Sharing the Past Education Kit

Te Papa Whakahiku

AUCKLAND WAR MEMORIAL MUSEUM sharing the past Education Kit

Auckland Museum Te Papa Whakahiku

YEARS 1 TO 10

Sharing the Past contents

page

About this Resource: 1 Booking Information: 1 Introduction: 2 Teacher Background: 3 Curriculum Links: 23 Pre and Post-visit Activities: 26 Classroom Activity Sheets: 28 Gallery Activity Sheets: 40 Bibliography: 49

ABOUT THIS RESOURCE: BOOKING INFORMATION: This resource has been designed to meet the All school visits to the Museum must be booked. needs of social studies classes, Years 1-10 We advise booking 2-3 months in advance. Numbers: Adult/child ratio: Y 1-4 1:6 Y 5-6 1:7 Y 7-8 1:10 Y 9-10 1:30 Booking: Contact the Museum School Bookings Officer at: Private Bag 92018 Auckland Phone: (09) 306 7040 Fax: (09) 306 7075 Introductions and Hands-on Sessions (facilitated by Education Staff) are available. 40 maximum Adult/child interaction is important to maximise per session, including adults. Please ask the your museum experience. Group leaders need School Bookings Officer for more information. to have some background knowledge of what the students are expected to cover and adults A small service charge applies to school should work with their group throughout the visit groups. Charges as at 2002 are: as well as during hands-on sessions. Self-conducted Visits: free

1 Contents Auckland Museum Te Papa Whakahiku introduction Sharing the Past illions of people worldwide visit museums each year, seeking knowledge, enjoyment and greater understanding of other Mpeople, places and times. Most adults will have tucked away a memory of that first, awed impression of the mummy in the Egyptian display or of Rajah the elephant with his tatty tail, or of entering the meeting house with its looming carvings and glittering paua eyes. Such memories still spark enthusiasm for the Museum as a place to share with their own families.

SECOND FLOOR AUCKLAND 1866 SCARS ON THE HEART 1840 to 1918

ZERO HOLOCAUST GALLERY

WORLD WAR I

MEMORIES WORLD WAR II HALL OF MEMORIES

SCARS ON THE HEART THE ARMOURY LIBRARY 1939 to present Resource Centre PHOTO- GRAPHIC PLESIOSAUR COLLECTION MANY PLANT EDUCATION CENTRE SPECIMENS FIRST FLOOR MAORI NATURAL HISTORY NATURAL HISTORY Origins KUMARA GOD LAND WEIRD & WONDERFUL NATURAL HISTORY Impacts NATURAL HISTORY TREASURES & Oceans TALES MATAPUNA Resource Centre

PACIFIC DIG OF AUCKLAND LIFEWAYS WILD CHILD CITY GAOL GROUND FLOOR CITY

MALE TOILETS CAFE

LIFT FRONT STEPS HOTUNUI MAORI TREASURES FEMALE TOILETS LIFT SHOP

TE TOKI A CIVILISATIONS SPECIAL TAPIRI CANOE PACIFIC Where the Mummy EXHIBITIONS may eventually go MASTERPIECES

Introduction 2 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background SHARING THE PAST any museums can trace their initial origin to bequests and contributions from private collectors. The embryonic Auckland MMuseum owed much of its respectable display to the zeal of James Alexander Smith, the first honorary secretary, in gathering 'specimens and curiosities of various kinds'. The new Museum com- menced in October 1852 and was housed in one room of the old Government Farm House situated at the top of Grafton Road (a plaque on the footpath shows its location). The New Zealander, October 27 1852, reported that the second room granted by the government was empty, 'still awaiting further contributions which, it is hoped, will soon pour in'. The situation today is quite different. Our collec- Lectures were given on such topics as "The botany tions have grown tremendously. Although private of the northern part of the North Island". They estates are still generous in their bequests, pres- occupied the old Post Office building in Princes sure on storage space has meant that the Museum Street and opened to the public several days a must be more selective about what can be week. It would seem that they were in direct com- accepted. Some collections may also be aug- petition with the other museum. This may be why mented with carefully selected materials approaches were made to the trustees of obtained at auction. Auckland Museum to combine with the Institute in 1869, which they did. After some years of On 6 November 1867 a group was formed that fundraising, a new building, priced at £4777 became the Auckland Institute. They collected a was erected further along Princes Street. library of books and a selection of specimens.

The Museum (stone) building as it looked in 1892 after the first addition was completed. The annex can be seen attached to the Museum's right-hand side.

3 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past The Institute's part of the Museum's activities rep- Grierson, Aimer and Draffin, were war veterans. resented the educational service the Museum They based their design loosely on the Grecian should give. Their avowed aims were to "advance style but more directly on the Pennsylvania the diffusion of knowledge and promote alike, Railway station which was in turn based on the pure taste, intellectual pleasure and material Roman Baths at Caracella. In line with 'modern' advancement". They therefore held public lec- practice a feature of the new building was to be tures and readings of scientific papers, discus- plentiful natural light, hence the huge windows set sions on literature and art and also established into each wall and the internal light wells. the first School of Art to be based in the Museum. Ironically today's scientific evidence suggests that A varied selection of classical statuary casts was U.V light is highly destructive, especially of natu- imported by Thomas Russell. Sir John Logan- ral materials, and all the windows have had to be Campbell funded a tutor and the equipment for blanked out. students who would sketch these examples of good taste. Many museums throughout the world Unfortunately Thomas Cheeseman, the curator of used this same technique to assist their artists. 50 years, died in 1923 and was not able to see However, Auckland's statues seem to have been this planning come to fruition. Thomas Cheeseman modest in comparison with some cities, where sin- was an energetic and farsighted individual. gle sex viewing was necessary. After 11 years Under his direction the Museum became a noted the school closed down as Dr. Elam's bequest research institution, yet one always in touch with established a new independent art school which public needs. Although the Princes Street building still functions today. was soon too crowded to hold separate exhibitions, he was in touch with overseas trends and The new Museum building seemed ideal initially. even at this early time was keen to set aside an However, in 1892 and 1904 two extensive addi- exhibition space especially for children as soon tions had to be constructed to one side of the as larger premises were established. His legacy building. Enthusiastic collecting by the first curator, to the Museum was an excellently preserved col- botanist Thomas Cheeseman, and further public lection of 10,000 native plant specimens which is spirited subscriptions and donations to an still widely studied and includes examples of an expanding human history collection meant that by extinct plant from the Manukau Heads. 1913 the building's space had become totally inadequate. The Institute and Museum Council A range of innovations was able to be incorpo- interviewed the then Prime Minister, the Rt. Hon. rated in the new War Memorial Museum. Many W.F. Massey, requesting government aid for more curators were to be accommodated in the building a new museum on Domain Hill. The new building. A fund established by the Carnegie request was granted the next year. Unfortunately Museums Trust allowed for a fulltime education the outbreak of World War I meant plans had to officer to be appointed. Olwyn Turbott was given be postponed until 1920. the task of creating experimental displays, using the latest techniques, aimed at engaging the vis- The devastating events of Gallipoli and the itor in a more educational experience. The new Western Front had so affected New Zealanders director, Gilbert Archey's special project involved that the concept of a war memorial as part of the providing cinema opportunities for the public. new Museum was enthusiastically embraced. A Curators were encouraged to make their own citizens committee, which operated for 10 years, 16mm films on natural history topics. C.W. Dover, raised 4/5 of the necessary funding and ran a the taxidermist, was actively engaged in shooting successful competition to select a design for the birds in the Hauraki Gulf so that the Museum building itself. The three winning architects, would have the freshest possible specimens.

Teacher Background 4 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background

Rajah the elephant at the Auckland Zoo. Unfortunately the creature's uncertain temperament made him unsuitable to take children for rides. When he became too dangerous for the keepers to handle it was thought best to put him down.

Many of the birds stuffed in the 1930s and 40s well as generous endowment of funds. Others are still in excellent condition and on display in added to the general collections such as a kauri the latest natural history galleries. Rajah the ele- gum collection, a huge 2000 piece ethnographi- phant was one Dover's most demanding projects and cal collection, and notably magnificent Maori is still to be seen lurking in the Wild Child Gallery. carvings from H.E.Vaile.

Many past presidents of the Museum Council, People often ask how Museum artefacts are enthusiasts in different disciplines, left interesting obtained. The following chapters detail the history of bequests to the Museum. Some to the library, some of our more well-known or interesting collections including an important collection of negatives, as and the methods used to preserve and display these.

Pupils from Auckland Boys Grammar School are amazed Dover is placing the prepared skin over a framework at the size of Rajah's rib-case.

5 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past BOTANICAL MEANDERINGS

onditions in the early days of collecting were rugged to say the least. The following is an excerpt from an account of Lucy CCranwell and Lucy Moore's field trip. Lucy Cranwell, who died in 2000, was the museum's botanist from 1929 to 1944. Lucy Moore was her friend and fellow botanist.

Fieldwork in those early days was tough, usually involving public transport, long tramps with no fancy packs or tents. March 1930 was the two Lucys' first great expedition to the summit of the remote Mt Maungapohatu (1359m) in the Urewera country from the newly opened road to Lake Waikaremoana.

"We set off at 3 am in a PDW truck back to the Papatotara Saddle and from there trudged the deep-worn horse track across three steep ridges to Rua's [Rua Kenana, Maori Prophet] Pa at the base of our mountain…an almost vertical survey- or's route took us to the flattish summit just as the sun was setting. When dawn came the mountain plants were covered with a delicate layer of frost…reluctantly we left at 11.30, loaded down with specimens, to meet a 4 o'clock deadline at Papatotara. From our six hours of observations on this botanically undocumented mountain we wrote our first paper, with all the confidence of youth - and copious editing by Dr Cockayne!" (Moore 1986). Lucy Cranwell arranging flowers for the annual flower event which she instituted to commemorate Thomas Another of her projects gave us a last look at a Cheeseman. This was such a popular exhibition of native dying industry. Filming for "The Heart of the flowers that specimens were sent from all over the North Kauri" began in 1939 with the help of a most Island. Teams of volunteers rearranged and watered the obliging sawmiller in Katikati. It chronicled the plants each night. passing of an age as the last of the millable kauri disappeared from New Zealand's forests. Lucy Even today we have our share of rugged scien- Cranwell did not see her finished film until 1993 tists who risk all for their samples. Auckland when it was copied onto video and used in the Museum's present botanist Ewen Cameron and his Museum's Suffragettes exhibition, as she had met companions, past Museum botanist Anthony and married an American airforce officer Watson Wright and two DSIR scientists were left stranded Smith in 1943 and moved to America in 1944. on an inhospitably steep island in the Three Kings

Teacher Background 6 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background group when the sea's ground swell increased to a shoot them down but nowadays the locals object 30ft surge. The zodiac crew fetching them, a bit. Although his local helper was an excellent unable to get close enough, tossed them a back- tree climber, sometimes he says, a feeling of stur- pack with supplies for the night. When they dy independence came over him when he liked opened it the top little packet had some Minties doing things himself. in it with a note saying, "It's moments like these…" They spent the night on sloping ground under the On such a day, confronted by a tantalising spec- scrub listening to the petrels and hoping the large imen in a huge smooth-trunked jimbul tree, he centipedes weren't about to walk over them. It decided to use the catapult method. A catapult is was a rather cold uncomfortable night. The next used to send a sinker and fishing line over a high day the Zodiac returned but still could not land. branch. The fishing line is used to pull a larger Finally by the third day the sea was calm enough rope over the branch, then a few sharp tugs and for a rescue. Notwithstanding the hardships the down will come the specimen. His first three tries trip was extremely worthwhile however, as the fell short and unfortunately into a prickly field, endemic shrub (Elingamita Johnsonii) which they making retrieving them an unpleasant business. were hoping to find, was discovered, not only The last try was a bull's eye. A few tugs and the there but, on an adjacent island as well. These fruits would be in the bag. After tying the rope are the only two islands on which the shrub grows. around his waist and bouncing energetically up and down the branch made some rather menac- Another botanist, Rhys Gardner, spent some time ing flexing motions, sprang up, pulled him off his collecting specimens in the remote hinterland of feet and a piece 3m long and 20cm thick broke Papua New Guinea. In the good old days the off spearing into the ground just where he had way of securing specimens from tall trees was to been standing only a moment before! THE PHOTOGRAPHIC COLLECTION hotographs provide us with realistic views of many past events Pand happenings both special and everyday. Photography was a year or so old when Pakeha approximation of the Museum's photographic col- Auckland was founded but recording of the lection is about 1.25 million images. We have Auckland scene did not begin until a short-lived nearly 500 albums. The glass plates number venture by two photographers in 1847. By 1852 portrait sittings had become popular and in the 1860's landscape photography became all the rage. Consequently by 1870 when the combined Museum and Institute moved into their new premises they were in a great position to begin collecting a wide selection of views of Auckland and notables of this city.

Images have survived in one of three main forms - glass plate negatives, film-based negatives or as positive images on paper (these An amazing amount of gear was needed on desert sorties. Note the jerry cans of fuel and water and the sand tracks attached to the may often be contained in albums). A rough truck's side. These increased tyre traction when stuck in loose sand. (Photo: Stewart)

7 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past

The soldiers came from all walks of life. Some, like these band members, could use their pre-war skills to entertain the troops, lifting morale. Others could use their acting talents to bring reminders of Hollywood glamour. (Photos: Barnett) some tens of thousands. World War II and these were personal snapshots. He had been a driver sometimes taking important The collection is carefully protected from further men such as General Freyberg, the British Prime deterioration, being housed in a cool store envi- Minister Winston Churchill and Field Marshall ronment where the atmospheric conditions are Montgomery to meetings or reviews of the troops. constant. These vast numbers have been assem- The beauty of snapshots is that they show more bled from a variety of sources. As an example real life rather than the stiff, formal official pho- Gordon Maitland, the present curator of pictori- tographs. al collections, was approached some years ago by Raymond Stewart who had brought in a super- These photos are a great addition to the collec- market bag full of tiny black and white snapshots tion especially as many W.W II veterans are still each the size of a matchbox. The photographs had living and have not yet got to the point of donat- belonged to his father, Claude Stewart, and ing their memories. Raymond was happy to loan them to the Museum for copying. Many of the photographs were screwed up On another occasion Gordon met an old soldier, and unsorted but as they were spread out Gordon Eddie Barnett, once again clutching a plastic bag. could see some interesting stuff. This time the photographs were his own. He had taken them all and therefore could tell us all the Claude had been a soldier in North Africa during details of what had been happening when the shots were taken.

He was concerned about the possibility of dying without leaving any information and wished to donate his whole collection to the Museum. These opportunities are eagerly accepted as they provide us with details which the official war accounts neglect but which are interesting on a more personal level. The images may be used by historians to illustrate a book for future genera- tions. Here in the Museum they have been used to illustrate exhibitions such as Scars on the Heart Claude Stewart and his distinguished passengers stop to with personal details to help us appreciate more scan the horizon. Note the canvas covered front window and headlights to minimize the sun's reflection. fully what it was like... over there.

Teacher Background 8 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background THE SAGA OF THE KAIKOURA PLESIOSAUR 0 million years ago an adult Elasmosaur (a long necked plesiosaur) identified as Mauisaurus haasti was living in the 7ancient Pacific Ocean close to the outer continental shelf. Elasmosaurs, the largest of the marine reptiles, were extremely agile swimmers. Long, strong necks meant that their heads were able to twist and turn quickly in search of food; to lunge out and skewer fish, squid or birds between interlocking, sharp teeth.

Elasmosaurs may have come ashore to lay eggs ers of cemented sandstone wrapped like an as modern turtles do. Juvenile Elasmosaurs spent onion around a nucleus and vary from a few their early years in warm, shallow water close to millimetres to boulder size. The Museum's concre- shore and possibly escaped onto the beach to tion formed around the ribs and pelvic girdle of avoid storms or predators. Elasmosaurs became Mauisaurus haasti. extinct along with the rest of the marine reptiles and dinosaurs at the end of the Cretaceous (65 About 25 million years ago, plate tectonics or million years ago). movement of the earth's crust, caused the seabed

On its death this particular adult sank to the ocean bottom and settled into the sandy mud. Even while the bloated flesh was being stripped from the carcass by scavenging organ- isms, sediment began to cover the 12 metres of the remains. Sections of the skeleton formed the nucleus of several spheri- cal concretions. Concretions, like the Moeraki Mike Eagle leans against half of the huge concretion destined for Auckland Museum. The Boulders, are lay- other half lies further down near his feet.

9 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past strata to be slowly raised out of the sea. Over Men propped up the huge boulders using blocks millions of years the uplifted rock strata eroded and timber jacks and manoeuvred webbed lift away until the concretions became exposed in the nets underneath. After much planning, sweating cliff face at Amuri Bluff. Eventually they crashed and around ten thousand dollars later, one at a down onto the boulder beach below, the time both blocks were lifted by the largest heli- Museum's specimen splitting in to two mirror copter operating in New Zealand. The giant hel- imaged sections. As the locality is remote and icopter was forced to hover precariously close to rugged the fossil was not discovered until 1993 the steep cliffs running the risk of smashing into by a group of fossickers. The two segments were them at the slightest wind gust. so large and heavy (around 3 tonnes each) that they were thought impracticable to retrieve. Eventually both boulders were lifted clear of the tidemark and shunted across the Kaikoura Bight The site was forgotten until 1995 when the slung dangerously beneath the chopper's belly. Museum's research associate Mike Eagle, a There they were gingerly deposited, one mirror palaeontologist, ‘rediscovered’ this group of image onto a sawdust filled flatbed truck and the large fossils. Further investigations in 1998, this other transported to the Kaikoura Historical time accompanied by Natural Exhibitions curator Society District Museum, where it is currently on John Early, established that, with the right equip- display. The truck carried its precious cargo onto ment, the two blocks could be airlifted out and Auckland for preparation and presentation. The preserved. Sponsorship by the Portage Licensing fossil specimen is now displayed in the Origins Trust and others meant the work could begin. Gallery together with a video of the heart stop- ping process of transporting and lifting it.

The remote and rugged cliffs that released our concretion at Amuri Bluff near Kaikoura. The pale circle half way up the cliff''s right-hand side is a similar sized concretion ready to topple.

Teacher Background 10 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background THE MUMMY - A FLASHBACK TO EGYPT he mummy was obtained by Canterbury Museum in 1888 with help from the Florence Museum and the Bulaq Museum in Cairo. TIt came from Akhmim, which is on the Nile River, and cost five pounds. In 1958 it was exchanged for several Pacific objects by Auckland Museum. The body was a young adult, en dowels or nails, and with a between 18 and 30 years fill material of clay pressed old, when it died. Carbon over or between the joins. dating of wood and linen These planks have pulled apart samples has put the age of and the clay has popped out the mummy at between 900 leaving gaps. The paint is also and 400 years B.C. This weak with areas lost and others date has some confirmation flaking off, due to the unstable from the style of the mummy substrates and loss of binder and coffin. through time.

In 1998, when the old The mummy was x-rayed in People of the World gallery 1971. The x-rays suggested it closed for refurbishment, the was a female body and gave mummy was removed from the age range. Unfortunately display. This gave us the no exciting amulets were opportunity to assess the revealed under the wrappings. condition and requirements of the mummy. It was found Early in its New Zealand sojourn that the wrappings were a historian translated what was Years of exposure to Auckland's humid covered in a white spotty conditions have caused serious damage thought to be her name as 'Ta deposit. This was caused by which will require many months of Sedgemet", She Who Hears. the high relative humidity in painstaking conservation work to remedy. However this has since been Auckland, which, as it fluctu- questioned. An expert in ates, caused salts in the fabric and those used in Egyptology has recently examined the coffin and the mummification process of the body, to be will translate any hieroglyphs still visible. There drawn to the surface of the wrappings where are some recognizable images: the four sons of they effloresced into crystal form. This, along with Horus and a winged scarab. The images are in long-term exposure to light and air, caused it to lines in imitation of the wrapping of bandages, become brittle and weak and for sections to and patterns of symbols are repeated on left break off easily. and right sides.

The coffin was also badly affected by age and The coffin is wood, made from timber from a environmental conditions. There were several iso- common tree in Egypt, the sycomore fig (Ficus lated areas of rotten wood where it was crumbly sycomorus). Tenons for fastening the lid to the to the touch. The construction of the coffin was base are made from a harder, redder wood, through the joining of planks of wood with wood- which is an Acacia species. Coarse clay like mate-

11 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past will be most suitable (e.g. misting, by brush, syringe, etc.) Whichever method is chosen it will be slow and repetitive. The textile will probably cause the most difficul- ty. It is the most fragile material and even removing the salts from The four sons of Horus face Osiris, the the surface will further disrupt god of the underworld. The falcon headed Horus stands behind them. fibres of the fabric. These four protected the mummified organs from harm. The winged scarab symbolises the sun in its moment of When the mummy goes back on rebirth, at dawn, after its dangerous nightly journey through the underworld. display it will need to be protected from the agents of deteriora- rial has been used to fill gaps in the wood and to tion: light and photo-oxidation, temperature, mould the shape of the coffin. The entire surface humidity, and atmospheric pollutants, and has been painted in black carbon based paint mechanical damage through handling or attack and the hieroglyphics are painted in orpiment, from insect or mould. Most of these can be con- which is a yellow pigment. Age and deterioration trolled through the construction of a hermetically of the paint has caused the yellow to fade to a sealed case filled with a nitrogen gas environ- dull greyish-brown. The face is painted realisti- ment. This will provide an inert atmosphere that cally with earth based pigments and calcite, over will considerably increase the life of the object. a finer ground of calcite. The control of temperature and humidity within the case will be achieved with humidity buffers To begin the process of preparing the mummy and will halt the problem of efflorescing salts. and its coffin for any future display in the public galleries the team of conservators at the Museum has firstly collected information. Forest Research, Rotorua, identified the wood and Carbon 14 dating of the linen in the bandages and the coffin wood has been done through Waikato University. They have used microchemical spot tests and Polarized Light Microscopy to identify the linen, pigments and other materials. The binders in the paint systems have yet to be identified. A glossy sheen on isolated areas of the coffin and on the bandages may possibly be resin. As with many of these scientific areas there is an expert in this narrow field of coffin materials. The Museum conservators hope to be able to get assistance from a scientist in the U.K. who is an expert in the area of analysis of adhesives, resins, gums and binders in ancient Egypt. The areas of wood that are rotten will be consolidated. Flaking paint will be tacked down with an adhesive but careful consid- Although very faded from the original deep black and eration will be needed to choose the appropriate bright yellow it is still possible to see the tracery of wings by adhesive for this or which system of application the left ear. These protective wings belong to the vulture goddess, Nekhbet, which was an image often used on coffins.

Teacher Background 12 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background The oxygen free environment will minimize photo- rily involve preservation through stabilising the oxidation of the susceptible organic materials deteriorative factors, and preventative, which and reduced lighting levels will further decrease encompasses things like control of environmental deterioration. Likewise mould and insect attack conditions (temperature, humidity, pollution, pests), will not be a threat in controlled conditions such correct handling, etc. At times it can be danger- as these. ous because of the necessary use of chemicals, and residual materials left on objects from past The Museum's team of conservators has had many treatments, but they take safety precautions like years of specialised training. The training for con- wearing gloves, goggles, masks and work in the servation is a degree in the Conservation of fume cupboard when necessary. Conservation Cultural Materials and at present is not available training also involves the study of materials, and in NZ. Our conservators trained in Australia and this includes not only the chemical and physical Canada. They are Objects Conservators which makeup of objects, but of adhesives, solvents and means that they have an understanding of the other chemicals that they may use so that they makeup of all sorts of materials e.g. the mummy know how things are going to be affected by var- is a combination of organic (wood, textile, gums, ious materials. resins, human remains) and inorganic substances (pigment, clay, calcite). Conservation involves Our brave conservators don't seem to believe in both remedial work, i.e. treatments -which prima- the mummy's curse!!! Stoic but foolish people.

TE TOKI A TAPIRI e Toki a Tapiri is the last of the great Maori war canoes. With the hull adzed out of a single huge totara log, the canoe is T25m long and can carry 100 warriors. It was built about 1836 for Te Waka Tarakau of Ngati Kahungunu, who lived near Wairoa in Hawkes Bay. Its name commemorates Tapiri, a famous ancestor of Tarakau. Before it was finished, the canoe was exchanged for a famous cloak.

After the prow, stern and side strakes were became the highlight of a regatta on the carved the canoe was presented to Tamati Waka Waitemata Harbour organised for the visit of Nene and his brother Patuone of Ngapuhi. In Prince Alfred, Duke of Edinburgh. 1853 Te Toki a Tapiri was sold to members of Ngati Ata. In 1863, following the outbreak of Ngati Whatua of Orakei later looked after the war in the Waikato, Government forces seized canoe until it was presented to Auckland Museum the waka, even though Ngati Te Ata had not taken by the New Zealand Government in 1885. To part in the fighting. Ngati Te Ata accepted crown move the canoe from its Orakei landing place to compensation for this transgression. the Princess street building required cunning strat- egy. Firstly a cart was wheeled onto the beach at A British sailor made an unsuccessful attempt to low tide over a corduroy slab track. At the next blow up the canoe while it lay on a beach at high tide the floating canoe was manoeuvred Onehunga. In 1869 the canoe was restored, and onto the cart and dragged inland at low tide. Its

13 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past

Te Toki a Tapiri, resting on a specially modified flatbed truck, is manoeuvred through a gap in the Princes Street annex wall. This the first small step in the drive to the new Museum on the hill. home was to be a lean-to structure built onto the Auckland Museum art school's tutor Kenneth side of the main building as there was no room Watkins probably used Te Toki a Tapiri as a inside as yet. This was not the end of its travels model for his 1888 painting of the Phantom however and the move to the Museum on Domain Canoe of Lake Tarawera which is now held in the Hill proved just as tricky and involved some Auckland Art Gallery. knocking down of walls. Fortunately the uncompleted back wall of the latest Museum allowed easy access for such a long craft.

Since then it has been a key component of the impressive Maori galleries, diligently guarded from harm especially during World War II when carefully placed sand bags cushioned Te Toki against any possible bomb damage. Te Toki a Tapiri during W.W. II carefully cushioned against falling debris in the event of enemy attacks on Auckland.

Teacher Background 14 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background TAUMATA ATUA - AN ABIDING PLACE OF THE SPIRIT THE DISCOVERY AND RECLAIMING OF A KUMARA GOD he Maori world was carefully regulated as to when and how food related activities took place. Rongo the god of agriculture Tneeded to be honoured with the correct ceremonial procedures if the crops were to be successfully grown each year. The knowledge of how to conduct such ceremonies was entrusted to the tohunga who used specially prepared tools and ensured that all behaved appropri- ately, not only during the ceremony but also throughout the season. Sometimes a carved stone figure was placed in kumara gardens. The powerful male god Rongo was summoned by the tohunga to take up residence there and watch over and encourage the growth of the plants.

In Auckland much of the physical evidence of When the Museum's archaeologist Nigel Prickett Maori gardening practices has long and ethnologist Roger Neich arrived to inspect since been obliterated by European the site they found the developers just in the farming techniques initially and process of demolishing the last remaining stone encroaching housing development garden walls before flattening the whole subsequently. Every now and then area. The two scientists were surprised that a combination of fortuitous cir- an artefact of such mana (spiritual power) cumstances reveals a glimpse of was still to be found lying abandoned the past. Such was the case with close to where it had stood in ages past. the carved stone kumara figure Te Warena Taua, a Maori curator at the from Onehunga. Museum, consulted his elders and was thrilled to discover they had a story James Ah Mu, a real estate rep- that seemed to confirm such a carved resentative, had been dealing figure was known in this area. Therefore with a property in Onehunga it probably belongs to Te Wai-o-hua. which was in the process of The serene scoria features of being developed. During the the Kumara god now watch over Since its arrival in the Museum it has course of his visits he had its own garden in Te Ao Turoa. fared much better than ignominious bur- noticed an apparently carved ial in a rubbish skip. Firstly it sat as a piece of basalt rock lying about on the rear of the sentinel in the Maori Gallery illustrating an section. He could see it was no ordinary lump of Auckland regional art style and now it sits where it scoria as it had the appearance of a sitting human may feel really at home, in the beautiful Te Ao figure. It was intriguing. Evidently no one else seems Turoa, the year 2000 Maori Natural History to have appreciated its significance though as he Gallery. Here it watches over a small kumara gar- found it about to be pitched into a rubbish skip den which incorporates a low whare kumara some time later. He was able to rescue it just in the (kumara storage hut), its lichened features hinting nick of time. Curiosity prompted him to bring it to at ages of patient guardianship. the Museum to be examined.

15 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past MITSUBISHI ZERO FIGHTER his smart little plane was the finest shipboard fighter in the world during the first year of the Pacific phase of World War II. It Twas the first fighter plane able to be launched from a ship, capa- ble of defeating its land-based opponents. Its world wide fame was won in a series of astounding victories against all types of land-based and carrier-based Allied aircraft during the first six months of fighting following the Japanese bombing of Pearl Harbour. The Zero's design- ers had emphasised lightness, range and manoeuvrability, largely at the expense of safety devices such as pilot armour and self-sealing fuel tanks. Although it had become largely obsolescent by 1943, it remained in production until the end of the war. Even today, the Zero remains the symbol of Japanese airpower during the Pacific War.

The Zero got its name because in 1937 Japan the Japanese in the Pacific War. No Japanese began to identify its military equipment by the planes had been sighted near Bougainville for last digit of the year of its introduction into serv- over a year when the RNZAF Intelligence unit ice. 1940 - the Zero's year - was the year 2600 heard of a Zero apparently in airworthy condi- by the Koki calendar, the one traditionally used tion on the Southern tip of the island. The aircraft by the military, based on the mythical founding had been caught on the ground by allied of the Japanese dynasty. The calendar in daily bombers. Inspection showed that it had been use was the Showa based on the year Hirohito severely damaged and, unable to take off, had became emperor. Showa means "Enlightened been hidden near the landing strip. As a morale Peace", so possibly not the most suitable of cal- endars to refer to in military terms!

The Zeros were so successful initially that its per- formance was hugely exaggerated. So few were shot down during the early war period that it was impossible to examine and analyse captured or wrecked aircraft. Even the intense aerial battle above Pearl Harbour only resulted in the loss of nine Zeros, none of which were recov- erable in recognizable form. The situation changed by 1942 when several shot down Zeros were salvaged and the allies could examine them to discover their true shortcomings. Piva, Bougainville, 19 September 1945. RNZAF airmen inspect the Zero. Part of the surrender colour scheme, an By September 1945 the tide had turned against application of white on the front, can be clearly seen.

Teacher Background 16 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background exercise it was decided to try and make the plane airworthy again. The engine worked fine Even though the RNZAF held several other cap- and with assistance of some 60 to 70 technical tured Japanese planes in various locations, the personnel, the plane was soon ready to fly once arrival of the Zero in the skies above Piva base more. A captured Japanese pilot agreed to test caused quite a stir. To avoid dangerous confusion fly it and ferry it back to Rabaul. However a the plane had been painted in surrender colours; veto was put on these plans by the Surrender white beneath and green crosses on the sides Commission who, as suggested by P.V. Lewis and under the wings. Subsequently all the cap- (Journal of Aviation Historical Society of N.Z., tured planes were moved to Jacquinot Bay in 1985), may have had some vision of a kamikase New Britain. Later still some were gifted to the style gesture at the end of the flight. Australian Airforce while a Japanese float plane in the Bay developed a leak and sank. There The only other option of transporting the aircraft seemed to be little official interest so the deci- back to Piva base was across winding jungle sion to ferry the Zero back to New Zealand by tracks, finishing the journey by barge. As there boat came as somewhat of a surprise. The Zero was no pressing official need for the Zero it travelled as deck cargo on the ferry Wahine, seemed as if it might after all be left to rot on chartered to transport repatriated troops to the spot. Enter Wing Commander Bill Kofoed, his New Zealand. interest piqued and possibly his skill challenged. Assisted by a Japanese pilot standing on the Hobsonville airbase was its new home and some wing, identifying and translating the labels for long overdue restoration work was undertaken. the cockpit controls, he had a cursory introduction Plans for its new role as a tactical training tool to the plane. Trusting he had not been malicious- for fighter pilots at Ardmore airbase or as an ly misled, this intrepid flyer decided he was now addition to the flying school at Wigram did not ready to leave the ground and fly it back him- eventuate however, as spares were difficult to self. The plane's undercarriage was left down the obtain. In fact despite optimistic reports of its entire flight, which fortunately took only 32 min- readiness for action, the plane was involved only utes, and passed without incident. in taxiing trials.

The arrival of the NZRAF's first jet at the end of 1945 made the Zero look so dated that interest waned completely.

The next years in the poor Zero's history saw it stashed in a corner, its tyres going flat. Then someone had the idea to offer it to Auckland Museum. The offer was

RNZAF personnel reassembling the Zero in its new gallery on the top floor of Auckland War Memorial Museum in 1959.

17 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past reluctantly accepted but due to transport diffi- controls the original colours and poems scribbled culties and a lack of suitable space it had to be in Japanese under the wing emerged from under left mouldering at Hobsonville. By the early the layers of paint. 1950's it was parked in the open at the mercy of the weather, vandals and souvenir hunters. In The last Japanese pilot to fly our Zero, Sekizen 1953 it was almost sold off as surplus stock until, Shibayana added an interesting chapter to the by pure chance, someone remembered the saga. When his badly damaged plane was promise to the Museum. It was left to corrode for being repaired by the Japanese ground techni- several more years, only being displayed at two cians they, realising that Sekizen would be sent Easter shows and then ignominiously patched up out on a kamikazi mission carrying a large for an Air Display at Ohakea in 1958. bomb, worked so deliberately slowly that the end of the war overtook them. In a letter to Finally in 1959, twelve years after the original Auckland Museum in 1997 Sekizen wrote, "If the offer and in far worse condition than in 1947, it end of the war had been a few days later than was assembled by airforce personnel at the 15th August I am sure that I would have already Museum premises. Now, in its newly redesigned gone to the Sea of Solomon Islands and I would 2000 space it is finally able to be viewed as its be sleeping in that sea today." He visited original owners may have known it. As the con- Auckland for the 2000 opening of the newly servation team cleaned and reconnected some refurbished "Scars on the Heart" gallery.

THE FIRST GAOL Archaeology in Auckland's Queen of Streets. uckland's new settlement of 1840 was nestled into a fern covered gully between rolling hills. One of the first descriptions of Athe area was made by 27-year-old James George, an Australian baker out to make his fortune in the new capital. He observed pohutukawa fringing the Waitemata harbour, tea-tree, flax, fern and toetoe cloaking the hills and a tidal creek emptying onto the shore. This creek ran along the western side of Queen Street and was deep enough to allow up to 10 boats to moor safely at the point where Queen Street intersects Swanson Street today. At first the stream provided fresh drink- ing water for the small settlement but this was soon to change. Less than 2 months later the Surveyor General diverted stream was renamed the Ligar Canal. In Felton-Matthew proposed that the waters be later years letters to the newspaper described diverted to pass under the centre of Queen the stench created by the canal's contents as Street and become the principal sewer for the "strong enough to knock a grown man flat". town. This plan was followed and the newly Travelling up the valley was made uncomfortable

Teacher Background 18 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background by areas of swampy ground here and there. It weeks to find out as much as they could before was on a boggy spot on the outskirts of the the new development began. fledgling town that the gaol was built in early The cleared site resembled a large pit lined with 1841. Where Queen, Victoria West, Elliot and concrete and basalt retaining walls. Across the Darby Streets meet was the unpleasant and centre ran the slightly raised Theatre Lane. As unhealthy spot where the gaol and the courthouse much of the surface concrete would be needed to stood. Records show that the goal remained on support heavy building equipment later, the this spot, along the east bank of the stream, until archaeologists elected to examine small areas 1860. The complex consisted of a guard house, close to the lane. They hoped to uncover evidence cell-blocks, a hard labour yard, stocks, gallows of the various buildings on the site and perhaps and, fronting onto Queen Street, the court- even find the Ligar Canal. house. Men and women could be tried, sen- tenced, hanged and buried, conveniently all in They were richly rewarded for their efforts. Down the one area. Six executions took place and the the excavated well were the remains of metal bodies were buried on the Queen/Victoria buckets with rope still attached. Under the lane Street corner. area were part of the debtor's cell-block foun- dation, the prison kitchen and the hard labour Initially building methods in Auckland disturbed yard with broken rock fragments which the shack- the original ground contours only a little. It was led prisoners had sweated to crush. Many arte- not until basements became a common part of facts such as chamber-pot pieces, a door lock, building techniques in the late 1880s that larger various cooking implements and animal bones changes were made. In 1987, 100 years later, a hinted at the life which prisoners experienced. 21-storey building was scheduled for construction Amazingly enough not only was the Ligar Canal on the old gaol site, which by now had been uncovered (lined at this point with basalt blocks) engulfed in the heart of Auckland's crowded busi- but below it was found the original contour of the ness district. The huge excavations for the foun- streambed. Maori digging implements and a dations of such a large building would effective- kiore-gnawed hinau berry illustrated even earli- ly wipe away all trace of the original ground sur- er activities in the valley. The remains of freshwa- face. Fortuitously the New Zealand Historic ter mussels and perfectly preserved leaf litter Places Trust was able to arrange an archaeolog- were carbon dated and enabled scientists to ical dig, led by Simon Best, on the newly cleared establish that these plants had tumbled into the block of ground. They were given just under 2 water 800 years ago.

The courthouse building fronted onto Queen Street (to the left in the sketch). The gallows facing Victoria Street West are visible to the right in front of the gaol wall close to the little bridge.

19 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past

Elliott Street

Theatre Lane Queen Street

Fill Old ground surface Ligar Canal

A cross section of the 1987 archaeological dig at the Queen Street gaol, from Digging up the Past by Michael Trotter and Beverley McCulloch. The contour of the original, Pre-European, streambed was uncovered as well as the brick lined course of the Ligar Canal. Today the level of both Queen and Elliot Streets is much higher than 100 years ago.

One of the more macabre finds in the streambed of what might have been exposed in a more rea- just beyond the gaol fence was a tangle of dog sonable amount of time, important new details skeletons, some with collars still attached. The city were brought to light. These were of some of the pound had operated here. Newspapers of 1840 buildings and features of the gaol and the per- were full of stories about "the dog nuisance". sonal belongings of the prisoners and their Hanging or poisoning seemed to have been the guards and beneath that a slice of Maori life preferred method of disposal for the unfortunate lived long before Europeans settled. Simon Best dogs caught. kept the Museum archaeologists up to date with the exciting finds his excavation team were We can see how archaeology was able to pro- uncovering and several visits were made to vide extra information that was not available in inspect the artefacts as they were extracted from the old records. Although the material recovered the smelly mud. After the various specialists had in the nine days of excavation was just a fraction cleaned and analysed them, conservators had stabilised the fragile pieces, and the reports had been written, it was time for the collection to come to the Museum.

Here, in the City Gallery, a selection of the strongest artefacts is displayed so that everyone can see the evidence of gaol life in the earliest days of the city. The remaining pieces have been carefully packed in acid free materials in readiness for a time when they too might be displayed and for those interested in historical archaeology to study further. As many other city buildings continue to be demolished, archaeologists use the gaol site collection to help identify what they find Some of the more robust discoveries from the gaol site beneath the old foundations. are on display in the City Gallery. Evidence of footwear, a lantern, some eating utensils and stone chips from pris- oner labour are shown here.

Teacher Background 20 Auckland Museum Te Papa Whakahiku

Sharing the Past teacher background SCIENTIFIC TOOLS OF THE ARCHAEOLOGIST any different scientists are called upon today when an archaeological dig begins. Specialists in different fields may Mbe consulted to provide analysis of varied aspects. Pollen: enormously long lived and shape specific needed for this work. to each different plant, pollen can allow us to glimpse back millions of years. It can give infor- Burials and bodies: Bones and teeth can provide mation on vegetative cover, climate changes, evidence of occupations or health history and food production, and the diet of ancient civiliza- even surgical techniques. Wear on the teeth may tions through coprolite analysis. reveal dietary habits. Chemical markers can be used to trace the region of birth. Many diseases Pottery: easy and cheap to make, has been found leave tell tale marks on growing bones to provide in sites up to10,000 years old. Although it was evidence of childhood illness or periods of often broken in daily use it is an extremely famine. Clothing and jewellery can be repro- durable material and does not dissolve. Pottery duced, dyes investigated and materials may indi- shapes indicate its function which in turn gives cate contact with neighbouring areas or much fur- insight into daily life or ceremonial activities in a ther afield. Grave goods, simple or immensely particular community. complex, have given archaeologists some spec- tacular insights. Experimentation: How was an ancient pot glazed, what techniques were used and which raw mate- In the 1920's, Ferlini, an Italian explorer looking rials? Experiments using ancient firing methods for treasure, blew the tops off more than 40 of could provide the answers. the 50 perfectly preserved pyramids of Meroe in the Sudan. Since those days of slash, bash and Replication: From evidence such as tomb decora- grab the gold, archaeological methods have tion or painted objects such as pottery it may be become a great deal more sensitive and careful. possible to recreate a dwelling or craft using sim- Progressively new techniques and disciplines ilar materials and construction techniques. have entered the field of archaeology the most recent being the use of D.N.A evidence. Reconstruction: Mending, rebuilding or recreating something old may highlight the types of skills To broaden the picture of life in the past archaeologists may call upon climatologists or perhaps plant biologists to identify agricultural practices near a site and work out why a certain group ceased living in a previously advantageous area. Experts in pottery may trace the origins of the clay used in the pot shards found and thus puzzle out trade routes used. Experts in building practices may reconstruct the shape of an iron-age hut from faint shadows on the ground in aerial photographs.

When Lord Carnavon entered Tutankhamun's Pyramids of the Merotic rulers 300BC. They were built by the tomb he realised the ultimate fantasy. He kings of Napata who revived pyramid burial customs many walked into an undisturbed Egyptian Pharaoh's centuries after the pharaohs had stopped building them.

21 Teacher Background Auckland Museum Te Papa Whakahiku teacher background Sharing the Past burial chamber brimful of everything that might be needed in the afterlife. Amongst the sumptuously carved and golden artefacts were three-dozen plain pottery clay jars. The wine that had once filled them had long since evaporated but the meticulous labels detailed the year and place of the The grape harvest shown in this tomb scene follows the processes of picking and vintage, even the winemak- crushing the fruit. The resulting juice pouring into a basin is carefully monitored by ers' names and allowed another worker and will finally be fermented in the waiting wine jars. Egyptologists to establish the length of Tutankhamun's reign to be nine years. This ancient style beer was served at a brewing convention where the delegates drank it in the Most of the wine came from the estate of Aton, proper Sumerian way; with long straws like the previously owned by Akhnaten his heretical pred- gold and lapis lazuli straws found in lady Puabi's ecessor who had caused dramatic disruption tomb at Ur. among the priesthood by worshipping only one god. Tutankhamun probably had a preference for dry wines as only a few of the carefully stored bottles held sweet wine. From the beautifully painted walls of new kingdom tombs archaeologists have been able to follow Egyptian wine makers in action.

By chemically analysing the stains and residues in ancient amphorae, brewing specialists have attempted to recreate past wines. A combination of archaeology and recipes inscribed on cuneiform tablets allowed a brewing company in San Francisco to reproduce an ancient Sumerian beer. Beer was used extensively both ceremonial- ly and in daily life. From a hymn written in honour of Ninkasi, the Sumerian goddess of brewing comes a virtual instruction manual of steps to follow. For example:

You are the one who soaks the malt in a jar… You are the one who spreads the cooked mash… The filtering vat…makes a pleasant sound… When you pour out the filtered beer of the collector vat, Above, wine jars in Tutankhamun's tomb. Most of the wine It is like the came from the Delta area. The new season's wine was onrush of the stored in jars carefully sealed with wet clay caps and Tigris and the inscribed with the year of vintage, the vineyard and their Euphrates quality. Left, label detail from one of Tutankhamun’s wine jars, written in hieratic, a less formal script than hieroglyphics.

Teacher Background 22 Auckland Museum Te Papa Whakahiku

Sharing the Past curriculum links This section is divided into the learning levels. special occasions) and features of the community (e.g. buildings) reflect the cultures and heritages Curriculum links are made but may not be all of the people who live there; inclusive. *Explain how certain features of the community (e.g. historic places, street names, place names, The suggested learning activities will provide museums) reflect people's heritage. opportunities to gain the minimum knowledge required by students before visiting the Museum. How people interact within their cultural groups These are samples indicators of the type of and with other cultural groups: activity that may be carried out. Students could demonstrate such knowledge and understandings when they: Teachers may wish to select material from dif- *Describe customs and traditions that influence ferent levels, according to the ability of their the ways in which people interact within a cultur- students. al group.

CULTURE AND HERITAGE CURRICULUM Culture and Heritage Curriculum Level 3 Culture and Heritage Curriculum Level 1 Achievement Objectives and Indicators Students will demonstrate knowledge and understandings of: Students will demonstrate knowledge and under- How practices of cultural groups vary but reflect standings of: similar purposes: Features of the culture and heritage of their own Students could demonstrate such knowledge and and other groups: understandings when they: * Describe similarities and differences between *Describe similarities and differences in the features of their own culture and heritage and ways cultural groups meet common needs; those of other groups. *Identify similarities in the purposes and activities of cultural practices across a range of cul- Customs and traditions associated with participa- tural groups; tion in cultural activities: *Describe how cultural practices reflect tradition * Give examples of customs and traditions asso- (e.g., through gift-giving, rites of passage, food ciated with cultural activities; gathering and preparation). * Describe the customs and traditions associated with an activity from a particular culture Culture and Heritage Curriculum Level 4

Culture and Heritage Curriculum Level 2 Students will demonstrate knowledge and understandings of: Students will demonstrate knowledge and under- Why and how individuals and groups pass on and standings of: sustain their culture and heritage: Ways in which communities reflect the cultures Students could demonstrate such knowledge and and heritages of their people: understandings when they: Students could demonstrate such knowledge and *Describe various ways in which cultural prac- understandings when they: tices and heritage are recorded and passed on *Describe ways community activities (e.g. on to others (e.g., through myths, legends, stories,

23 Curriculum Links Auckland Museum Te Papa Whakahiku curriculum links Sharing the Past carvings, paintings, songs, schooling); the impact of the spread of new technology and ideas on How and why people describe places and envi- culture and heritage. ronments in different ways: Students could demonstrate such knowledge and Students could demonstrate such knowledge and understandings when they: understandings when they: *Identify changes that have occurred in aspects *Explain what place names reveal about places of culture and heritage as a result of technolog- and environments; ical change; *Explain why people choose to record particu- *Give examples of ways technological change lar features of places and environments. has exposed cultures to a range of ideas. Place and Environment Curriculum Level 3 Culture and Heritage Curriculum Level 5 Students will demonstrate knowledge and under- Students will demonstrate knowledge and understandings of: standings of: How different groups view and use places and the The effects of cultural interaction on cultures and environment: societies: Students could demonstrate such knowledge and Students could demonstrate such knowledge and understandings when they: understandings when they: *Identify different types of environment in which *Explain the different types of relationships that people live (e.g., tundra, plains, atolls, war-torn, can exist between cultural groups (e.g., assimila- polluted); tion, segregation, integration, genocide, bicultur- *Explain how people seek to overcome the limi- alism, multiculturalism); tations of places and environments; *Describe ways in which cultural interaction can *Give examples of different ways in which peo- enrich communities and societies; ple use the same places and environments.

PLACE AND ENVIRONMENT CURRICULUM How and why people express a sense of belong- ing to particular places and environments: Place and Environment Curriculum Level 2 Students could demonstrate such knowledge and Achievement Objectives and Indicators understandings when they: *Identify features of places that reflect people's Students will demonstrate knowledge and under- relationships to the places (e.g., monuments, standings of: plaques, street names); How people's activities influence places and the *Explain why people return to particular places environment and are influenced by them: (e.g., schools, holiday places, birthplaces); Students could demonstrate such knowledge and *Describe ways people remember places and understandings when they: environments (e.g., through photographs, diaries) *Give examples of ways people's activities and ways people express their feelings for par- (e.g., food storage, gardening, communications, ticular places (e.g., through poetry, paintings, defence) are influenced by the location and music). physical features of a place; *Describe how people can restore or enhance Place and Environment Curriculum Level 4 natural or cultural features of the environment.

Curriculum Links 24 Auckland Museum Te Papa Whakahiku

Sharing the Past curriculum links Students will demonstrate knowledge and under- *Give examples of places and environments that standings of: are significant to particular communities and How places reflect past interactions of people nations and explain their significance. with the environment: Students could demonstrate such knowledge and TIME, CONTINUITY AND CHANGE CURRICULUM understandings when they: *Identify features of a landscape that reflect Time, Continuity and Change Curriculum Level 1 people's past activities; Achievement Objectives and Indicators *Explain how features of a landscape may result from interactions between people and the Students will demonstrate knowledge and under- environment; standings of: *Explain why some features resulting from past Ways in which time and change affect people: interactions endure while others disappear (e.g., Students could demonstrate such knowledge and considering the effects of legislation, isolation, understandings when they: durability of the features, and significance of *Give examples of changes that have affected the features to people). family and community life (e.g., changes in clothing, transport, games, family activities, Why and how people find out about places and buildings, gathering food). environments: Students could demonstrate such knowledge and Time, Continuity and Change Curriculum Level 2 understandings when they: *Identify different reasons people have for Students will demonstrate knowledge and under- finding out about places and environments; standings of: *Give examples of different ways people find How past events changed aspects of the lives of out about places and environments (e.g., through communities: direct experience, discussion, books, television); Students could demonstrate such knowledge and *Explain the reasons why individuals or groups understandings when they: (such as explorers, navigators, or groups of *Explain the difference between the recent past travellers) have undertaken journeys and and the distant past; recorded ideas about places and environments. *Identify events that people in a community experienced in the recent past and the distant Place and Environment Curriculum Level 5 past; *Give examples of ways that past events Students will demonstrate knowledge and under- changed or affected the lives of communities. standings of: Why particular places and environments are signif- How and why the past is important to people: icant for people: Students could demonstrate such knowledge and Students could demonstrate such knowledge and understandings when they: understandings when they: *Give examples of ways in which people are *Describe factors (e.g., cultural, historical, geo- connected with their past; graphical, aesthetic, economic, strategic) that *Give examples of ways in which knowing influence the value that communities and nations about their past helps people to understand attach to places and environments; who they are;

25 Curriculum Links Auckland Museum Te Papa Whakahiku curriculum links Sharing the Past *Explain why people are interested in the past. about people in the past through records. Time, Continuity and Change Curriculum Level 4 Time, Continuity and Change Curriculum Level 3 Students will demonstrate knowledge and under- Students will demonstrate knowledge and understandings of: standings of: Causes and effects of events that have shaped the How the ideas and actions of people in the past lives of a group of people: changed the lives of others: Students could demonstrate such knowledge and Students could demonstrate such knowledge and understandings when they: understandings when they: *Describe events a group of people has experi- *Give examples of why particular women, men, enced over time (e.g., natural disasters, wars, and children in the past are remembered (e.g., diseases and epidemics, cultural contacts); for their courage, inventiveness, creativity, *Identify possible causes of particular events charisma, use or abuse of power); that people experience. *Describe people's ideas and actions that changed the lives of other people in particular Time, Continuity and Change Curriculum Level 5 times and places. Students will demonstrate knowledge and under- How the past is recorded and remembered in dif- standings of: ferent ways: How past events have influenced relationships Students could demonstrate such knowledge and within and between groups of people and contin- understandings when they: ue to influence them: *Identify ways people can find out about their Students could demonstrate such knowledge and past; understandings when they: *Explain how people's experiences and activities *Identify past events that have been important have been recorded in different time and place for particular communities, cultures, and nations; settings (e.g., through culture, language, technol- *Give examples of the ways in which past ogy, art); events influenced relationships between groups *explain what people in the present can learn involved in those events.

PRE AND POST VISIT ACTIVITIES Year 1 - 3 folk. Prepare questions well beforehand encour- aging the open-ended type. · Pose a question such as: Do you remember…. · Compare chores today with those from the past. when you went to the beach last year? Did you Ask selected elders to teach a skill which they bring back anything to remember it by? Make a used for their chore. e.g polishing silver, or mak- class collection. ing butter · For home time develop a questionnaire for par- · Bury robust items in the sandpit. Later dig them ents. Do they remember some special event from up with the children and try to work out how the their childhood? Do they have some memento people lived. which serves as a reminder? · Collect an imaginary family's rubbish (suitably · Collect some family 'treasures' or photographs cleaned and vetted). From this try to reach some and display with permission. conclusions about their lifestyle. · Interview or invite some grandparents or older · Display some old kitchen implements or tools.

Curriculum Links 26 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet PRE AND POST VISIT ACTIVITIES (Cont.d) Why are the tools so different from the ones we foundations, natural disasters (e.g. Titanic), acci- use today? dental (windblown leaves, volcanic ash etc.) · Collect and display some fossils or fossil pictures · Study our own version of Pompeii, the Buried and pose the question "How was the world dif- Village near Rotorua, which was buried during ferent then?" Research answers. Tarawera's eruption. ·Encourage children to make their own holiday memorabilia collection to display. Years 7-9

Year 4 - 6 · Organize a visit to a retirement village and interview willing residents about their early lives. · Collect life histories (of great grandparents if Prepare questions beforehand to encourage possible). Write diaries about children's daily life variety. Survey toys, tools, kitchen equipment, etc based on knowledge gathered. compared to today. Display as a museum might. · Make two time capsules. One a simulated ver- · Study your local area. Use local historians, sion from the past (teacher collected), another library records, street names and buildings to assembled by today's children to be opened in gain ideas. Build a 3-D model of the area or a the future. map with overlays to note the changes. · Study an ancient civilization, e.g. Pompeii, Rome, · Playing dead. One child lies on the floor sur- Greece, Mesopotamia. Produce a play based on rounded by all the things s/he would want to take some event, perhaps a fiesta day or a religious to the After-life. Make an outline for the record. celebration. Imagine excavating this grave 1000yrs on.*What · Become familiar with some of the archaeologi- would decompose and what would be left? cal evidence left on an abandoned living site. *What could archaeologists say about this per- Pretend you are digging on your school site one son's status, job, age, and cause of death? *What hundred years into the future. Draw a simulated could be said about the society in which this per- archaeological map. Detail what was found. son lived, technology, money, literacy, and gen- · Use the Internet to play some simulated archae- der equality? Make a second much depleted out- ological games. The Ontario Museum has an line. interesting site: · Examine a handbag's contents. *What does it http//www.rom.on.ca/digs/munsell/ tell you about wealth, age, health, gender and · Make a time line showing tools or other equip- the society of its owner? *If stolen and thrown ment and how things have changed over time. away what would survive into the next century? Predict how they will function in the future or if Divide into two groups write a report. One on the they will be used at all. person now and one if found next century. · Rubbish bin archaeology. Create a bin shape, · Use Digging up the Past by M. Trotter and B. each day glue, or pin drawn rubbish onto the bin McCulloch to research New Zealand's archaeo- but cover the previous days rubbish. End by logical discoveries. Each pair could research a uncovering the week's result and analyse daily site, an artefact or detail some of the evidence trends. Can you do this in reality? Find out who used to trace the Polynesian settlement of the uses rubbish to gather evidence and what can be Pacific. Or each pair could choose an aspect of found out. discovery e.g. bones in N.Z and what they told us, · What kinds of things do archaeologists find? or tools or moa hunters’ sites, or ornaments which What rots and what remains? Bury food and less show how Maori lived. fragile articles well before your study, predict · Research an ancient civilisation. What evidence then dig up to prove or disprove theories. can be used to describe daily life? Is there some- · How do things from the past become buried? thing you can't find out? Why is this? Make a list: rubbish buried, deliberate (graves animals, people), hiding valuables in war time e.g carvings which decorated Maori buildings, laying

27 Activity Sheet Auckland Museum Te Papa Whakahiku

activity sheet Sharing the Past CLASSROOM ACTIVITY SHEET 1 LayersLayers

Modern garden soil

Fill and Modern rubble brick wall Level 1 Old tennis court

Demolished stone wall

1849 stone wall

Level 2 Soil Shells 1849 with tree rubbish pit Post-hole with evidence wooden post mould

Hangi pit Natural subsoil Level 3

This is a cross-section of an area somewhere in New Zealand. · What happened recently in level 1? Can you think of any reason why the old tennis court from 1930 was buried? · What can you say about the activity that went on in Level 2? What do you know about what was happening in New Zealand in the early part of the 19th century? · Who were the people who lived in the deepest layer? How do you know? These are some of the artefacts found during an archaeological dig of this site. Decide which layer each one was most likely found in. Where will the Coca Cola can be found? · What will the next 100 years bring? Add another layer to this diagram and sketch in what you think will be discarded and will be preserved for archaeologists in the year 2100 to discover.

Clay pipe

Chamber pot Bone fish hook Stone adze blade

Glass Coca Cola bottle Fun Ho metal Dog tooth with Kapeu, greenstone toy car drill hole Paua shell Metal beer ear pendant bottle cap Iron kettle

Kerosene Mrs Pott’s iron Glass bottles with Coca Cola can China doll lamp Greenstone tiki marble sttopper head

Activity Sheet 28 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet CLASSROOM ACTIVITY SHEET 2 Looking at a 'Big Mac' box to find out about 20th century lifestyle.

This activity has been developed from an original Q 2. Is it a common or rare object? idea in Learning from Objects, an English A: Very common. We know because we've seen Heritage Education Service resource book. masses of them. This suggests there is a high The aim is to gain some practice in looking close- demand for McDonald's food and that boxes are ly at a single object. You can begin by asking relatively easy to produce. questions about a very familiar object which most students will already have used. Q 3. What material is it made from? Is it a natural material or man-made? Here, a small number of questions have been con- A: Cardboard. Man-made material. We do not structed which can be applied exactly to both come across it in the natural world. This shows us modern and ancient objects. While they show the that the technology exists to make new materials range of possibilities you will decide how much to to suit our needs. use. Q 4. Is this a good material to use? You can approach the questions on different lev- Hold the box firmly between your hands for sev- els according to the time available and the chil- eral seconds and it will let heat through. dren's experience and abilities. A: This material is not suitable for keeping something warm. It is easily squashed however. It is Things to use in the exercise: clean, light to handle and transport. Think of 'Big Mac' boxes. You can make a display of other other packaged items made of cardboard. It is a packaging which utilizes cardboard in various very versatile material. These qualities are bene- ways. ficial to both the company and the consumer. The material is biodegradable. SOME QUESTIONS TO THINK ABOUT You can find out a lot by looking and feeling. Q 5. How has it been made? What does this tell us? Some questions need a little research and may A: The standard size and shape (remember we even need a buying field trip (in your own time of have seen lots of them so we know this), regular course). lettering, show us that it has been stamped out in one piece. You can relate this to cookie cutters Q 1. Can you tell what the object is used for? and cutting of mass clothing. At one point the box You will have to pretend you don't know and can lie flat (good for stacking). This all suggests there is no writing on it. mass production. Mass production means a rela- A: Its enclosed shape and lid suggest that it con- tively cheap product for the consumer. When is it tains something. Solid or liquid? glued together do you think? Can you see production line potential there?

29 Activity Sheet Auckland Museum Te Papa Whakahiku activity sheet Sharing the Past Looking at a 'Big Mac' box (continued) Q 6. What is the purpose of the different colours Note: There are at least 131 Internet sites which of the boxes or writing on the outside? feature something to do with McDonalds. You A: Describing the contents and logo advertising could make up a did-you-know quiz to get some company. Colour helps assistants to pick out right net surfing going on. box quickly. Note 'Don't litter' image on the chips cartons. Litter details try and promote an envi- Going further: ronmentally friendly company. Do they use any Now translate the techniques for looking at a mod- other customer attracting techniques? ern artefact into looking at objects from the past. Pottery is the most abundant find on an urban Q 7. Do we see these boxes in other parts of the excavation. It is usually found as domestic debris, in country? Do we see them abroad? sherds or broken pieces, but complete vessels are A: McDonalds fast food restaurants originated in often found as grave goods in burials or as part of the United States and they are now found in a sunken cargo. Its use as a dating tool makes it many towns in this country. What about other particularly valuable. countries? There is a high demand for McDonald's products. In this respect it is clearly a successful A saucer or cup from the 19th century is quite easy company with extensive marketing networks. to come by, will be quite familiar to many children There is even a McDonald's at Pompeii (the new and was in widespread use (raid great aunt's china town, that is)! cabinet). In ancient times e.g. Egypt, Rome etc. Amphorae were also traded, used domestically and Q 8. What happens to the box after it has been placed in graves. used? A: It is intended to be thrown away. It has served its purpose and is disposable.

Q 9. Do you think the box is a valuable object? What does 'valuable' mean? A: In monetary terms, the box is not of value. There are too many of them and they are not made in a precious material. The box may however become a collector's item in the future. It is of value to McDonald's (boxes don't need washing, hold together well, desirable qualities of material used, mass produced) and of value to the customer (convenience food can be eaten almost anywhere giving more freedom of choice).

Activity Sheet 30 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet CLASSROOM ACTIVITY SHEET 3 Photo Interpretation These two photos were taken some years apart in 1889 and 1901. They are looking in the same direction up Auckland's Queen Street. · Find the right hand clock tower in the first picture and then look for it in the second photo.

· What differences do you notice between the two photos that would indicate new inventions and new ways of doing things in 1901? SIGNS: In 1889 a shop sign says 'Sailmaker'. Why were sails an important product at that time? In 1901 there is a sign on the left which says 'Caution, walk around cor- ners'. Who was this meant for: people or horses?

· In the 1901 photo you can see different ways of moving goods and people. A handcart…What sorts of things might he be deliver- ing to the chemist or to the Imperial Hotel further down? Lumpy sacks in a covered wagon…. What does the fact that the wagon is covered suggest about the contents of the sacks? What different way of packaging can you see in the nearest horse and cart? Can the tram travel at night? How do you know? How does it get its power? Why does it need tracks to travel along? (For a close-up view of the tram, look at page 43.)

Extra for experts: Only 12 years separate these photos. Investigate what has changed in your neigh- bourhood in your lifetime. Make a display of any photos you found and make a before and after map of the area.

31 Activity Sheet Auckland Museum Te Papa Whakahiku activity sheet Sharing the Past CLASSROOM ACTIVITY SHEET 4 The Great Museum of Auckland

Scenario: You have just discovered that the Olympics in the year 2020 will be held in Auckland.

Your Job: To put on an exhibition showing the world what Auckland is all about.

Things to think about: · What is the exhibition about? · Who is the exhibition for? Do they have any special needs? · What do you want people to learn from the exhibition? · Where will you have the exhibition? · What will you choose to go in the exhibition? Remember this is the future and Auckland will have changed from today! · How will you display the objects in the exhibition? · What information will you include? (Remember what you want people to learn!) · How will you make sure that people can get through the exhibition easily? · How will you advertise the exhibition?

You have '6 months' to design your exhibition and show your idea to the public of Auckland. Here is your design sheet. Good Luck!

This exhibition is about:

People who will see the exhibition are: I want people to learn these things:

They might need special things like:

Activity Sheet 32 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet

The Great Museum of Auckland (continued)

I think these things should go into the exhibition:

Here are some ways I could display the things in the exhibition:

This is how I could tell people about the exhibition:

This is a plan of where everything will be in the exhibition. It also shows where people can walk so that they don't get crowded. You might need to use a bigger piece of paper.

33 Activity Sheet Auckland Museum Te Papa Whakahiku activity sheet Sharing the Past CLASSROOM ACTIVITY SHEET 5 Photo Interpretation

Shops in the past were very different. In this photo, taken inside a chemist shop, a shopkeeper is dis- cussing something with one customer while the other is looking directly at the photographer.

· What does the sign above the customer say? (ex is cut off the word in the last line) What are the letters made out of? What does this suggest they do in this shop that would never happen in a chemists shop today?

· The shopkeeper is holding a pair of glasses. What else does this chemists do for its customers?

· On the counter is a stand with toothbrushes. Think what you might buy in a chemist's today. Now try and imagine what could be in all those bottles. You could buy some ready made medicines even then as you can see by the photo of the little girl selling Stearns headache cures.

Extra for experts: Research some herbal remedies then cook some up. Display in beautifully labeled bottles for your class OR try and find a product called Eno's in the supermarket. What is it used for? In the photo Eno's Fruit Salts are displayed behind the plump customer OR organise a trip to your local chemist take this photo and ask him to show you how his job is different today.

Activity Sheet 34 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet CLASSROOM ACTIVITY SHEET 6 Photo Interpretation

One of the industries which employed many men was kauri logging. Kauri forests grew from Northland as far south as Kawhia Harbour. The tree had a straight, very thick trunk without side branches which meant its wood was free of knotholes and ideal for building. In fact many of the early houses in Auckland were made from this timber. The work was dangerous and loggers lived for months at a time in the forest before the logs could be dragged or floated down stream to their destination.

· How are these oxen joined together? There are sixteen oxen altogether. What does this tell you about the log behind them? · Oxen can be quite stubborn. Can you find something in the photo that the drovers could use to get them moving faster? · What has been done to make the log easier to move along? How would the thin logs laid on the ground help? · Study the houses behind the oxen. Wooden planks or punga logs have been used for the walls, nikau palm leaves or shingles for the roofs. Which house would you rather live in? · Built touching the right side of the left hand house is a small shed with a very sloped roof. This is the chimney. You could stand inside. How have chimneys changed over time?

Further thinking: 1) What do you imagine was inside the house? Draw a plan as you imagine it would be. Which room found in our modern houses would probably not be inside? Why? 2) Find out about cooking and entertainment in a bush camp like this. Also look at information about gum diggers, especially photographs which will help you find out more about the bush workers’ lives. 3) What artefacts or parts of artefacts might have been left behind and what would still be identi- fiable if you were fossicking there today? 4) Find out about timber workers today and if kauri and other scarce trees are still being felled.

35 Activity Sheet Auckland Museum Te Papa Whakahiku activity sheet Sharing the Past CLASSROOM ACTIVITY SHEET 7 Colonial Recipes For the early settlers of Auckland, each ship was greeted with joy, often because it brought supplies of familiar food and household goods. Bread was baked daily in most households. Butter was home- made or bought from a neighbour. Without refrigeration, food had to be stored carefully to keep it fresh. Letters sent to family and friends often requested seeds for growing vegetables.

Some Colonial Recipes to try Measurements are in Imperial form: oz (ounce): 25 grams, lb (pound): 450 grams, pint: 600 ml

Lemon Curd (also known as lemon honey) Yolks of 3 eggs, 2 ozs butter, 4 ozs sugar, juice & rind of 1 lemon.

Put all into a pan & stir until it thickens.

Damper 3 large cups flour, 1 teaspoon salt, 2 teaspoons cream of tartar, 1 teaspoon of soda, 1 dessertspoon sugar.

Mix all ingredients with cold water till smooth and pliable. Shape into loaf. Cook over hot coals for 30 minutes.

Barn Bread (A Traditional Welsh recipe) ½ lb raisins, ½ lb sultanas, ½ lb flour, 1 teaspoon baking powder, 1 teaspoon baking soda, 6 ounces brown sugar, ½ pint cold tea.

Soak fruit overnight in cold tea. Next morning beat in sugar, then flour, baking powder and baking soda until well mixed. Pile into a loaf tin. Bake in a medium oven for approximately 1 hour or until done. Test with skewer. When cooked, leave to cool.

Pumpkin Pie A Pumpkin, 6 eggs, 3 pints of milk, ½ pound of sugar, flavouring of mace and nutmeg. Puff Pastry.

Cut the pumpkin, take out seeds and boil till soft. Press it through a sieve, and to a quart of the pulp add the above ingredients. Mix first the sugar, then the milk, then the yolks and whites of eggs beat- en separately, and beat all together. Line a dish with puff-pastry, pour in the mixture and bake in a hot oven. Allow ¾ hour for pie to cook.

Extra for experts: To cook colonial foods people needed many ingredients which were not found naturally in New Zealand (e.g., lemons, chickens for eggs, cows for milk and butter). Look in the recipes to decide which ingredients would be imported. How did they get here? Research the activities of the Acclimatization Society now known as the Fish and Game Council and the part they played in changing New Zealand's flora and fauna.

Activity Sheet 36 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet CLASSROOM ACTIVITY SHEET 8 Cottages of Early Auckland In early Auckland, most houses were made from wood and had just two rooms. A tiny shed was built behind the house, which was the toilet. Washing and cooking were both done in the living room.

Later on people added kitchens, verandahs, bathrooms and inside toilets. If we took the roof off the cottage this is what we would see: T W Key: B - Bedroom L - Living T - Toilet B V - Verandah L C C - Chimney W - Well V 1. Where would people cook in this house? Where would they sleep? Where would they eat? Why is the toilet outside?

2. If you needed to enlarge this house what would you add on and where would you add it?

3. If this house burned down what evidence might be left to show there was once a family living on that spot?

Circle of bricks Key (draw your own):

Broken tiles Bricks and rubble Stone garden wall

Post holes

Large slab of rock

4. Work out what all the different parts of this drawing were when the house was still standing.

5. Draw a floor plan of your house, and add information about what the house is made from, what year it was built and if any additions were made. Add a photo of your house too.

37 Activity Sheet Auckland Museum Te Papa Whakahiku activity sheet Sharing the Past CLASSROOM ACTIVITY SHEET 9 Mummy, mummy! Where is my mummy? Have you ever wondered why every time you eat salty foods you get thirsty? The answer is simple. Salt is a desiccant- it helps remove water from things, including human bodies. That is why, when Egyptians needed to preserve their dead for the Afterlife, they used a salt called Natron to dry the body out.

Their religion included belief in many gods. Each god was represented by an animal on earth. You can try this process out yourself by mummifying a chicken (to represent an Ibis) or, if you are a bit squeamish, try it on an apple. The advantage of the apple mummy is that you can do this in groups and it only takes a week, but the advantage of using a chicken is that you follow the process more realistically, rubbing oils and spices into the skin and even wrapping it in bandages. (You can even have ceremonies and make it a bird shaped coffin).

FOR THE APPLE MUMMY

Materials: measuring cup 2 fresh apples large mixing bowl large box of table salt permanent marker large box of Epsom salts roll of masking tape large box of baking soda sensitive food scales knife piece of graph paper & pencil 8 plastic cups

1. Peel and slice the apples into quarters so you end up with 8 pieces. Using the tape label each cup with "Starting Weight' and a number from 1 to 8. Then weigh each apple slice and record its weight on its numbered cup.

2. Add exactly ½ cup baking soda to cup 1. Cover the apple completely. Then write "baking soda only" on its label. Fill cup 2 with ½ cup Epsom salts and label. Fill cup 3 with ½ cup table salt and label it.

3. Repeat the procedure for cups 4 to 6 using a 50:50 mix of Epsom/table salt in cup 4, table salt/baking soda for cup 5, and baking soda/Epsom salts for cup 6. Make sure you label each correctly.

4. In cup 7 mix 1/3 baking soda,1/3 Epsom salts & 1/3 table salt. Leave cup 8 alone as a control.

Place the cups on a shelf out of direct sunlight and let them sit for 7 days. Then take out each slice (one at a time so you don't mix them up) brush off the salt, weigh, and record new weight on the cup. Do not rinse them in water or they will rehydrate! Subtract end weight from starting weight & record. Questions: Which apple piece had lost the most moisture? Which compound was the best at mummifying your apple? Would you have achieved the same, better or worse results if you had not peeled it or left it whole? What was the point of leaving one piece with no salt at all? Where did the moisture go? Can you confirm this? Try to find out about preserving food by pickling, drying salting and smoking.

N.B. It is always a good idea to try out experiments before you let students loose on this. Be warned that the chicken mummy is quite odiferous until it is completely dried. You may wish to use knowledge

Activity Sheet 38 Auckland Museum Te Papa Whakahiku

Sharing the Past activity sheet gained in the apple recipes to try on the chicken. The following recipe is only one option. Or you may wish to stick with the apples and make apple coffin cases inventing your own apple ceremonies which incorporate an Egyptian Apple god.

FOR THE CHICKEN MUMMY

Materials: a whole chicken 26 oz salt per chicken per week plastic gloves ½ cup of spices per chicken per week (any strong sweet smelling spices will do) paper towels zip-lock freezer strength bags (2 litre capacity) gauze strips plastic leak-proof container to hold chicken in bag a weight record sheet

1. Weigh the chicken. Then remove any entrails (Wear gloves for this. Especially in this era of salmo- nella chicken scares, hygiene during this process is most important). You may wish to preserve the entrails in smaller bags separately and later make canopic jars for them out of baby food jars.

2. Under running water rinse inside and out until the water runs clear. Continue handling with fresh gloves. Dry very thoroughly with paper towels inside and out. Remember moisture will cause prob- lems during mummification.

3. Rub ½ of the spices all over and inside the bird. The stronger smelling spices the better as they are to mask the odour of decay which will occur.

4. Rub salt thoroughly over and into the cavity, making sure that every inch is covered. Fill the cavity with salt.

5. Place the chicken in a zip-lock bag, seal the bag and leave in a cool dry place out of the sun. As the chicken dries liquid will drain from the carcass into the bottom of the bag.

6. Once a week for 4 or 5 weeks remove the chicken (wear gloves!). Weigh each time and record the weight. Dab the chicken clean and re-salt and re-spice each time.

7. Repeat this process until no more liquid drains from the bird into the bag.

8. When it is done weigh for the last time. Now rub in baby oil or suntan oil to keep the skin flexible, wrap it in bandages and decorate any way you please.

39 Activity Sheet Auckland Museum Te Papa Whakahiku gallery activity sheet Sharing the Past MUSEUM GALLERY ACTIVITY SHEET YR 1-3 Go to the Wild Child Gallery Find the classroom close to the elephant and sit on the benches. Look above the doorway opposite the blackboard.

· How were children's clothes different then?

· In the glass table find the book by the glasses.

· Copy one word of the joined writing onto the blackboard to the right.

Look at the dental clinic.

· What is the same and what is different about your dental clinic today?

· Can you guess what some of the tools are for?

Go to the toys collections area on the other side of the gallery.

· Many children lost metal toys like this in gardens. They can tell us what transport was like in the past.

· How is the shiny black car different from yours?

Walk into the City Gallery (turn left at the entrance)

Find the model of Queen Street on the left hand side. This model was made by using evidence from photographs and paintings.

· The barrels were unloaded from a ship. Can you guess what might have been inside?

· There was a windmill on the hill (near Grafton Bridge). It made flour for what?

Gallery Activity Sheet 40 Auckland Museum Te Papa Whakahiku

Sharing the Past gallery activity sheet MUSEUM GALLERY ACTIVITY SHEET YR 1-3 (continued) Find the Ligar Canal and the gaol with the 4 on the door. These were both in Auckland's Queen St. in 1860.

· Look in both sides and tick what was found when they dug there.

Toy cars Gin bottle Dinner plate

False teeth Shoe soles Bones

Go upstairs to Colonial Auckland 1866 (stop at the main entrance) Look at the big wall map. This was the early shape of Auckland City. · Can you find where the wharf is sticking out into the harbour from the bottom of Queen Street? · Draw the shape from the map in the circle. It was the Albert Barracks for soldiers in 1860.

41 Gallery Activity Sheet Auckland Museum Te Papa Whakahiku gallery activity sheet Sharing the Past MUSEUM GALLERY ACTIVITY SHEET YR 1-3 (continued)

Turn left into the Gallery. We know all these shops were in Auckland from looking at photos of that time. Find the wall photo of Auckland Harbour in 1860.

· How did the ships in this picture move?

· Look in the shop to the left and find something to provide light on a ship.

Go to the barrel outside Steers Hotel. Find this bootscraper near it. This was used to scrape mud from the soles of your shoes.

· Try it out.

Go into Brown & Campbell the general store.

· If you found this in your garden, work out what would it be used for.

Look inside the shop that sells saddles and harness for horses.

Horses had a harness around their head so the rider could steer.

Where would the saddle go?

· Where did these go on the horse?

Gallery Activity Sheet 42 Auckland Museum Te Papa Whakahiku

Sharing the Past gallery activity sheet MUSEUM GALLERY ACTIVITY SHEET YR 1-3 (continued)

Go to the Chemist next door. Bottles don't rot away but they often break and are thrown away. Blue coloured bottles held poison.

· Find some poison bottles in the shop.

· From the wall photos at the far end can you describe what the roads in Auckland were like?

Go to the toyshop near the entrance.

Which toys would children today never get for Christmas? Why not? ?

Well done! You’ve completed the Trail and discovered the past at Auckland Museum

43 Gallery Activity Sheet Auckland Museum Te Papa Whakahiku gallery activity sheet Sharing the Past MUSEUM GALLERY ACTIVITY SHEET YR 4-6 GO TO CITY GALLERY Archaeologists use all kinds of evidence to find out about life in the past.

Each display has a heading. Look …..

By… The Price of Auckland

· Find a map of Auckland: look for Maungawhau the Maori name for Mt. Eden. The brown area was the size of Auckland at first. Round the corner on the lights map you can see Auckland grow.

· Governor Grey used goods as payment for Auckland. Can you find the pipe and the tobacco that was paid? What else can you see?

· Furniture can tell you about the past. What furniture can you find?

By… Maori Foundations

· What 2 different ways can you see of recording the mokos (tattoos) Maori people wore?

By…Maori Trade

Look at the model of Auckland's Queen Street. This model was made using evidence from photos and drawings.

· What can you see in the model that you would not see in Queen St. today?

· Find a windmill used to grind flour. Photographs show this stood just by Grafton Bridge.

By… What to Bring

All these things were brought by new settlers to N.Z.

· Find something to pull out corks. What else can it be used to do?

· Something you used on a ship. What was it for?

· Something to decorate butter. What pattern would you get?

Gallery Activity Sheet 44 Auckland Museum Te Papa Whakahiku

Sharing the Past gallery activity sheet MUSEUM GALLERY ACTIVITY SHEET YR 4-6 (continued) By… The Ligar Canal

Queen St. once looked like this photo with a smelly canal running down one side. Look at the model of it below the photo. Why was it smelly do you think?

· Draw something that was found in the canal mud when they dug up Queen St in 1998.

This is a:

Read the label for more information.

By … The Gaol (Door 4)

These things were dug up from Queen St's old gaol area in 1987.

From the items on display decide:

· What the men wore and why

· What they ate

· What work they did

By… City Building (opposite the gaol)

· Can you find something to let smoke out of the roof?

· Is it big enough for Santa and his sack?

45 Gallery Activity Sheet Auckland Museum Te Papa Whakahiku gallery activity sheet Sharing the Past MUSEUM GALLERY ACTIVITY SHEET YR 4-6 (continued) By … Women's Work

Many tools especially those made from iron have lasted to tell us about the past.

· Sketch 2 objects and write what they were for.

This was for: This was for:

Today we use: Today we use:

GO TO THE WILD CHILD GALLERY On the verandah display close to the elephant's head end of the gallery. · Choose an item that you think would not rot away. · What job was this for? · How did it work? Walk through the nursery area (with the pram) and stop by the gravestone. Graveyards give us important historical evidence. · How old were the two babies who died? · Fewer babies die young today. Why do you think so many more babies died in the 1870's? Walk to the bedroom end of the gallery. Collectors often leave their collections to a museum. · Look carefully at the things people have made collections of. Have you ever collected any of these things? · Choose which collection you think would be the most useful to a museum. Why?

Gallery Activity Sheet 46 Auckland Museum Te Papa Whakahiku

Sharing the Past gallery activity sheet MUSEUM GALLERY ACTIVITY SHEET YR 7-10

CITY GALLERY Look by the displays which are labelled:

Maori Foundations & The Price of Auckland

Historical evidence. There are many different types of evidence from the past. Look carefully in this area and see if you can find….

· Documented evidence. What does it show? · What Maori and Pakeha looked like. What types of evidence did you notice? · What the Auckland area looked like and the housing styles. · Maori technology mixed with new materials. What did you find?

Maori Trade

Find the newspaper report from the Provincial Gazette (Item 3) that shows Maori people came to Auckland to trade.

· Name some things they traded in Auckland.

What to Bring (right hand side)

· Try the matching activity by this heading. Hard isn't it? But….the answers are on the left hand side.

Documentary evidence of lists for new immigrants survive.

· Look at Suggested Luggage for the Early Colonial · Read 'for the husband ' and compare the items with 'Outfit for the gentleman' or read 'for the wife' and compare the items with 'Outfit for the lady'

Why would there be such a difference?

47 Gallery Activity Sheet Auckland Museum Te Papa Whakahiku gallery activity sheet Sharing the Past MUSEUM GALLERY ACTIVITY SHEET YR 7-10

Ligar Canal

Look at the photograph of Auckland's Queen Street and then read the information on the right hand label.

There is an actual bit of the canal that was dug up under Queen Street below the photograph.

· What types of things were discovered in the dirt?

Queen Street Gaol (the door with the 4)

Look through the windows at what was dug up during the 1987 archaeological dig in Queen St.

· Why did the male prisoners have to break stone?

· What kind of boots did they wear?

· What did the food evidence show?

Walk through the rest of this exhibition

Either:

Make notes on the different ways evidence of the past has survived. E.g look in the Farmers Store display or go to the small theatre to find examples

Or:

Go to the Peoples Wall in the centre of the gallery. Look at the types of information which has been included in each new immi- grant's stories.

· Plan a new display for on this wall. If it was your family represented on this wall what would you include in the information? What photos would be suitable? What special objects would show interesting things about your family history? What title would you give it?

Gallery Activity Sheet 48 Auckland Museum Te Papa Whakahiku

Sharing the Past bibliography You may find these in the school or local library.

You are also welcome to browse through our Museum Library which is on the top floor and accessed from the World War 2, Scars on the Heart Gallery and is open weekdays from 1.00 to 5.00 pm.

Aston, Mick. Taylor, Tim. The Atlas of Archaeology. Dorling Kindersley, 1998

These are from the B.B.C's Time Team. This book describes the various digs which the archaeologists on this television programme organised and the discoveries they made.

Fagan, Brian, M. Time Detectives. Simon & Schuster, 1995

Haslam, Andrew. Parsons, Alexandra. Make it Work! Ancient Egypt. Two-Can Publishing Ltd, 1995

Hepper, Nigel, F. Pharaoh's flowers. HMSO Publications Centre, 1990

Main, William. Auckland through a Victorian Lens. Millwood Press, 1977

Martin, (Mary Ann) Lady. (1817-1884) Our Maoris. E & JB Young, London & New York, 1884

Moloney, Norah. The Young Oxford Book of Archaeology. Oxford University Press, 1995

Powell, A.W.B. The Centennial History of the Auckland Institute and Museum. Unity press Ltd, 1967

Trotter, Michael. McCulloch, Beverley. Unearthing New Zealand (revised edition renamed Digging up the Past). Penguin Books (NZ) Ltd, 1997

49 Bibliography Auckland Museum Te Papa Whakahiku

Sharing the Past

BOOKING INFORMATION: All school visits to the Museum must be booked. We advise booking 3 months in advance. Contact the Museum School Bookings Officer at: Private Bag 92018 Auckland Phone: (09) 306 7040 Fax: (09) 306 7075 Introductions and Hands-on Sessions (facilitated by Education Staff) are available. Please ask the School Bookings Officer for more information.

50 AUCKLAND WAR MEMORIAL MUSEUM The Domain Auckland Private Bag 92018 Auckland New Zealand Auckland Museum Te Papa Whakahiku