Tauhere | Connections, Issue 1, May 2016. 10

A Māo r i perspective o n t h e l o c a l i z e d relevance of museums a n d t h e i r c o m m u n i t y relationships

I ntroduction As I write, I express my close aroha and affiliation to te o Tūhoe, to whom I . This research is dedicated to our whānau in Te Urewera, situated in the eastern . May you remain steadfast to our beliefs of traditionalism and passive resistance. Te Motuhake o Tūhoe! As I travel through my journey, I remember those who have passed on from our Tūwharetoa, Ngāti Awa and whakapapa. Ko taku iwituaroa Teina Ruri tēnā.

Teina Ruri In this article, I explore the importance Museum Guide, Otago Museum of kaitiakitana, wāhi, mātaurana and mahi to museums throughout , Ko Mataatua te wa-aka from a tikana Māori perspective. Ko Putauaki me Maunapohatu te mauna Furthermore, I examine the relevance Ko Tūhoe, Tūwharetoa, Ngāti Awa me Te of biculturalism at Te Papa Tongarewa Arawa ōku iwi Museum of in Ko Rangitaiki te awa and the Auckland War Memorial Ko Ngāti Nuku, Ngāti Ahi, Ngāti Tamawera, te Museum, as examples of museums that whānau pani te hapū present a rich cultural experience. Ko Ohotu me Uiraroa te Ko Hine Rauhuia te whare whakaruru hau It is important to acknowledge that Ko Tauwhiti te whare kai museums provide communities with a Ko Teina Moana-Lee Ruri taku ingoa unique interactive experience where the No reira tēnā koutou tēnā koutou tēnā tatou public can engage with culture through katoa. exhibitions, events and more. Museums are uniquely placed to cater to the Note: This piece uses Tūhoe dialect. needs of the individual, regardless or Certain words are spelled differently than in race, gender, class, sexuality or ability. standardised te reo Māori. They provide people with a sense of Tauhere | Connections, Issue 1, May 2016. 11

A pōwhiri at Marae within Te Papa Tongarewa. Image: 2016, courtesy of Tourism New Zealand. place and collective heritage and are a bodies of knowledge. For example, great way of learning about local and the Whanganui iwi are ‘river people’ global history. Importantly, they also and the Ngāti Porou iwi are the offer opportunities to develop societal ‘coasties’. Their tikana is based on understanding of biculturalism within and is particular to their surroundings Aotearoa. and history, and this diversity within Māoridom needs to be reflected in Tikana museums. Tikana (or tikanga), as described by Ranginui Walker (2004), are a Understanding tikana assists museums customary system of values and to develop relationships with iwi, practices that have developed over time hapū and other communities, and to and are deeply embedded in a Māori care for and manage taona in more social context. The word ‘tikana’ derives culturally appropriate and collaborative from ‘tika’, which translates to correct, ways. Many museums have begun to appropriate, just or accurate: tikana are involve aspects of tikana in their work therefore the correct processes, which ways to practise Māori is more respectful customs. Museums provide to our culture. For communities“ with a example, new staff Leading professor or special guests and academic Sir unique interactive are often welcomed Mason Durie suggests experience with a pōwhiri, wai tikana are habit, is made available for lore, methods and ” ceremonial cleansing rules (Walker, 2004, p. 67). Though purposes, and food is restricted near an essential element of Te Ao Māori, taona. every hapū, iwi and Māori organisation approaches tikana differently. Many For many decades, Māori and Pākehā, iwi have particular worldviews and both within and beyond the museum Tauhere | Connections, Issue 1, May 2016. 12 context, have faced differences of It is vital that museums establish opinion and cultural misunderstandings. reciprocal relationships with a broad Along with developing bicultural range of communities in order to meet practices and improving the recognition the needs of visitors, stakeholders of tikana, museums have welcomed and staff, as well as the communities Māori into roles as curators, trust themselves. Involvement with Māori can members, museum guides, science come at many levels, including with iwi, communicators, editors, marketers, and hapū, schools, clubs and more. These more. However, many museums within communal groups provide unique ideas Aotearoa still have a small percentage that can help in the practice of cultural of Māori employees, harmony. Locally, especially in these groups come executive positions, Museums practise together and share which shows that kaitiakitana“ in many or express opinions there is still a way and matters related to go in the pursuit different ways, from to kaitiakitana. of biculturalism. the care of taona to Community involvement is Kaitiakitana the transmission of necessary in Professor Māori knowledge inclusive procedures Marsden and to ensure all Maui Pomare both ” perspectives are describe a kaitiaki as a guardian or taken into account and cultural factors custodian, and kaitiakitana to mean are understood and acknowledged. guardianship, protection or preservation (Royal, 2012). Kaitiakitana is a way Māori who have epitomised kaitiakitana of managing an environment based in a museum context include Apirana on a traditional Māori worldview. Ngata, a prominent politician and For example, it encompasses many lawyer. He was the first Māori person to concepts and practices of sustainability, become involved in museum relations so by implementing kaitiakitana, Māori and communities when he joined the are able to protect these environments board of the Dominion Museum in for future generations and pay homage Wellington in 1930. This saw a shift to tūpuna. towards the acceptance of Māori in such fields, creating a ripple effect Museums practise kaitiakitana in many through the future of Māori in museums different ways, from the care of taona (Tapsell, 2014). Many have followed to the transmission of knowledge. This in his footsteps, including Ngahuia also encompasses an awareness of Te Awekotuku, who became Waikato particular protocols and customs around Museum’s first Māori curator in 1987, museum collections. It is possible for and Paora Tapsell, curator at the museums to further their practices Museum of Art and History in relating to kaitiakitana by involving 1990 (Tapsell, 2014). These academics kaumātua to provide advice and guide are kaitiaki who ignite the ahi kā within museum staff and groups as they have their rohe. in the past (McCarthy, 2011, p. 2). Tauhere | Connections, Issue 1, May 2016. 13

A selection of taona pūoro from the collection of Horomona Horo. Image: Declan Judd, 2010.

Wāhi Mahi involves groundwork and Wāhi is a noun that means place, understanding the requirements needed location or allocation. It suggests to maintain sound relationships with the customary systems of values and visitors and the community. These practices that are embedded into may include the acknowledgement to specific locations. We as museums Te Tiriti o Waitangi, a code of ethics must take into account differing ideas of and iwi representation. It is important particular iwi and hapū based on locale. to help clarify mandatory museum These differences could involve tension consent systems, including to whānau, in inter-tribal communities; however, it kaumātua or marae communities is important that museum employees are who may be asked to permit rights aware of each place’s individual beliefs, of particular taona and disclosed customs and practices so we can honour information. and treat them with care. Biculturalism in museums involves Mahi an understanding of differences in Mahi is the nucleus of most things. work ethics and cultural beliefs. For Within museums, mahi is focused, example, in a Māori context this thorough and continual and must includes women not working near exemplify the highest standards of certain areas or preparing plant matter professionalism. Relationships are or kai during her menstrual cycle. Many formed at a macro and micro level within Māori consider this cycle a tapu time, the work environment. with wahine taking into consideration the suitable times that they are able to Tauhere | Connections, Issue 1, May 2016. 14 get close to taona or sacred sites like exhibition topics are equally divided urupā. Everything must be taken into between Māori and Pākehā (Te Papa account, as a show of respect to tikana National Services Te Paerangi, 2006). and Māori culture. Te Papa provides opportunities for visitors to gain an understanding and Mātaurana appreciation of Te Ao Māori as a living The importance of and vibrant culture. mātaurana is embodied by a Māori whakataukī The bird Arapata Hakiwai is which says, “Te manu “that feeds Kaihautū (Māori Co- kai i te miro, nōna te Leader) at Te Papa. His nahere. Te manu kai i from the tree role shares the strategic te mātaurana, nōna te of knowledge, leadership of Te Papa ao” or “The bird that alongside the museum’s feeds on the miro (a theirs is the director, and Hakiwai type of berry), theirs is world practises bicultural the forest. The bird that leadership and tautoko feeds from the tree of ” whilst developing wider knowledge, theirs is the world.” This networks and relationships with iwi acknowledges the idea that, when and hapū. As part of his role, he used correctly, mātaurana can assist oversees Te Papa’s Iwi Relationship with wisdom and collective thought, Programme, and their Karanga which provides us with many more Aotearoa Repatriation Programme. opportunities than if it is not applied. The New Zealand Government established the repatriation programme Working with local iwi or hapū is in 2003, giving Te Papa the mandate reciprocal, and can strengthen to develop an official process for the relationships and share knowledge, repatriation of Kōiwi and Koimi Tanata forming partnerships that can, in return, (Māori and skeletal remains) assist in the development of accurate, from international institutions to innovative and interesting exhibitions local iwi. Hakiwai is also responsible applying mātaurana and tikana to local for Rongomaraeroa Marae and the stories. museum’s tribal group in residence.

The importance of taona is a central Looking North, the Auckland War concept of mātaurana. Many Māori Memorial Act 1996 includes a provision believe that taona held by museums are for Taumata-ā-Iwi, a committee that asleep until they have some connection represents the interests of Māori. with iwi, and that these iwi members It is founded upon the principle of can awaken and revitalise taona. mana whenua (customary authority of ancestral land) with members from Museums and Mātaurana three iwi: Ngāti Whātua, Ngāti Pāoa Te Papa Tongarewa is an example that and Tainui. Taumata-ā-Iwi’s governance emphasises the richness and vitality of principles are much like those of Te Māori culture. It is a bicultural museum Tiriti o Waitangi and they epitomise where the management structure, the concepts of mātaurana and tikana. spatial layout, architectural design and The five principles cover the following: the right to advice, partnership, Māori Tauhere | Connections, Issue 1, May 2016. 15 expectations, active protection and governs relations between cultures and redress for past misunderstandings. ensures the rights of both Māori and Existing and proposed museum policies Pākehā are protected (Orange, 1987, are reviewed by Taumata-ā-Iwi, who p. 5). Many years after the signing of then make their recommendations to Te Tiriti, the evolution of the Waitangi the Auckland Museum Trust Board Tribunal led to claims from iwi and hapū (Auckland War Memorial Museum, throughout Aotearoa, which addressed 2016). Māori concerns about land or property issues. The biggest claim put to the The Auckland War Memorial Museum tribunal was the Wai 262 Flora Fauna executive team includes the position of and Intellectual Property Rights Act. Tumuaki Director, Māori Projects and Development. Extremely Linnae Pohatu relevant in is the Tumuaki The act provided a museum of the team and “protection for the context, the her role includes intellectual enhancing historical preservation of property rights the museum’s objects and knowledge act ensured the relations with protection of localised Māori, ” taona. Having who can assist in broadening the range an awareness of the Wai 262 is vital to of services that the museum offers to the care of our taona. It ensures no one the community. is copying or reproducing artefacts for profit. The act provided protection for Other museums throughout Aotearoa the historical preservation of objects cater to their communities and meet and knowledge, and was necessary local needs in many ways. At the Otago in supporting Māori and their cultural Museum, where I work, the recently belongings. closed Hākui: Women of Kāi Tahu told the stories of wāhine from local Kāi Mātaurana is necessary in Tahu iwi. The Tāngata Whenua gallery understanding the importance of such includes a southern section, which legalities, giving those within museums splits the gallery right down the centre a better understanding of what may from the north. Here, visitors can see have happened if this claim had not idealised ornamentations, been addressed. local stories and dioramas displaying examples of local Kāi Tahu practices. Conclusion To conclude, the main themes Te Tiriti o Waitangi and Wai 262 kaitiakitana, wāhi, mātaurana and mahi Te Tiriti o Waitangi is the founding are all fundamental in understanding document of modern Aotearoa. Although tikana Māori within museums. They some museums do not publically provide a framework that acknowledges display Te Tiriti documentation or the practice of biculturalism and information on its history, it is the how it makes for a better communal backbone of encouraging the spirit environment for the people of Aotearoa. of partnership and good will. Te Tiriti Tauhere | Connections, Issue 1, May 2016. 16

Furthermore, the bicultural practice and appreciation at Te Papa Tongarewa Museum and the Auckland War Memorial Museum characterise institutions that present a rich cultural experience. They are able to uphold tikana and the outlined thematics to enhance the services they provide. By continuing such practices, museums can provide the public with high quality museum experiences and engage more fully with their communities.

Tē tōia, tē haumatia.

Nothing can be achieved without a plan, workforce or way of doing things.

Bibliography

Auckland War Memorial Museum. (2016). Taumata-ā- Iwi. Retrieved from http://www.aucklandmuseum. com/about-us/corporate-information/taumata-a-iwi

McCarthy, C. (2011). Museums and Māori, Heritage Professionals, Indigenous Collections, Current Practice (1st ed.). Wellington: Te Papa Press.

Orange, C. (1987). The (1st ed.). Wellington: Allen and Unwin NZ Limited in association with the Port Nicholson Press.

Royal, Te Ahukaramū Charles. (2012). Kaitiakitanga – guardianship and conservation. Retrieved from http://www.teara.govt.nz/en/kaitiakitanga- guardianship-and-conservation

Tapsell, P. (2014). Māori and museums - ngā whare taonga. Retrieved from http://www.teara.govt.nz/ en/maori-and-museums-nga-whare-taonga

Te Papa National Services Te Paerangi. (2006). Mātauranga Māori and Museum Practice. Retrieved from http://www.wipo.int/export/sites/ www/tk/en/databases/creative_heritage/docs/ tepapa_matauranga_maori.pdf

Walker, R. (2004). Ka Whawhai Tonu Matou: Struggle Without End (1st ed.). Auckland: Penguin New Zealand.