Events Weddings at Old St Paul's Matariki at Te Papa 1913 Great Strike Parade Nightmare at Rotorua Museum MA14 Reviews May 2014 Contents Museums Aotearoa

EDs Quarter 3 Te Tari o Ngã Whare Taonga o te Motu Davina Davis 1957 – 2014 3 Is New Zealand’s independent peak professional organisation for museums and those who work in, or have an interest in, museums. Members include NZ Museum Awards 2014 4 museums, public art galleries, historical societies, science centres, people who work within these institutions and individuals connected or associated with My Favourite Thing 5 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 1913 Great Strike 6 to their stakeholders and the community

Message from the Board 7 Contact Details Staff Changes 7 Level 8, 104 The Terrace, Wellington 6011 PO Box 10-928, Wellington 6143 Ols St Paul's Weddings 8 Tel: 04 499 1313 Fax: 04 499 6313 Communication and Culture 9 Email: [email protected] Web: www.museumsaotearoa.org.nz Associate Profile – STQRY 10 Contributions Museum Profile – Hastings City Art Gallery 11 We welcome article suggestions and contributions. For enquiries about contributing to MAQ please contact us at [email protected]. Dusting off the Code of Ethics 12 Staff Nightmare at the Museum 15 Phillipa Tocker – Executive Director Talei Langley – Membership Services Manager Matariki at Te Papa 16 Advertising Policy Matters! 17 Enquiries about advertising in this publication, or mailing flyers, should be addressed to the Museums Aotearoa office MA14 – Cindy Jemmett 18

MA14 – Alice Hutchinson 19

MA14 – Maddy Jones 20 Next issue

Immunity From Seizure 20

MA14 – Gary Ross 21 August 2014:

Reviewing the Business of Culture 22

Haere Rā Betty Nelly 23 People Cover Images Disclaimer Main: The opinions expressed in this publication are not necessarily those of the Andrea du Chatenier, Denizens of the Deep, 2011 Editor or of Museums Aotearoa Lower: Attendees at MA14, MTG Hawke's Bay ISSN 1177-7362 Back Cover: MTG Staff welcome MA14 delegates. Guest judge Helma van den Berg with finalists for the Best Museum Project (museum) Credit: John Cowpland, Alphapix; for MA. Joint Services on parade, Awards photobooth.

2 MAQ May 2014 EDs Quarter

With the MA14 conference and AGM now over, we're looking back on the to host. We want these to be both useful and fun event in this issue of MAQ. Thanks to our colleagues who have shared their – as someone said at a Creative NZ workshop I thoughts on the conference in these pages – they give a good flavour of our attended recently, we need more parties! time in Napier, and hopefully readers who were not able to attend will be able to pick up some of the vibe as well as some good ideas. While 'more parties' may at first sound like a throwaway line, it is worth a bit more consideration. While the annual conference is the major event in Museums Aotearoa's Gatherings of like-minded people – perhaps with calendar, there are many others for museums and galleries. Some reach across a wild card or two – have many benefits. In a the sector and beyond, such as WW1 commemorations and Matariki. Others workplace they help people to understand each are particular to a locality or community, perhaps showcasing the work of local other so they can work together more effectively. quilters or painters, or remembering an occasion such as the 1968 sinking of An outside contributor can offer new thinking to the Wahine. And then there are private events that we host in the museum or help people think differently about what they do gallery to raise revenue, including weddings, dinners and meetings. and evolve their practice. Meeting with colleagues from another institution offers opportunities Not all kinds of events are possible in every institution, and it is important to to learn, commiserate and enthuse – 'a problem only do what works with the overall ethos, as well as the physical limitations shared is a problem solved', or at least better of the spaces. A key message from MA14 speaker Laura Wright, CE of Tate understood. Or as the well-known whakataukī Enterprises, was that Tate only take on events and projects that reinforce reminds us, the Tate brand. This applies to everything from choice of sponsors and merchandise, to the menus in their cafés. Naku te rourou nau te rourou ka ora ai te iwi. With your basket and my basket the people will live Museums Aotearoa events also have to fit with our mandate. When the new Board met this month, they were keen to set strategic priorities for the Ngā mihi, association, to ensure that we're doing the very best we can for our members. Phillipa Tocker Later this year we plan to hold some more regional meetings. We will be Executive Director, Museums Aotearoa calling for suggestions for speakers and topics, as well as member institutions Davina Davis 1957 – 2014

The South Canterbury Museum’s Curator of Collections, Davina Davis, died But it is who Davina was that meant the most on 24 April following a very short battle with cancer. Davina had been with to us. She loved life and was a friend to so many. us for 17 years, well-known to a number of colleagues around the country There was so much about her that drew people and with whom she communicated and collaborated. made her a vital part of our team. We miss her so much and struggle to believe that she has gone so Following some contract work at the former Porirua Museum and completion quickly. Our thoughts are with her daughter Zarae of her post graduate diploma in Museum Studies, Davina started work at and husband Michael, along with her wider family the South Canterbury Museum in February 1997. She quickly came to and many friends, as they come to terms with what grips with the Museum’s extensive collections, and completed her MA has happened. in Museum Studies using the Museum’s Victorian and Edwardian dress collection for research. Hei maumaharatanga ki te tino hoa.

Like many in smaller museums, Davina was adept at multi-tasking. Davina was a life-long learner who sought to raise her skills and standards at the Museum. As well as managing the social history collections, she was very involved in the exhibition process. She was also active in public programmes, leading the children’s Museum Explorers Club, and co-ordinating performances. Davina also oversaw the efforts of many volunteers, temporary workers and overseas interns. Her work led to a wider engagement with diverse sections of the community.

Davina was proud of her Ngai Tahu heritage and in recent years sought Davina Davis to extend her te reo and work more closely with local Māori communities, preparing an historic culminating in last year’s Te Hikoi exhibition with a focus on the last 150 boundary post for years of local Māori heritage. exhibition in 2012.

2014 May MAQ 3 NZ Museum Awards 2014

Guests packed the Ballroom at Napier's War Memorial Centre on Thursday The exhibition categories drew some especially 3 April to celebrate the best of the best of museum and gallery projects from strong entries, and the judges had a difficult around the country, including two local winners. task selecting the 6 finalists. The two winners were Tauranga Art Gallery for Corrugations: the MTG Hawke's Bay, the redeveloped museum, theatre and gallery complex art of Jeff Thomson, and Canterbury Museum for deservedly won the museum project category for seamlessly connecting its RISE – Street Art. The judges were impressed by old, not-so-old and new wings into a commanding new presence in the Corrugations in the under $20k category. It is an cultural life of Napier, which can now give due attention to its venerable "ambitious undertaking for the small team in a collection. regional gallery", beautifully presented and with comprehensive public programme material and Across the Bay, Hastings City Art Gallery won the new category for collateral, and currently touring other regions. innovation in the use of Te Reo Maori. In Te Taniwha, the judges recognised that HCAG had utilised Te Reo Māori in a significant and meaningful way In the over $20k exhibition category, RISE – Street that captures and enhances the spiritual essence of the language and the Art stood out for its creativity, vigour and rigour, historical, cultural and spiritual value of the stories, places and people. "a conceptual and practical challenge handled professionally and bravely", said the judges. Two other winners were collaborative projects. Rotorua Museum worked with Wingspan National Bird of Prey Centre on the urban release of the Also honoured on the night was Bronwyn Simes, NZ Falcon – a worthwhile and fun project for a museum and its community. winner of the Individual Achievement Award. The judges were impressed by "the on-going 'falcon-ness' which is pervading Bronwyn is respected and appreciated by all her Rotorua". colleagues for her dedicated contribution as a project manager, most recently shepherding the NZ Historic Places Trust worked with the NZ Film Archive to bring redevelopment of Toitu Otago Settlers Museum, some unusual settings to life with historic film footage. Screening in listed and now helping Canterbury Museum with their woolsheds, Reel Life in Rural New Zealand won the public programmes earthquake recovery. category by "capturing a strong feeling of nostalgia and authenticity", and playing an active part in those rural communities.

WINNERBest Exhibition over $20,000 WINNERBest Museum Project (museum) • Canterbury Museum, RISE - Street Art • MTG Hawke's Bay, MTG Hawke's Bay Redevelopment Project FINALISTS FINALISTS • Auckland War Memorial Museum, Moana - • Canterbury Museum, Quake City My Ocean • Whakatane Museum, Te Kōputu a Te Whanga a Toi development • Christchurch Art Gallery, Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker WINNERMost Innovative Public Programme Best Exhibition under $20,000 • New Zealand Historic Places Trust and New Zealand Film Archive, WINNER Reel Life in Rural New Zealand • Tauranga Art Gallery, Corrugations: the art of FINALISTS Jeff Thomson • Canterbury Museum, Red Zone Bus Tours FINALISTS • Museums Wellington, Great Strike 1913 • Dunedin Public Art Gallery, Sir Frank • Voyager NZ Maritime Museum, Auckland Tall Ships Festival Brangwyn: Captain Winterbottom and the Billiard Room of Horton House Most Innovative use of Te Reo Māori • Te Awamutu Museum, Toi Ki Roto - Art WINNER inside from the Te Ao Marama Unit, Waikeria • Hastings City Art Gallery, Te Taniwha Prison FINALISTS • MTG Hawke's Bay, Ūkaipō - ō tātou whakapapa, Taonga Māori exhibition • Voyager NZ Maritime Museum, Kōrero Tipua WINNERBest Museum Project (activity) • Rotorua Museum, On the Wing - Urban Individual Achievement Award Release of the New Zealand Falcon WINNER FINALISTS • Bronwyn Simes • New Zealand Historic Places Trust, High Street Stories • Te Hikoi, Taonga Toki Project

4 MAQ May 2014 My Favourite Thing

Although the Hastings City As I write this, there is extensive media coverage of Gow Langsford Gallery’s decision to exhibit a photograph by Jono Rotman of a mongrel mob member Art Gallery doesn’t house a accused of murder. Gary Langsford is quoted as saying it is their gallery’s policy "not to censor an artist's work", and the portraits "should be considered collection, we have a broad in the context of fine art" (New Zealand Herald, April 29, 2014). range of contemporary art It is easy to understand why the victim’s family deems it offensive to display such an image; however it’s less clear why a three-dimensional representation passing through the doors, from of a person’s head covered in seashells might cause offense. sculpture to moving image. I too found looking at these faces by Andrea du Chatenier unnerving. Individually neither human faces nor seashells are disturbing; it was a sum Amongst the many shows that have come and of their parts that created unease. When we find ourselves challenged by gone I’ve especially admired the perfectly formed an artwork it is healthy to question why. I wonder whether these artworks bronze cast moths by Elizabeth Thomson; I’ve unsettled viewers as they represented ‘alien’, or ‘other’. been wowed by the scale of David Trubridge’s Icarus lights, which now feature in the Pompidou Edgar Degas stated “Art is not what you see, but what you make others see”. collection; and I’ve enjoyed the sensory delight of So while not beautiful in the traditional sense, a relatively unassuming but Tiffany Singh’s beeswax deities. But it’s not these surprisingly provocative artwork has lodged itself in my mind. The Denizens works that immediately sprang to mind when Talei of the Deep by Andrea du Chatenier encouraged me to question our responses Langley invited me to write about ‘my favourite to art, and in doing so these mollusc-encrusted faces have become objects of thing’. It was instead a series of faces covered in affection and denizens of my memory.\ small seashells. Kath Purchas Chain of Being was a survey exhibition by artist Curator, Hastings City Art Gallery Andrea du Chatenier, who is based in Whanganui. We exhibited Andrea’s work in our large gallery space in 2011 and used one of the shell-clad faces, from the Denizens of the Deep series, as our hero image for marketing the exhibition.

The face was very lifelike, with natural and intelligent-looking eyes staring out from behind a ‘skin’ of shells. An image of the three-dimensional artwork featured on our exterior signage and in our magazine ads, and the response we received from the public was intriguing. Many people found the exhibition very unsettling; one person even informed me that they refused to enter the gallery as they found the image so disturbing.

There is a school of thought that art must endeavour to shock or provoke. I’m not a proponent, as I believe art can serve many different purposes, from encouraging the audience to think more deeply on an issue to simply being a pleasure to Kath Purchas and one of Andrea du Chatenier's Denizens of the Deep, 2011 behold. However while art doesn’t always have to Andrea du Chatenier, Denizens of the Deep, 2011 court controversy, I believe it’s beneficial for us to reassess our values and challenge our comfort zones.

Contentious art is nothing new, from ancient Roman nude statues upsetting sensibilities to contemporary works causing religious or racial offence. Most will still recall the controversy surrounding Virgin in a Condom, exhibited by Te Papa in 1998.

2014 May MAQ 5 1913 Great Strike

The Museum of Wellington City & Sea has a As the day of the parade drew closer we were overwhelmed by the generous mandate to share the stories of Wellington - the offers of behind the scenes help we received. This ranged from staff coming centenary of the 1913 Great Strike was a story of in on their days off, through to large number of volunteers making lunch both regional and national significance that was and even a commitment to pick up any horse manure left on the road. We ripe for sharing. Responding to both mission and interpreted this generosity as evidence of the widespread enthusiasm for the event, the Museum, with partners Labour History event, and also of individuals responding to the concept of solidarity within Project and Alexander Turnbull Library, delivered the story of the strike. eight weeks of innovative programming to share the story with a wide and participatory audience. *Although it was impossible to record numbers crowds of well over 200 assembled for each of the speeches, and around 1500 newpapers were handed Undoubtedly the commemorative parade was out. Media coverage was huge both before and on the day with television the highlight of the series with all programming news coverage ensuring another wave of exposure for the centenary. leading to this event. On November 5, the anniversary of Massey’s Cossacks taking Queens The parade was supported by a range of other programmes, all partnerships. Wharf, strikers, supporters, foot and mounted These included: specials gathered for speeches outside the • An exhibition of historical images that served as a chronicle of the strike Museum of Wellington City & Sea (home of the in Wellington, from the earliest days through the end of the strike and Wellington Harbour Board in 1913) then paraded to the first Labour Government (this last showing the on-going reach of through town to Parliament. The parade left the the strike, a key focus for the programme). The exhibition was financed Museum to the music of Brass Razoo Solidarity entirely by the Maritime Union of New Zealand, who also provided the Band. Museum staff handed facsimile newspapers Museum with a paper on the strike to be photocopied and available for to the large crowds gathered on the streets, many visitors. {Well over 200 of these papers were taken.} of whom accompanied the parade to its end point*. • A walk through the Wellington Sites of Struggle. This walk was put At parliament, a striker addressed the crowd with together by a group comprising teachers, museum staff and historians, the strident words of unionist Pat Hickey. While but particularly members of the Labour History Project and Walk the specials were professional riders and actors, the Wellington. With the support of Wellington City Council and the Rail make-up of the strikers and supporters illustrates and Maritime Transport Union they produced a pamphlet detailing the the huge participatory aspect of the programme. sites of struggle. The walk could be taken either guided or on one’s own. Strikers from across the community, and of all Having such a strong link to the story made the Museum of Wellington ages, volunteered, offered, requested and pleaded City & Sea the perfect starting place for the walk – walkers began here to be involved (of course they were all welcome). visiting the historic boardroom, the photo exhibition and the permanent They came from unions, acting groups, general exhibition. The pamphlet remains available and will eventually be public, Walk Wellington, as well as from within the reprinted so the walk has a long life (another goal of the project). Museum, Labour History Project and Alexander • A series of talks that covered a range of related topics. These included Turnbull Library. They came dressed in period considering the time before the strike and what was happening in costume with suitable props and had rehearsed Wellington, Aotearoa, the world; 100 years of the PSA; What happened slogans and phrases of the day (as provided to next – to key figures and groups: and finally the relevance of the both sides by the Museum). On the walk back to strike 100 years later. The talks were held at either the Museum of a lunch provided at the Museum for participants Wellington City & Sea or the Alexander Turnbull Library, and included and avid followers of the parade alike, strikers and speakers from the Labour History Project. The launch talk contained Museum staff spoke with public who were keen to a participatory singing aspect and each finished with an interactive interact and find out more about the Great Strike. discussion where not just the speaker, but any of those in the room shared their knowledge and experience of the topic. The parade was tremendously successful – particularly in terms of story sharing with the So what made this such a successful project? local community {a reciprocal sharing of the story • Collaborative nature – new partnerships between the community and the Museum}. We • Sharing of knowledge, resources and audience talked with families who had taken children out • Invitation to public to become involved of school to attend the parade, those who had • Variety of ways to convey and learn family stories of both strikers and specials, and • Taking the museum outside people who had had no knowledge of the event • Reaching a wider audience prior to the parade. By taking the story outside • Acknowledging the importance of a key event in Wellington’s history the Museum we engaged with people who are • Putting the event into context – both before and after the event not necessarily museum goers, and made the story relevant and accessible to them. Public Programmes team Museums Wellington

6 MAQ May 2014 Message from the Board

Published in a Landfall issue of 1952, Bill Pearson’s 'Fretful Sleepers' describes partnerships, developing unique messages are all a 'typical visit to a museum – if a New Zealander goes to an exhibition or a the language of marketing, and I found it easily museum he withholds his interest, grudgingly stumps around every stand for transferred into museums. fear of missing something, but comes away with relief, "There’s fuck-all to see."' Having significant signature events, that the I love that description and I wonder, over 60 odd years on, is this still what museum was known for, provided a building our visitors think on leaving our place? block to work from, to grow its presence in the community, to leverage potential publicity, but My background is in performance (theatre, dance and music) so I came importantly to deliver more strongly defined to work in museums from quite a different perspective than many of my programmes. We have partnered now with theatre colleagues. I realised very quickly that museums have the potential to develop companies and practitioners, most professional further in all the forms of storytelling that are the basis of our work in its but some amateur. We have worked with dance most public sense. companies and students of dance. School students have created moving accounts of personal stories My first museum role was in marketing and communications, and I was developed from the stories we hold and performed in a place that needed to radically improve its profile. It had had a major them in the museum. We have live music whenever transformation, closed and redeveloped and opened under a number of possible, from small orchestras and choirs through names. On top of that many people viewed the museum for what it was, not to solo singers or musicians. We have led animal what it reopened as. General confusion in the marketplace is a marketer's blessings, held an exhibition in a suitcase, worst nightmare but also a great challenge. Making connections, forging partnered an anarchist book launch, alongside seminars on serious and non-serious subjects and, most recently, a parade of wharfie strikers and Massey Cossacks on horseback in recreation of the 1913 waterfront strike. 'Beyond the expected' is our catch cry in developing programmes, what is yours?

Museums can offer multidisciplinary mediums for our visitor to view history, art, music, culture and beyond. We can provide different paths that excite and involve our visitor. In the end we all want our visitors to express something different than Pearson’s visitor. Expletive or not, we want them to feel teased and tantalized, excited and invigorated, to have a response that is at the least, "Fuck it, what a lot to see / do / feel."

Brett Mason Director, Museums Wellington Participants reenacting the arrival of Massey's constables outside the Cenotaph during the 1913 strike. Museums Aotearoa Board member Staff Changes

Chief Executive Michael Houlihan has left Te Papa to be Special Adviser on Kristelle Plimmer is now Curator Community Military Heritage at the Ministry for Culture & Heritage. As Mike will not Engagement at Te Manawa. be returning to Te Papa, Arapata Hakiwai has taken over as Acting CE while an international search for a new Chief Executive is undertaken. Chelsea Nichols is now Curator of Modern Art at Te Papa. Wellington Museums Trust has bid farewell to Kim Young, Marketing Manager for Museum of Wellington City & Sea, Cable Car Museum Erin Flanigan, Museum educator at Puke and Colonial Cottage Museum. She is returning to contracting as a Ariki, has been co-opted onto the MA Board communications specialist. for the remainder of this term (to the 2015 AGM), nominated by the Emerging Museum Lisa Tolich will leave her role in ICT at Auckland Museum to succeed Betty Professionals group. Nelley as CEO of the Kauri Museum from June this year.

2014 May MAQ 7 Old St Paul's Weddings

A Fresh Spin on Tradition For those who are yet to visit us, Old St Paul’s is one of New Zealand’s greatest heritage places and one of the finest examples of timber Gothic Revival architecture in the world. It was the parish church of Thorndon and the Cathedral church of Wellington from 1866 to 1964, ensuring a well-established tradition of beautiful wedding ceremonies. While the ecclesiastical functions have transferred to St Paul’s Cathedral on nearby Molesworth Street, Old St Paul’s remains a consecrated, non- denominational historic church cared for by Heritage New Zealand Pouhere Taonga. As such, we offer a unique solution for couples, who would like to be married in a beautiful church but are not active members of a congregation, as they can come into this place with a minister or non- religious celebrant of their choice, and tailor their ceremony in any way which suits them. It is a situation which I believe fosters diversity. I love the moments when the soft afternoon light filters through the stained glass windows, while the bride walks in to the pumping strains of a modern pop The Interior of Old St Pauls Cathedral. Credit: Grant Sheehan classic just as much as a traditional Anglican mass with all the “bells and smells”, as one of our regular ministers says. mirror at the front entrance, a glass of water for the nervous groom, or the slight swish of a train as the Over the years, we’ve become experienced in the art form of catering to bride turns out the door. It is the feeling that any brides. We pride ourselves on being able to accommodate any unique request, emergency can be overcome by a quick phone call. which sometimes means performing tasks well outside the usual domain of And I’ve had them all: from a no-show celebrant a function venue. Late last year, for instance, we had a couple come back to and photographer, to a ring bearer’s tantrum at the visit us who had been married here once before. As part of an elaborate plan end of the aisle (his screams would have made your some years ago, they toured historic Wellington before popping into Old St ears bleed!), a dog that ran off with the rings, and Paul’s for a “look around”. Several minutes later, they sprung the surprise of a torn seam that needed a few quick stitches. In a a lifetime: in walks their celebrant who asked the Mums to please be seated matter of minutes, I become a bride’s best friend while their children joined hands in marriage. You can imagine their shock! and councillor, and my job description expands Well, five years on, and this young couple were now planning to include all exponentially. I have found that preparation really of their friends and family in a re-enactment of their wedding day. There is of the utmost importance in such moments and were special requests galore: Could we really blast Metallica’s Nothing Else so I like to prepare for absolutely everything. Matters? Could we change the hymn numbers to significant dates in their relationship? Could we print out maps with directions to their reception For a historic church like Old St Paul’s, weddings venue? The answer, as always, was yes. really are part of the life blood of this place. It matters to us that we’re part of the community In an ever diversifying market, we cannot rest on our laurels - or should that be that fought so hard to save us. As times change, wooden beams. As a Wedding Co-ordinator, it’s important that I’m not seen, we move with them. So, as weddings become but that my presence is felt. Whether that is through a conveniently placed more personalised, we strive to accommodate every new request. We have recently undergone a major redevelopment where our pews, which were once firmly fixed to the floor, can now be spun around or removed. This transformation enables us to accommodate a new stream of custom from seated wedding receptions. Already we have several bookings in the new year and, as a seasoned venue, we look forward to accommodating a new stream of brides with floral arrangements, table settings, and flowing champagne. While the fashions change, we strive to be consistent, the accommodating support to every nervous bride. Perhaps there are even more eventful work stories to come, but my favourite part of the job is always in the satisfaction of playing a small role at the start of a lifetime of memories.

Liz Laing Laura and Guy. Credit: Adrian De La Fuente, Duo Photography Weddings and Public Programmes Coordinator

8 MAQ May 2014 Communication and Culture

“I can't go back to yesterday because I was a Accompanying the blind visitors were two guide dogs which climbed on Sphere Square and walked different person then.” confidently through Periphery with their handlers. At the end of the tour we sat in the foyer and – Lewis Carroll, Alice in Wonderland talked a little about the experience. The theme of the May issue of the Museums Aotearoa Quarterly is Events, Comments by blind participants on the tour: so in this article I am going to discuss the ‘why’ of events and also use two examples of effective events that were recent favourites of mine. “Oh, good I can feel how high they are! “(Oddooki which are about 1.3metres high) Firstly I would like to note that I am Visitor Programmes Co-ordinator, “This is fun…” (Sphere Square) and although I often provide suggestions for the programmes that would “It’s really good to be able to touch something be suitable for various exhibitions we may have at the time, I also rely on either side of my body rather than walking colleagues to come up with ideas. My approach considers two main concepts: in an empty space and feeling uncertain of Firstly, the notion that there can only be partial viewpoints or situated my steps” (Periphery when the shapes were knowledge both of the audiences and of the museum personnel; this is the squeezed close together) first step to opening new doors of perception, new ways of seeing. Secondly, that narratives can be constructed in various ways to allow for these new ways Narrative has a powerful function in validating of seeing, and in so doing, provide further possibilities and open audiences people’s lives: cultures and sub-cultures tend to (and museum workers) to exciting opportunities for creativity. value some narratives over others, and events/ visitor programmes is a key area in museum Situated knowledge is the recognition of the idea that there is no one practice where narratives can be created as an dominant authority. For example, who we are, our beliefs, our upbringing adjunct to exhibitions or displays. The objective of and all of our schemas (that is, psychological profiles or stereotypes that have the programme on offer: the floor talk, workshop, developed through experiences and social interactions); these are what each screening or other event, is to provide the means of us bring to particular situations. If museum educators recognise this, there for learning about the exhibition, and the choice of is room for different schemas and alternative notions of ‘truth’ to emerge from event can impact in differing ways on the agency narratives. It is also in the margins between one thing and another where of the visitor. The knowledge gained by museum creativity and new possibilities can occur. personnel through such tours as that mentioned above expands on their situatedness, creates a new By way of illustration, in the current exhibition Seung Yul Oh: MOAMOA dimension to what is ‘seen’ by the blind visitor and A Decade, some of the shapes one can see in the exhibition remind one enables fresh and thought-provoking narratives of bubbles, with their large see-through circular forms. A popular exhibit, for future, similar visits. The Ability to Blow Themselves Up, is a video which records various people worldwide who have volunteered to blow up balloons to bursting and their Lynda Cullen image is captured in the instant of shock and surprise. As an event over the Visitor Programmes Co-ordinator, school holiday period, we offered a competition for something slightly milder Dunedin Public Art Gallery – a bubble-blowing competition with balloons as the prize – providing fun, interaction, and the opportunity for new narratives to arise with regards bubble-blowing versus balloon-blowing. The event allowed our young visitors to expand on the idea of what art is, what art does, and what if any new ideas could develop within – or outside of – this framework.

The bubble-blowing competition, although it attracted a small crowd, was highly successful. I would also like to use the same exhibition, MOAMOA, to discuss a further past event that also produced positive results on the day. In March the Gallery advertised an event for the blind and visually impaired:

14 Mar Friday 1.30pm INSIGHTFUL TOUR for the blindand visually impaired of the Seung Yul Oh exhibition. Guide dogs welcome.

The fact that this exhibition has three interactive elements – a giant beanbag Sphere Square which can be climbed on; shapes that remind one of chickens and eggs, Oddooki, which require gloves to touch/gently push; and Periphery made up of tall yellow blow-up shapes that visitors are encouraged to squeeze Megan Turnbull and Oban With Ron Esplin in the background through – was absolutely perfect: By listening to our blind visitors over the in Oddooki. past few years, I had learned that a tour of any sort should provide tactile materials along with a sense of safety in the environment. 1 . Otago Daily Times, Tuesday 22 April 2014, Page 3 (photograph).

2014 May MAQ 9 Associate Profile STQRY The multimedia guide every museum can afford to implement and every visitor can access anywhere, any time, for free. STQRY (pronounced “story”) is a mobile story- using STQRY to share their histories and traditions, to tell their tales and telling platform that any organisation may use to share their adventures, to help their visitors connect to their unique and share their fascinating stories. meaningful stories. For the user, STQRY is a free app, available across Connecting People and Organisations multiple platforms, which provides a single source for discovering and engaging with the art and The app’s explore feature includes a map and nearby list, on which every cultural world around them. organisation features. The result is an ecosystem of cultural organisations across cities, regions, countries, and the world that users are guided between, For organizations, STQRY is a platform on which so every organisation’s fascinating stories can be explored and experienced. multimedia ‘stories’ can be told and self-curated, Visitors to Wellington Zoo, for example, leave the Zoo with the app on real-time demographic visitor information is their phone and are able to see stories of the Department of Conservation, produced, charitable donations can be taken, Wellington City Council’s public art and waterfront features around the city, additional revenue can be created through the Museum of Wellington City & Sea, New Zealand Fringe Festival, Carter ‘premium content’ and more! Observatory and more – limited only by the distance they want to explore! The STQRY app is populated by organisations, Adding Content, Generating Revenue and each with their own organisation ‘story’ and any number of ‘stories’ of notable features, artworks, Associated Cost buildings, people, animals or similar – anything of interest with reasonable context to the All content on the STQRY app is self-curated and added through our organization. In-app stories are multi-media rich, web based Content Management System. The CMS has been specifically engaging information sources, which include text, designed to be incredibly intuitive and user friendly so anyone, regardless of images, audio tracks, videos, and links to outside computing experience, can confidently create stories with minimal tuition. websites or other external sources. STQRY provides organisations the opportunity to generate revenue by STQRY was first launched in New Zealand in assigning a price to stories they produce and display on the app, for audio late June 2012 at the Wellington Zoo. Since then, tours or selling content that has been developed above and beyond the STQRY has been rapidly expanding across, and standard experience. STQRY also provides the opportunity to procure is becoming a recognized leader among, the art, charitable donations while visitors are engaging with content – notably more cultural, historic, heritage and tourism market in successful than a collection box upon entry and/or exit. New Zealand and the West Coast of America. STQRY receives 200,000 unique users a month – STQRY’s top priority is to create the very best user experience. Our team will a number that is continuing to grow. work with you at every stage of your STQRY journey to ensure your stories are the most interesting, intriguing, fascinating and valuable as possible! The platform is being used as the on-site mobile app for over 50 organisations throughout New Access to the STQRY CMS to upload and share an unlimited amount of Zealand, including: New Zealand Tourism’s stories, receive unlimited donations, reports and so on is $1000+GST per i-SITE visitor centers; Department of year. This fee also includes customer support and access to our continuous Conservation; Auckland, Bay of Plenty, Napier, improvements and system developments. STQRY is an immensely cheaper Wellington and Christchurch City Councils; alternative to the development and upkeep of a custom app. Venture Southland; Museum of Wellington City & Sea; National Army, Auckland and Canterbury For more information ask [email protected] for an information Museums; Auckland, Hamilton and Wellington pack, or call him on +64 21 434 858. Zoos; and a number of other similar organizations. These organisations of international repute are www.stqry.com

10 MAQ May 2014 Museum Profile Hastings City Art Gallery Re-launched in 2008 after a previous life as the Hawke’s Bay Exhibition Centre, the Hastings City Art Gallery is Hawke’s Bay’s home of contemporary art. With the Hawke’s Bay Museums’ Trust collection stored in Napier by the MTG, the Hastings City Art Gallery is free to focus on contemporary exhibitions and programmes that challenge and excite both the local populace and the many visitors to the region. So while not a collecting institution, the gallery does play a major role in the regional arts scene as an exhibition space, event venue and facilitator within the sector.

The Hastings City Art Gallery consists of three main exhibition spaces and presents around 15 shows per year. Exhibitions include touring shows and projects curated by gallery staff and guest curators. These range from major survey shows of senior New Zealand artists to installations from local emerging artists, to large scale group exhibitions.

Highlights from the last 6 months include the David Trubridge survey exhibition, a collection of mixed media work by local contemporary artist Young art critics admire Elizabeth Thomson’s work, Jo Blogg, Gerda Leenards’ Following the Blue Ribbon, Te Manawa’s Now La Planéte Sauvage, Another Blue World, 2011 and Then: Enduring and Developing Themes in Contemporary New Zealand Photography, Advice From a Caterpillar by Ben Pearce, and Corrugations: The Hastings City Art Gallery is looking ahead to Art of Jeff Thomson – developed and toured by Tauranga Art Gallery. exciting developments in the Civic Square – the public park space around the gallery. Already David Trubridge: So Far – A Maker’s Journey featured lighting, furniture, Nga Pou O Heretaunga – the collection of 18 pou sculpture and early drawings by the internationally-renowned, locally-based each representing an ancestor of the region’s local designer. The process was a collaborative one where the exhibition’s Curator, marae – have arrived in the square and provide the Kath Purchas, worked closely with David and his team at the Trubridge central city with a significant presence of mana Workshop. Many of the works exhibited were borrowed from David’s own whenua. Still to come is the main redevelopment home. The exhibition is now touring, and will be seen in coming months at project which will upgrade the square’s facilities Rotorua Museum and Pataka Art Museum. and landscaping, bring together the gallery and the nearby library, and offer a cultural core for Local artist Jo Blogg’s fresh and energetic summer exhibition entitled Pins the city. and Needles was an intriguing body of work. Jo pulled together an eclectic array of re-imagined rolling pins, ten-pin-bowling pins, plastic knitting needles, With only a handful of staff, the Hastings City wool and tapestries to further explore themes of post-feminist indignation, Art Gallery continues to proudly punch above its repetition, rebellion and the woman’s world. weight. The Gallery team were delighted to be awarded the Museums Aotearoa 2014 award for The latest exhibition to open at the Hastings City Art Gallery is Momo kauae: ‘The Most Innovative Use of Te Reo Maori’ for Moko kauae in contemporary art. In it, guest Curator Tryphena Cracknell their work on Te Taniwha, an exhibition by artist explores the many ways in which contemporary Maori artists are using Joyce Campbell and historian Richard Niania. moko kauae in their practice and how this reflects identity, whakapapa, mana wahine and whanau. Invited artists include Robyn Kahukiwa, Fiona By offering a diverse range of exhibitions and Pardington, Manos Nathan and Stacy Gordine. public programmes, the gallery maintains a loyal following and ensures there’s always something of Coming up during the rest of the year are a range of enticing exhibitions, interest for all. So be sure to make time to visit including At the Edge of a Mirror, consisting of 19 of Reuben Paterson’s 2 the Hastings City Art Gallery when you’re next metre square paintings. Reuben has worked with the unique geometry of the in Hawke’s Bay. gallery to create a kaleidoscopic effect (until 27 July). Also on display will be EAST 2014 – the biennial regional exhibition, this year curated by Linda Kath Purchase Tyler, Director of the Centre for Art Studies at The University of Auckland Curator, Hastings City Art Gallery (from 15 November).

2014 May MAQ 11 Dusting Off the Code of Ethics

Museums Aotearoa makes revisions to its code was last involved in revising the code in the wake of New Zealand’s sesquicentenary, we grappled What does this mean for us? with the early language of bi-culturalism and the realisation that Treaty principles such as tino The Code applies primarily to publicly-funded museums and art galleries rangitiratanga might be applied to our work now. and it is expected that organisational and individual members of It’s utterly crucial that we continue to keep such Museums Aotearoa confirm and adhere to it. debates alive and to understand that this is a living It also provides guidance to those with an interest in the smooth running and adjusting document. and increasing professionalism of their museum operations – whether public or private. What’s unique? Museums and art galleries are in a strong position to expose the uniqueness The code has international roots; it has clear and of a given city, its history and its changing approaches to the world. Those credible links with the International Council of us who work in them and who are also able to travel know how much of Museums (ICOM) and that’s important. As similar institutions elsewhere play an important part in gaining a perspective such, it does not (or maybe not yet) have a Māori on a new place. Our institutions are crucial to the communities which sustain DNA, but rather it is affected by a set of values us and our activities, not least for providing our locals and visitors from of and for here – as increasingly are our museums elsewhere a ‘view’ on our past and present place in the world beyond. We and their practices. care for and hold in trust collections and are steadily improving our ability to establish and quantify our contribution to cultural and other ‘well-beings’, as The now inherent bi-cultural conceptual well as our economic value.1 framework which underpins our vision of Aotearoa makes it unique. For we recognise that: Equally, all of us face pressures, whether they result from reductions in overall … full authority in relation to the collections does funding or changing community or iwi expectations. From time to time, not rest within the institution at all times and that adjustments are made to our governing bodies; local and national elections it is crucial to maintain regular and mutually- may shake the terrain in which we operate. We come at a cost and, frankly, respectful contact with appropriate Maori, iwi and none of us is unassailable. other interested groups to fully reinstate stewardship and properly value their connections to the works The code is here to help. and activities of the museum or art gallery. (p. 3) The code is here to form the basis of discussions within our organisations and We stand up for: with our managers and trustees. It now covers ethics and professional practice, …an active engagement with tangata whenua and so it’s there to provide guidance in both areas. At its best it will provide a other relevant communities in the development springboard for professional discussions and debates within and amongst of exhibitions and displays, education and public ourselves. It also reminds us to ensure our staff are not required to act in a way programmes … as well as in relation to the general that conflicts with its provisions; and gives us the basis for responding if we feel and specific care, management and use of collections discomforted by being asked to do something specific (2.2.h). of their cultural heritage. (2.1.c)

It would be extraordinary if all those appointed to governing bodies and elected The language of consultation and of care provided to councils and appointed to local authority management positions had an by stewards replaces past concepts of ownership equally benign and informed point of view with regard to the importance and an imposed order, largely then based on the of art galleries and museums as ours, however. So it’s in our institution’s taxonomy of what it was we looked after. interests – perhaps even essential for longer-term viability – that we keep conversations about ethics and professionalism alive. I’m not talking here of There’s an increased emphasis on access in this ‘holier-than-thou’ conversations, but rather those which reach agreement in a version of the code; it’s connected to hopes for a given situation and, ideally also, provide an ethical basis for further consensus better understanding and celebration of what we do and decision making. It’s important we minimise instances of personal regret – and the importance of keeping communities and (and learn from those we have); and also important we reach decisions our local and national agencies and funders in the same successors can support (or at least understand as having being made with the notional waka as our institutions (eg, see 3.5.d). highest public good at heart). There are two new appendices. One relates If agreement seems impossible or unlikely, or even if you simply want to to natural history ethics; and unlike others discuss a particular matter in a slightly larger and more neutral setting, take internationally, this takes into account the unique advantage of the now-established Ethics Committee of Museums Aotearoa. perspective and customary rites of Māori. Another Current membership and terms of reference are on the website. provides guidance on the treatment of human remains in museums. The code as it’s written is not and cannot be expected to operate as a be- all and end-all. It’s a tool of its time. Tellingly, in the mid-1990s, when I There is notional space for other appendices to be

12 MAQ May 2014 funded institution in New Zealand, it exhorts governing bodies to: … ensure that, when items are approved for loan by museums and galleries supported by public funding (in full or in part), such loans are made available CODE OF ETHICS to other public museums and galleries in Aotearoa New Zealand using a fee & PROFESSIONAL structure based solely on cost recovery (1.1.j) PRACTICE And how else will our trusts and governing bodies, including local authorities, know this is agreed by and among the museums and art galleries of this For Governing Bodies, Managers and Staff of Museums and Art Galleries in Aotearoa New Zealand. country in a shared code, if we don’t tell them?

Principles of sustainability are included for the first time and they will, I have no doubt, become increasingly debated in our sector. The code cannot provide solutions to all issues, but it asks us to think about and discuss them. Do we continue to collect as comprehensively as we have in the past? How might we document the past? Do we unquestioningly maintain the same set of accepted environmental parameters despite increasing costs? How 2013 do we plan future developments with lower-cost, lower-risk sustainability in mind? How do we deal with the crucial redevelopment of our aging real estate, which needs to be earthquake-proofed and resilient to the effects of

Museums Aotearoa Te Tari o Ngā Whare Taonga o te Motu climate change? The Museums of New Zealand Inc Adopted 20 November 2013 There are some reminders… added, and a hope that this will happen over time. We’re reminded in these straitened times that sources of funding and income- Perhaps principles of conservation and collection generating activities should not compromise the content and standards management can be added. It’s not a free for all of a museum’s or gallery’s programme nor its publications (2.5.c). Timely, and each section will need to be recommended I think. Too high expectations of external funding can and inevitably will and approved, but – as an example – I’m aware lead to a skewed and potentially less relevant programme. Make sure your of some museum professionals looking after large, independence is protected. working objects associated with transport and technology, who might usefully add a section to Museums and art galleries must also positively retain responsibility for the provide guidance for the care of these items. content of any exhibition on their premises, whether it’s been organised by or for them. While this seems self-evident at first, it also entails being prepared So what else is introduced in to publicly support these and the reasons for showing them in the admittedly rare occasions these become contentious (2.1.e). I wonder if this is connected this version? to the issue raised in the paragraph above? Have we already become too middle-of-the-road and obvious? Some things are more explicit. The establishment of a clear and preferably unbroken provenance prior … and there were some questions: to acquisition of museum items has always been important, but it’s articulated in this code (2.3.e; Some questions consistently arose during various sector discussions and 3.4.b). Issues arising from developing exhibitions remained during its preparation. with developing countries, some recent examples of the international exposure of illicit trade in art One related to the provision of ‘essential training or development without cost and antiquities, of works which have been pillaged to the staff member’ and ‘encouragement of staff attendance at professional or stolen being sold and exhibited, makes this workshops, meetings and conferences’ as a means to advance professional crucial to articulate explicitly. And we can make development (2.2.f ). Some questioned the provision of training altogether and this an opportunity to consider and revise our own maintained budgets simply did not allow for this. However, this clause remains. accession practices and record-keeping. I stress it relates to essential staff training. If as a manager, you employ a Few museums and galleries in New Zealand staff member or take on a volunteer who has an identifiable skill gap or who will be involved in developing shows with needs their skill base developed in order to achieve well in the position, this internationally contentious loans, but the proposed must be taken into account at the time of employment. We cannot set up our Immunity from Seizure legislation – to assist with people to fail; if you cannot afford essential training, you cannot afford the borrowing exhibitions organised elsewhere as well staff member. as individual items for research or other purposes – reminds us to attend at all times to the detailed There may well be something in New Zealand’s employment law which establishment of a clear provenance.2 supports this position. But ignore it at your peril. Encouragement to advance is also good professional practice and a critical part of being a good employer. Another more explicit clause seeks to emphasise and recognize a distributed national collection. Another revolved around retail activities. Here we’ve adjusted language, but Where any work has been acquired by a publicly- kept with well-honed principles in relation to selling items from within

2014 May MAQ 13 Dusting Off the Code of Ethics exhibitions (see 2.4.d, 2.4.e). For the first time, we linear. Many aspects of the new code are straightforward, but others are and have made explicit reference to the Artists’ Alliance will prove more contingent. Agreement may not be easily reached in some work and the Arts Council, Creative New Zealand, as situations. Personal values intersect with others. There is a philosophy of ethics agencies which may give advice on the payment of which impinges on discussions relating to ‘social responsibility, transparency appropriate fees to artists, writers and others who and shared guardianship of heritage’.4 make a creative contribution to our presentations (2.4.c). As for paying professional fees, we must. Our code is clearly a base document, a reference point. It would be good to provide a simple index for easier reference. It would be good to create Does it have legs? and debate a set of exemplars, and to write up differently-scaled case studies. While the code continues in sections according to what role in a museum you Less easy to discuss perhaps in the egalitarian, occupy, we recognise that, particularly in smaller museums, staff play multiple inclusive society in which we like to exist, is that roles and it’s not always possible to differentiate responsibilities so clearly. A one consequence of updating the code, of making more fluid narrative version would also be really helpful, a principles-based it more explicit in some areas, means that we must document, perhaps combined with examples of good practices. Our work is be prepared to exclude from full membership of the never done but it’s as if, having agreed this, we can now move on. association those who may not (or not yet) be able to sign up to it. In this sense, it becomes a mark of And finally… increasing professionalism, a good thing for us all. The new MA code of ethics and professional practice is built on that MA has created a new category of affiliate established by our international professional association ICOM, revised for membership, especially for those who want to be Aotearoa New Zealand. It provides an up-to-date values-based compass in in touch, to gain news and information, but who our work. cannot for one reason or another adhere to the code. As an accreditation system is introduced, useful It is an instrument to use to induct new governors and trustees, as well as tools and professional guidelines will become new staff; it should be helpful in managing up as well as down within all available for all who aspire to be full members. But our organisations. It can be the basis for promoting collegial discussions and there are some organisations, perhaps privately decision-making. funded, perhaps marae-based, who simply don’t belong. Over time, I anticipate agreement to this The code comes with the endorsement of Museums Aotearoa and, as code and accreditation impacting on our ability organisational members and individuals, we are effectively ‘signed up’. It’s our to gain public funding, but only over time and responsibility now to become its champions – but not to be unquestioning as the code becomes better understood and more and to always commit to clarification and possible improvements. uniformly implemented. A printed version of the Code of Ethics and Professional Practice is So, does the code have legs? We’ll see and here’s included with this Museums Aotearoa Quarterly. I thank the huge range of hoping. But it’s up to us and us alone. members involved in its re-freshment. Special thanks to the indefatigable current board members, including Therese Angelo, Brett Mason and Eric What’s next? Dorfman (Eric in particular for the appendix on Natural History Ethics) and the unwavering engagement of Kaitiaki Māori, Michelle Hippolite, One of the great pleasures of being involved in Rhonda Paku, Tryphena Cracknell and Manu Kawana. The breadth and an exercise such as this is the chance to meet depth of commitment to the debates it has taken, is much apppreciated. others facing similar issues in related professional situations. I’d known Charlotte Davy, registrar at It is anticipated that all individual and organisational members are the Art Gallery of New South Wales and president champions of ethical behaviour, routinely inducting new staff to the Code of Australasian Registrars Committee, but a and incorporating its principles into their daily work. (p 3) particular pleasure at the recent ARC conference in Brisbane was meeting her sister Sarah. Director of Jenny Harper acquisitions and research at the New Zealand Film Director, Christchurch Art Gallery Archive she gave a well-formed and thoughtful paper, ‘Keep calm and trust a Registrar: Rethinking ethics and values in everyday collection decision- 1. The focus of the 2014 MA conference held in 3. Sarah Davy, ‘When good archivists go bad: making’, distributing a version paper published in Napier, The Business of Culture, is itself a sign of the The role of ethics and values in everyday archival the October 2013 edition of Archifacts.3 It’s worth times in this respect. decision-making’, Archifacts, October 2013, pp a read – and, along with the new MA code – a 2. Immunity from Seizure legislation was introduced 11-22. discussion with colleagues. in Australia in 2013 and its adoption in New 4. Janet Marstine, ‘The contingent nature of the Zealand has been widely discussed in 2013-14. new museum ethics’, in The Routledge Companion What a paper like Sarah’s points out is that the code Refer to the Ministry for Culture and Heritage for to New Museum Ethics, London, Routledge, 2011, is just that: a formulation of principles, essentially progress with this legislation. pp 7, 10, cited in Sarah Davy, op cit, p 15.

14 MAQ May 2014 Nightmare at the Museum

Participants running in terror from a chainsaw wielding maniac

Nightmare at the Museum is Rotorua Museum’s annual horror walk experience. For one weekend in September, groups of five are sent through the museum after dark, being chased by an assortment of horror characters. The museum is transformed into a full-scale ‘horror house’ with terror at every turn. The cast and crew from Nightmare at the Museum 2014

At this stage, Rotorua Museum is the only New While Nightmare is great fun, it is a uniquely taxing event for staff and work Zealand museum to have held a full-scale horror begins 8 weeks prior, following the model of a theatre production. Museum walk. Nightmare differs significantly from other staff are also required to learn new skills such as make-up design, zombie events where actors interpret stories or historical hair styling and mixing up fake blood, not the usual day to day operations of events. While Nightmare uses actors, it is not an a museum! interpretation of history and instead uses a fictional narrative set in the 1900’s when the museum Health and Safety is a huge concern when running any event of this scale. building was a Bath House. The event uses sights, First and foremost, the safety of visitors and volunteers is paramount. All sounds and even textures to fully immerse visitors. visitors are given terms and conditions upon booking and are given a safety briefing before they enter. Volunteers are given a safety briefing prior to Nightmare is also unique in that it is not a revenue rehearsals starting and to date, no major incidents have occurred. generating activity. The event is run in conjunction with the Rotorua Zombie Walk, with profits As the route for the walk includes being inside the building, there are concerns donated to their charity of choice. This relationship for object safety and for the building itself. As a category one heritage began in 2011 with Zombie Walk organiser building the Museum environment needs to be carefully looked after. To Layla Robinson providing creative direction for combat this, actors are strategically placed to protect objects and subtly guide Nightmare. In 2013 the Museum donated $2000 visitors in the right direction. As the actors spend more time in the museum to Zombie Walk, which was part of an overall they become invested in the quality of the event and the protection of the $5500 donated to Rotorua Brain Injury Trust. building, and take ownership of their role in object safety.

Nightmare is Rotorua Museum’s most popular Overall, Nightmare is a unique event with many challenges but also man event for youth and helps develop the museums positives. We are able to give back to our community while engaging our local local youth audience. Nightmare provides a safe, youth and raising our profile within the city. Transforming a museum into a drug and alcohol free event for youth but is R13 so haunted house is no easy undertaking, but is a fantastic opportunity to do is still considered ‘cool’. The majority of local youth something new and exciting within our community. visit the Museum for school however Nightmare is a completely different experience. Nightmare Naiomi Murgatroyd also engages youth by recruiting volunteer actors Public Programmes Manager, Rotorua Museum from local high schools. Each volunteer is offered a letter of recommendation to include in their CV and some have moved on to work for the museum.

2014 May MAQ 15 Matariki at Te Papa 2014

Celebrating Kaitiakitanga Later in June, Te Papa educators are teaming up with the Education Team at Pataka Museum to Mā wai e ranga o tātau mate e hingahinga nei i te wā o Matariki? deliver a joint Matariki programme as part of the E rere ai te wai o ngā kamo kore mutunga week-long Kapa Kapo Festival for primary students. Ko koutou ngā Māreikura, ngā Piki Kōtuku Whakarehu atu rā ki tawhiti nui, tawhiti roa, tawhiti pāmamao. Matariki Festival Team, Te Papa

Te Papa is particularly excited to celebrate Matariki this year as it coincides References with the opening of the iwi exhibition Whiti te Rā! The story of Ngāti Toa www.tepapa.govt.nz/events Rangatira on 14 June. The theme for the festival is ‘kaitiakitanga’ – guardianship. www.tepapa.govt.nz/education About Matariki – Māori New Year The star cluster Matariki (also known as the Pleiades) appears in the dawn sky above Aotearoa New Zealand in late May or early June. The new moon following the rising of Matariki signals the Māori New Year.

The significant time of Matariki is becoming more and more widely acknowledged throughout Aotearoa, and has been revived as a celebration of people, culture, language, spirituality, and history, while maintaining its customary importance. It is a time for whānau and friends to come together to reflect on the past 12 months, acknowledge those who have departed, and Te Roopu Tahiwi o Te Whanganui-ā-Tara, 2013 New Zealand look towards the year ahead. Post Kaumātua Kapa Haka event, Te Papa (photograph: Norman Heke) The theme of kaitiakitanga This year’s theme of kaitiakitanga was given by Ngāti Toa as the incoming iwi Festival programme at Te Papa to reside at Te Papa. • Ngā Whetū o Matariki – a concert of For Māori, the atua (gods) were the first guardians. They include Tāne, emerging musicians featuring Jhan Lindsay, guardian of the forests and birds, and Tangaroa, guardian of the sea and all Lace Reihana, Aja Wairere Ropata, Ladyfruit, its abundant life forms. The root word, ‘tiaki’ (guard, shelter, care for) speaks Pao, Tama Kawha, and Calvin Ormsby to our responsibility to protect taonga, and gives us an opportunity to think • Light Painting with The Amazing Travelling about our role as kaitiaki (guardians). Photo Booth • Opening Weekend: Whiti te Rā! The story of For the Acting Chief Executive and Kaihautū, Arapata Hakiwai, Ngāti Toa Rangatira, featuring theatre, music, ‘Kaitiakitanga is about caring for and looking after those things that are stories, puppets, and a special artists’ studio, important in our lives, our people, our culture. It’s an active responsibility with Ngāti Toa weavers and carvers to protect and maintain our mātauranga (knowledge), values, and tikanga • Matariki Poetry Slam – an interactive, (protocols) for present and future generations.’ energetic storm of competitive performance poetry, with poets battling it out to win over Māori also have kaitiaki in the form of birds and other animals, which the audience with their words, their wits, and protect us by warning of danger, or send messages to signal that a relative their oratory prowess has passed away. • Rangatahi Occupy! – youth take over Te Papa for a weekend, and offer inspiring speakers, An example of this is Kopa, a Ngāti Toa kaitiaki in the form of a ruru. Many motivating workshops, and performances of the iwi can recall experiences with Kopa. Some WWII soldiers believe that • Matariki B Boy and B Girl Battle the ruru appeared before them and saved them from peril. • Matariki Films with Ngāti Toa film-makers Himiona and Wiremu Grace Matariki education • New Zealand Post Kaumātua Kapa Haka on 28 and 29 June – always a great way to Matariki is also a busy time for Te Papa educators, with schools coming conclude the festival! in to experience the programmes for Matariki and our exhibition China: Throne of Emperors. Te Papa is looking forward to another fantastic celebration of Matariki this year – come join us. In addition to our regular Matariki educator-led programmes for primary and early childhood groups, Te Papa is partnering with Carter Observatory Ngā mihi o te tau hou Māori ki a koutou katoa, mai to deliver a Matariki Professional Development Workshop on 12 May. i a mātou o Te Papa Tongarewa. Happy New Year!

16 MAQ May 2014 Policy Matters!

As this issue of MAQ goes to print, we are days away within societies should be dealt with. There are recommendations regarding: from this year's Budget, and only four months out • the requirement for statutory officer(s) from the general election on 20 September. While • the responsibilities of members and office holders both these events may seem to be far removed from • conflicts of interest the daily activities of museums and galleries, they • financial reporting in accordance with Financial Reporting Standards should not be underestimated. Decisions made in • required clauses in constitutions government offices in Wellington will eventually impact what is possible in our sector. We can now expect a new bill to be drafted, including almost all of the 102 recommendations and a model constitution, which will be open for further On the macro scale, broad government policies consultation. It is intended that there will be transitional period by the end of affect our socio-economic balance, making a which every constitution must comply with the new requirements. We will alert difference to how much income individuals and members when this happens, and encourage everyone to consider its implications. families achieve and what they spend that money on, which in turn defines their access to goods Another current consultation is underway by Creative New Zealand. As part and services and ultimately their quality of life. of their processes, CNZ regularly reviews each of their art form categories. Richard Florida, who popularised the idea of the This process has been interrupted by the recent structural changes to the Arts creative economy in The Rise of the Creative Class Council and the long-term funding models. (2002), asserts that, “regional economic growth is powered by creative people, who prefer places that In April this year CNZ initiated concurrent reviews of craft/object and visual are diverse, tolerant and open to new ideas”. art forms. Two focus groups met in Auckland in early May to "discuss the current craft, object and visual arts and environment and for participants to International research has shown that countries provide Creative New Zealand staff with their assessment of how CNZ can (and cities) with more creativity and tolerance do best support the development of the craft, object and visual arts over the next better than those which may have higher upper end five years. Focus groups will also consider CNZ's roles and responsibilities for incomes but more inequality, and ultimately have craft and object arts and/or visual arts, taking account of the current funding poorer 'quality of place'. The Martin Prosperity responsibilities of central and local government as well as the support Institute, where Florida is based, has developed a provided by the private and not for profit sectors." methodology to rank international cities based on "the 3 Ts of economic development: Technology, I was one of around 30 people, including curators, directors, artists, educators Talent, Tolerance – and a fourth measurement, and promoters, who spent two days looking at what and how Creative NZ Quality of Place". supports in craft/object and visual arts. We talked about how that fits into the wider 'ecology' of support for the arts, and what challenges, changes and All these factors are made more or less possible priorities need to be considered over the next five years. by laws and regulations. Our current government has highlighted innovation by various initiatives CNZ staff will now distil all that discussion into draft reports which will be including the establishment of the Ministry of published online in early June. This is another important opportunity to have Business, Innovation and Employment, while the your say on the development of structures and processes which will directly Resource Management Act controls how far that affect opportunities in our sector. I encourage everyone interested to provide innovation can be implemented. At a micro scale, feedback, as this will then inform the final reports and recommendations to most public museums and galleries are reliant on the Arts Council in July. local councils to some extent, so have to work within both national and local layers of regulation. By the time this MAQ is printed, Budget 2015 will also be published. While we no longer have the steamy media lock-ins and inevitable hikes in cigarette and Some recent work that will have an impact on alcohol prices of the 1980s and 90s, there are some significant decisions pending. many smaller museums is the review of the Incorporated Societies Act, which currently dates Late last year the media was full of the proposal to establish an outpost of back to 1908. NZ has over 10,000 cultural, social Te Papa in South Auckland. Decisions on this have been rolled into budget and recreational societies. The review began some allocations – so if the 'Manukau Project' is in Vote Arts Culture & Heritage 2 years ago, and the Law Commission tabled a for 2015 it will go ahead, and if not it has been shelved. report last August. The government responded in February this year, and "has concluded Whatever happens in the Budget, Museums Aotearoa will continue to liaise that there is a need to reform incorporated closely with Te Papa and all our members. We will be asking each political societies legislation in accordance with all the party for more specifics on their arts, culture and heritage policies. We Commission’s key recommendations". all need to be well-informed, active in our advocacy, ad participate in the democratic process as both large and small policy decisions are made. In particular, the Law Commission found that the current law lacks guidance about the obligations Phillipa Tocker of those running societies and about how disputes Executive Director

2014 May MAQ 17 MA14 - Cindy Jemmett

My first museums conference: Napier 14, was everything went well. It was a great experience to give a presentation, and a spent in a state of excitement, anxious anticipation, friendly and supportive environment in which to take the mic. and increasing sleep deprivation. Exciting things included - meeting heaps of people, The conference was at an end, but Napier still had more to offer. Saturday having wonderfully geeky conversations, hearing morning I roamed the secondhand shops with a friend. My most outrageous awesome speakers, being away, and enjoying all and exciting purchase was that of a silky men’s dressing gown. It’s one of those sunny Napier had to offer. My anxious anticipation ones with big pockets at the front, and it’s paisley – I can’t go past paisley. I was due to the upcoming presentation of a pecha imagine myself sweeping about the house in it in exuberant theatrical style. kucha I had, less than a week before the start of That thought alone was worth the $4 price tag. As I see it, museums reflect the conference, found myself agreeing to give. And (and fill) basic human needs, collecting, and storytelling, two pursuits of long sleep deprivation because the aforementioned established value! pecha kucha was in no way complete, and I was spending the evenings trying to get it done. Cindy Jemmett Volunteer and Victoria University Student As a volunteer, I was kept busy stuffing conference bags, manning the registration desk, pressing canapés on people, and trying to pretend I knew what was going on. But I also got the chance to slip in to hear some of the speakers. I was really interested in the discussion around ‘value’, what it is, and how we express it. It was great to hear different angles on this from a range of speakers. I enjoyed hearing economist Ganesh Nana’s economic philosophy. He discussed the idea that we need to define value collectively as well as individually, and include concepts of social, physical, and environmental health, and that these are all connected. Sustainability too is important. We use the value we have to create more value, and it is crucial to look after this capital as we move into the future.

It was encouraging to hear about the ways museums are currently working to express value, reporting to Laura Wright at Hastings Powhiri stakeholders, and involving community. Discussion was inclusive and open, and it was great to feel that there is the desire to work together as a sector. Working together we can create a stronger picture of value over the long term.

But quite apart from hearing the speakers, what I enjoyed most about the conference was getting to meet so many wonderful people, who were all so generous in sharing of themselves – their career journeys, experiences, and ideas, not to mention enthusiasm! The EMP group was another delight. I had a lovely time at the EMP dinner, a very well provisioned bbq, and felt welcomed into a supportive community. Another optional activity I took part in was a trip out to Conservation Supplies. We got so involved making boxes that we were a little late jumping back on the bus, armed with gifts of home baking and Hawke’s Powhiri at Hastings city Art Gallery Bay apples.

And so before I knew it, the last day of the conference dawned, and the moment for my pecha kucha drew near. My late nights paid off and

18 MAQ May 2014 MA14 - Alice Hutchinson

The 2014 Museums Aotearoa conference held at MTG Napier was a as kaitiaki. It has been the most profound document tremendously valuable experience, reconvening with former colleagues and I’ve read addressing cultural responsibilities and meeting inspiring new ones from throughout the country, particularly as I’ve recommended that our Trust Board and staff a new director (six months into the position) of a small regional museum. absorb it. Our two Wairarapa iwi, Rangitāne Furthermore, having spent the most part of twenty years as a museum and and Kahungunu have been in Treaty settlement gallery professional in the United States. I came to the conference with a wide negotiations now coming to fruition, and Aratoi is ranging and pressing set of issues, concerns and interests specific to the local considered the home for their significant taonga. context of our museum and community, which unfolded as shared concerns Cultural redress is at the top of our agenda as we that really only we collectively could address. These concerns were addressed envisage and navigate a post-Treaty landscape, throughout the conference by a wealth of accomplished and experienced including major post-Treaty programming next participants and invited speakers. year. We will be planning repatriations guided by iwi, and specifically the permanent return of Highlights included an extra day for a workshop with the directors of small the majestic waka Te Heke Rangatira which has museums from around the country hosted by Hawkes Bay Settlers Museum been housed at Te Papa. New redevelopment (where we were greeted the day before by an intense earthquake). Topics scoping is being undertaken accordingly in which ranged from Janet Bayley sharing her experiences leading the redevelopment institutional history encompasses contemporary at Mahara Gallery, to a discussion on volunteers, to techniques in aligning societal needs. with local councilors, to Philip Howe of South Canterbury Museum’s useful comparison in visitor numbers. It was disappointing that specific Finally it was Te Papa’s Arapata Hakiwai who panels and workshops overlapped as I was torn on a few occasions as to summed up the conference so eloquently, with what was most relevant. his engaging, succinct, insightful and inspiring discussion of the Waitangi Claims environment The energy efficiency panel was of particular interest and another highlight, articulating themes of reclamation, restoration, providing specific and practical advice to implement. The urgency of reconnection to taonga; revitalization of language sustainability and renewable energy was clearly driven home by the significant and culture; access and self determination, savings at the Auckland Museum and The Dowse. I was fortunate to meet which fluently dovetailed into his discussion of Dr. Sandra Engl Collections Manager at Auckland Museum who discussed new museology citing Kreps in that “the new AM’s energy efficiencies and their new solar panel installation. Two weeks museology is largely about giving people control later I was on the roof with their Head of Building Infrastructure admiring over their cultural heritage and its preservation as the panels, gleaning the insights of AM’s extensive research, and am now part of how they maintain, reinforce, or construct having an ROI conducted with the same company for consideration at Aratoi. their identity. The approach acknowledges the A most compelling case (i.e. “we were driven down this path for ecological importance of preserving not only the resources reasons”) was also made for a transition to LED lighting. that represent a community’s past, but also vital elements of its living culture and its continuing Another significant highlight was attending Rhonda Paku’s workshop development.” (Kreps, 2003, 10). discussing the significance and impacts of WAI262 (amazingly the government has still not responded to it five years after its submission) Time to socialize with our peers was also great with its in-depth and comprehensive discussion of taonga, its wide-ranging fun and an excellent knowledge exchange, recommendations and our responsibilities in museums throughout Aotearoa especially spending time in sunny Napier, impressed with the location, new building and resilience of MTG staff, as we share in constantly striving for the support from our local councils and communities. Thank-you so much Museums Aotearoa and MTG Napier! Looking forward to next year.

Alice Hutchison Director, Aratoi Wairarapa Museum of Art and History

Alice Hutchison

2014 May MAQ 19 MA14 - Maddy Jones

When I volunteered to help at the Museums Aotearoa conference in Napier I was fortunate also to attend all three keynotes and this year, I never imagined it would be so much fun. As a museum studies many of the other talks at the conference. All three student I thought the event would be a good opportunity to get involved in key notes brought big ideas and schemes to the the sector and to hear some interesting discussions, but the highlight for me floor, while the smaller group discussions provided was the social opportunities. The atmosphere of the event was cheerful and a more local and specific forum for debate. Many friendly, and as a new comer to the sector I found it an ideal place to meet of the issues raised were timely, as museums face people and to build relationships with others in the profession. Joining the further belt-tightening, though one idea that was Emerging Museum Professionals group was particularly enjoyable for me, and highlighted for me is that the financial side of the group will now become a useful place to discuss problems that beginning museum work is always connected to the values museum professionals face, as well as to stay connected and get together. side. Kate Clark’s talk about the rebranding of Historic Houses Trust as Sydney Living Museums As part of my volunteer duties I also attended the Kaitiaki Hui on made the key point that brand is not just about Pukemokimoki marae. This was a wonderful experience for someone who is design, but about values. studying museum studies and the relationship between Māori and museums. The hui was informative and thought-provoking, as well as being a thoroughly MA14 was a fun, engaging event, and being a enjoyable day, where all who attended shared a friendly group feeling. Whole student volunteer it was a great introduction to presentations were done in Māori, so the hui provided a wonderful forum the sector. I very much look forward to next year’s for developing and discussing the Māori language. I would love to see this conference in Dunedin! kind of use of Te Reo Māori become something common in all institutions. I found the presentations at the hui which focussed on the use of the Māori Maddy Jones language particularly interesting. One focussed on bilingualism in Wales, Volunteer, MA14 and Victoria University Museum explaining that throughout Wales, and especially in the north of the country, Studies Student the Welsh language has been revitalised and prioritised in many different sectors, something which can be relevant to the New Zealand situation. Immunity from Seizure

In July 2012, Manatū Taonga/the Ministry Most feedback in submissions and consultation meetings supported IFS for Culture and Heritage (MCH) released a legislation. However, some people were ambivalent and a few were opposed. discussion paper on whether New Zealand should Significant concerns were raised about the implications for taonga Māori and introduce legislation protecting cultural objects Pacific cultural objects. on loan from overseas. This type of legislation, commonly referred to as ‘immunity from seizure’ Some evidence was provided in submissions of problems encountered by (IFS) legislation, would protect objects on loan museums and galleries in borrowing objects from overseas in the absence of from overseas against legal claims for the duration IFS legislation. However, MCH considers more evidence is needed before a of the loan. convincing case can be made that IFS legislation is needed.

Fifteen other countries now have IFS legislation, Over the coming year, MCH will continue to engage with the museum as a result of some high-profile legal claims on sector about this issue and will also monitor developments internationally objects on loan. Australia passed IFS legislation (particularly the impact of the Australian legislation). last year (the Protection of Cultural Objects on Loan Act 2013), and its legislation is expected to MCH would like to hear from the museum sector: come into operation this year. • if you encounter any difficulties with borrowing objects from overseas due to the lack of IFS legislation The MCH discussion paper asked if New • if you have any other views about IFS legislation. Zealand should introduce IFS legislation; and, if so, how the legislation should work. Twenty- Please contact two submissions were received; seven were from individual museums or galleries and three from Ewan Lincoln museum sector bodies (including Museums Senior Policy Adviser, MCH Aotearoa). MCH also held meetings with [email protected] museums and other interested parties.

20 MAQ May 2014 MA14 - Gary Ross

One of the final comments at this year’s Museums components went down with the audience as easily as the Kilkenny she Aotearoa conference in Napier was that the title shouted at the Irish bar in downtown Napier afterwards. The presentation 'The Business of Culture' almost lost the interest of by Laura Wright from Tate Galleries beautifully balanced the wonder, scope one member in attending the conference altogether. and scale of handling the work, merchandise and events available in modern This was attributed to the fact that it could have art galleries with sound universal advice on how to engage communities been interpreted as supporting the view that the with great spaces and unique experiences in a way that generates all forms of sector was becoming profit focused, if not profit income. driven. Whereas at the South Otago Museum we went to extraordinary lengths to make sure we The highlight of the AGM was the confirmation of the revised Code could attend the conference to obtain sound advice of Ethics, creating a great bonding agent for the conference theme. The on how to stay mission focused, within the 'business document reminds us of, not only our core business, but also the fundamental of culture', in a profit driven world. responsibilities that are part of the reality of the 'industry'. Managing these policies is a role that most of us willingly take on as a crucial ethical The precursor event of the DSM forum and the component of a career we sought out through passion. great EMP development meetings put down a solid foundation for the theme by discussing the The powhiri at the Hastings City Art Gallery, and the wonderful surrounds common concerns and successes of the smaller of the facility, were a great introduction to the rich content within and museums and emerging professionals in the sector. the progression of awards and local cuisine later that evening were equally These forums also created a few lighter moments entertaining and enlightening. Although some wished the disclaimer on the by discussing the art of trying to stay afloat, 'selfie booth', stating the images would be posted later on Facebook, was a financially and emotionally, while being over tad larger, great fun! worked and under paid for operating the business of protecting New Zealand’s heritage. The concluding keynote presentation from Dr Ganesh Nana skilfully used the language of an economist in a way that could also be understood by those who Key note speaker Kate Clarke complemented this choose to dabble in the realm of emotions, imagination and belief. Adding to wonderfully by putting the question to us “what the recommendations from other key note speakers, to consider the perceptions is significant about heritage” and how do we seek of ones stakeholder in your business, Ganesh complimented this wonderfully value alignment with all stakeholders in all avenues with directions on how to invest wisely all the different kinds of income that we of cultural protection, from heritage buildings to generate, with a view to stay buoyant in the “trade” of culture. art and even the spoken word. While the accolades for the successes of MTG Hawke's Bay were still being While it can sometimes be hard to utilise learnings included in the debate, to charge or not to charge ones ratepayers’ admission, a from case studies from New York or London in series of talks on the living face from the holy trinity of museums got underway. provincial Aotearoa New Zealand, the tools Kate From the universal sector mission to collect, preserve and present, the role provided to break the argument into manageable of the visitor always remains a crucial key factor for all of us. The fantastic presentations on this topic were a fitting last choice for the conference.

We were encouraged to engage the visitor, not only to prove the significance and value of our collection, but also to add to the life of the collection through the very action of engaging with the visitor. Asking the visitor what they have brought with them, not only by seeking their views regarding 'the show', but providing the visitor with opportunities to share their worldview in a way that it becomes part of the story indeed part of the collection.

A walk on the last day in Napier along the beachfront, to find a memento of the natural environment, provided the opportunity to discover a miniature beach sculpture created by a passer-by. The similarity of this occasion, to one we recently documented on the South Otago coast, was as striking as the differences between the two 'works'. Their comparison confirmed the parting thoughts of MA14 that each museum or gallery, community depository of culture, should be as vibrant as the community that supports it. Possibly validating the notion that a dusty vault or goliath austere hall of relics, no matter how historically valuable, will only remain 'valued as significant' by a minority of academics, whereas a community space that engages the public, and generates culture beyond its walls, will continue to thrive.

Gary Ross Port Molyneux Otago, March 2014 Curator, South Otago Museum

2014 May MAQ 21 Reviewing the Business of Culture

The 2014 Museums Aotearoa conference, the recognising new groups like the ‘urban cool’ Laura Wright from Tate Business of Culture, was perhaps the most Enterprises told us about in her great keynote on revenue generation. So it coherent and well-focussed of MA annual wasn’t surprising then to see sessions on ‘Selling Aotearoa New Zealand’, and conferences to date. The theme offered something ‘Revenue form Collections’ and they’re timely topics. for everyone and had much to offer to those who were able to give it time and energy. And make no Equally timely and helping to set the tone for a broader discussion around mistake, no matter how interesting and ‘on topic’ establishing value was the Ganesh Nana’s paper, ‘Proving our Value’. Dr Nana these conferences are, they each demand energy is Chief Economist at Business & Economic Research Limited (BERL), and and commitment to get the best from them. laid out a range of interesting ways to consider value, using a framework of terms and language which it is certainly helpful for us to master alongside It’s unusual to find a core theme which applies the more conventional terms of importance which we place on what we do equally to museums and art galleries – but this one and the service we provide within our communities. I hope his slides can be did. Increasingly our sector has become aware of made available more widely and his thoughts filter through the professional the need to work with other agencies in relation network to better equip us for the discussions ahead. to heritage issues, commercial opportunities and the need to become users of the broader concepts Immediately after, I found the discussion of whether or not to charge and language of economics so helpful to proving fascinating, with two organisations (MTG and Rotorua Museum) charging the worth of our enterprises in rapidly changing entrance and two (the Wellington Museums Trust and Dunedin Public political environments. Art Gallery) having done research and having convinced their governing body to hold off, at least in the meantime. I feel pretty strongly about [not] And, of course, it’s always nice to be hosted in a charging, place huge value on local return visitation, and have spent my entire centre where innovation has triumphed and a professional like making art accessible, not an add-on or something to be boldly enlarged and refurbished Museum Theatre considered élite or special in an ‘exclusive’ or unattainable way. But I recognise and Gallery (MTG) is now open to the public differences in a tourist town like Rotorua and I know the discussion will as in Napier. As planning for a new (and much emerge regularly in all our communities. larger) centrally-located conference centre gains pace in Christchurch, I was impressed with how I was sorry to miss the session on Bicultural Business with senior staff from the modestly-scaled Napier equivalent managed both Auckland Museum and Te Papa, but – together with Anna Guenther the numbers and how well the variety of spaces from PledgeMe – I was in a concurrent session discussing how a community functioned throughout. might be involved in how to buy a bronze bull using a crowd-funding system. Auckland Museum played a leadership role again in an excellent short sharp In the context of this building, updated and refreshed set of discussions chaired by David Reeves, The Customer and the Business for the third time in its history, Kate Clark’s opening of Culture. I loved the passion and evident commitment of those who spoke keynote lecture on heritage issues in our sector, and commented at this wind-up session. Competition, Cooperation and Community, was apposite. Her emphasis on significance, sustainability I left with plenty of food for thought and having caught up with many and service rung true for so many in the sector and colleagues, so it was good. Perhaps most exciting overall, is the emergence of her presentation, as with other keynotes, was well a strong young professionals group in our midst – thanks to all involved with pitched to a broader audience. and driving that. Our future is in your hands.

Thirty or so years ago, when I first worked within It’s also good to see interest groups meeting and sharing experiences at a the museum sector, art galleries and museums range of levels and very important to have Ministry for Culture & Heritage were most at ease with being positioned in the staff there and listening to a range of similar concerns across the board. educational and academic realms; classes of school Within the museum and gallery directors’ group, there is a need to grapple children and adult interest groups were ‘taught’ with the refurbishment of a vast range of older buildings, to bring these up about what was on display; staff wrote as often for to standard in terms of the risks associated with earthquake, flooding, climate academic journals as for the always elusive ‘general change and sustainability. These are major issues which face us as we strive to public’. Now, it seems, we’re quite comfortable also maintain the safety and security of collections – and to deal with a range of with being part of the leisure, entertainment and challenges and ethical issues. tourist sectors, and perfectly at ease with terming them industries. There are those in our midst who may think Museums Aotearoa is an expensive organisation to belong to, as an institution and an individual. But If we can afford to, and if we need to prove value it is ours; it hones our sense of professionalism and future; and it is and will or reassure stakeholders that their investment be as good as those within it. The annual conference is in Dunedin next year; in us is in good hands, we’re comfortable with I’m looking forward to it already. commissioning an economic impact study to increase confidence. We’re interested in Jenny Harper segmenting and playing to our diverse audiences, Director, Christchurch Art Gallery Te Puna o Waiwhetu

22 MAQ May 2014 Haere Ra Betty Nelly

On 3rd July 1995 she began her first day as One of the most telling comments made at Betty’s recent farewell party was Collections Registrar at what was then the the remark that now the Kauri Museum would be her second home and no Matakohe Museum, Betty Nelley had no inkling longer her first, a reference to the thousands of hours she has spent beyond of where her new job would eventually lead. No the requirements of the position. Many speakers told of Betty’s advocacy crystal ball was available to show that her first step for all things related to kauri and all agreed that the friendly, welcoming up would be to Collections Manager, followed in atmosphere at The Kauri Museum is a tribute to her character and leadership 2008 to Chief Executive Officer of the institution and her insistence on the highest standards of customer service. now known as The Kauri Museum. Those of us who have worked with Betty have been warmed by her personality After more than five years in the role, Betty and her outstanding talent for making everyone a personal friend. Above all, announced last December that she was stepping we will remember her fearless and passionate belief in The Kauri Museum, its down and would retire at the end of May 2014, history and the stories it tells, and her protective guardianship of its national news received with regret by The Kauri Museum's and international reputation. community and the wider community of the museum world. Betty has always ensured that the Mary Stevens Museum was at the centre of the Matakohe and The Kauri Museum Kaipara districts and all local events, and her warm mentorship has extended far into both Northland and national museum and tourism domains.

A firm believer in ‘a good day’s work’, Betty has acted at all times within the boundaries of the principles on which she has based her professional leadership: personal integrity and ethical behaviour. One of her many goals has been to promote The Kauri Museum as ‘a place of excellence’. This has seen the Museum at the forefront of carbon footprint reduction (the first certified Carbon Zero museum in the world) and of tourism, winning numerous awards for favourite or top attraction within the North Island and New Zealand.

Betty’s work has taken her far beyond The Kauri Museum to advance the place of the kauri tree in tourism and she is proud of the relationships she has built in the industry. The ‘Family of Ancient Trees’ project saw her visit Japan to see the giant Cedar, ‘Jomon Sugi’, a tree held in the same spiritual respect as ‘Tane Mahuta’. The result is reciprocal displays to promote visitation to the two regions to see the trees.

Of the many projects she has driven during her time as CEO, Betty cites the installation of a fire sprinkler system throughout the Museum as a personal best. Her most recent coup was to secure the funding for The Kauri Museum’s contribution to the WWI centenary: the first major exhibition on the forgotten, but extraordinary life of Gordon Coates, a local lad from Matakohe who became a WWI hero and Betty Nelly giving her farewell speech at the Kauri Museum later Prime Minister of New Zealand.

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MAQ May 2014