2018–2019 Annual Report
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Look Inside 10 Days in the Life of Auckland War Memorial Museum CONTENTS
Look inside 10 days in the life of Auckland War Memorial Museum CONTENTS Ka puāwai ngā mahi o tau kē, Year in Review Ka tōia mai ā tātou kaimātaki i ēnei rā, Ka whakatō hoki i te kākano mō āpōpō. Sharing our Highlights 2014/2015 6 Board Chairman, Taumata-ā-Iwi Chairman and Director’s Report 8 Building on our past, 10 Days in the Life of Auckland War Memorial Museum 10 Engaging with our audiences today, Investing for tomorrow. Governance Trust Board 14 We are pleased to present our Taumata-ā-Iwi 16 Annual Report 2014/2015. Executive Team 18 Pacific Advisory Group 20 Youth Advisory Group 21 Governance Statement 22 Board Committees and Terms of Reference 24 Partnerships Auckland Museum Institute 26 Auckland Museum Circle Foundation 28 Funders, Partners and Supporters 30 BioBlitz 2014 Tungaru: The Kiribati project Research Update 32 Performance Te Pahi Medal Statement of Service Performance 38 Auditor’s Report: Statement of Service Performance 49 Entangled Islands Contact Information 51 exhibition Illuminate projections onto the Museum Financial Performance Financial Statements 54 Dissection of Auditor’s Report: Financial Statements 88 Great White Shark Financial Commentary 90 Flying over the Antarctic This page and throughout: Nautilus Shell SECTION SECTION Year in Review 4 5 YEAR IN REVIEW YEAR IN REVIEW Sharing our Highlights 2014/2015 A strong, A compelling Accessible Active sustainable destination ‘beyond participant foundation the walls’ in Auckland 19% 854,177 1 million 8 scholars supported by the Museum to reduction in overall emissions -
33Rd Annual Meeting
2018 SPNHC + TDWG CONFERENCE COLLECTIONS AND DATA IN AN UNCERTAIN WORLD 25 AUGUST - 1 SEPTEMBER, DUNEDIN, NEW ZEALAND 2018 SPNHC + TDWG CONFERENCE COLLECTIONS AND DATA IN AN UNCERTAIN WORLD Conference Kia ora tātou, Organising Committee The local organising committee is delighted to welcome you to Dunedin and the 1st joint Local Reps: meeting of the Society of the Preservation Robert Morris of Natural History collections (SPNHC) and Biodiversity Information Standards (TDWG). Nyssa Mildwaters We are particularly excited to host the 1st Emma Burns annual SPNHC meeting in the Southern Hemisphere and hope that this meeting is an opportunity for members of both SPNHC Rep: organisations to share knowledge Barbara Thiers and expertise. Though the theme of the conference TDWG Reps: ‘Collections and Data in an Unstable World’ Shelley James is particularly relevant to New Zealand, living Gail Kampmeier as we do in the shaky isles, it has a much wider scope in these times of uncertainty. Niels Klazenga We look forward to bringing people and James Macklin ideas together from all around the world who David Shorthouse share a common interest in Natural Science collections and the information generated Stan Blum from them. We believe that in times of William Ulate instability, collaboration is key to ensuring the well-being of our collections and their role in promoting the importance of the natural world. We hope that this meeting will act a catalyst for greater collaboration within the southern hemisphere and of course more widely. We wish to extend sincere thanks to our conference partners whose financial sponsorship has been instrumental in the organisation of this conference as well as to our colleagues on both the TDWG and SPNHC organising committees whose input and assistance has been greatly appreciated. -
2013–2014 Annual Report
OTAGO MUSEUM ANNUAL REPORT 2013–2014 TABLE OF CONTENTS Introduction 3 Chairperson’s Foreword 4 Director’s Review of the Year 5 Otago Museum Trust Board 6 Māori Advisory Committee 7 Honorary Curators 7 Association of Friends of the Otago Museum 7 Acknowledgements 8 Otago Museum Staff 9 Goal One – A World-class Collection 12 Goal Two – Engaging Our Community 17 Goal Three – Business Sustainability 21 Goal Four – An Outward-looking and Inclusive Culture 24 Visitor Comments 27 Looking Forward 28 Statement of Service Performance 29 Financial Statements 53 2 INTRODUCTION Leadership at the Otago Museum Each new director builds on the wider community, taking into account is generational, with each Museum legacy of those that have come the many varied functions of the director’s tenure being an average of before. Dr Ian Griffin, trained as a Museum and its obligations to service 18 years. This length of service scientist and physicist, has a passion its stakeholders and communities. invariably defines the culture and for science communication and organisational structure of the informal learning engagement. A strategy planning workshop held institution. Previous directors have He brings a new approach to, and in November 2013 was attended by placed emphasis on building and awareness of, the potential and many sectors of the Museum’s wider inspiring research into the collection, importance of the Museum, not only community, from Museum staff and communicating our region’s history as a visitor attraction but as a centre the Otago Museum Trust Board, to and inspiring our community. for learning. educators and academics, to City, District and Regional Councillors, For the past 20 years, the focus has Our aim is to develop a fit for purpose Kāi Tahu representatives, business been on building the Museum into a repository for the Museum’s collection, operators and community workers major visitor attraction and a strategy address the need to research history in the Otago region. -
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TRILEPIDEA Newsletter of the New Zealand Plant Conservation Network NO. 185 CONFERENCE REGISTRATION OPEN NOW! May 2019 We invite you to register for the 2019 Australasian Systematic Botany Society and New Deadline for next issue: Zealand Plant Conservation Network joint conference to be held at the Museum of New Monday 20 May 2019 Zealand Te Papa Tongarewa, Wellington, New Zealand in the last week of November. SUBMIT AN ARTICLE Start planning now! Spaces in workshops and fi eld trips are limited, so register early to TO THE NEWSLETTER get your top choices. Contributions are welcome Check out the recently updated conference website to get all the important details to the newsletter at any time. The closing date for about conference dates, venue, accommodation, programme, keynote speakers, fi eld articles for each issue is trips, workshops, silent auction, and more! approximately the 15th of each month. The conference theme, ‘Taxonomy for Plant Conservation – Ruia mai i Rangiātea’ aims to capitalise on the vast expertise of our two societies. There will be multiple upskilling Articles may be edited and used in the newsletter and/ workshops, three days of symposia, and a chance to explore Wellington’s forests and or on the website news page. rugged coastlines on our fi ve diff erent full-day fi eld trips. The Network will publish Feel free to contact the organising committee by email if you have any queries: almost any article about [email protected], otherwise go to the conference website (https://systematics. plants and plant conservation with a particular focus on the ourplants.org/) to keep up to date with developments, or follow us on Facebook or plant life of New Zealand and Twitter for announcements. -
H.D. Skinner's Use of Associates Within the Colonial
Tuhinga 26: 20–30 Copyright © Museum of New Zealand Te Papa Tongarewa (2015) H.D.Skinner’s use of associates within the colonial administrative structure of the Cook Islands in the development of Otago Museum’s Cook Islands collections Ian Wards National Military Heritage Charitable Trust, PO Box 6512, Marion Square, Wellington, New Zealand ([email protected]) ABSTRACT: During his tenure at Otago Museum (1919–57), H.D.Skinner assembled the largest Cook Islands collection of any museum in New Zealand. This paper shows that New Zealand’s colonial administrative structure was pivotal in the development of these collections, but that they were also the result of complex human interactions, motivations and emotions. Through an analysis of Skinner’s written correspondence, examples are discussed that show his ability to establish relationships where objects were donated as expressions of personal friendship to Otago Museum. The structure of the resulting collection is also examined. This draws out Skinner’s personal interest in typological study of adzes and objects made of stone and bone, but also highlights the increasing scarcity of traditional material culture in the Cook Islands by the mid-twentieth century, due in part to the activities of other collectors and museums. KEYWORDS: H.D.Skinner, Otago Museum, Cook Islands, colonialism, material culture. Introduction individuals, exchanges with museums, private donations and, significantly, the purchase by the New Zealand government During his tenure as ethnologist (1919–57) and, later, of the Oldman collection in 1948, Otago Museum’s Cook director of Otago Museum, Henry Devenish Skinner Islands collection grew to be the largest in New Zealand. -
The Future of Wikimedia and Why New Zealand Museums Should Pay Attention
The Future of Wikimedia and Why New Zealand Museums Should Pay Attention Susan Tolich On the 21st of May it was announced that Mike Dickison will be assuming the position as Aotearoa’s frst Wikipedia-at-large. Tis new role will entail several placements at GLAM institutions around the country where Dickison will act as a ‘Wikipedian in Residence.’ Tis position does not involve editing Wikipedia on behalf of the organisations but focuses on training staf in how to contribute and engage with all parts of Wikimedia and its editing community. Wikipedia is just one of the projects run by the non-proft Wikimedia Foundation; others include Wikimedia Commons and Wikidata. Troughout his career Dickison has had years of experience advocating for Wikipedia to be used in the GLAM sector and has hosted various events to improve the representation of New Zealand endemic species and female scientists on the site.1 While Dickson is the frst Wikipedian-at-large in New Zealand he is part of a much larger global movement which works towards creating a freely accessed ‘sum of all knowledge.’ Wikimedians have partnered with GLAM institutions around the world since 2010 with the mission of ‘connecting audiences to open knowledge, ideas and creativity on a global scale.’2 Other Wikipedian-in-residence projects have ranged from creating documentary photography of Carpathian folk lore, to upskilling librarians in the Ivory Coast to be able to promote their heritage using Wikimedia platforms. It was eforts such as these that also delivered Te Metropolitan Museum 1 Mike Dickison, “New Zealand Wikimedian at large,” Giant Flightless Bird (Blog), 21 May 2018, http://www.giantfightlessbirds.com/2018/05/new-zealand-wikipedian-at-large/ 2 Katherine Maher and Loic Tallon, “Wikimedia and the Met: a shared digital vision,” Medium, 20 April 2018, https://medium.com/freely-sharing-the-sum-of-all-knowledge/wikimedia-and -the-met-a-shared-digital-vision-f91b59eab2e9. -
2014–2015 Annual Report
OTAGO MUSEUM ANNUAL REPORT 2014–2015 TABLE OF CONTENTS Chairperson’s Foreword 3 Director’s Review of the Year 3 Otago Museum Trust Board 4 Māori Advisory Committee 5 Honorary Curators 5 Association of Friends of the Otago Museum 5 Acknowledgements 6 Otago Museum Staff 7 Goal One: A World-class Collection 10 Goal Two: Engaging Our Community 15 Goal Three: Business Sustainability 21 Goal Four: An Outward-looking and Inclusive Culture 23 Giving Back 25 Appendix A: Statement of Service Performance 26 Appendix B: Financial Statements 57 Appendix C: Independent Auditor’s Report 92 2 CHAIRPERSON’S FOREWORD OTAGO MUSEUM TRUST BOARD completed reorganisations within our teams December 2015 is very exciting. It marks to reflect our key areas of focus. We have the start of a major advance in our ability continued to invest in highly-skilled staff to to connect with our communities. This empower these areas. Our financial results development comes on the back of several reflect a successful balance of investment very successful exhibitions staged this year. and sensible management, allowing The great thing about these exhibitions has investment in our key development areas. been the use of our own collection and the leadership and creativity shown by our staff As an institution, we have worked hard at in bringing them to life. building partnership relationships with a large number of organisations. This report I would like to reflect my thanks for the work It is my pleasure as Chairperson to report demonstrates the success of these efforts of the management team and all staff at on behalf of the Board on another very and positions the Museum strongly for future the Otago Museum. -
Bird-Man Amulets and Tridacna Shell Discs from Taumako, Solomon Islands
478 Susan Bulmer JONES, K.L., 1981. New Zealand Mataa from Marlborough, Nelson, and the Chatham Islands.New Zealand Journal of Archaeology, 3:89-107. KLEIN, J., J.C. LERMAN, D.E. DAMON, and E.K. RALPH, 1982. Calibration of Radiocarbon Dates.Radiocarbon, 24(2): 193-50. LEACH, H.M., 1981. Technological Changes in the Development of Polynesian Adzes, in F. Leach and J. Davidson (eds), Archaeological Studies of Pacific Stone Resources. B.A.R. International Series 104. Oxford, B.A.R. pp.167-82. MAJNEP, I.S., and R. BULMER, 1977. Birds of My Kalam Country. Auckland, Auckland University Press. McCOY, P.C., 1979. Easter Island, in J.D. Jennings (ed.), The Prehistory of Polynesia, Cambridge, Harvard University Press, pp. 135-66. MOUNTAIN, Mary-Jane, 1983. Preliminary Report of Excavations at Nombe Rockshelter, Simbu Province.Indo- Paciftc Prehistory Association Newsletter, 4:84-99. NASH, J., and D.D. MITCHELL, 1973. A Note on Some Chipped Stone Objects from South Bougainville.Journal of the Polynesian Society, 82(2):209-12. PAWLEY, A., and R.C. GREEN, 1984. The Proto-Oceanic Language Community.Journal of Pacific History, 19:123- 46. STUIVER, M., and B. BECKER, 1986. High Precision Decadel Calibration of the Radiocarbon Time Scale, AD 1950- 2500 BC. Radiocarbon, 23(28):863-910. SWADLING, P., 1984. Sepik Prehistory. Paper presented to Wenner Gren Symposium, Sepik Research Today: The Study of Sepik Cultures in and for Modem Papua New Guinea, Basel, Switzerland. SWADLING, P., J. CHAPPELL, G. FRANCIS, N. ARAHO, and B. IVUYO, 1989. A Late Quaternary Inland Sea and Early Pottery in Papua New Guinea.Archaeology in Oceania, 24(3): 106-9. -
Copyrighted Material
index 481 COPYRIGHTED MATERIAL > The gannet colony at Cape Kidnappers is the largest and most accessible in the world. 220_9780470894576-bindex.indd0_9780470894576-bindex.indd 481481 111/4/111/4/11 33:26:26 PMPM 482 Index Appellation Central Wine Tours hotels, 78–83 (Queenstown), 29 nightlife & entertainment, 84–87 A Aquariums practical information, 87 Abel Tasman Kayaks, 319 Mapua, 300 restaurants, 70–77 Abel Tasman Mountain Biking, 316 Napier, 198, 220 shopping, 40, 62–69 Abel Tasman National Park, 4, 6, Otago Peninsula, 411, 414 visitor information, 20, 87 24–25, 296, 319 Aramoana Summit, 240 with children, 48–51 Abel Tasman Wilson’s Experiences, Archives New Zealand (Wellington), Auckland Art Gallery, 14, 46–47, 52 24–25, 318 268 Auckland art walk, 14, 54, 55 Absolute Tours (Auckland), 47 Arlidge Adventures Dive Center Auckland Bridge Climb and Bungy, 45 Academy Galleries (Wellington), (Napier), 216 Auckland Central City Library, 54 266–68 Arrowtown, 3, 15, 374 Auckland Domain, 41, 56 AC Baths (Taupo), 179 Architecture Auckland Explorer Bus, 44 Accommodations, 8–9, 474–76. Auckland, 52–59 Auckland i-SITE Visitor Centre, 20 See also Where to Stay sections Christchurch, 341 Auckland Multipass, 50 best, 8 Napier, 29, 196, 200, 201, 208 Auckland Museum, 5, 22, 34, 41, Ackers Point, 434 Wellington, 261 42–44, 48, 56 Agrodome and Agroventures Art, 230, 236–37, 270–71. See also Auckland Town Hall, 54, 87 (Rotorua), 22, 162, 187 art galleries; museums Auckland University District, 58 Ahuriri, 197, 200 Art Deco Trust & Shop (Napier), 201 Auckland Waterfront Sculpture Air Fiordland, 372 Art Deco Walk (Napier), 29, 200, Trail, 271 Airlines, 472. -
ARAZPA YOTF Infopack.Pdf
ARAZPA 2008 Year of the Frog Campaign Information pack ARAZPA 2008 Year of the Frog Campaign Printing: The ARAZPA 2008 Year of the Frog Campaign pack was generously supported by Madman Printing Phone: +61 3 9244 0100 Email: [email protected] Front cover design: Patrick Crawley, www.creepycrawleycartoons.com Mobile: 0401 316 827 Email: [email protected] Front cover photo: Pseudophryne pengilleyi, Northern Corroboree Frog. Photo courtesy of Lydia Fucsko. Printed on 100% recycled stock 2 ARAZPA 2008 Year of the Frog Campaign Contents Foreword.........................................................................................................................................5 Foreword part II ………………………………………………………………………………………… ...6 Introduction.....................................................................................................................................9 Section 1: Why A Campaign?....................................................................................................11 The Connection Between Man and Nature........................................................................11 Man’s Effect on Nature ......................................................................................................11 Frogs Matter ......................................................................................................................11 The Problem ......................................................................................................................12 The Reason -
The Art of the Pacific Islands July 1 Through October 14, 1979 The
ADVANCE FACT SHEET The Art of the Pacific Islands July 1 through October 14, 1979 The most comprehensive exhibition in this subject ever mounted, The Art of the Pacific Islands will focus on the visual arts of Polynesia, Micronesia, Melanesia and New Guinea Pacific island groups whose existence was not discovered by Europeans until the sixteenth century and whose cultures were untouched by European influence until their contact with Captain James Cook, his successors in the whaling industry and the China traders of the eighteenth century. These cultures, for the most part remaining unaffected by contact with the West until well into the nineteenth century, produced powerful works of art independent of any impetus other than their own"t>&( ^artists. Owing largely to historical factors, including rj,ts.early downgrading by missionaries and later neglect by western art historians, the arts of the^slands remain^ I ' less well known than .those of pre-Columbian and African A ' ' • cultures. Research since World War II and the discovery of unknown styles in areas explored only in recent decades have greatly increased knowledge and appreciation < > «.** of the culture represented in this exhibition. cent; Devoted to the major achievements of the islands' visual arts in a variety of media, including wood, ivory, barkcloth, feather work, bone and shell, the exhibition will present'tnere v f\ -HWl35Oof the finest works extant, rigoarously selected (V*_<», ^ for their pristine relationship to the original cultures, ' * ' z£> demonstrating the artists' sculptured mastery combined with striking use of color,/their employment of?simple but elegant abstract design and their great variation of form, particularly 'that of'the human figure. -
E.H. Gibson, Taxidermist, and the Assembly of Phar Lap's Skeleton
Tuhinga 28: 80–89 Copyright © Museum of New Zealand Te Papa Tongarewa (2017) 80 E.H. Gibson, taxidermist, and the assembly of Phar Lap’s skeleton Moira White Otago Museum, PO Box 6202, Dunedin 9059, New Zealand [email protected] ABSTRACT: In October 1938, Edwin Herbert Gibson, taxidermist at the Otago Museum, travelled from Dunedin to Wellington to oversee the preparation of the skeleton of the famous racehorse Phar Lap for exhibition at the Dominion Museum. Gibson spent three weeks working in Wellington with the assistance of Charles Lindsay, the then-Dominion Museum taxidermist. Phar Lap’s skeleton went on display soon after. It remained a popular exhibit for more than 70 years in that form, but was rearticulated in 2011 to correct errors of stance and anatomy, and to redress the impact of metal fatigue. This paper looks at Gibson’s career, and how it prepared him for the invitation to participate in this significant enterprise. KEYWORDS: Edwin Herbert Gibson, taxidermist, Phar Lap, Dominion Museum, Otago Museum, Museum of New Zealand Te Papa Tongarewa. The famous racehorse Phar Lap was a winner, a record- E.H. Gibson, naturalist breaker and a much-loved lift to the spirit for hundreds of thousands of New Zealanders in the tough years of and taxidermist the early 1930s (Fig. 1). His death in California in 1932 Edwin Herbert Gibson was born in Northamptonshire, brought nationwide grief. Born and bred in New Zealand England, in the early 1870s. He married Rennie Jarvis2 in but trained in Australia, Phar Lap’s links on both sides 1898 at the Islington Congregational Church, London.3 of the Tasman Sea were recognised after his death by Their daughter, Olive Herberta, was born in Kettering, the gift of his skeleton to the New Zealand government Northamptonshire, in 1899.4 The family emigrated to by his owners, and of his heart and hide to Australian New Zealand early in the new century.