Te Papa Whakahiku AUCKLAND WAR MEMORIAL MUSEUM sharing the past Education Kit Auckland Museum Te Papa Whakahiku YEARS 1 TO 10 © Auckland Museum 2002 Auckland Museum Te Papa Whakahiku 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 exhibi- tions, 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.