Friends and Networks Friends of the Suter Film and Sound Archives join forces Emerging Museum Professionals Network James Wallace Arts Trust – Give and Take Connecting Through Social Media November 2014 November Contents Museums Aotearoa

EDs Quarter 3 Te Tari o Ngã Whare Taonga o te Motu Message from the Board 4 Is New Zealand’s independent peak professional organisation for museums and those who work in, or have an interest in, museums. Members include My Favourite Thing 5 museums, public art galleries, historical societies, science centres, people who work within these institutions and individuals connected or associated with Friends of the Suter 6 arts, culture and heritage in New Zealand. Our vision is to raise the profile, strengthen the preformance and increase the value of museums and galleries Ngā Taonga Sound & Vision 8 to their stakeholders and the community

All that Remains 10 Contact Details Emerging Museum Professionals 11 Level 8, 104 The Terrace, Wellington 6011 PO Box 10-928, Wellington 6143 Staff Changes 12 Tel: 04 499 1313 Fax: 04 499 6313 Policy Matters 13 Email: [email protected] Web: www.museumsaotearoa.org.nz Museum Profile – MOTAT 14 Contributions MA Strategic Plan 2014 – 2016 16 We welcome article suggestions and contributions. For enquiries about contributing to MAQ please contact us at [email protected]. Book Review: NZ's Historic Samplers 17 Staff Let Us Keep Close Together... 18 Phillipa Tocker – Executive Director Talei Langley – Membership Services Manager The James Wallace Arts Trust 20 Advertising Connecting Through Social Media 22 Enquiries about advertising in this publication, or mailing flyers, should be addressed to the Museums Aotearoa office A Samoan Quality 23

The Journey of the Otagos 24

Selznick School of Film Preservation 26 Next issue February 2014: Communicating Culture

Disclaimer Cover Images The opinions expressed in this publication are not Main: necessarily those of the Editor or of Museums Otago Harbour, Roger Mortimer, 2014 Paramount Award winner, Wallace Art Awards. Page 20 Aotearoa Lower: Museums Aotearoa Meeting, Patea, October 2014. Page 3 ISSN 1177-7362 Back Cover: Clockwise from top. Peanut Man and storage box from the Katherine Mansfield Birthplace collection. Page 5 An image of a 16mm Technicolor print of 'Scaramouche' (1939) through a loupe on a light box. Page 26 Dinner gong, 1916, maker unknown. Gift of the New Zealand High Commission, London, 1953. CC BY-NC-ND licence. Te Papa (GH001964/1). Page 10

2 MAQ November 2014 EDs Quarter

Who are your friends? In this MAQ we are exploring some aspects of What we want is a balanced and capable group museums and galleries' engagement with key stakeholders, such as donors, of people who are contributing positively to our audiences, governing bodies or media, both formally or informally. organisation and activities. I recently attended a conference for association executives – people What we all want to achieve is a 'virtuous circle', a self-propelling situation who are involved with diverse sectors including whereby we offer meaningful experience and engagement – which satisfies transport, health, construction, service, tourism, and enthuses our audiences and key stakeholders – so they support our animal and social welfare. It was useful to consider activities politically and financially – and we can then keep evolving and Museums Aotearoa as an association rather than offering meaningful experience and engagement. part of the museums sector. We talked about the detail of membership servicing, models I tried to write the previous sentence without using the word 'stakeholder'. of engagement, and strategic planning. I was It always makes me think of someone holding a waratah (triangular-profile interested to learn that almost without exception, metal stake) while another person hammers it into hard ground. The members all shared common challenges of 'stakeholder' is grimacing as the waratah jars with each blow, and they hope leadership, governance and advocacy. the person with the sledge-hammer doesn't miss and hit their hand… Not an ideal way to envisage the people who are so important to our viability The new Museums Aotearoa Strategic Plan and success. (see p16) articulates some of the ways that our organisation wants to address these challenges.

We have been discussing the strategy with members at regional meetings over the last few weeks. Your input is vital to ensure we are using our time and resources most effectively. I am looking forward to working with the MA Board and members to develop and undertake action plans to meet these priorities.

Staff and volunteers have presented in pitopito kōrero sessions at some meetings. It has been enlightening and inspiring to see and share the innovative and robust work that is being carried out in all kinds of museum and galleries. Some have shared their experience of recent or planned projects, others have been able to help neighbours with advice and contacts. We particularly appreciate the candour of those who talk about experiments or projects that didn't go according to plan.

The August issue of MAQ was about people, and so is this. In fact everything we do can be brought back to people – to our supporters, our funders, our artists and makers, our service providers, our staff and volunteers, our visitors, our tupuna and our mokopuna.

Phillipa Tocker Executive Director

Museums Aotearoa Meeting, Patea, October 2014

2014 November MAQ 3 Message from the Board

Using our nice voices: caring for our museum However, manaakitanga doesn’t stop with greetings and welcomes in the galleries. and gallery visitors. Everyone who works in the museum has a role in extending manaakitanga and adding value to the Once when discussing an artwork with a group of primary school students relationships the museum has with its community. in a museum gallery, I was interrupted mid sentence when a museum staff For example, educators work in collaboration member came up behind our group and in a loud firm voice said “NO with schools, teachers and students. We attend FLASHES ALLOWED”. The students, teachers and parents spun around, and hold school staff meetings we consult with wide eyed in surprise. “TURN OFF YOUR CAMERA FLASHES,” said teachers and principals. We prepare our lessons the staff member, bluntly, and strode off. Several children had been awarded to meet the learning needs of each class. After the coveted role of class photographer for their museum visit. They looked at their visits, children send us museum-inspired their teachers, confused: were they in deep trouble? The teachers looked at me cards describing their experience. We build and shamefaced, apologising. I was aghast. I tried to make amends: “I’m sorry, it’s manage these long term relationships with care my fault, I forgot to tell you, we don’t use flashes in the museum ... it’s OK, and respect. We extend manaakitanga to our just turn off the flash, you can still take your photos, you’ve all been doing a learning community both when they are physically really great job ...” present in the museum and when they are away from it. We want our learning community to feel a This year Museums Aotearoa has a new mission statement. It refers sense of belonging in the museum. Through these to Manaakitanga. Manaakitanga has no one word English translation. reciprocal relationships, we aim to create lifelong When describing the concept in English, we assemble words like respect, museum lovers. hospitability, relationships, generosity, humility, reciprocity and goodwill. For me, I understand this concept best in terms of behaviour and – in my job as After high school I worked at The Warehouse an educator and occasional host at Puke Ariki – manaakitanga is the basis in Thames. The thing I remember most about for how I behave towards the community of people who engage with our working there was a rule that applied to every museum. single staff member. If we came within a certain distance of a customer, we had to acknowledge Personally, I love museum hosting, and always prided myself on my hosting them with a smile and “hello”. No interrupting abilities... and then I started working at Puke Ariki and met Adrienne. them, no annoying “so how’s your day been so far?” Adrienne’s ability to extend manaakitanga to each and every one of the Just a brief, respectful acknowledgement. In our museum visitors she interacts with never fails to impress me. From our institutions, if we are in the public space, we are tiny tots with their parents, our twitchy teenagers with their skateboards hosts. I firmly believe all staff are responsible for to our kaumātua, Adrienne is a true professional – a star of face-to-face upholding manaakitanga in museums, regardless communication, appreciating our visitors, predicting needs, putting people at of their position. ease, gently reminding of the house rules when necessary and leading people to the best possible museum experience. The day I listened to Adrienne Manaakitanga generates mutual respect and calmly soothe and reassure a visitor who was having nervous breakdown in trust, allowing deeper relationships to be formed. the toilets I knew I’d met my match. When it comes to caring for visitors on When our visitors gain a sense of belonging and the front line, Adrienne is one of the best things to happen to Puke Ariki. ownership of their museum, the museum has more supporters and friends. The mana of the museum grows and its value to the community increases.

Sometimes we need to ask visitors to turn off their camera flashes, but let’s use our nice voices.

Erin Flanigan Museum Educator, Puke Ariki

Erin Flanigan

4 MAQ November 2014 My Favourite Thing

I have chosen this figure made from peanut shells as my favourite thing because it represents the many mysterious and unexpected objects I have found while working with the collection at the Katherine Mansfield Birthplace in Thorndon, Wellington. It also provides a glimpse into the secret world of treasured possessions.

The collection at KMB contains all the objects you would expect but also a number of surprising finds, like peanut man. Some objects at KMB are still in the containers their donors stored them in, and part of my role is to transfer these objects into conservation boxes. Peanut man is stored inside a chocolate box. I knew the box was unlikely to contain its original contents but I would never have guessed that it held a little figure made from peanut shells!

Somebody treasured this little figure and carefully stored him away. I can’t find any documentation relating to him so he remains a mystery. Was he a souvenir from an overseas trip or was he homemade? Do you know anything about him and his kind? And why is he in our collection? Was he accepted for ‘educational purposes?’ It is often said that small museums and house museums in particular become ‘public attics’ – places where people donate objects they can’t bear to throw away. I think these objects can be valuable as they tell us a little about what people treasured and collected.

Caley chocolate box used to store Peanut Man. To me the chocolate box is a valuable object in its own right, but to the original owner the box was just a throwaway, kept only to hold the precious figure. Food packaging tends not to survive – it is disposable and commonplace. The packaging we have has ended up in the collection quite incidentally.

I also found an old sherbet fruits box produced by a local confectioner – the box is in great condition and could be quite rare. Inside I found a collection of shells – carefully sorted and labelled. It’s not hard to imagine a shell collection in this very house – children lived here, within walking distance of the shore. Again, I can find no documentation. I don’t know whose collection it was, and the box is the only clue to its age. Were the shells collected on family trips to the windy local beaches? Did the collection sit forgotten in somebody’s house well into the owner’s old age? How did it come to be in the collection? Whatever the case, somebody could not bear to throw it away and valued it so highly they donated it to a museum.

These seemingly insignificant ‘found in collection’ objects are very evocative to me. They offer a glimpse into people’s sentimental attachment to material cultural, and to objects that may not seem very important to others. They tell us something about the personalities of their owners – more so than the usual and expected house furnishings do. For these reasons I think they have a place in our museum.

Carlee Reid A doll made lovingly from fabric scraps and peanut shells. Katherine Mansfield Birthplace

2014 November MAQ 5 Friends of The Suter

The Friends of The Suter scheme At some point in the 1990s The Suter’s next Director, Helen Telford recommended that the Patrons become Friends of The Suter, the model we was initiated by The Suter continue with today. Friends either pay a yearly subscription for a student, single, double or family membership, or purchase a single or double life Art Gallery’s first professional membership. Generally we have just over 500 memberships. The benefits of being a Suter Friend include free entry to exhibitions, discounted entry director, Austin Davies, not to events, invitations to openings and events exclusive to members, home delivered brochures and a special ‘Friends’ newsletter, regular email updates long after his appointment in and occasional discounts on Suter merchandise. 1976. Initially these supporters We have also reinstated the term ‘patron’ but as an honour conferred by The Suter Trust Board. The Suter’s Patron is Sally Hunt. Sally, a American who were known as Suter Patrons lives permanently in Nelson, is an astute and enthusiastic collector of art who has played a critically important role in supporting and encouraging the local and their membership provided art market. Sally, with her late husband Robert, funded the first years of The Suter’s education programme, and has generously supported major collection a ready source of income for acquisitions and the building redevelopment project. a very cash strapped gallery In recent years, two other support groups have evolved: the 10 x 10 Acquisition Fund; in effect, a patrons group who regularly donate significant amounts for to help offset operating costs collection development, and The Suter Redevelopment Project supporters; major contributors to the $12 million building redevelopment that is about whilst an ambitious building to commence. We hold regular events for these groups; ‘meet and greet’ breakfasts, exhibition previews, tours with the curator and evening soirees programme was undertaken. – social events that enable a range of people to come together and talk ‘art’. Davies, a British migrant We also have a special relationship with the Nelson Suter Art Society (NSAS). NSAS was established in 1889 by our namesake, Bishop Andrew who had previously run the Burn Suter, and this volunteer-run group is based at The Suter. Prior to the appointment of paid professional staff, NSAS volunteers initiated exhibitions Liverpool Art Gallery, ran a and events at the gallery and they have on occassion gifted art works to The Suter Collection. NSAS has two kinds of members – working artists, who lively, popular and progressive exhibit in their gallery space, and ‘Friends’, a body of supporters. Unlike the Friends of The Suter, NSAS is an incorporated society and operates by programme and 300 members committee with their Chairperson having a non-voting position on The Suter Trust Board. were quickly signed up. Nearly forty years later we continue to enjoy the support of many of those inaugural Patrons.

Friends and guests assembling before being led through the galleries.

6 MAQ November 2014 As The Suter moves to a temporary location whilst the Building Redevelopment Currently Friends of The Suter subscriptions are Project takes place, it seems a good time to seriously review our Friends in effect paid directly into The Suter Trust’s bank scheme. A quick scan of other art galleries suggests that many Friends’ groups account (itself a registered charitable trust). While operate as incorporated societies, like NSAS. This form of organisation does we have a dedicated Friends Co-ordinator, Jenny offer a range of advantages such as having an elected committee to initiate Hitchings, we do not have a committee to initiate and organise activities, act as an ‘umbrella’ group when seeking grants, raise and organise an attractive programme of events, funds and generally lobby for the gallery - particularly useful at local authority exclusive to Friends. Rather, the bulk of this annual planning time! Friends groups may even operate with a charitable work is the responsibility of staff. Our accountant status conferring tax benefits and this is very attractive to donors. On the trustees struggle with the notion of our ‘Life other hand, establishing and maintaining a voluntary committee group can Memberships’ – a one off payment equivalent to present difficulties. The committee membership may not change markedly 7.5 years of annual subscriptions. Some of our Life for years or becomes dominated by one or two strong personalities. I have Members clearly have had more years of benefit…. certainly experienced the latter - at a gallery where I formerly worked, one On the other hand many of our Life Members powerful individual had been on the society committee since 1962 and I are also our most generous contributors to other believe still is! In the worst case scenario the committee can take exception fundraising initiatives. We have also issued Life to changes that the gallery proposes to make and withhold financial support, Memberships to those who have made a truly or hold the gallery to ransom - especially if the Friends group owns part of outstanding contribution to the gallery. the collection. In the near future, we would like to move away from charging admission to the galleries. This gives us good cause to reconsider and improve the advantages offered to Friends. In this age of environmental awareness and social media we should think twice about our mail-outs and we also want to encourage a younger demographic to join and participate. Yet, how do we best communicate with our Friends and ensure that they have privileged level of access and information? How do we ‘reward’ loyalty and generosity? Should we introduce more categories or tiers of membership, for example, corporate membership or a special Patrons circle – a platinum level of supporters with exclusive benefits to acknowledge and recognise their contributions? Managing and implementing differentiated tiers of benefits will present a challenge. However, finding ways to develop, Exhibitions being blessed as part of the powhiri involve and acknowledge our supporters is critical to The Suter, a gallery that has, and always will, rely on patronage to operate and expand its collection.

Julie Catchpole Director, The Suter Art Gallery Te Aratoi o Whakatu

Waiting for the speeches in Uku Rere.

2014 November MAQ 7 Nga Taonga Sound & Vision

Ngā Taonga Sound & Vision Host organisations are able to use the medianet stations to curate sets based on their own collections and exhibitions, placing footage in new and surprising is our national sound and contexts. For example, Tauranga City Library curated a 'playlist' of clips by local filmmaker Norman Blackie, and the Dowse showcased Hairy Maclary moving image archive. It is a videos on medianet to tie in with their Lynley Dodd exhibition in 2012. new organisation, formed this Medianet offers over a thousand titles available for viewing, and new titles are added frequently. If your museum or gallery is interested in hosting a year by the coming together of medianet site, Ngā Taonga Sound & Vision invites you to contact them at [email protected] the former New Zealand Film Archive, Sound Archives Ngā Taonga Kōrero and Television New Zealand Archive to form an integrated audiovisual archive. The archive holds a large and multifaceted collection of moving image and audio items, along with related documentation. The collections date from 1895 until the present day – from the earliest days of cinema, audio recording and television, to contemporary film, television, advertisements, music videos, computer games and radio productions. Among these are amateur recordings, public broadcasts and commercially-released Medianet productions. The Travelling Film Show Ngā Taonga Sound & Vision actively works with partner organisations in the museum and gallery Ngā Taonga Sound & Vision runs a Travelling Film Show, which tours films sector to connect more New Zealanders with their (and sometimes audio items) to towns, cities and rural areas. From Stewart audiovisual heritage. Some areas of collaboration Island to Kaitaia, from the Chathams to the West Coast, the Travelling Film include: the medianet digital video resource, Show has covered the country. the Travelling Film Show, a World War I loan screening programme currently in production, and Each Travelling Film Show screening is a unique community experience. supply of footage for exhibitions. Programme content can be tailored towards local interests and regional history. Travelling Film Show screenings are organised in partnership with Medianet local organisations, who bring their own flavour to the event – whether it be organising bagpipe pre-entertainment, inviting speakers to share the local The medianet digital video resource is currently history, or hosting home-cooked supper afterwards. available at 17 partner museums, galleries, libraries and educational institutions nationwide. Some Some of the Travelling Film Show's most frequent partners are museums and of the museums and galleries among the 17 galleries, who invite Ngā Taonga Sound & Vision to their towns, in support host organisations are: the Toitū Otago Settlers of their own programmes. Organisations that have hosted the Travelling Museum, the Dunedin Public Art Gallery, the Film Show during recent months include Wairoa Museum, who screened Dowse Art Museum, the Govett-Brewster Art Films of Wairoa 1932 - 1960 alongside a programme of classic film and TV Gallery and Puke Ariki. ads, and Ashburton Art Gallery, who screened Reel Life in Canterbury. A programme on New Zealand Horticulture 1911-1964 will be screened at Toitū on 22 October.

To enquire about organising a Travelling Film Show screening at your organisation, contact [email protected]

8 MAQ November 2014 World War I Loan Programme Ngā Taonga Sound & Vision staff are currently curating a World War I themed screening programme that will be available for loan to museums and community groups, on DVD and a range of digital formats. The programme will present scenes from the different phases of war, on the home front and abroad, and will be accompanied by a specially-prepared musical score arranged by Bill Hickman.

Resilience: New Zealand’s Experience of the First World War will be launched in April 2015. Keep an eye on the Ngā Taonga Sound & Vision website www.ngataonga.org.nz for more information. Exhibition Footage Supply

Ngā Taonga Sound & Vision's Client Services The Reel Life in Canterbury Travelling Film Show programme screens at Ashburton Art Gallery. division is able to loan footage to museums and galleries for use in exhibitions or screenings (charges apply). To get an idea of the scope of material housed in the Ngā Taonga Sound & Vision collections, search their online catalogues at www.ngataonga.org.nz.

To enquire about loaning footage, contact sound@ ngataonga.org.nz for sound materials or vision@ ngataonga.org.nz for moving image footage.

As an organisation, Ngā Taonga Sound & Vision is committed to its partnerships with other cultural organisations. In fact, one of their partnership programmes with Heritage New Zealand, the Reel Life in Rural New Zealand screening tour of Hawke's Bay and Wairarapa woolsheds, won the Most Innovative Public Programme category at Museums Aotearoa’s 2014 New Zealand Museum Awards. Ngā Taonga Sound & Vision welcomes opportunities to share knowledge across The Reel Life in Rural New Zealand, a Travelling Film Show organised in partnership with institutions and consider different institutional Heritage New Zealand, screens at Maraekakaho Woolshed. Reel Life in Rural New Zealand collections in conversation. won the Most Innovative Public Programme category at Museums Aotearoa’s 2014 New Zealand Museum Awards. Ellen Pullar Publicist, Nga Taonga Sound & Vision

2014 November MAQ 9 All That Remains

WWI objects from New Richmond, a soldier who made a life for himself in his hometown following serious injury and subsequent amputation during WWI, through two left Zealand museum collections boots from the collection of Mataura Historical Society. As you’ll likely have noticed, the WWI Perhaps the delicately embroidered apron, produced by soldier Fred Hansen centenary is now upon us. Museums and heritage as part of his recovery from injury, might catch the website visitor’s eye – organisations have a significant part to play in these as it caught Queen Mary’s eye when she visited the hospital where Fred commemorations, with many exhibitions, events, was convalescing. Or maybe intrigue lies in the hand grenade shared by projects, and activities in the works all over New Cambridge Museum, North Otago Museum’s colourful Peace Day dress, Zealand. Some organisations may be looking for Owaka Museum’s wonderful collection of photos of soldiers, or the series ways to highlight and promote the WWI centenary of fascinating wartime propaganda posters from Te Papa. All That Remains activity they have underway, while others may already contains a lot to explore. wish to participate in the commemorations but find themselves hampered by limited resourcing. All That Remains is a long term project, and we are hatching plans for the next All That Remains (www.allthatremains.net.nz), a stages of development. Our aim now is to continue to build participation collections-driven community exhibition website, among museums, galleries, and other collecting organisations. We’re also provides an avenue for organisations in both developing what we’re calling a ‘hero projects’ programme, which will partner situations to achieve their goals. Returned Services Associations with local museums, building relationships between them to create a legacy and to highlight the RSAs’ objects and All That Remains: WWI objects from New Zealand stories. museum collections / He Waihotanga Iho mai i te Pakanga Tuatahi was developed by National Early in 2015 National Services Te Paerangi will be holding workshops Services Te Paerangi to provide a platform for all around New Zealand with a focus on interpretation and writing good museums to participate in the WWI centenary narrative, which will support small museums in creating really good content, commemorations. The website is designed to both for their collection items on All That Remains and more generally. allow participants to showcase their WWI-related collection items to a broad audience. It was built If you would like to participate in the WWI centenary commemorations using eHive plugins, allowing collection items to by showcasing your collection on All That Remains, or by sharing your be easily uploaded and shared. And it is not just organisation’s WWI activity through the All That Remains blog, National for museums – iwi caring for taonga, art galleries, Services Te Paerangi can help. We can be contacted on [email protected]. historical societies, archives, libraries, schools, and nz or freephone 0508 678 743 (0508 NSTP HELP). RSAs holding collections can all participate. Tamara Patten Aside from displaying WWI collections, All That Communications Officer, National Services Te Paerangi Remains also features a blog. This provides a space for elaboration on the stories of collection items, and for highlighting other WWI activity, events, or research. All museums are invited to share their WWI news and stories via the All That Remains blog, regardless of whether they have collection items to share.

Participating organisations are profiled on the site, and National Services Te Paerangi promotes the website, collections, and participating museums at every opportunity.

In the 4 months since All That Remains was launched, some fascinating WWI-related objects have been shared. New Zealand’s museum collections reveal trench art, crafts by convalescing soldiers, uniforms, weapons, medals, maps, flags, trench tools, propaganda posters and much more.

Visitors to the site may be interested in the enamel cup and saucer from Te Awamutu Museum which took the impact of a bullet fired at a soldier, saving his life. Or they could learn about Andy Cup and saucer, c.1914-1918. Te Awamutu Museum (14828).

10 MAQ November 2014 Emerging Museum Professionals One thing you probably were not told when you signed up for a career in the museum sector is that none of your non-museum friends will understand what you do everyday.

They will either think you are Indiana Jones, or a history expert with an encyclopaedic knowledge of the history of the world or maybe someone who tells people to be quiet in the galleries. They will also have no idea how important you think museums are.

This is just one of the reasons why the museum sector needs an Emerging Museum Professionals (EMP) group. This is a group of people with common interests and concerns who not only understand what a registrar is but why Christina Hardy it is crucial that they exist. The New Zealand EMP group is only a year old but it has grown from an idea that Michelle Sim pitched to the Museums At the core of this group is the principle of peer Aotearoa AGM in 2013 to a thriving group with over 200 members. support and collegiality. Through this the EMP group provides a valuable arena for EMPs to The group is a national network of professionals at the start of their careers discuss and receive advice on issues relevant to their working in New Zealand museums and galleries. Members are able to careers in a non-threatening and non-judgemental connect, share and network with each other and those in the heritage sector space. To aid in this the EMP committee is through forums on the Museum Aotearoa website, the EMP Facebook assisting to establish a mentoring scheme with group and the MA conference. Following the success of last year’s events at Museums Aotearoa. This programme will provide MA14 in Napier, the EMP group has decided to organise its own ‘mini’ EMP both long term professional development and conference in Dunedin next year. This will go for a whole day on the 6th of short term job-focused skills. It will also link May and include an AGM, a workshop and pecha kucha presentations by museum professionals at all stages of their careers EMPs. The day will end with a casual dinner where EMPs can get to know across New Zealand. each other before the conference starts. With the EMP group in place starting out in the Each region in New Zealand has a regional representative who serves on museum sector will be less lonely and scary than the EMP national committee. The job of the regional representative is to it has been in the past. This can only help the encourage discussion and debate on EMP related issues and organise regular sector survive and thrive in the future when the networking events. These regional events are the ideal place to achieve the first round of EMPs progress to become leaders group’s objectives of having fun, celebrating the achievements of fellow of the sector. EMPs, encouraging participation in professional development opportunities and discussing and debating cultural and heritage topics in a friendly, sociable There are no age restrictions or limits on joining environment that encourages professional networking. this group, the only criteria being that you must be a member of MA or belong to a member organisation. So, if you identify as an emerging professional and would like more information on how you can get involved in the EMPNZ group, please email [email protected].

Christina Hardy Collections Assistant, Nelson Provincial Museum

Emerging Museum Professionals at 2014 NZ Museum Awards celebration.

2014 November MAQ 11 Staff Changes

Douglas Lloyd Jenkins announced in August that Steven Fox is returning to Aotearoa to take up the new General Manager, he would be resigning from MTG Hawke's Bay, Collections role at MOTAT after nearly three years at the Museum of staying on as Director until December to allow a Australian Democracy in Canberra. replacement to be found. Penelope Borland will take over from Mele Wendt as Executive Director of Cat Jehly has moved from Te Awamutu Museum Fulbright New Zealand in January 2015 to become Registrar at Rotorua Museum. NDF Board elections have seen Taryn Davies (Auckland Museum), James After serving for 32 years, Mike Taylor has retired Smithies (University of Canterbury) and Diane Pivac (Ngā Taonga Sound from the staff and management committee of & Vision) join the Board, replacing retiring members Virginia Gow (MCH), Picton Heritage & Whaling Museum. The new Brenda Chawner (VUW) and Karen Mason (Te Papa). Manager is Alison Hinkley, and the new President of Picton Historical Society is Jon Perano. The Cam McCracken, Director of Dunedin Public Art Gallery, has been Society reports they are in good heart and moving appointed to the Museums Aotearoa Board, replacing Eric Dorfman who forward with new displays and looking forward to stood down in September. a busy cruise-ship season. Ioana Gordon-Smith is joining the team at Te Uru (aka Lopdell House Scott Elliffe has moved to the Far North to Gallery) as their new curator. Ioana was previously at Objectspace and has become Manager at Pompallier Mission, staying also worked with Artspace, Tautai Trust and Unitec. within Heritage NZ after various roles in Otago.

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12 MAQ November 2014 Policy Matters!

The September general election returned John Key's National-lead we are already working effectively with our government for a third term. While the general policy direction remains neighbours and colleagues in libraries, archives, the same, some things have changed, including the Minister with most tourism and other related organisations, we are responsibility for our sector. What does this mean for Museums Aotearoa stronger and less vulnerable regardless of where members? the politicians stand, and the eventual outcome of amalgamation debates. Media storms this National politics year, such as coverage of MTG Hawke's Bay, Te Papa, Ashburton's Museum and Gallery and the As of the time of writing this is an open question. The arts, culture and heritage Dowse, have shown that there are always those policy published by Minister Finlayson prior to the election promised more who will use any means to get publicity, without of the same: embedding the structural changes to Creative New Zealand and regard for the damage it may cause. Heritage New Zealand (formerly NZ Historic Places Trust); continuation of current funding through Regional Museums Policy; pursuit of WWI At Local Government NZ, the national sector commemoration activity, including the 'temporary' War Memorial Museum body for councils, they have recognised that policy in Wellington; no other new funding to our sector apart from a depreciation and communication go hand in hand. LGNZ injection for Te Papa. has combined its policy and communication operations into a new Advocacy directorate. Some earlier initiatives were not mentioned, such as any further activity Museums Aotearoa will be working with their arising from Minister Finlayson's Cultural Philanthropy Task Force. The new director to help support their messages with Heritage Forum convened by MCH which brought together a broad range proof of value of museums and galleries in the of government agencies with interest or influence in heritage matters, seems context of council responsibilities and outcomes. to have slipped into limbo. On the positive side, our sector has not suffered actual government cutbacks in recent years – although static funding is an On a local level, I encourage every organisation effective cut in relation to rising costs – neither have we had our Ministry to engage positively with both councillors and absorbed into a larger entity, with the loss of autonomy and flexibility that council officials. As LGNZ President Lawrence would likely bring. Yule told delegates at MA10, don’t just invite them to openings, where they see their funding being We are awaiting an early opportunity to meet with our new Minister, Hon spent on food and drink for invited guests. Get Maggie Barry. Although coming in at the bottom of the Cabinet ranking, them along to see the real work of your museum she has already proved keen and interested. Official duties have begun, and or gallery – show them their treasures in storage she managed to juggle both the launch of the 2015 WOMAD programme (and explain why yours is either good or bad), and the last theme of Te Ara on the same night recently, where she spoke invite them to meet a visiting artist or explain the enthusiastically of her new role and the arts and culture sector. There are archival research being done for a new exhibition. also some interesting opportunities to explore with her other portfolio of They might actually be interested. Conservation. Phillipa Tocker Local politics Executive Director On the local government front, Museums Aotearoa is keen to support our members to work positively with councils. The recognition of the value of each locally-funded institution by its council needs ongoing advocacy and relationship management by its staff and governing body. Our sector survey References this year includes more detail about governance and council frameworks so we can better understand and represent our sector nationally. For instance, we Growing the pie : increasing the level of cultural already know that most larger public museums and galleries have some sort philanthropy in Aotearoa New Zealand. Report of 'mixed' governance model, and that some of these are highly vulnerable to of the Cultural Philanthropy Taskforce to the local political influence. We want to be able to support our members to work Minister for Arts, Culture and Heritage, Hon within those frameworks, and improve them where possible. We hope that Christopher Finlayson (December 2010): all museums and galleries will complete the survey so that the data is robust www.mch.govt.nz/research-publications/our- and authoritative, and have engaged Claire Scouse to coordinate and assist research-reports/cultural-philanthropy participation. Local Government New Zealand – resources, Another aspect of local politics which is affecting some members is links and general information. Advocacy, policy the prospect of amalgamation. This means considering not only current and communications team: council relationships, but also the potential for broader collaboration. It www.lgnz.co.nz/home/about-lgnz/lgnz-staff/ reinforces the necessity of good communication between neighbouring advocacy-and-policy/ museums and galleries, so the there are strong working relationships in place – cooperation is always more productive than competition. If

2014 November MAQ 13 Museum Profile – MOTAT

All Change At MOTAT I was brought in to MOTAT’s Board in February 2013 to address the issues outlined in the report produced by Dame Cheryll Sotheran and Tim Walker Hapaitia te ara tika pumau ai the previous year. The main thrust of their report was that MOTAT needed to evolve from being a museum of things to a light bulb institution. te rangatiratanga mo nga uri The first step was to ask the Museum’s employees, volunteers and stakeholders whakatipu. six basic questions (1) what was the purpose of the Museum (2) what did it do well (3) what did it do badly (4) what should it stop doing (5) what should Foster the pathway of it start doing and (6) what are the core values that the Museum, its employees and volunteers should live and breathe. The answers to these questions were knowledge to strength, remarkably similar to the feedback that Dame Cheryll Sotheran and Tim Walker received and it was universally accepted by those who were involved independence and growth for in the Museum on a regular basis that it had to change. future generations We used the answers to support a series of workshops with a cross section of employees, volunteers, stakeholders and similar institutions which helped You may have seen the recent coverage on us to develop a framework for our strategy. That strategy was refined by the the changes at the Museum of Transport and Board and a Cross MOTAT Team established to help with the process and Technology (MOTAT) in Auckland, so we ask was presented to the staff and volunteers in March 2014. the Museum’s Chief Executive Officer, Michael Frawley to give us an overview of what has been The main thrust of our strategy is to become the ‘must experience’ venue going on. that uses our heritage objects and focus on Kiwi ingenuity, transport and technology in a creative and hands on way that educates and inspires our MOTAT is an Auckland icon, an institution visitors to go on to be the innovators of tomorrow. Our objective is to not which has recently celebrated its 50th anniversary only highlight the historical and cultural significance of our objects but also and is beloved by many. MOTAT has a place in the associated scientific principles, especially where it shows how and why most Aucklander’s memories, either from a school our ‘No 8 wire’ adaptability has evolved to the stage where New Zealand is visit in their childhood or as the place they bring not only developing new technology in its own right, but leading the world their own children to now. The challenge I have in certain areas. A good example of this is Weta Workshop in Wellington or faced is how we can make something equally as Animated Research Limited in Dunedin. relevant to Auckland as MOTAT was in 1964 for today’s generation without losing what makes The values that were chosen by the MOTAT Team (i.e. the employees and MOTAT unique. the volunteers) were:

Collaboration which is the way we work together internally and externally as a team that respects and supports one another, sharing ideas, knowledge and skills so that we achieve our full potential.

Integrity which is the foundation on which our relationships, reputation and authority are built. We will act morally, ethically and with respect and transparency at all times.

Creativity which is the quality that allows us to be courageous and to try new things so as to inspire those we interact with.

Stewardship which is our individual and collective duty as custodians to manage, develop and preserve MOTAT’s collection, skills and knowledge and to pass them on to the next generation.

The next stage was to develop a structure on the generally accepted adage that ‘structure follows strategy’. We needed a structure that would support and drive the strategy and enable us to achieve four main objectives over the next five years namely: (1) maximise the visitor experience (2) empower the MOTAT Team (3) improve the quality of the collection and its care and (4) improve business and community sustainability.

Welcome to the Machine, MOTAT, 2014

14 MAQ November 2014 In order to do this we grouped the museum’s expertise into three hubs:

1. Museum Experience which consists of the Experience (i.e. visitor experience and education); Exhibitions, Commercial and Marketing & Communication teams.

2. Collections which consists of the Registrar and the Collection Operations, Collection Projects, Library & Research and Collection Inventory teams.

3. Business Services which consists of the People & Performance, Health, Safety, Security & Compliance, Finance and IT and Environment/ Infrastructure teams.

Each hub has a general manager whose role is to lead and manage their teams and to facilitate communication and collaboration between the respective hubs. To this end we have recently appointed Malcolm Anderson as GM – Museum Experience (previously at Sanctuary Mountain), promoted Robyn Winks to GM – Business Services and Steven Fox will shortly be joining MOTAT from the Museum of Australian Democracy in Canberra as GM – Collections.

The first exhibition that was developed in accordance with the strategy was Welcome to the Machine and it has sent a clear message that MOTAT is changing and we are in the process of developing our next exhibition Get Smart which is based on the smart phone and is due to open in May next year. Welcome to the Machine, MOTAT, 2014

Not all change is good, and rarely is it easy, but in MOTAT’s case it has led to a new strategy that will, over time, ensure that the museum not only provides an educational and inspiring experience but benefits the Auckland community and New Zealand as a whole.

Michael Frawley Chief Executive Officer, MOTAT

Michael Frawley Welcome to the Machine, MOTAT, 2014

2014 November MAQ 15 Museums Aotearoa Strategic Plan 2014 - 2016 Vision/Mission Our mission is to nurture excellence in museums and galleries through advocacy and service, to extend manaakitanga and community value. Key Strategies

To position Museums Aotearoa to achieve this vision now, and into the future, we are implementing the following key strategies: Strategy 1: Nurture excellence by supporting knowledge development amongst museum staff in Aotearoa New Zealand Action 1.1 Leadership development Action 1.2 Advance sector training Action 1.3 Develop a mentoring programme Strategy 2: Advocate to enhance the profile, credibility and future growth of museums in Aotearoa New Zealand Action 2.1 Increase dialogue with central government politicians and officials Action 2.2 Increase dialogue with member museums and local government to assist with sector Action 2.3 Commit to developing an effective working relationship with Te Papa Action 2.4 Add to the evidence base for museum sector advocacy Strategy 3: Through manaakitanga ensure the member experience reflects Museums Aotearoa's vision. Action 3.1 Enhance engagement with individual members through institutional members Action 3.2 Establish a networking events programme for 2014 – 2015 Action 3.3 Develop processes to measure and report on member experience Strategy 4: He Korahi Maori Action 4.1 Develop and model appropriate use of te reo and tikanga in all areas of Museums Aotearoa activity Strategy 5: Ensure organisational sustainability Action 5.1 Ensure good governance Action 5.2 Enhance and diversify revenue sources Action 5.3 Build collaborative partnerships that benefit the sector Action 5.4 Ensure organisational sustainability

As approved by the Museums Aotearoa Board, 7 August 2014.

16 MAQ November 2014 Book Review

patterns, and communication technologies, and the fashioning of specific segments of consumer society into economic units and marketing statistics… the development of art… the shift to a leisure activity… it may [also] simply and proudly present a foremother.’ Caughley then shows how samplers can be analysed.

A chapter on ‘Cross-Cultural Needlework’ examines the hemisphere map samplers attributed to Elizabeth Cook, wife of James Cook, and examples stitched by others. These were ‘cutting- edge gendered forms of expression and spectacular exhibition pieces’ that ‘marked one of the first commercial appearances of New Zealand, in any form, in an English woman’s world’. She also includes mission samplers and evidence, sadly without images, of a Maori women’s sampler. The central section of the book contains ‘A Gallery of Stitched Stories’. Over 40 samplers are individually reproduced as a single page colour plate, with a facing page of information about the stitcher (where known) and their circumstances, the design and techniques. I was delighted to see my favourite Te Papa sampler by 10 year old Sally Cann lovingly reproduced.

Pleasingly, the book does not just concentrate on the nineteenth century. There are shorter sections on commemorative needlework, and art and design of the twentieth century, right up to the Globe Theatre Hangings presented in 1994. As I am researching the post-war period, I Vivien Caughley was most interested to learn about the samplers stitched for School Certificate Examinations New Zealand’s Historic Samplers: Our Stitched from the 1940s-60s and to see several wonderful examples included. Stories As Caughley concludes, these samplers David Bateman Ltd, 2014 celebrate ‘another way history can be both studied and illustrated’. They can reinforce Having heard Vivien Caughley’s fascinating papers at conferences, I was orthodox understandings and narratives, but eagerly awaiting this book. I am not disappointed. This is a superb book. they can also challenge them. They can also With authority and aplomb, it makes the case for the importance of these highlight and celebrate great stories, told by often overlooked examples of material culture and the women’s history they voices which otherwise struggle to be heard, represent. The volume is beautiful, graced with the superb photography of which ‘occurred in the commonplace galleries Krzysztof Pfeiffer, so that every stitch and colour is clear. It is something to of everyday ordinariness’. return to again and again with wonder at the skill and talents of many women (and one man whose sampler is reproduced). Bronwyn Labrum School of Design, Massey University The book exemplifies how careful research over many years can bring the artefacts, and the stories and relationships they embody, to light. It is a model for working with museum collections and makes a strong case for the importance of material history. Caughley begins with a sensible discussion of what a sampler is. She makes the critical point that ‘a sampler, as a stitched story [can] reveal much more context’. It may ‘represent a previously unheard historical voice, or physical evidence of the development and understanding of female accomplishment…. the physical evidence of commerce, trading

2014 November MAQ 17 Let Us Keep Close Together...

Waiho i te toipoto, kaua i te toiroa A good example of a recent collaborative project that emerged as a result of the hui was the WW100 Let us keep close together, not wide apart Education expo – a joint education event focused on the theme of conflict – which was held at Te We all hope for collaborative projects which not only run smoothly, but lead Papa on Saturday 6 September. to rich outcomes for participants and visitors alike. The World War One Centenary project is just such an example. There were 3 key aims of the expo 1. to showcase the range of educational With teachers and schools being inundated with material relating to this opportunities available to teachers and their important topic how does an organisation ensure its educational resources students in the lower North Island. really support learning whilst providing a gateway to an audience who may 2. to provide high quality, teacher professional think “how does this relate to me?” as well as honouring all those individuals development sessions to increase their of that time in history? It’s quite a challenge! confidence and skills within the topic. 3. to strengthen partnerships within the GLAM In order to develop complimentary programming between educational sector and to increase awareness of the organisations, and to provide a wide range of content, a strategic and well- approach each organisation is taking around coordinated approach is required. this content.

To this end, invitations were sent out across Aotearoa to organisations within The event was jointly funded by WW100 the GLAM sector to attend a hui on World War One to be hosted at Te Papa Programme Office, Ministry of Education in July 2013. The hui was developed by Te Papa and Auckland Memorial and Te Papa. It also involved the hard work Museum with the aim of sharing information between organisations on and participation from a further 14 different their likely deliverables around WW100 and identifying opportunities for organisations from across Greater Wellington as collaboration. The hui was attended by 14 national and regional organisations. well as the National Army Museum, Waiouru.

Te Papa was inspired to build on the success of this, and the result was the Participating organisations in the WW100 maiden Greater Wellington Audience Engagement Hui in February 2014. Education Expo Organisations around the Wellington region jumped at the chance to get • Te Papa Education, Collections Online and together and share a wider range of topics. Invitation acceptances kept Te Papa Press coming, and in the end 35 representatives from 18 different organisations • WW100 Programme Office gathered in the Te Papa classroom for the first hui to share ‘what’s on top’ for • MoE with Cognition Education them during the next 6-9 months and to workshop key topic areas, including • Government House WW100 and Matariki. • National Army Museum • Heritage New Zealand This proved so popular that four hui will have been held around the region • New Zealand Cricket Museum by the end of 2014. With participation continuing to grow, currently 71 • The National Library of New Zealand, colleagues from over 30 different organisations receive invitations and including: Alexander Turnbull Library, minutes. A survey was recently sent out to capture everyone’s expectations of Digital New Zealand, and Services to the hui. The overwhelming response was for them to continue in 2015 and to Schools. include both the round table element and a workshop. • Archives New Zealand • UN Youth Using Google Docs for both the WW100 hui and the Greater Wellington hui • Nga Taonga Sound and Vision have helped to mitigate barriers that can sometimes be encountered within • Capital E Digital collaborative projects, such as a lack of IT compatibility. Minutes, contacts • National Services and ideas can all be easily shared and modified. Participants in the Greater • Expressions Gallery and Entertainment Wellington Audience Engagement hui also have access to a shared events Centre calendar which makes it easy to identify potential collaborative projects and • BNZ Museum to minimise the risk of scheduling similar events at the same time. • DOC

Promotion was a collaborative effort with material appearing in the Education Gazette and on multiple websites as well as on social media.

18 MAQ November 2014 Were the aims of the Expo met? From Te Papa’s perspective the answer is a resounding yes. The event did indeed showcase to teachers the breadth of our resources available and allowed us to build new, and grow existing, external relationships. It also had the benefit of being able to gain an insight into the interest levels of teachers around WWI content and to gain feedback from teachers. As a result, we have developed a new self-guided resource which will be made available online. As for the other organisations, here are some of their thoughts.

It was a great event and hugely beneficial for our WW1 Expo, Te Papa budding education programme! – Jamie Bell, Director, NZ Cricket Museum

Really great to be part of the Expo, I guess what I was present to was the excitement and enthusiasm that so many of us have for our projects and the opportunities that provides for people. I’m also aware that this just feels like the beginning and I’m really interested to see how groups and individuals start to explore and investigate their own stories and how those stories will be presented and expressed over the coming months and years. Thank you to those who I spoke with for your generosity in sharing your projects. Regards – Rebecca Pubben, Education Coordinator Expressions Arts and Entertainment Centre WW1 Expo, Te Papa I found the WWI Expo a really valuable day. Some of the Professional Development sessions offered Thank you to the team for organising such a useful • An introduction to WWI event Facilitator: Steve Watters from The First World War Programme Office – Teacher, Ongaonga School • The military value of Matiu / Somes Island Facilitator: Neavin Broughton, Taranaki Whānui, supported by DOC This expo was only the start of some exciting, new • The social dimensions to WWI using Museum Collections education collaborations. The aim over the next 4 Facilitator: Kirstie Ross, History Curator Te Papa years is that all students across Aotearoa will be • Research skills able to engage in WW100 education activities Facilitator: National Libraries and Archives NZ across multiple curriculum areas delivered through • Footsteps from Trentham a variety of different channels. Collaboration Facilitator: National Army Museum and Expressions Gallery between many different education partners can • Soldiers’ Lives pose challenges, but with like-minded people by Facilitator: Michal Fitzgerald, History Curator Te Papa your side anything is possible. • Modelling the UN in your classroom Facilitator: Eve Bain (NZ Model UN Coordinator) Te Papa • Search, Curate, and Remix WWI content with Digital NZ

Teachers had the opportunity to explore a range of resources from the different contributing organisations and to participate in some of the eleven different professional development sessions on offer.

2014 November MAQ 19 The James Wallace Arts Trust

Friends and Networks exhibition of audiovisual and multimedia works. A special Photography Gallery displays the Trust’s extensive representation of New Zealand artists The James Wallace Arts Trust was founded in working in the photographic medium and recent work by leading artists in 1992 by leading agricultural entrepreneur Sir the field. Shigeyuki Kihara, Fiona Pardington and Russ Flatt are among the James Wallace to support and expose the arts in leading artists who have had solo exhibitions in the Photography Gallery. New Zealand. While the Trust supports a range of More recently the Trust was honoured to be exhibiting a major survey New Zealand-based arts activities in many fields exhibition of Glenn Jowitt at the time of the artist’s untimely death in July and disciplines including music and theatre, it has this year. a special focus on the visual arts. Over the years the Trust has built an unrivalled collection of over The Wallace Art Awards 7000 artworks by emerging and contemporary New Zealand visual artists: the Wallace Arts Trust The Pah Homestead is also the venue for the biggest event in the Trust’s Collection. calendar, the annual Wallace Art Awards. The Awards are the longest-running and most richly funded art awards in New Zealand. Founded in 1992 by Sir The Pah Homestead, TSB Bank James Wallace to encourage excellence in the visual arts the Awards have consistently celebrated the creativity of leading New Zealand artists, with Wallace Arts Centre over 500 works of art submitted for judging each year. The selection process is rigorous, involving a panel of five independent judges drawn from leading In August this year the James Wallace Arts Trust artist practitioners, curators and gallery directors. Each of the major prizes celebrated four years of successfully operating includes the opportunity for the winning artist to attend a prestigious artist the TSB Bank Wallace Arts Centre, at the Pah residency at the International Studio and Curatorial Program, New York, Homestead in Auckland’s tranquil Monte Cecilia the Vermont Studio Centre, Vermont, the Headlands Centre, Sausalito, Park. The homestead and park were acquired from California, and the Altes Spital, Switzerland. This year’s Paramount Award the Auckland Catholic Diocese in 2002 by the Winner was Roger Mortimer with his work Otago Harbour. Auckland City Council, and the magnificent 1879 homestead, vacant and derelict for several years, Grants and support programmes was lovingly restored to its former glory. Through a community consultation process it was decided Besides its collecting and exhibiting activities the Trust also operates a that an arts centre providing a combination of nationally significant programme of grants to a range of New Zealand-based changing exhibitions, café, functions and events arts activities and organisations, including major orchestras, international facilities would be the ideal way to provide public music competitions and many theatrical productions. One of the most accessibility and a new lease of life to the historic energetic charitable activities of the Trust is the lending of artworks from homestead. In an effective example of ‘adaptive the Collection to schools, hospitals, universities and other public institutions. reuse’ (as it is called in planning jargon) the essential features of the 19th century architecture were restored to their original condition while the elegant rooms of the mansion were discretely fitted out with the facilities and technical services required to operate a modern art gallery. The James Wallace Arts Trust, with its extraordinary collection of modern and contemporary New Zealand art, was invited to base its activities at the Pah and operate the arts centre. A major sponsorship from TSB Bank assisted with the fitout of the galleries and provides support for public programmes.

The Trust’s high-octane programme of contemporary art exhibitions and events has proved a major draw-card in attracting visitors to the venue. Over 460,000 people have enjoyed the elegant homestead and the constantly changing programme of exbitions. Featuring the Trust’s amazing collection of New Zealand art, the exhibitions programme highlights recent acquisitions and collaborative projects with emerging and established contemporary artists. The galleries include dedicated spaces for the Otago Harbour, Roger Mortimer, 2014 Paramount Award winner, Wallace Art Awards

20 MAQ November 2014 This helps organisations like hospitals to provide some artistic relief for otherwise dreary corridors and waiting rooms, as well as the opportunity for artists to expose their work to a wide range of communities. Gallery Hosts The Trust would not be able to run the Pah Homestead, TSB Bank Wallace Arts Centre without the help of a dedicated team of over 90 volunteer Gallery Hosts. Hosts welcome guests to the homestead and arts centre, and share their knowledgeable enthusiasm with the constant flow of visitors. They also provide the day-to-day monitoring and surveillance which the Trust relies on to manage up to ten separate exhibition spaces spread over the two main floors of the building. 2014 Wallace Art Award winners with Sir James Wallace and Len Brown.

Insurance Company. The dream house of a powerful ‘merchant prince’, the house was designed by the leading Auckland architectural practice of Edward and Thomas Mahoney in the Italianate style made fashionable by Queen Victoria and Prince Albert in their summer residency, Osborne House, on the Isle of Wight. The house was the centrepiece of Williamson’s extensive Pah Farm property which covered much of the modern suburb of Hillsborough. Williamson was bankrupted in the recession of the 1880s and died in the house in 1888, broke and broken-hearted. After several changes of owners and tenants, including Auckland’s first Anglican boys boarding school, the homestead together with grounds of around 50 acres, including magnificent stands of exotic trees, were acquired by the Sisters of Mercy Order and the Ben Abdale-Weir installing in a hospital. Catholic Bishop of Auckland in 1913, initially as an emergency orphanage. The property remained in use by the Diocese until the 1990s but was Many of the Hosts are members of the Auckland increasingly difficult to maintain. Today it provides a wonderful venue for Decorative and Fine Arts Society (AkDFAS). the James Wallace Arts Trust and its many active networks and activities in AkDFAS is affiliated with the National Decorative support of the arts in New Zealand. and Fine Arts Society in the UK, as well as sister organisations throughout the Commonwealth. Oliver Stead A key aspect of each Decorative and Fine Arts Deputy Director, Wallace Arts Trust Society is the adoption of a special heritage project, often the restoration or maintenance of a historic house or building. AkDFAS has chosen the Pah Homestead as its special project, and its members ably assist the Trust to operate the venue and galleries during the public opening hours of 10.00 am to 3.00 pm Tuesday to Friday and 10.00 am to 5.00 pm weekends. The Pah is always closed on Mondays to allow the hanging of new exhibitions. Exhibitions change on average every two weeks, with each exhibition running from 6 to 8 weeks in duration. The Pah Homestead Taking two years to build, the Pah Homestead mansion was completed in 1879 for pioneer businessman and politician the Hon. James Williamson (1814-1888) a founding partner in TSB Bank Wallace Arts Centre, The Pah Homestead. the Bank of New Zealand and the New Zealand

2014 November MAQ 21 Connecting through Social Media

Managing the North Otago Museum’s Facebook page (www.facebook.com/ I haven’t had any real problems with managing the northotagomuseum) is one of the most rewarding parts of my role. Currently page. I think I have only deleted 2 comments. A our page has over 1300 friends. More importantly there are many people who couple of people have asked me not to post photos engage regularly by liking, commenting and sharing posts. Looking out for of them but given that the photos are unidentified our photos has become part of their routine and if I forget to post a photo I can’t promise that we won’t. If anyone did want a they are quick to let me know. photo taken down I would. It is a balance between sharing the collection and respecting peoples’ The Museum’s Facebook page started in December 2010. For many years feelings as well. the Museum has run a feature called “History in Focus” in the Oamaru Mail newspaper. Photos are printed in the paper and the public are asked if they I try to work with Facebook’s algorithm to ensure can supply any details, particularly names. While the Facebook page is also our posts are widely seen. That’s where having used to share details of exhibitions, events and other museum happenings it is people who like, comment and share is also the online History in Focus photos that people really engage with. important. We have no budget to promote posts. Ashley Remer also gave me some good social The page is successful for a few reasons. Firstly because of the photos media tips during a National Services Te Paerangi themselves. Most of the images we share were taken by local professional workshop on writing for the web. photographers in the 1960s and 1970s. They are beautiful images complete with big hair, flamboyant clothing and plenty of characters. For locals these The Facebook page has been especially important are familiar faces; family members, neighbours or workmates. They prompt for our Museum as for many years we were stuck people to share their memories of people and of the times. with an outdated, uninviting website. So we have used Facebook as our primary way of engaging It also works because we need the public’s help. The photos that are posted are online. It has also been a good way to connect unidentified. Usually we have a date and a place. It really enhances the future with ex-Oamaruvians. Many of our most active uses of this collection when we can gather the names and associated stories. participants live elsewhere but grew up in Oamaru. Our new website, www.northotagomuseum.co.nz, Most people think it is great to see themselves or those they know. We get which is part of www.culturewaitaki.org.nz, is comments like “Wow that brings back memories!” and “Great folk who I had the now live so we have more online options but the privilege of knowing, awesome volunteers with St John and loved their country Facebook page will remain part of the mix. music, thank you for posting these great people.” Last year the Waitaki District Council restructured A lot of people get a good laugh out of the photos, commenting “OMG! Lol” the North Otago Museum. The Museum is now “Lol so it is - didn't recognise my father-in-law with hair!” and “gazza is cracking managed together with the Forrester Gallery up at how old the cars are !!!!!” and what was the North Otago Museum archive, which includes the photographic collection, is For others the photos we post are poignant. “Fantastic photo!!! Still miss both now managed by the Waitaki District Archive. I Gillett grandparents so much.... So many fond memories I treasure every day.” continue to share the photos on the North Otago Or “This is my Grandfather, Doug Gillett & me (nee Matheson). Thank you for Museum page because that page has the audience. sharing this photo; I had never seen it before & will treasure it forever.” In the long term the Archive may want to change this approach but in the meantime I am happy to keep sharing the photos and reading the great feedback.

Chloe Searle Curator (Collections & Exhibitions), North Otago Museum

North Otago A&P show in 1976 Credit: JJ Hore

22 MAQ November 2014 A Samoan Quality

The Museum of Samoa is Creating lasting friendships with New Samoa’s national museum and Zealanders is owned by the government While Samoa is not new to New Zealand and vice versa, the Museum of Samoa is. Last year, the museum reached out to the Alexander Turnbull Library of Samoa. It is a unit of the in New Zealand. Chief Librarian, Mr Chris Szekely almost immediately responded to a museum request for assistance towards an exhibition. The Culture division which is under exhibition was, for the first time, to highlight the art of navigation in Samoa. The Samoa Voyaging Society, our local counterpart whose patron is the the authority of the Ministry of honourable Head of State, Tuiatua Tupua Tamasese Ta’isi Efi, joined hands to receive Mr Szekely alongside our American Museum of Natural History Education Sports and Culture. partners who had also come to Samoa, during the week of the launch of this exhibition to start a project entitled, ‘Linking New York and Samoa, cultural Reaching out is a Samoan quality. It is the basis impacts of climate change.’ of its family and village way of life. And if you had lived in Samoa fifty years ago and before that, Later in the year, Mr Szekely was able to join the museum again to you would have been as familiar with the concept celebrate International Museum Day with a public talk entitled, ‘Museum as with breathing because it was an intrinsic part partnerships – making connections.’ The public talk drew many academics of life. Nowadays, the concept of reaching out is and local artists to hear the views of Mr Szekely. Renowned international tainted with the influences of a modern life. Samoan artist Shigeyuki Kihara and local advocate business woman Nynette Sass shared their perspectives of partnership with the museum through their But true to its Samoan roots, the idea of reaching own respective expertise and interests. The museum talk was successful as it out is used well by the museum and has been since resulted in further requests from the community to do more of such activities. its establishment in 1999. Housed in a century old German colonial building, its small number Preparing for the Small Island Developing States (SIDS) conference, that of artefacts are a powerful representation of was hosted by Samoa this year, the museum engaged with several partners Samoan values and history. Speaking a language including the Alexander Turnbull Library and the Auckland Museum to of connection amongst Pacific cultures, depicting curate and present an exhibition that was aimed to commemorate the 100th a magnificent history of a nation built on year of New Zealand’s occupation of German Samoa. An Auckland based earnestness and reminiscent of its people’s innate museum volunteer Mr Anthony Brunt put together and researched a large cultural skills and resourcefulness, the museum is portion of this historical exhibition. placed in the middle of Apia, where the modern heart of Samoa beats most loudly of all. The Chief executive officer of the Ministry of Education, Sports and Culture, Matafeo Falana’ipupu Tanielu Aiafi, again invited the Alexander Many volunteers for the museum, near and far, help Turnbull Library of New Zealand to present the historical exhibition at with online exhibitions as well as social and print the opening ceremony which was officially opened by the Prime Minister media. Working with local practitioners, artists, of Samoa, (Tuilaepa Lupesoliai Sailele Malielegaoi) the New Zealand High non-government organisations, government Commissioner to Samoa, (Mrs Jackie Frizelle) and also the Minister of ministries, relevant local and overseas institutions, Education for Samoa (Magele Mauiliu Magele). Rachel Esson, associate chief the museum is gaining momentum with a mission librarian for Alexander Turnbull Library gave a power point presentation. to safeguard Samoa’s cultural heritage. Also, in the exhibition, a gift presented by the Auckland Museum was displayed.

In this article the museum would like to thank Mr Chris Szekely for your trust and partnership, as well as Gail Romano (Associate curator of Auckland museum) and Anthony Brunt for your assistance. We would also like to thank Museums Aotearoa, Talei Langley for this brief introduction of our work. Fa’afetai fa’afetai tele lava. Ia manuteleina.

Lumepa Apelu Principal Museum Officer, Museum of Samoa

More information can be obtained on www.museumofsamoa.com

2014 November MAQ 23 The Journey of the Otagos

The age old problem: how do we convey to our Our planning team was guided by a group of local WWI experts. With their help we quickly visitors faraway places and events in a way identified two key aspects of Dunedin’s wartime fortunes. Firstly, there was the story of life at that really engages their attention? This was a home in Dunedin and then the story of what happened to our servicemen overseas. The latter key challenge facing our Exhibitions team in the story challenged us to bring to life the experience of our soldiers on far-flung battlefields. Yes, there development of Dunedin’s Great War, Toitū were collection objects that represented individual stories and contemporary photographs to provide Otago Settlers Museum’s WWI commemorative visual interpretation. But what if we could take our visitors to the actual places where Dunedin’s exhibition. soldiers fought and died 100 years ago? In an ideal world we would simply despatch a camera crew to film the significance places where the Otago units fought. Mulling over this idea we decided that maybe we could actually do it. I did a few sums and, as suspected, the cost was way out of our league. But we drew up a proposal anyway for what we called Journey of the Otagos [ JOTO] and sent in our bid for WW100 funding. We did not hold out much hope, however, as our application was in the final round of Ministry funding and we knew competition would be intense.

Time passed with no news from Wellington. Our deadline was fast approaching and it was really getting too late to further organise the expedition anyway. Our ambitious bid to bring WWI to Dunedin seemed to have failed. Then one brilliantly sunny afternoon in Invercargill, we were rummaging through a garage full of WWI regalia Filming in Rossignol Wood looking for potential loans when we received a text message from our manager in Dunedin. The funding results were out at last and Toitu had been granted nearly half the amount we requested. The funds from the Commission would cover everything bar the international travel component.

Ten days later, at the beginning of June, our curator Seán Brosnahan boarded a plane for Istanbul. In the interim he had completed an intensive research exercise on exactly where the Otagos had fought and where he should go. I had sourced an available cameraman, negotiated with council- approved travel agents, and sweet talked further potential funders. At virtually the final hour, the funding deficit was covered by the Otago Settlers Association. But the clock was really ticking; our exhibition was due to open on July 31 and filming Journey of the Otagos on display currently at Toitū for JOTO was yet to begin!

We structured our project around the journey of the Otago Infantry Regiment and the Otago Mounted Rifles, the units in which the majority of Dunedin soldiers served. The original plan

24 MAQ November 2014 had included filming in Egypt, the first major overseas stopover for the Otago troops. However, the current political climate in the Middle East and a Government travel advisory made that location inadvisable. But every significant Otago battlefield was filmed, from Gallipoli to northern France and Belgium.

Our two-man team – Seán and the cameraman – had a rigorous schedule to follow; 14 days in three different countries. They had never been to Gallipoli or many of the Western Front battlefields before, so this was no jolly jaunt around Europe. Each day was a gruelling round of travel, location scouting, story placement and filming, followed by planning late into the night for the next day’s shooting. They returned with a huge quantity of footage, all of which had to be edited by the in-house team back at Toitū to make the eleven JOTO episodes. The countdown was on with just Filming near Walkers Ridge, Gallipoli weeks until the exhibition opened.

The Journey of the Otagos documentaries had just one screening to our expert group before being unveiled as part of the Dunedin’s Great War exhibition. Fortunately they were thrilled with the films (there was no time for alterations had they been required). The experts’ enthusiasm has been more than matched by over 40,000 visitors in the first 10 weeks of the exhibition’s run. Feedback has been hugely positive and often quite emotional, especially in relation to the documentary component. We had to add a second television outside of the exhibition space to accommodate all those wishing to watch all eleven episodes in one sitting.

Toitū has also made Journey of the Otagos available online for visitors to view in the comfort of their own home. This has enabled Seán Brosnahan at Chunuk Bair Memorial school teachers to use segments as required in the classroom as well. We will continue to use the footage following the exhibition by making it available in Toitū’s long-term military display Call to Arms. JOTO was an exciting project despite the very tight timeframes. The end result enriches our visitor experience in ways which we might not have traditionally attempted. Having gone the extra mile, we now have a fantastic interpretive tool that will benefit Toitū visitors for years to come.

Will McKee Exhibition Developer, Toitu Otago Settlers Museum

2014 November MAQ 25 Selznick School of Film Preservation

First New Zealander accepted into the Selznick School of Film Preservation During the summer of 2012, I was struck by the desire to do something with my mother’s 8mm films languishing in a box in the basement. I searched the internet for film preservation courses worldwide and kept coming across the Selznick School of Film Preservation at George Eastman House in N.Y. State. This led me to apply to the Selznick School of Film Preservation at George Eastman House International Photography & Film Museum in Rochester, in New York State.

As this school is the best film preservation school in the world, I didn’t expect to gain entry, perhaps a polite note thanking me for my application and An image of a 35mm Technicolor print of 'The Wizard of Oz' (1939) taken on a light box wishing me the best for the future, but this was not to be. On a foggy morning in March 2013, how am I going to pay for this?’ Straight away I began a fundraising program I received the acceptance letter in my letterbox. I to raise an estimated target of $50,000 within 8 months. It was either an literally yelled and jumped like a man possessed ambitious or ridiculous goal to achieve. After completing over 100 funding and suspect my neighbours thought I was. The applications, I was sponsored by the South Taranaki District Council, the letter stated my acceptance to the prestigious New Zealand Film Commission, National Services Te Paerangi, the Everett programme, so my next thought was, ‘Oh bugger, Valley Family Trust, and the Carlyle Women’s Institute.

George Eastman House is the world's oldest museum dedicated to photography, and one of the world's oldest film archives. It opened to the public in 1949 in Rochester, New York, USA. It’s world-renowned for its photograph and motion picture archives and the museum is also a leader in film preservation and photograph conservation, educating many archivists and conservators from around the world. This institution leads the world in the conservation, preservation and exhibition of photograph and film media, so it’s fitting that the Selznick School is located in and around the house built by George Eastman, the founder of Eastman Kodak Company.

The course was made up of various elements including plenary sessions taught by the moving image department staff covering a variety of topics George Eastman House International Photography & Film like archives management, ethics, history, organisation and preservation. Museum, Summer 2013 Highlights from the guest lectures included lectures by actor and director Philip Seymour Hoffman, director Roger Corman, South African multimedia artist William Kentridge and Australian archives guru Ray Edmondson. We participated in rotations with staff members in the moving image department and team projects like grant application preparation and collection/vault management. Field trips showed us how different working archives operate. They included MoMA’s Film Archive in Hamlin, Pennsylvania and the Library of Congress’s Packard Campus of Audio Visual Conservation Center in Culpepper, Virginia.

The last aspect of our studies was to choose a personal project and inspect a number of films. My project entailed inspecting Technicolor films for the up-coming Technicolor Centenary in 2015. George Eastman House is undergoing an extensive loan programme to various cinemas around the Here I'm creating frame enlargements by scanning 35mm film of world including in Vienna, New York and Australia. The films included 'The Wizard of Oz' (1939) to use the images for publicity purposes The Wizard of Oz (1939), Gone with the Wind (1939), Scaramouche (1952)

26 MAQ November 2014 and Singin’ in the Rain (1952), to name just a few. The technical inspection process is used when a film is loaned to other organisations around the US and the world. A print condition report is completed before it leaves the premises, and once it returns the archivist makes sure the film is in exactly the same condition as it was before it was lent. This ensures the film’s physical integrity can withstand generations of storage, movement, shipping, being projected and general handling.

The concept of establishing schools and training programs for motion picture archivists and curators is a relatively recent phenomenon. One of the first to recognise the importance of professionalising the field of film preservation was L. Jeffrey Selznick (1932-1997), the son Inspecting home movies as part of Home Movie Day at the Record Archive in Rochester. Here people of David O. Selznick (1902-1965) who was an would bring in their home movies to be checked, inspected, repaired and projected American film producer and film studio executive best known for producing Gone with the Wind (1939) and Rebecca (1940), both earning him an Academy Award for Best Picture. In 1996, in collaboration with Dr. Paolo Cherchi Usai, Senior Curator Moving Image Department, Jeffrey Selznick established the first such school in North America at George Eastman House. The success of the Selznick School and the contributions of the staff and graduates to the preservation of the world's film heritage constitute a living testimony to their vision. Today the excellence of the Selznick School is recognised worldwide with more than 180 graduates now employed in leadership positions in public and private audio- visual archives in 21 countries.

For more information on the Selznick School of Film Preservation at George Eastman House visit Projecting movies as part of Home Movie Day at the Record Archive in Rochester. Here I'm projecting their website http://selznickschool.eastmanhouse.org a 8mm print of a wedding from the 1950's for an elderly couple.

Cameron S. Curd Selznick School of Film Preservation Graduate – George Eastman House International Photography & Film Museum

Selznick Film School students inspecting and treating damaged film stock by separating each layer with a shape knife

2014 November MAQ 27