 481 227 187 1040 717 145 4603 1337 95 1031 53 3122 4114 377 164

Melanesian Mission 507 2 1 34 447 1 8 1O 3

Thames 9 1 1 2 2 1

Waihi 30 2 27

Tauranga 17 2 1 1 2 4 3 1 3

Elms Trust Tauranga 64 3 7 3 8 24 4 1 1 13

Waikato 399 8 14 6 2 26 180 33 1 1 2 120

Whakatane 140 14 21 18 1 1 1 13 4 1 43

Te Awamutu 141 11 12 3 6 5 3 55 24 1 15

Rotorua 80 19 7 3 3 2 4 2O 16 5

Taranaki 225 17 15 1 5 1 14 1 2 38 25 1 41 5

Hawkes Bay 299 26 15 25 4 3 137 21 8 202 132 1 8 3 17 264 3 10

Hastings 8 1 2 2

Patea 5 4

Wanganui 1153 44 35 7 3 50 48 7 47 134 1 12 229 9 1

Manawatu 21 9 5 31 1 1 4 9 44 30 3 5 67 1

Otaki Lions 6 3 1 1

National 9043 348 526 172 167 45 395 387 256 2390 600 16 88 22 150 2784 245 39

Nelson 367 1 18 3 10 44 3O 2 114 41 10 1 1 11

Canterbury 5979 86 471 173 61 149 397 193 119 1099 644 24 60 30 30 986 110 579

Okain's Bay 9 1 1 4 2

Timaru 59 7 2 2 9 1 3 6 2

Oamaru 46 2 1 5 11 1 7

Otago 15640 586 459 248 177 45 386 522 191 3135 632 42 112 415 807 2163 457 96

Riverton 93 5 2 2 8 1 2 12 36 2

Southland 607 2 58 9 15 64 27 48 42 2 2 28 30

TOTALS 57051 1988 2124 1160 682 429 2595 2001 734 12501 3755 187 1346 531 4212 10932 1207 892

19 Preserving Hawaii's Moving images Fiuth Tamura President, Hawaii Museums Association

Film and video materials are a form of Film and Video Archive Project, making historical record just as documents and Hawaii the first state in the nation to historical artefacts. Film and video mandate such an effort. The Hawaii materials can also be an art form as are Public Broadcasting Authority (Hawaii paintings. Both represent a heritage Public Television) acted as facilitatorfor that belongs to the community, but this effort, working with moving image currently they are not afforded the same archives in Hawaii and on the mainland, status, protection and preservation private commercial film and television concern as are written records, histori— studios, independent producers and cal and artistic objects. private and public moving image collec- We have become accustomed to tors. television reruns. But not all programs Four different planning committees are saved for replay. in Hawaii, 20 were created to help inthe development years of irreplaceable programming was of a state plan for moving image preser- lost when commercial television sta- vation. The committees all recognized tions converted from film to video tech~ a sense of urgency, as valuable records nology. of Hawaii’s 20th century had already The ‘clean out’ syndrome is not the been lost. The committees produced a only difficulty faced by collectors of film moving image preservation plan that and television footage. Moving images identifies and provides advocacy sup- on film and video tape are among the port for existing collections and encour- most pervasive and influential creations ages new and expanded efforts toward Sesquicentennial of arrival of Captain of modern times, and yet they are also moving image preservation. Cook, 1928. AP. Taylor, Librarian, among the most fragile. These visual As recommended by the Hawaii Hawaii Archives. records capture moments from our past Moving image Preservation Plan, an in- (Photo: Hawaii State Archives) and hold a special place in our lives. ventory of the state’s collection of moving Preserving them is as vital as saving image material began in August, 1988. staff of the Hawaii State Archives and a any of the documents, books, historical An initial staff of four - Virgil Demain, few museums. As word ofthe inventory objects and of works of art of centuries Dell Ison, Georgia Leong, Sandi project spreads, more inquiries are being past Sasamura and Ruth Tamura - began received about the care and handling of Recognizing the needto address the the inventory process with a short pres- family—owned film and video material. idea of preserving moving images of entation at one of the Governor’s Cabi- Several television producers, looking Hawaii, the Hawaii Moving Image Pres— net meetings. This was then followed for historical footage to use in a pro- ervation Project began with an appro— by individual department meetings and gram, have also contacted the project priation of funds by the Hawaii State discussions. After a five~month search staff about possible sources. Legislature in 1987. The project contin- through governmental departments, di- With the identification of the state’s ued to receive funding and has worked visions and agencies, approximately collection of moving image material towards the development of a statewide 13,900 individual rolls of film or video comes the responsibility of seeing to its tapes were identified and indexed. preservation. Future preservation ef- Of these, 800 reels or cassettes forts include plans for new storage fa— did not have identifiable titles and cilities and the collecting, cataloging many were camera video tapes or and processing of the materials located raw footage. Non-profit public in- from the inventory, as well as the devel- stitutions with moving image col— opment of an appraisal process that will lections were also inventoried by support other preservation efforts in the the staff and that work is still in state. process. Moving image preservation is a rela- Concurrent with the inventory tively new concept in Hawaii, but with project, 13 screenings of historic the increased awareness and support moving image material were pre- for this and other areas of historic pres- sented at the State Capitol during ervation, Hawaii can look forward to Hawaii Statehood. (Photo: Hawaii State the Legislative session. A special renewed interest and pride in its history, Archives) screening was organized for the culture and traditions. 20 Museums, Monuments and the Struggle of Indigenous People: A Chamorro Testimony Laura M. Torres Souder, Ph. D. Assistant Professor of American/Micronesian/Women's Studies College ofArts and Sciences, University of Guam

Guam is a land under siege by monu- photographs of a sampling of memori- Unfortunately, it is confined to fading ments, memorials and historical dis- als from the northern to the southern tip memory. plays which honor bloodshed and battle of Guam. At best these memorials Why is this so? In part it is because, and by so doing co-opt us into support- should tie people to their past, at worst like our other neighbors in the Pacific, ing militarism and subscribing to a cold they perpetuate myths about realities we have “inherited colonial concepts of nial construction of reality. Exhibits that are not our own. museology" which portray indigenous found in the museums of Guam and War is a part of Guam’s past to be cultures as “dead and gone” or worse featured as special displays organized sure. However, in none of Guam’s “primitive and dysfu notional” in today’s around holidays which celebrate colo- world. In addition, the dictates of fund- nial history, typically highlight the ex- ing sources often shape the final prod- ploits and paraphernalia of conquest uct of exhibits and monuments. indige- and war. Theoretically, museums and nous people regularly lose out as they monuments should connect people with rarely have the financial resources to their past by celebrating their story of dictate outcomes. Perhaps, the most continuity and survival. Sadly, muse~ pressing problem on Guam in this re— ums and monuments on Guam with few gard is our limited sense of our own exceptions are colonial instrumentsthat history. Albert Wendt, in an address to chip away at our identity, robbing us of the Pacific Historians Association sev- our story, and perpetuating a construc- eral years ago, cogently stated that “we tion of reality which says to Chamorros are what we remember.” He also pointed that we are marginal, and that the his— out that ourcolonial legacies have led to tory of Guam is about the story of out- the replacement, reordering, and reshap siders and their relationship to our home- ing of ourcollective memories as indige- land. nous people to suit the purposes of our A quick tour of Guam will convince colonizers. In order to better under- even the most skeptical observer that stand how this legacy has impacted on for Chamorros the “war” has not ended. Guam’s indigenous Chamorro culture, Our whole relationship with world pow- it is necessary to know some basic ers dating back to the 16th century has historical realities which are an integral been continuously defined in the con— part of the Chamorro experience. text of war. It is not surprising then that Peace Memorial, Yigo (northern Guam), Guam has the dubious distinction of most people who know about Guam erected by Japanese group on the site being the first Pacific Island to be colo- referto it in the context ofthe role Guam of the last Japanese Command Post in nized by a Western Power. This proc— played in WWII, the Korean War, the July of 1944. ess began with Magellan’s visit in 1521 Vietnam Conflict, Operation New Life, (Photo by William Hernandez) and was formalized with the establish- etc. As a Chamorro, l have regularly ment of a Spanish colony in 1668. The been injured by the typical response to second colonial wave experienced by an inquiry about where I’m from. “Guam, museums or monuments is there an Chamorros began when Guam was sold oh isn’tthat a military base?” “No", I say indigenous interpretation of the wars along with the Philippine Islands to the with a heavy heart, “its the homeland of experienced by Chamorros. Displays United States as part of the spoils ofthe my people, the Chamorros of the Mari- do not speak of Chamorro survival. The Spanish American War in 1898. Cham- anas.” Along with the miles of barbed- real sacrifices of Chamorros are ig- orros began the slow and strange proc- wire fences which keep the “natives” nored. Throughout history, our people ess of learning how to be American. out ofthe 11 military installations on our have become masters of survival with Many rules and regulations promulgated island of 212 square miles and serve as no army and few resources in the wars by Naval Governors during the early a constant reminder of colonial con- which have besieged them, wars not of days of American administration on quest, most of the monuments and their own making. This is the story Guam were aimed at transforming cul- museum displays around the island are which should inspire the scripts of tural practices which were viewed as dedicated to war. This can be seen in museum exhibits and monuments. despicable, dirty, anti-capitalistic and 21 Museums, Monuments and the Struggle of Indigenous People: A Chamorro Testimony downright un-American. Throughout both Spanish and Ameri— can colonization, cultural images were being shaped and defined by colonial policy. Centuries of colonization have had a profound impact on Chamorro culture. So much so, that the unfamiliar person is likelyto assumethat Chamor- ros are “sort of Hispanic" judging from our language and traditions, or “pecu- liar Americans” judging from our mod- em cultural practices. To set the record straight, Chamorros have never been considered Spanish by Spaniards. Nonetheless, many practices from the Spanish colonial world were adapted and Chamorrorized. Neither have Chamorros been embraced as full-stand- ing Americans. While we are US. citi- zens, we are not fully protected by the US. Constitution. We cannot vote for WWII Beachhead Landmark, Asan (southern Guam), erected by American President. The truth is, we are at the Legion to commemorate landing of 3rd Marine Division in July 1944. total mercy of the US. Congress. (Photo by William Hernandez) Afterthe second world war, Guam’s economy was transformed to accom— entry was restricted. This prevented sons, decided to make Guam their home. modate a growing US. military pres- Guam from developing its tourist indus- The opening up of Guam to immigration ence. Working for wages became more try until after the Naval Security Clear- provided the impetus for unprecedented attractive than traditional subsistence ance was lifted in the 19605. The is- non—military and non-governmental activities which characterized the eco- land’s relatively homogenous popula- economic growth. nomic aspirations of Chamorros prior to tion was now exposed to large groups of Two other events have also been the full-scale implementation of modern alien laborers, foreign investors and associated with the cultural upheaval capitalism. Because Guam was desig— stateside Americans in growing num- which thrust Guam intothe modern age. nated as an American security zone, bers who, for economic and other rea- Super-typhoon Karen hit on 11 Novem- ber1962, tlatteningthe island and killing seven people. The catastrophe was declared a national disaster. Millions of US. federal dollars poured into Guam to assist in reconstruction. New homes, schools, churches, health facilities and businesses were built. Public projects proliferated. The military expanded its installations. Post-typhoon rehabilita- tion funds created an economic eupho- ria. Chamorros abandoned their farms to join the ranks of civil service and private sector employees. Old neigh- borhood patterns were disrupted by subdivisions designed after the grid system of America’s cities and housing developments. Another boom occurred with rehabilitation funding after the onslaught of Super-typhoon Pamela in 1976. These post-typhoon economic booms allowed for the infrastructural Facade ofthe T.StellNewman VisitorCenterofthe Warin the PacificHistorical and hotel development which launched Park, Asan (southern Guam), U. 8. Government Museum to commemorate the tourism on Guam. the role of the U. 8. military in WWII. Today, nearly a million tourists visit (Photo by William Hernandez) Guam annually. Almost all are from Japan, although a growing number of 22 Museums, Monuments and the Struggle of Indigenous People: A Chamorro Testimony

Australians are now visiting Guam since “bought” by many Chamorros. Hence, versible trend. Since the mid—1970s, direct air routes have been opened. “get rich quick” schemes with the mili- cultural programs have slowly begun to Besides coming to enjoy the warm sunny tary, Asian investors - particularly Japa- change course. The Chamorro Lan~ weather, beautiful beaches and a rela- nese - and the tourism in the driver‘s guage and Culture Program at the tively clean environment, Japanese come seat have flourished at the expense of Department of Education, the Guam to Guam because it is close, cheap and positive image building which contrib- Council of the Arts and Humanities, the American. Our claim to fame as a utes to cultural integrity and continuity in Guam Museum and several non—gov- Japanese tourist mecca is undoubtedly the face of change. Land and heritage ernmental organizations have begun to linked with this American connection. have become the most expendable reshape the role of these institutions in Consequently, the Guam Visitor’s Bu- commodities. response to the struggles and survival reau has developed the alluring slogan; Where does that leave us? Over of indigenous people, not only Chamor- “Guam USA, Where America’s Day three hundred years of struggle and ros but other Micronesians as well. Begins.” The selling of this image is change have indeed had a debilitating Nonetheless, major changes have yet deliberate and pervasive in advertise- effect on the Chamorro psyche. And to occur in priority, direction and focus ments and promotional efforts. Busi- yet, Chamorros continue to practice age— before monuments, art galleries, cul- nesses engaged in some aspect of the old customs and traditions, uphold some tural institutions and museums on Guam tourist industry have incorporated this of the values of their ancestors, and can be counted as comerstones of Cham- cultural image in their respective sale speak the Western Austronesian lan- orro cultural continuity and development. packages. Taken in isolation, the im- guage of their forebearers. While be- For those who are interested in pact of this image on cultural change coming American and/or making a fast reshaping museums, art galleries and may not be readily apparent. However, buck by abdicating or denying their cultural institutions, our mandate is clear. combined with other processes of Chamorro heritage was and is an erst- We are challenged to balance the skewed Americanization, the ensuing collective while preoccupation of many on Guam, portrayal of Pacific history in favor of impact is far—reaching. Combined with the recent resurgence of pride and iden- indigenous representations of reality as the “mainstreaming” effects of the me- tity as indigenous people is gradually we understand it. We must break with dia and military presence, these efforts gaining momentum. The rallying call for Western traditions of so-called sound have had a shattering effect on Cham- political self-determination for Cham— museological/artistic practice, if neces- orro cultural identity. orro people has given impetus to a sary, and create new culturally sensitive The images “sold” under the aegis Chamorro renaissance. strategies that reflect our indigenous of tourism and a booming off-shore This movement has begun to re- ways of doing things. Displays have a American territory have also been verse what was perceived to be an irre— tendency of fragmenting history into little windows of unrelated experience. Chamorros view life as an integrated whole. This Pacific ethos or world view, if captured in exhibits, can successfully reflect the continuity of traditions in the face of change. We must explore ways of making sense of history and creating our own symbols of meaning in monu- ments of the future. We must make the indigenous people of the Pacific the central players in the scripts which in- form the work of artists, museologists, cultural preservationists and educators.

Korean War Memorial, Skinner Plaza, Agana (central Guam), erected by Korean Community of Guam to com- memorate those who fought in the Korean War. (Photo by William Hernandez)

23 In Service: Museum Liaison Officers Cheryl Brown Executive Officer, AGMANZ

The Liaison Officer Service has been of funding from the Lottery Board provides museological developments both here primary importance in the development for 75% of the salaries to be paid by the and overseas and generally acting as of many museums in this country. Lottery Boards and 25% by the muse- advisor, friend, infomtation gatherer and Lobbying by AGMANZ has been instru- ums. in 1980 Auckland and Canterbury consultant. mental in the establishment of the Serv- Museums were the first two to have Tony Cairns is the newly appointed ice, which has grown considerably over officers. Liaison Officer atthe National Museum, the years. There are now four Liaison Officers and it was his appointment which in 1973, the New Zealand Lottery housed in the Auckland, National, Can— prompted me to ask the four Liaison Board gave grant assistance to the terbury and Otago Museums to service Officers to contribute to the Journal Auckland, Canterbury and Otago Mu- the four main regions of New Zealand. Warner Haldane at the Otago Museum seum, and the Dunedin Public Art Gal- Funding which used to come via the Art was appointed in 1987, while John Coster lery to assist smaller museums in their Galleries and Museum Scheme (now took up his post in Auckland only last areas for three years. defunct) comes from the Community year. Beverly McCulloch at the Canter- Funding was given to the metropoli- Facilities Fund of the Lottery Board. bury Museum is the longest serving tan museums so that Liaison Officers Liaison Officers are responsible for Officer. The following is based on their positions could be established. The advising museums, keeping abreast of comments and contributions.

Tony Cairns Currently, Tony’s priorities are: John Caster Museum Liaison Officer, 1. To assist smaller and provincial Auckland National Museum, Wellington museums to better care for and display Liaison Tony was born in the Wairarapa and their collections; Service grew up under the shadow of the Ta- 2. To optimise the flow of resources, John Coster raruas. He moved to Wellington 12 expertise and knowledge to the people succeeds Julie years ago, and has completed his BA in who need it; Catchpole and Anthropology and Sociology and a B.Sc 3. To recognise that the National Col- Sherry Rey- in Zoology. He has worked as a re- tion belongs to the people of Aotearoa nolds as Mu- searcher atthe Dowse Art Museum, the New Zealand and to seektheir goodwill seums Liaison New Zealand Planning Council, andthe and guidance in caring for their treas- Officer at the New Zealand Dictionary of Biography. ures; Auckland insti- The four years spent at the Dowse 4. To visit and make contact with all the tute and Mu- John Caster from 1982-86 were valuable years of museums and cultural institutions in the seum. Hister— (Photo: Auckland learning and it was working with James area and assist with applications for ritory covers Institute and Museum) Mack, whose ideas and professional- funding and access to resources; the northern ism Tony respects, that led him to want 5. To work, when requested, for the re- half ofthe North island, extending as far to continue Working within the muse- patriation of cultural property. south as Tongariro National Park, ex- ums of Aotearoa New Zealand. At cluding Gisborne and New Plymouth. the New Zealand Dictionary of Within this area are some 130 muse- Biography, Tony was instructed in ums, most of them small and only a the difficulties of bicultural research handful with more than one or two full- by Miria Simpson, Claudia Orange time staff members. Auckland regional and Bill Oliver. museums tend to be relatively new and Tony is learning Maori, and says there are very few larger museums which that he is buoyed up by the dedica- can act as a focus for the small institu- tion and skills of Te Whanau Paneke, tions. the Maori Access team at the Na- Before coming to the Museums Liai- tional Museum, who represent for son Service, John was employed as a him the future of museums in this field archaeologist by the NZ Historic country. Places Trust, the NZ Forest Service, the

24 In Service: Museum Liaison Officers

Department of Lands and Survey and, number of museums in the Auckland to meet people in the museum profes- most recently, the Department of Con- area, and has worked with Maori com- sion, while another aspect ofthejob has servation. He has undertaken field munities involved in the protection of been to answer numerous enquiries workthroughoutthe Auckland Province archaeological and traditional sites and from client museums on a variety of and, as a result, is familiar with much of artefacts. museological topics. The Liaison Serv- the Liaison Officer’s area. John has Since starting as Liaison Officer in ice has also in the past been involved in particular interests in landscape history August of last year, John has been organising training workshops, but with and cultural resource management, travelling to as many museums as the AGMANZ Diploma course now being including the management and conser- possible, although he envisages that replaced by the Massey University Di- vation of historic and archaeological another year will be needed before all ploma in Museum Studies, its future sites. He sees his experience in re- of the remainder can be visited. An- role is unclear. John sees involvement source management as extending natu- other important activity has been at- in workshops at a variety of levels as rally into the field of museum work. He tending workshops and conferences, being an important part of the Liaison has had professional contact with a which provide valuable opportunities Service.

Warner Haldane Warner Haldane (Photo: Otago Daily Otago Museum Liaison Officer Times) My background in museums starts at about the age of 10, when l regularly visited what was then the Coryndon Museum in Nairobi, Kenya, on my way between Britain and Tanzania. After running my school museum, I later ran one at Bristol University, while acquiring a 8.80 in Chemistry, Psychology, Geol- ogy and Zoology. l was greatly involved in archaeological field work at this time, and during the vacations worked at a number of museums, some of them small. Then I went to London Univer- sity’s Institute of Archaeology and AGMANZ Council, the NZAGDC, and of the collection of museological books emerged M.Phil for research on the the Central Regional Arts Council; as available for loan; the bulk purchase of chemical content of Pre—Roman iron- well as taking part in a wide range of basic museological texts for museums; work. , community activities and pursuing my andthe development ofastandard receipt My first job was with the Research interests in tramping, drama, opera and form for articles entering small muse- Laboratory of the Ancient Monuments organ music. ums and incorporating allthe necessary Department in London. Then I moved With this background, I felt l was safeguards. to the Sunderland Museum and Art well-fitted to take up the position of l consider the promotion of preven— Gallery and some four years, four job Liaison Officer at Otago Museum in tative conservation to be my highest changes, local government reorganisa- October 1987. My first move was to get priority, and in this I have been greatly tion and a Museums Diploma later, I round Otago and Southland as quickly assisted by the Otago Museum’s Con- emerged as Keeper of Archaeology for as possible to meet all those involved servator, Kate Roberts. The more that the Tyne and Wear County Museum with museums and find out what they I get to know my ‘flock’, the more l Service. expected of me. As a result, while appreciate that though there may be Unfortunately, reorganisation had building on the firm base provided by my many different approaches to such things removed much ofthe job’s pleasure, so predecessors, this has led to the devel- as presentation, the need for good I emigrated to New Zealand to become opment of such activities as: a telecon- housekeeping is fundamental. the Director of the Gisborne Museum ference preventative conservation Being a Liaison Officer is stimulat- and Arts Centre for the next 12 years. course; the bulk purchase of 12 ther- ing, challenging and enjoyable, and l Some highlights of that period were: mohygrographs, three of which are have certainly learned a great deal more being involved in the design of and fund available for loan to the region; the about museums in the last 18 months raising for the new museum building acquisition of a light meter, UV meter by listening to the museum people of and a ZOO-seat theatre; hosting the and psychrometer for on—the-spot meas- Otago and Southland and having to AGMANZ conference; serving on urements; the considerable expansion answer their enquiries.

25 The Professional Liaison Committee for the Project Development Board of the Museum of New Zealanle Papa Tongarewa Stuart Park Director, Auckland Institute and Museum

The Professional Liaison Committee was in these meetings, as well as the five appointed by the Project Development Committee members. Two members of Board of the Museum of New Zealand/ the staff of the Institutional Planning Te Papa Tongarewa, on the nomination Team assisted with the meetings, and a of the Art Galleries and Museums Asso- member of the Board attended one of ciation of New Zealand, to: the meetings. There was a wide range of views and advise and support the Board, its opinions expressed during the five Beverley McCulloch (Photo: Canterbury Planning Committee and its staff; meetings with other members of the Museum) profession. in spite of this diversity, act as a focus for the expression of there was a strong degree ofconsensus Beverley McCulloch, professional concerns and perspec- over major issues, albeit with some Canterbury Region Liaison Officer tives; strongly held diverging opinions. l have held the position for just on five Some of the major issues were years. i have an M.Sc in geology, and advise on the potential roles of the summarised in a presentation to the have a work background of school teach- Museum of New Zealand/Te Papa Board during a two-day workshop in ing, art and display for DSlR, and ar- Tongarewa as a national museums February, and a detailed report of the chaeology for the NZ Historic Places service. meetings was also prepared. The ma— Trust. l have been associated with the jor themes focused on three issues. Canterbury Museum for 23 years. The Professional Liaison Committee The Canterbury liaison region cov- consists of: Biculturalism ers all the South lsland north of the Among the members of the museum Waitaki River and Haast, except for the Stuart Park (chair), Director, Auckland profession, as in any other widespread coastal strip around Nelson, which is lnstitute and Museum, Auckland group of New Zealanders, there is a serviced from Wellington. There are diversity of opinions on many of the approximately 100 museums in the Elizabeth Hinds, Director, Otago Early social and political issues which face region, only eight of which employ any Settlers Museum, Dunedin the country, and biculturalism is no professional staff at all (including Can- exception. terbury Museum itself), so my work is Bill Milbank, Director, Sarjeant Art Gal~ Having saidthat, however, it was our almost wholly involved with giving ad« lery, Wanganui strong professional submission to the vice and assistance to amateur institu- Board that the principle of biculturalism tions - some of which have attained a Cheryll Sotheran, Director, Govett as embodied in the Treaty of Waitangi very high standard indeed. l try to visit Brewster Art Gallery, New Plymouth must be the foundation on which the all the museums in my area at least Museum of New Zealanle Papa Ton- once annually and travel 1 2-1 5,000 kilo- John Takarangi, Curator of History, garewa is established. metres a year. Manawatu Museum, Palmerston North The PLC submission regretted the The personal approach and contact largely monocultural nature ofthe Draft is very important to the smaller muse- The Committee has met on a num- institutional Concept, which was in ums and to be really worthwhile, I think ber of occasions since its formation in marked contrast to the attempt to incor- it is vital that the Liaison Service is October 1988. After the release of the porate bicultural aspects of both con- retained at a regional, rather than a Draft institutional Concept for MONZ, cepts and language in the earlier 1985 national level. However, there is a very the Committee consulted with members report, Nga Taonga 0 Te Motu/Treas~ real need for more resources to be of the museum profession at five one- ures ofthe Nation. it was our belief that made available at a national level to fa- day meetings in Dunedin, Christchurch, the essential biculturalism of the devel- cilitate the Liaison Officer’s work. Auckland, Palmerston North and Wei- opment ofthe Museum of New Zealand/ A job of great rewards - but even lington in early February 1989. Ninety- Te Papa Tongarewa should be reflected greater frustrations! three museum professionals participated in every aspect of its planning. 26 AGMANZ Professional Liaison Committee

From this concern flowed a solution New Zealand, the Pacific and the wider Tongarewa and all the other museums to what had presented a major stum- world. of New Zealand. We told the Board that bling in the meetings considering the there was a strong desire to participate Draft Institutional Concept. This diffi- Tangata whenua fully in the development of MONZ, as a culty was the absence of any indication Those who belong to the land by right of service to all the people of New Zea- of the structure of the Museum of New first discovery. land. We have much to offer the Mu- Zealand/Te Papa Tongarewa. Inevita- The cuftural identity of the more recent seum of New Zealand/Te Papa Tonga- bly, many of those we consulted saw settlers of Aotearoa New Zealand, in- rewa, as well as believing that it has the ‘four elements of activity’ of Section cluding art, multicultural heritages, his- much to offer us, and the people we 2, and the four areas of ‘subject matter tory, science, society, and relationship serve. and scope’ of Section 4, as either hint— with the land, and their place in the Our submission therefore urged that ing at a structure which had already pacific and the wider world. the concept for the Museum of New been decided upon, or else as predeter- Zealand/Te Papa Tongarewa must in- mining what that 7 > , . . ., ,, volve the concept of structure would be. partnership with all The PLC urged the museums of New 'that the Board ar- Zealand through: rive at an early deci— sion on what struc- the identification and ture it intends forthe carrying out of our Museum of New complementary Zealand/Te Papa roles, in every sphere Tongarewa. Most of museum work; usefully, we argued, this should be done the sharing of our before the institu- expertise and serv- tional Concept is ices; adopted, since it is an integral part of the use of all our the concept for the facilities to enable the new institution. nationwide delivery of We did not rec- national functions and ommend any par- activities; ticular structure for the institution. How- i and, the recognition ever, in considering The PLC (from left): Bill Milbank, John Takarangi, Stuart Park, Chery/I Sotheran, and utilisation of col- the many comments Elizabeth Hinds lections of national made by our col- significance, wher- leagues on the elements of activity and Tangata tiriti ever they may be located. the scope and subject matter, we be- Those who belong to the land by right of lieved that the following kaupapa or the Treaty. The cultural identity of the We also noted that the concept for framework would be helpful, and offer more recent settlers of Aotearoa New the Museum of New Zealand/Te Papa some guide in the determination of a Zealand, including art, multicultural heri— Tongarewa must recognise that some structure. (in this we were indebted to tages, history, science, society, and of its museum partners are in their en- the valuable insights we Obtained from relationship with the land, and their place tirety nationally significant, and they a report of a speech given by Chief in the Pacific and the wider world. should become actual components of Judge E.T. Durie of the Maori Land MONZ, wherever they may be located, Court, given at Waitangi on February This kaupapa caught the imagina- to avoid unnecessary duplication of 6th 1989.) tion of those we discussed it with, and resources. We see three elements - Papatu- the Board has picked it up as a useful The most frequently referred to anuku; Tangata whenua; and, Tangata tool in its preparation ofthe final institu- example was the Museum of Transport tiriti - encompassing the whole sphere tional Concept. and Technology (MOTAT) in Auckland, of interest of the Museum of New Zea- which is widely perceived as the na- land/Te Papa Tongarewa. The National Role - The Partnership tional museum oftransport and technol- Many of our colleagues had commented 09V- Papatuanuku that a major omission in the Draft Insti- Other possible examples which al- The earth on which we all live. tutional Concept was the lack of any real ready exist are thethree defence muse- The earth, the sea, the flora and consideration of partnership between ums, at Devonport, Waiouru and Wigram, fauna of the environment of Aotearoa the Museum of New Zealand/Te Papa and the children's museum, Capital Dis- 27 AGMANZ Professional Liaison Committee

covery Place, currently under develop- professional colleagues was clearly in- Zealand/Te Papa Tongarewa to meet ment in Wellington. Later, we sug- fluential in the Board’s revision of the its obligations in this area. gested a maritime museum, a science Institutional Concept forthe Museum of The meetings the PLC held with our centre or some other type of museum New Zealand/Te Papa Tongarewa, which professional colleagues, the work ofthe might be added to the number of na- has recently been released. committee and the continuing efforts tional museums. importantly too, given the strength being made represent a considerable of feeling expressed on this subject, the investment of time and effort by mem- The National Role-Museum Services Board has reaffirmed and indeed bers of the museum profession in the We advised the Board that members of strengthened its commitment to the Museum of New Zealand/Te Papa the museum profession had been pleased provision of national museum services Tongarewa. This is indicative of the to learn of the emphasis the Board was as an integral part of the Museum of high priority many members of the pro- giving to the provision of national mu- New Zealand/Te Papa Tongarewa. it fession give to the development, and seum services, as outlined in the Draft has sought more detail from the PLC on the enthusiasm with which they view Institutional Concept, and as embodied what form those services might take, this, the most significant government in the Board’s affirmation of the creation and we are continuing to meet as a investment ever in the museums of of a Museum Services Division. Committee to discuss these ideas, in Aotearoa New Zealand. The Draft Institutional Concept re- order to assist the Museum of New ferred consistently to ‘services’ in de- scribingthe national role ofthe Museum of New Zealand/Te Papa Tongarewa. By way of clarification, it was our sub- mission that this broad concept of ‘serv- ices’ should be seen as comprising the national provision of resources, as the national role of MONZ. These resources were seen as consisting of services, funding, facilities and staffing. We noted that in any provision of services or resources, there RE 5 T O RA TI O N must also be accountability. ln deter- mining the nature of the national serv- CONSERVATION ices of the Museum of New Zealand/Te Papa Tongarewa, there must be a bal- DOCUMENTATION ance between accountability and au- tonomy. This balance, we argued, should recognise and take account of the con- tinuing local and regional input into the OF FINE ANTIQUE FURNITURE Museum of New ZealandfTe Papa Tongarewa and into local and regional AND WOODEN OBJECTS museums, as well as the accountability of the Museum of New Zealand/Te Papa Tongarewa to all the people of New Zealand, to provide them with a truly national museum service. mfw We drew to the attention of the Board a number of aspects of the national services of the Museum of New Zea- DETLEF KLEIN land/Te Papa Tongarewa outlined in MEMBERNZPCG the Draft Institutional Concept which were discussed at our consultative meetings. These aspects included PO Box 33, Waiwera, HBC, Ph 0942-68584 Conservation, Personneltraining, Exhi- bitions, Databases, Advisory services, and Museums Liaison services. The Board received our presenta- tion with interest, though not necessar- ily with total acceptance or endorse- ment of what we said. However, the input we were able to provide from our 28 Te Taonga Maori Shane Pasene Contract Worker, National Museum

First announced on Te Karere and Te Upoko 0 Te lka, the exhibition was announced to the wider press on 22 May 1989 by National Museum Chair- man, Maui Pomare. ‘This exhibition celebrates Maori Art right upto the present and gives strong emphasis to Te Whare Pora, the weav— ing house. Maori women’s art is al- lowed to radiate its own wonder along— side all other dimensions ot Maori Art and Culture,’ said James Mack, Assis~ tant Director of Public Services. Preparationstorthe exhibition have been massive. The exhibition has been mounted in conjunction with the Australian Museum and is the largest exercise of its kind ever undertaken by the National Museum of New Zealand. Over the last year museum staff, under the direction of Bill Cooper, the

Jack Fry, Conservator, looks fond/y at a poutokomanawa. (Photos: National Museum of New Zealand)

Museum’s Pou Arahi, have been con- ~ -- _ _ suiting with Maoridom about all aspects ‘ of the show, and in particular have been negotiating tribal approval for the taonga to go to Australia. The exhibition of 163 separate cata- logue items will open in Sydney on 1 October 1989 and close on 1 April 1990. It will move to Melbourne where it will open on 28 January and close on 1 April 1990. Its tinal showing will be in Bris- bane, where it will be open from 13 May- 1 July 1990. The exhibition will return to New Zealand in July and soon after will open in the National Museum for an extended period. Kaumatua from the Aotea Te Tai- tokerau and Tainui canoes will open the exhibition in Sydney, while kaumatua from Ngati Porou, Ngati Kahungunu and Ngati Tahu will go to Melbourne. Ngati Tuwharetoa, Te Arawa and Ma- Staff of the National Museum of New Zealand who have been involved with Te taatua will be represented in Brisbane. Taonga Maori.

29 Reports

Registrars’ Workshop, Manawatu Art Gallery, Palmerston North, 17-18 April 1989 Anna Petersen, Registrar, Manawatu Art Gallery In April, 27 art gallery and museum workers met at the Manawatu Art Gal- lery for atwo-day workshop on ‘handling works of art’ and ‘registration proce- dures’. The opportunity was taken to discuss the first drafts of two documents, The New Zealand Registrars Code of Ethics and The Role of the Registrar. The programme, organised by Celia Thompson and myself, opened with a guided tour of the Gallery and the Manawatu Museum. This developed into a general discussion of storage Geraldine Taylor followed with a ses- much healthy debate and it became ideas. In the afternoon, Lyndsay Knowles sion on insurance and indemnity, and clear that more discussion and research presented a seminar on handling works Ann Calhoun lead a discussion on the was needed before the documents could on paper, and was laterjoined by Celia data standards used in galleries and be finalised. It was agreed, for ex- Thompson for a demonstration on how museums around the country. ample, that the Code of Ethics should to pack a framed painting and a three- One of the main points which arose be related to the new code presently dimensional object. The carefully- at the evening session, chaired by John being compiled by MAANZ. A small wrapped jug turned out to be a surprise Coster and held aftera sumptuous meal working party comprising staff from birthday present for Lyndsay. in the comfort of Julie Catchpole’s home, galleries and museums in the Central The next day, Peter lreland led a was the need to define the nature of the Region was established to ccnsiderthe discussion on acquisition and acces- group’s relationship with MAANZ. The matter further. sicning procedures, stressing the need Registrars do want to be affiliated in The Workshop closed on an optimis- for clarity, simplicity and consistency at some way. Geraldine Taylor and Anne tic note with a strengthened sense of all stages. ‘Courtesy’ was then added to Crighton had obviously put a great deal unity and purpose among the partici- the list of key words by Kate Pinkham in of effort into gathering ideas from north- pants and plans to meet again in Wel- her discussion of loans, and John Takar- em and southern colleagues and draft- lington in six months time. angi provided a valuable insight into the ing the Code of Ethics and The Role of Maori perspective on loan agreements. the Registrar respectively. There was

3O Letters

New Years’ Honours Dr Robert C. Cooper (1965) My apologies for omitting Enid Evans Dr Richard Dell (1957) People who list people are inevitably from the list of those receiving New Miss Enid Evans (1971) inviting trouble; l sympathise with the Year’s Honours. l extend to her con- Mr Alan McPherson Eyles (1970) difficulty. However, you made a signifi- gratulations on behalf of the Associa- Dr Raymond Forster (1957) cant omission from your list of members tion. Mr Kenneth Gorbey (1980) and friends of AGMANZ who were Fellowship in AGMANZ (FMANZ) is Ms Judy Hoyle (1988) honoured by Her Majesty the Queen in a title of merit conferred on members Mr Michael Hitchings (1980) the New Years Honours list. who have exhibited outstanding quali- Mr Lesley Charles Lloyd (1977) Enid Evans, QSM, BA, ALA, FNZLA, ties in museum leadership or in the Mrs Mina McKenzie (1988) FMANZ was honoured for her long museum movement. At the risk of Mr James Mack (1988) service to the museum profession as omitting yet another name, the following Mr John Hamilton Malcolm (1979) Librarian at the Auckland lnstitute and is a list of the Fellows ofthe Association. Mr Jock Moreland (1968) Museum from 1946 to 1970. Miss Evans Mr Stuart Park (1988) has continued voluntary community work Cheryl Brown Mr Ralph H' Riccalton (1967) since her retirement, and Auckland Mu- Executive Officer, AGMANZ Mr Richard A Scobie (1956) seum is delighted to see her honoured Professor Keith Thomson (1980) in this way. She was elected as an Fellows of AGMANZ Mr Peter Alexander Tomory (1966) Honorary Life Member of the Auckland Dr Tui Terence Barrow (1971) Mr Evan Graham Turbott (1956) Institute and Museum in 1988, but Mr Trevor Bayliss (1977) Mrs Olywn Turbott (1956) AGMANZ honoured her much earlier by Dr John C Yaldwyn (1977) the award of its Fellowship in 1971. Her library service has also been honoured by the award of the Fellowship of the New Zealand Library Association, and of the Library Association of Great Brit- ain. Enid, Fellows ofthe Association are not forgotten, just occasionally over- looked.

G S Park, FMANZ

In your New Year’s Honours list l failed to see the name of Enid Evans, BA, FNZLA, FMANZ who was awarded the QSM. Miss Evans was, for many years, the librarian, Auckland lnstitute and Museum and was largely responsible for the development of that library as a major information resource for New Zealand. l am sure AGMANZ would wish to record the receipt of the QSM by one of their Fellows.

Lorraine Wilson, FTCL, ANZLA, NZLA Cert, JP Librarian Walsh Memorial Library Museum of Transport and Technology of NZ Trust

31 Art Galleries and Museums Association of New Zealand, lnc. Te Ropu Hongo Koupcipo Toongo

AGMANZ - representing, prompting and invigorating the museums of New Zealand. Join us! AGMANZ members are drawn from a wide spectrum of people who work in or support, art galleries, museums or similar institutions. AGMANZ actively advocates for museums, and members share information through meetings, workshops and publications that focus on timely topics and examine key issues relating to the New Zealand museum profession.

MEMBERSHIP CATEGORIES/HOW TO APPLY

Institution Members

Any art gallery, museum or similar not-for—profit institution is eligible for membership. A brief written description of the organisation's background and aims should be sent to the Executive Officer of AGMANZ.

Ordinary Members

Any person who is a member of the staff or governing body of any museum, or who assisted in the development of museums or similar not-for—profit institutions, may complete the attached form.

Non-Voting Members

Any institution or person not eligible for the membership categories above may complete the attached form.

Ordinary and Non-Voting Members must be nominated by two Ordinary members of AGMANZ. New members are elected by resolution of AGMANZ Council and applicants will be notified of the Council's decision by mail.

For further information please contact the Executive Officer, AGMANZ, P. O. Box 467, Wellington. Phone (04) 859—609.

AGMANZ MEMBERSHIP CARD

AGMANZ is introducing a Membership Card, which is available to Ordinary and institution members of AGMANZ. Institution members will receive two cards marked accordingly. Cards will be sent out with receipts for subscriptions and will be signed by the Executive Officer.

Discounts

The following businesses and member institutions are offering discounts on the presentation of the AGMANZ membership card. Please note that discounts may vary and usually apply to cash sales only. Museum Shop, Wellington Otago Museum Shop Gisborne Museum and Arts Centre and the Star of Canada Expressions (Waikato Museum of Art and History) Queen Elizabeth ll Army Memorial Museum Souvenir Shop Otago Early Settlers Museum Shop & Entrance to the Museum Manawatu Art Gallery (Discount on catalogues & art works sold) Canterbury Museum Shop Wanganui Museum Shop Fisher Gallery Foyer Shop Robert McDougall Art Gallery Shop Dunedin Public Art Gallery Shop Hawkes Bay Art Gallery & Museum Shop Willis Lodge, Wellington (not on credit card payments.) Museum of Transport and Technology

AGMANZ is gratefui to those members and associates who have offered discounts and hopes that in time there will be an increase in the number of retail outlets and institutions offering discounts to members of the Association. AGMANZ COUNCIL 1 989/90 PRESIDENT Mina McKenzie Manawatu Museum P. O. Box 1867 PALMERSTON NORTH (062) 83951 Fax: (063) 82372

IMMEDIATE PAST PRESIDENT James Mack National Museum PO Box 467 WELLINGTON (04) 859-609 Fax: (04) 857-157

VICE PRESIDENTS Sherry Reynolds Bill Mi/bank Auckland Institute and Museum Sarjeant Gallery Private Bag P. O. Box 637 AUCKLAND WANGANUI (09) 390-443 (064) 58522 Fax: (09) 799-956 Fax: (064) 53355

COUNCIL Alan Baker Elizabeth Hinds Chery/l Sotheran National Museum Otago Ear/y Settlers Museum Govett Brewster Art Gallery P. O. Box 467 Cumberland Street P. O. Box 647 WELLINGTON DUNEDIN NEW PL YMOUTH (04) 846-019 (024) 775-052 (067) 85149 Fax: (04) 857-157 Fax: (067) 83257 Alexa Johnston Julie Catchpole Auckland City Art Gallery Robin Sutton Manawatu Art Gallery P. O. Box 5449 Ferrymead Historic Park P. O. Box 565 AUCKLAND 269 Bridle Path Road PALMERSTON NORTH (09) 792-029 CHRISTCHURCH (063) 88188 Fax: (09) 377-579 (03) 841 -970 Fax: (063) 82372 John Leuthart Michael Volkerling Bill Cooper Wellington City Art Gailery National Museum and Art Gallery National Museum P. O. Box 1992 P. O. Box 467 P. O. Box 467 WELLINGTON WELLINGTON WELLINGTON (04) 724-599 (04) 859-609 (04) 859-609 Fax: (04) 724-490 Fax: (04) 857-157 Fax: (04) 857-157 Anthony Savill Cheryl Brown Jenny Harper Canterbury Museum Executive Officer, AGMANZ Museum of New Zealand/Te Papa Rolleston Avenue P. O. Box 467 Tongarewa CHRISTCHURCH WELLINGTON P. O. Box 11-566 (03) 68379 (04) 859—609 WELLINGTON Fax: (04) 857-157 (04) 419-0213 Roger Smith Fax: (04) 419-0219 Hawkes Bay Cultural Trust P. O. Box 429 NAPIER (070) 357-781 ISSN 01 12-6210