o AGMANZ JOURNAL 19.2 FORT/ETH BlHTHDAY/SSUE 1988

QUARTERLY OF THE ART GALLERIES & MUSEUMS ASSOCIATION OF NEW ZEALAND SOLUTIONS FOR COLLECTIONS MANAGEMENT

COLLECTIONS MANAGEMENT SYSTEM On—line, real—time system for the administration of Museum and Art Gallery Collections, with comprehensive facilities to greatly increase the efficiency of management of your collection.

- Simple to use cataloguing facilities. - Records the history of exhibition 0 Access to information via seven materials. major enquiry points. 0 Provides complete descriptive and - Hierarchical filing structure enabling financial information. connections of related items. - Automates conservation, transport 0 Locates all items on exhibit or and insurance requirements. in storage. 0 Supervisory and security functions.

We workas one o AGMANZ Journal 19.2 1988

CONTENTS

Cheryl Brown Editorial 2 Notes from AGMANZOffice 2 Excerpts from AGMANZ Newsletter No. 2 November 1953 3 Dr Richard K. Dell Reflections on AGMANZ 4 Mina McKenzie Forty Years On 4 Dr Terence Barrow Reminiscences on AGMANZ 5 Stuart Park AGMANZ - A Retrospect 7 Fortieth Birthday Conference April 28»29th 1988 11 1988 Conference 13 Council 1988-89 _ 25 Friday Evening. Party at Dowse Art Museum 27 AGMANZ} Corporate Plan 1988—1991 29 Barbara Moke-Sly Reflections on Conference 32 Dr Michael Ames The Democratization of Anthropology Museums 33 Dr Ngahuia Te Awe Kotuku He Whare Taonga He Whare Korero 36 Arapata Hakiwai Museums as Guardians of our Nations Treasures 37 Reports 40 Proposal for the introduction of Courses in Museum Studies 44 Bryon Farrelly Collection Management 45 Book Reviews 46 Letters 47

AGMANZ Journal is the quarterly magazine of the Art Galleries and Museums Association of New Zealand. Correspondence concerning editorial matters should be addressed to the Editor, Agmanz National Museum PO Box 467, Wellington. Copy deadlines are 20th February, May, August, and November. Published texts and extracts may be reproduced provided full recognition is given to the author and the source. Printing: Swift-Print Centre Ltd, Palmerston North. This issue was typeset and designed on the Desktop Publishing System by the Dunmore Press Ltd., Palmerston Nonh

Cover photograph: The audience at conference 1988 (Photo Les Maiden. National Art Gallery.) Editorial

This Fortieth Birthday issue celebrates the first forty years of Norman Geary, Henry Lang, Hamish Keith, Maui Pomare, AGMANZ. Dame Miriam Dell, Jack Hodgetts, James Brodie, Fred First, we look back to reflect on some past achievements. Turnovsky, Ngahuia Te Awe Kotoku and Peter Boag. Con— My thanks to those who contributed - i know that you are all gratulations. We look forward to supporting you in yourworkl extremely busy people. The Minister of Arts and Culture, Dr Bassett, tookthe op- We look at Conference which celebrated our ruby anni- portunity to announce funding for the Diploma Course at versary and, staying with some of the Conference themes, Massey University and we thank him forthat announcement. we look forward. The Diploma has been administeredthrough AGMANZ since Georgina Kirby issued achallenge in her speechto us and 1981. The Diploma Working Party has worked hard to have we must pick up that challenge. Here in the National Mu- the Diploma Social Sciences (Museum Studies) established seum, Erenora Hetet has been administering a Maori Access at Massey University. Scheme and I have asked Arapata Hakiwai who was on that Does the future look promising? Yes it does! course to contribute a piece on museums. Ngahuia Te Awe Happy Birthday AGMANZ! Kotuku talks about Maori collections and museums. I have also included an article by Dr Michael Ames who will be here in September. Cheryl Brown The future takes shape. Sir Wallace Rowling has just been appointed Chairof the lnterregnum Board of Te Marae (My thanks to Arapata for his proofreading of Taonga o Aotearoa. The Board includes Sir Ronald Trotter, the Maori text in this issue)

Notes From AGMANZ Office Cheryl Brown, Executive Officer

May Conference was a success and these visitors to Auckland, Taranaki, tactme ortheCouncillorinyourareafor manythanks tothose who participated. Wellington, Christchurch and Dunedin news, information, or to pass on your The speeches were stimulating and for workshops. feelings about AGMANZ. seem to have provoked quite a bit of Since Conference, life has been a Likewise the Corporate Plan is discussion. A special thanks to Auntie little quieter. The Picot Report and the listed in this issue - we now have aclear Bessie, the Haeta women and Welling- Royal Commission on Social Policy path to follow. ton City Art Gallery who hosted us at came out inthe same week and lunder- Since I have been in this position, i their exhibition, Whakamamae. took to read both. We are surprised that have become aware how hard Council— And so now planning is under way museums do not receive a mention in lors work for AGMANZ, so do support for the September Conference. Dr the Picot Report and the Education them. Michael Ames, Director of the Museum Working Party, convened by Cheryll I was in Dunedin recently and found of Anthropology, University of British Sotheran, will meet to discuss this. We the time spent with members valuable. Columbia and William Tramposch from are barely mentioned in the Royal My thanks for your comments and the Colonial Williamsburg Museum are Commission on Social Policy’s Report. hospitality. visiting in September. We hope to find Cou ncii met on 8 June and working The year ahead looks extremely funding which will enable some Pacific parties were decided at that meeting. busy. islanders to be present. Planning is in The list of Councillors and working its early stages but we hope to get parties for 1988/89 is inthis issue. Con—

Guest Editor, AGMANZ Journal 19:4 December 1988 AGMANZ has instituted a policy of calling for guest editors for every fourth issue of the Journal. Bill Milbank (Sarjeant Art Gallery) and Chris Jacomb, (Wanganui Museum) contributed to this scheme by editing the December 1987 issue. individuals or institutions who wish to edit the December 1988 issue of AGMANZ Journal are invited to send a summary of their ideas to The Executive Officer, Cheryl Brown. Excerpts from AGMANZ Newsletter No. 2. November 1953.

Editorial seum recently spent a week in the for the Museum as the Canterbury Museum offering practical help in a Centennial Memorial. The completion The appointment of an Hon. Editor to variety of ways. of this wing will almost double the floor be responsible for the production of a space of the present building and pro- Newsletter was authorised by the Wanganui Museum vide 7 new display galleries, a lecture AGMANZ Council at its last meeting. At hall, School Service accommodation, least four issues per year are contem- The most notable advance in recent workshops and a series of storerooms plated and it is our aim to provide coun- months has been the construction of a for the research and reserve collec- cil news, short technical notes, person- small lecture hall in the basement tions and rooms for the staff. Of an als, news or anything which will quicken which is used not only by members and estimated cost of £140,000 approxi— interest in ourwork, knit members more the public, but also by visiting groups of mately £100,000 is in hand for the closely together and in so doing con— school children. A movie projector has building andthe assurance ofabuilding tribute to the advancement of our pro— been installed and visiting lecturers permit will enable construction to be fession. For this issue the response have been invited to speak to Museum commenced in the near future after has been good but two numbers do not members. completion of the working plans. make a volume, so please send for- ward further material. Sergeant Art Gallery Dominion Museum

The Gallery has undergone renovation The first of a projected series of large Museum News throughout and consequently the set- habitat groups has recently been fin- ting for the pictures, always attractive, ished in the Dominion Museum. Meas— South/and Museum will be considerably enhanced. uring 11 feet across the front, the case has been built betweentwo ofthe pillars This museum plans to concentrate on a Hawkes Bay Art Gallery and Museum in the Ornithology wing and shows a comprehensive Maori and natural his— model of Mega/apferyx did/nus (the tory collection of the Southland area Building extensions are in progress and ‘slender moa’), a weka, two kakapo and with a special wing devoted to material .it is hoped to occupy the new block a kiwi against the background of a of early pioneer historical interest. A early in 1954. This block will comprise a limestone bluff near Lake Te Anau. diorama illustrating the Notornis is large exhibition room which will proba- Also incorporated in the case are cop» under construction by the taxidermist bly house Maori and Polynesian mate— ies of a number of snares and lures of Mr Walker and Dr Orbell, the discov- rial, while accommodation will be avail— the moa-hunter period scattered erer of Notornis. A marked improve- able below stairs forthe Royal Society, around an old campfire, and afew cave ment in the exhibition halls has been natural history displays, and a new drawings have also been included. the installation of a heating system. project in the form of an Art School. Monthly film screenings have proved A craft exhibition held during Septem- popular with the public and the cover- Nelson Museum . ber, to which exhibitors from all over age has been of varied character. New Zealand contributed, was very Mr Gordon White, who has served on The Nelson Museum which has rec- successful and included samples of the modelling and display staff of the ords relating to its origin dating back to pottery, woodcarving, needlework, Dominion Museum for over three 1841 also aims at building up collec— weaving, book—binding, printed textiles years, has resigned in order to gain tions illustrating the Maori life, natural and other craft forms. overseas experience in modelling tech~ history and early history of the Nelson niques. Province. Recently a number of new Canterbury Museum exhibits have been added. Mr C.J. Lindsay of the Dominion Mu- Building Plans. A new wing is planned Reflections on AGMANZ Dr Richard K. Dell, Director Dominion Museum 1966-1980

I must admit that my most vivid memo- tions and always seeking a method of And I can recall some ofthe difficulties ries ofthe first decades of AGMANZ abstracting some government funds we experienced in trying to find com- are of people rather than events or for the provincial museums and galler- mon ground in drawing up generally ac- issues. For me, the outstanding person ies. cepted policies on such matters as was Sir Gilbert Archey, particularly re— issues that come to mind include salary scales and conditions of employ- iterating in his calm lucid way, the the efforts we made to convince con- ment amongst what we slowly came to three-fold functions of museums, trolling bodies and Directors of the realise was a very diverse group. summed up in the three words; collec— major art galleries to take a full part in As we moved around New Zealand tions, research and education. To him AGMANZ, and the difficulties we mu~ with ourconferences, it was heartening the concept summed up in these three seum-oriented people had in under— to see the responses of local people words defined a museum and in re- standing that art galleries were “differ- outside our membership. The support verse, ifyou took one ofthesefunctions ent”. And then our delight when some which came so readily from mayors, away, you no longer had a museum. art gallery directors, trained or experi— members of local bodies and other Archey gave me, as a young museum enced overseas, such as PeterTomory local groups helped us realise that worker, a philosophical background to and Eric Westbrook used to both types people in general supported the work the whole museum movement. I sus- of institutions working together, just our members tried to accomplish in pect his influence spread to many of us, joined AGMANZ and took a full part in local communities. and, even if we didn’t always agree with our activities. Above all else, however, I remem- him completely, he made us think about Education received a good deal of ber the excitement of our early meet— our basic principles. our attention, with strong effort being ings when we found that even though I remember too, with affection and made over a long period to extend the we worked in very different institutions, respect, our Secretary, Vic Fisher, also service, particularly to smaller institu- we had so much in common, that we from Auckland Museum, ever ready to tions, and to art galleries. We struggled shared the same essential outlook and champion the rights of the individual too, to convince the education authori- faced the same problems, that we member as well as our member institu- ties that regular meetings of Education could learn a great deal from one an tions, and active in ensuring that our Officers should be held, preferably in other, and that we really belonged to a constitution, our activities and our Con- association with our conferences. We profession. From this experience grew ferences should take heed of this con- were also aware of the value of other a conviction that we needed to find cern. specialist groups such as display staff ways of convincing others of our pro— Then there was the protagonists of meeting at our conferences and also fessionalism, and thus we needed con— the smaller institutions, often extremely taking part in our more general discus- tinually to improve our own standards. effective in their harnessing of local sions, with strong support from people I have been away from close con- interest in particular, Colonel Brereton like Ralph Riccalton. tact with the affairs of AGMANZ for from Nelson, Leo Bestall from Napier 1 well rememberthe concerns some nearly a decade. Memory is of course a and, later, Max Smart from Wanganui. of us felt that in order to increase the very selective process, but as lthought And the orators, like Roger Duff, vocal membership we should try to cater, at of the earlier years of AGMANZ, l have on local issues, and in Roger’s case least in part, for the interests of our wondered how much ourconcerns may somewhat apprehensive of the influ- ordinary staff members, besides those have changed over this last period. ence of the government funded institu- of institutions and administrative staff.

Forty Years On Mina McKenzie, President AGMANZ

Forty years ago AGMANZ was incor— ‘ ing the past forty years we have wit- leries have been established covering porated to reflect the concerns and nessed a tremendous change in the many fields of interest. Specially de- meet the needs of our members and work of art galleries and museums in signed buildings have been con- the institutions in which we serve. Dur— New Zealand. New museums and gal- structed. in many of our museums and

4 Forty Years On

galleries we have incorporated envi- Yes, looking back we can say that scribing the works of other cultures. We ronmental control, sophisticated sur- tremendous developments and must examine the philosophy and im- veillance systems, and specially de- changes have taken place within the plications of the disciplines of anthro— signed storage facilities. There have museum profession and in the work of pology, ethnology, ethnography and been new developments in exhibition our museums and galleries. However,l archaeology as they affect one design and construction; lighting equip- think the key words here are ‘within the culture’s view of another. If we are to ment and techniques. We are mindful museum profession’. truly reflect the nature of New Zealand of the necessity for the proper handling For the next forty years, while we society we must open our doors and of our collections; for environmental must continue to build on the progress encourage more Maori people to enter monitoring; and for the elimination of we have made, a new and urgent task the museum profession. We must not rodents, insects, harmful fumes, confronts us. We have concentrated on be reluctantto listen tothe opinions and mould, dust and dirt. We have devel— necessary inward looking growth and concerns of the spiritual owners, and oped new methods of interpretation, we have not always been able to meet the makers of their own cultural prop— particularly our interactive ‘hands on’ the challenges of the tremendous erty. activities for education and extension changes which are taking place in our l shan’t be here atthe end ofthe next programmes. New specialities have society. We live in changing, challeng~ forty year period but it is my profound come amongst us; Extension Officer, ing and exciting times. ‘Te Maori’ gave hope that those of you who are will have Education Officer, Registrar, Conser- us glimpses of another world and ofthe been party to as profound change as vator, Designer. We have initiated necessity of the partnership with the we have seeninthe development of our training programmes for our members tangata whenua which must be forged profession and professionalism over to improve the professionalism with if we are to truly reflect our society. the past forty years. We must welcome which they meet their tasks and carry Those of us who are privileged to be change, be at the forefront of the de— out their responsibilities. We under- Maori have the added task of acting as bate and, in this rapidly changing soci~ stand the need for modern administra- bridges between the tangata whenua ety, we must be surethat we havearole tion and management systems, and and all other New Zealanders. To- to playinthe 21 stcentury. Ifwe have no ‘cost effectiveness’ and ‘market forces’ gether we must all welcome and foster relevance, our society may pass us by are among our new buzz words. We debate about the relevance of such or, worse still, close us down. have joined the computer age! words as ‘primitive’ and ‘tribal’ when de-

Reminiscences on AGMANZ Dr Terence Barrow MA. Ph (Cant.) AMA. FMANZ, ASA

Aloha to colleagues and friends in New Dominion Museum in particular, have than myself and several still remain in Zealand’s museums, and to other read- been good company. Yet my social museum work. ers of AGMANZ Journal. I trust this friends have usually been artists, writ- My maternal ancestors were early short reminiscence of my experiences ers, and potters. At times I may have New Zealand settlers. One family ar- at the Dominion Museum in the 19508 seemed a rather unsocial creature to rived at Wellington on the ship London and 19603 and my comments are of many of my contemporaries, but to tell in 1840; some came in other vessels. general interest. Reading the Journal, the truth, l found few who had any They were in Otago and Canterbury in occasional visits to New Zealand, and interest in ceramics, Asian thought, the 18503 and in Hawkes Bay by 1876. friends passing through Hawaii keep and world cultures. My father was born in Barnstaple, Eng- me more or less up to date on current The older men who were my teach- land. Unfortunately, I have no Maori an- museum affairs in my native land. ers, particularly Dr H.D. Skinnerand Dr cestor in the family tree. That would lam now 65 years of age so am free Roger Duff, were men of very broad have been of inestimable benefit, but to say what I wish about things without interests. The provincial museum di— who can select one’s ancestors? being taken seriously. Any unaccept— rectors I got along with very well and To recollect my earliest years in able opinions may be excused as attrib- always tried to help them in every way Wellington, where l was born in 1923, l utable to age, although i feel no older I could. The older men (women were have the clearest of memories of fre- than thirty years. very restricted in museum occupa- quent visits to the old ‘Colonial Mu- The men and women I worked with tions) are now all dead while those who seum’ building in the late 19205 when in New Zealand museums, and at the were my peers were usually younger Elsdon Best was still the dominant fig- Reminiscences on AGMANZ ure in that institution. He was a tall, When this decision reached me, I had ployed on ethnologist, aided by one picturesque man who dressed in a busy already obtained atemporary job at the assistant, is tothis day a disgracetothe jacket and fixed his piercing eyes on Dominion Museum, from late in 1948, authorities. Of course, times have anything or anyone that caught his at— so i thought it a good ideato hold on and changed. tention. He was also Wellington’s try to make a career of museum work. The most inspiring job I was given champion jay walker. 1 had seen him l had an intense interest in Pacific as Mr Phillipps’s assistant was to help cross busy streets oblivious to traffic peoples and their cultures. While at unpack and check the WC. Oldman while gazing at the ground. It is a sur- sea, The Pacific Islands Yearbook had Collection of Oceanic artifacts. It had prise to me that he lived to reach 75 served as a kind of bible, and I had also recently been quietly ‘smuggled’ out of years of age (he died in 1931). built up a usable library. England under the very noses of the Like many of my contemporaries, I When l trudged up Buckle Street to British Museum officials who could suffered the hardships of the Great seek work, I found the Museum was in have, and intended to, block its export Depression. During those years, as a a turmoil. Several displays were at the from England. We can thank Dr Roger boy, | amused myself by wandering on first stage of development with a public Duff and Dr H.D. Skinner, two of New foot over Wellington’s hills, about the opening date looming in the not—too— Zealand’s greatest museum directors, bays, around the winding streets. distant future. The military had occu- for securing this unique and diverse Among other habitual calls, lwould visit pied the building and the place was in a collection of Oceanic materials. the museum branch at the Farmers’ general mess. Dr R.A. Falla, the new The Dominion Museum did little to Institute Building presided over by Mr director recently arrived from the Can- secure for itself a full assemblage of Phillipps, and the Newtown Museum, terbury Museum was an ex~teacher Pacific objects. When the collection managed by Charles Lindsay, which (many museum professionals were was acquired too much was let go to was opposite the Wellington Public drawn from the teaching profession) other museums. After Mr Phillipps had Hospital. and was not a practical planner. He was made his priority selection of Maori My thirst for a seafaring career was pleased to add at least one healthy objects he was satisfied. Dr Falla insatiable. I took an apprenticeship in young man to his labour force. I was put seemed more anxious to make his the Luke Brothers marine engineering to work cleaning case glass and paint- peers happy than to expand the collec- shop at Clyde Quay. Captain Eckford ing case interiors. However, when it tions of the Dominion Museum and so kindly allowed me to work passages on was discovered that l knew my Pacific rank the institution as an ethnographi- the scow Echo and I was always about artifacts while available persons knew cal museum of international renown. l Evans Bay or the Oriental Bay boat onlythe Maori collections, l was imme- was seconded as an ex officio member harbour trying to pick up a sail as a diately made assistant to Mr W.J. Phil- of the selection committee and am the spare hand. I later turned to radio as a lipps, the ethnologist. last living member of it. l have a very means of getting away on ships. l must confess the Dominion Mu- interesting tale to tell if anyone is inter- During World War ll, from my eight- seum was at times a very depressing ested. eenth year, I served as a ship’s radio place. For one thing, staff members My problem at the Dominion Mu— officer. Among the many adventures of were obliged to sign an attendance seum was mainly in the area of salary. that phase of my life l was dumped off book by 8.00 am. before a red line was The ethnologist was excluded, until in Calcutta with malaria at the height of drawn across the page by a reluctant 1964, from being rated by the Depart- the Bengal famine and barely survived. Mr Phillipps who had, to his disgust, ment of lnternal Affairs as a Scientiston My first ship was the MV Mafua on the been made ‘Registrar.’ What it imposed the Science Grading scale. In 1953 a Pacific islands trade. This gave me at on him was the necessity of being at the BA put me in the ‘Museum Assistant’ least a glimpse of certain small islands museumbefore8.00 a.m.regardless of category at 605 pounds per year. After that were still caught in a 19th century weather. Only Dr Falla and Charles securing an MA l was designated an limbo. The Japanese attack on Pearl Lindsay owned cars. Most of us trav- ‘ethnologist’ at 785 pounds per annu m, Harbour changed all that and radically elled by tram. Poor Mr Phillipps had then on succeeding Mr Phillipps as altered Pacific history and the destiny only one eye and was generally in poor senior ethnologist (after having ac— of its peoples in a dramatic way. health, so it was all very hard for him. quired a Cambridge University PhD My post-war ambition was to set He was a wonderfully kind man and we andthe Diploma ofthe Museums Asso- myself up as a craft potter on a farmlet got along well because of many mutual ciation, London, in 1957) l was ad— in either Nelson or Hawkes Bay. l had interests. He was, in his own way, a vanced to 1,000 pounds per year. Little communicated with Bernard Leach in genuine mystic who could pass into a happened until in 1964 when I was the late 1940’s and other potters on the trance state at will — he called it ‘going advanced to ‘Scientist’ at 1,540 matter, but the Rehabilitation Depart— into the silence.’ pounds. Reluctantly, l decided to re— ment was uncooperative and decided That the Dominion Museum, now sign to take up the position of anthro— there was no future in such a scheme. New Zealand’s National Museum, em- pologist in charge of collections at Reminiscences on AGMANZ

Bishop Museum in Hawaii, with an on a terrace at the Paul Getty Museum jestic RMS Queen Mary. The previous annual salary then of US. $11,500. in Santa Monica. As a born wanderer day curiositytook metothat museum of I was the first person in the ethnol- and lover of museums, i move about as a kind called Disneyland. America is a ogy division of Dominion Museum ever often as I can. The Getty Museum is the land of surprises. to hold a university degree, and to the whim of the world’s richest man, being This evening I shall fly back to best of my knowledge l was the first a replica of the Villa de Papiri that was Hawaii to my home on a Manoa Valley New Zealand museum-employed per— covered by ashes at Heraculaneum hillside above Waikiki. I shall be wel- son to obtain a specific museology during the eruption of Vesuvius in AD comed by my Japanese wife, Hisakio, qualification after taking courses and 79. it is a fine museum packed with art and mytwo university-age sons. Life is, sitting examinations in a specific sub- treasures. The gardens are immacu- after all my complaints, not so bad. i ject (l referto the Diploma of the Muse— late and under the brilliant California can make a fair living in Hawaii as the ums Association, London). I was able sun the architecture seems very Medi- representative of a famous book com- to fit in the necessary courses and sit terranean. This adaptation of a classic pany, and as an art appraiser certified the examinations while in England. i style is far from the pseudo Greek by examination as a senior member of mention this only as a matter of inter- temples and glorified chicken coops the American Society of Appraisers, est. It illustrates how very recent the that are seen today in many countries, Washington, DC. This latter occupa— appearance ofthe present training pro— including New Zealand. tion keeps me very much in contact with grammes in New Zealand have been. Yesterday 1 visited Howard museums and private collectors. lam writing this letter as I am sitting Hughes’s ‘Spruce Goose’ and the ma- With Aloha to all.

AGMANZ - A Retrospect Stuart Park FMANZ

The Art Galleries and Museums Asso- Wellington in July 1947. ltwas attended Recreation; ciation of New Zealand is forty years by museum directors and chairmen of 2. To increase and diffuse knowledge old. So am |. So how can I possibly look controlling authorities, and by stafffrom of all matters relating to orof interest back overforty years,to somethingthat museums and art galleries large and to Art Galleries and Museums and began in the same year l was born? Yet . small from many parts of New Zealand. to assist in the spread of knowledge someone should, because a fortieth The Association arose fairly directly among the public generally; jubilee is atime for looking back, as well from a report on ‘New Zealand muse- 3. To encourage helpful relations as a time for looking forward. And at ums: present establishment and future among Art Galleries and Museums, least I have been a memberfor halfthat policy’, written by DrW.B. Oliver, Direc- their governing bodies and staffs time, since 1968. Quite a number of tor of the National Museum of New and all persons interested therein; those who were AGMANZ founding Zealand in 1944. 4. To provide means for improving the fathers (and mothers) are now dead, The Objects of the Association are status and/or qualifications of cura- though there are still many amongst us. written at the beginning of the Rules; tors and staffs of Art Galleries and I hope they have been asked to contrib— the Rules have been altered a few Museums; ute to this issue tbo. times over the years, but the Objects 5. To ensure for curators and staffs of ‘AGMANZ? — what did they ever do have not — i suspect that few people Art Galleries and Museums ade— for me? Why should I belong to that now read them orgive much thought to quate remuneration in accordance outfit? it’s very expensive, and you them. Yet even though we might word with their qualifications and the don’t get anything out ofbelonging! A things a little differently today, these service required of them; Club for Directors — they never do any- Objects are a guide to the reasons for 6. To arrange or hold courses of in— thing for the ordinary member the Association’s creation, and they struction and examinations both I wonder if that was said in 1948, or remain a good assessment of its rea- technical and administrative for cu— 1958? I recall it being said in 1968 and sons for continuing: rators and staffs ofArt Galleries and 1978, and I’ve certainly heard it said a Museums and to issue diplomas or lot in 1988. Why is it said, and how true 1. To raise the standard of service certificates of attainment; is it? given by Art Galleries and Museums 7. To affiliate with, establish relations The Art Galleries and Museums As- in their respective spheres of Art, with, become a member of or co- sociation began with a meeting held in Science, Education and Cultural operate with any Association, So— AGMANZ - A Retrospect

cial Body or combination of Asso— a development from the Small Muse- Another major achievement, albeit ciations, Societies or Bodies in New ums Fund of the Queen Elizabeth ll it one that has taken longer to reach Zealand and elsewhere having ob- Arts Council which AGMANZ admini- fruition has been the development of jectsin any way similarin whole orin stered in the 1 9608, untilthe QEll policy conservation services in New Zealand part to the objects of this Associa— towards museums changed. it is a museums. Apart from the pioneering tion'. measure of the progress that New work ofthe Auckland City Art Gallery, in Zealand museums have made to note its own gallery and with the ‘Co~Opera- (Adopted at the Annual general that in 1964, for the purposes of the tive Conservation Service’, conserva— Meeting 27th April 1948). Small Museums Fund, small museums tion was unknown in New Zealand lnthese, we see a mix of concern for were defined as ‘all art galleries and museums in 1970. A working party of museums and for museum people. in museums otherthan Auckland, Domin— the Arts Council, chaired by Keith my view, that mix of concerns is entirely ion, Canterbury and Otago Museums, Thomson and having several Associa- appropriate, and indeed is indissoluble. and the Auckland City and National Art tion members amongst its number, I have heard the comment made Galleries.’l brought down a report that lead in turn that AGMANZ is concerned with what Originally funded from Vote: inter- to a major meeting on conservation at is good for museums, rather than what nal Affairs, the Art Galleries and Muse— Takapuwahia marae, to the establish- is good for museum staff. I have heard ums Scheme now distributes funds ment of the interim Committee for Cul— the response that the Association is from the Lottery board. All of the major tural Conservation, and to the estab— also concerned for the ordinary mem— museum buildingorrefurbishing devel— lishment of the present Cultural Con- ber. But l am not convinced of the opments over the last 15 years have servation Advisory Council. validity of that opposition. Can there be received money from this scheme. However far from perfect and far anything which is good for museums Substantial amounts of equipment, from complete this process might have that is not good for their staff and other especially for audio—visual activities, been, it has seen the training of a personnel? Can there be anything that have been purchased with subsidies considerable number of conservators is good for museum personnel which is from the Scheme. Many of the smaller at facilities overseas, the establish- not good for museums as organisa- museums, and the positions of the ment of conservation laboratories in tions, as effective institutions? I think people employed inthem, would proba- most major and several smaller muse not. Surely for all those who see them— bly not exist if it was not for this ums and art galleries in New Zealand, selves as being part of the museum Scheme. and the carrying out of a significant profession (and that does not of course The non—capital component of the amount of conservation and restoration necessarily include all those who are Scheme provided travelling display work. employed by museums), anything programmes and museum training Other areas of AGMANZ activity which improves museums is to their schemes in its first few years. More concerned with the protection of heri- benefit also. significantly, following a model devel— tage have included the ongoing diav From its inception, AGMANZ has oped by Ray Forster in Otago, the logue with Government agencies over been active in trying to improve the mu~ Museums Liaison Service now works the protection of wildlife in New Zea- seums of New Zealand. And it has on a nationwide basis providing advice land and the control of trafficking in achieved some notable successes. assistance and support to museums wildlife specimens, and the protection Probably the most significant is the and art galleries throughout the coun— of historic artefacts and archaeological Art Galleries and Museums Scheme of try. Earlier forms of this service were and historic sites. Copyright, both in the New Zealand Lottery Board, that the grants to small museums made respect of protecting the rights of artists annual handing out of now some from Arts Council sources through and in protecting the interests of muse- $650,000 to support museums AGMANZ, and the Schools for Cura- ums holding copyright works has been throughout the country in their work, in tors held in a number of centres in the frequently before the Association’s their development, in their improve- 19508 and 19603. Council, particularly due to the work of ment. AGMANZ’s patient but vigour- AGMANZ not only lobbied for and Tony Murray-Oliver. The views of our ous lobbying of successive govern- initiated the Art Galleries and Museums members have been continually repre- ments, especially in the 1960s and Scheme, but representatives of the sented to those concerned with copy- early 1970s, but beginning earlier, lead Association sit on the Committee which right law in this country. Long negotia- to the establishment of the Scheme by advises the Lottery Board on the dis- tions began in the 19705 to obtain the Minister of internal Affairs Henry bursement of the funds. Almost all of Government indemnification for travel— May in 1974. Several AGMANZ Presi- the members of that Committee are in ling international exhibitions, some- dents were involved in this lobbying, fact members of AGMANZ, though thing finally achieved in the 19805. but Roger Duff was one of the most some attend the Committee represent- A major survey of type specimens in active and influential. The Scheme was ing other bodies. museums and other organisations was AGMANZ - A Retrospect conducted by AGMANZ in the 19603, tive, both in administering the available for individual members of that profes- giving rise to measures to afford better licence, and in lobbying successfullyfor sion. But AGMANZ has been active on protection for these immensely signifi— the removal of the need to obtain a several fronts which affect the member cant scientific objects. Former AG- licence. The taxation of charities is a individually. MANZ President Dick Dell was also current battle, and again one on which Surveys of existing salaries and rec- later involved in a review of that survey the Association is providing strong ommendations on desirable levels under the auspices of the Royal Soci- leadership to its members. have been a continuing concern. Both ety. AGMANZ has initiated several ma- because of the fact that museums and AGMANZ has been involved in a jortraveliing exhibitions, perhaps most their controlling authorities are able to long and arduous process of trying to notably the Cook Bicentenary Exhibi- be members of AGMANZ as well as improve the position of education serv~ tion ‘No Sort of lron’, which brought individual staff members, and because ices in museums, and especially in art artefacts collected on Cook’s voyages authorities employing museum staff galleries. Although the success rate back to New Zealand for the first time. are such diverse organisations, it has has been less than we would have The initiative and enthusiasm of Roger not been possible to develop a fixed hoped, and movement has been frus— Duff and Canterbury Museum staff, on code or salary scale. AGMANZ has tratingly slow at many stages, progress AGMANZ behalf, was the only reason however several times from the 1950s has been made. Moves to abolish the this highly successful exhibition took to the 19805 surveyed its membership existing Education Service have been place at all. The touring of exhibitions to establish what rates are being paid, resisted and overcome (at least up until has in recent years become the prov- and publishing the information so that the implementation of the Picot Re- ince of the Art Gallery Directors’ Coun— members Can understand how they port), and several additional appoint- cil, a sister organisation comprised compare with their peers, to assist ments of Education Officers in muse- entirely of AGMANZ members. them in making representations to ums have been made, following initia- The catalogue published by the As- employing authorities. The Association tives by AGMANZ. The Association sociation to accompany ‘No Sort of has also published recommended mini- has encouraged Education Officers to iron’ was one of several publications mum salary levels for different jobs in attend its meetings, by subsidisingtheir the Association has produced. Three differing levels of museum, and these costs itself, and by lobbying the Educa- ‘Guides to the Art Galleries and Muse- have proven useful in persuading coun~ tion Department to have them granted ums of New Zealand’ have been pub- oils and boards that their staff have official approval to attend. News on the lished, in 1958 and 1969, and most been underpaid. In some cases, indi- art gallery front has been less good, recently in a joint publication with vidual representations have been though there are now strong signs of a Reeds in Keith Thomson’s major book made, at the request of a particular major breakthrough in recent months, .on New Zealand Art Galleries and member. resulting from hard work by several Museums. A Manual on packaging That area of individual representa— AGMANZ people. objects in storage and for travelling tion is adifficult one, forAGMANZ is not AGMANZ has tackled a variety of exhibitions, written by Margaret Taylor, a union. However in a number of in- taxation issues, from duty on the import has been through two very successful stances, the Association has provided ofart and artefacts,andontheimport of editions. a mediation or advocacy service to a scientific specimens and equipment, to These examples aredrawn from my member who has requested it. By their the imposition of the Goods and Serv- own recollections, and from reading very nature, details of this service are ices Tax on travelling exhibitions both issues of the Association’s newsletter, not widely known, but AGMANZ Coun- into and from New Zealand. A satisfac- first published in 1952, and variously cil has tried to ensure that members tory resolution has been achieved in all styled AGMANZ Newsletter, AGMANZ know of its availability if required and these instances. The tax—deductibility News, and most recently AGMANZ requested. of monetary donations to museums Journal. That publication has been a Museum training has been a con- was a majorconcern in the 1960s which vitally important medium of communi- tinuing effort of AGMANZ. The Schools was resolved to the benefit of muse- cation between the museums of New for Curators held in the Association’s ums, while the question of tax-deducti- Zealand, and their staff and other per- first three decades, and the workshops bility of the value of donated objects sonnet which have taken their place in recent was pursued with equal vigour, without Which brings me back to a consid- years have provided highly valued positive result. Import licensing con- eration of what the Association has hands—on experience to many mem- trols on overseas purchases of works done for the individual member. As l bers of the profession, and to many vol- of art and scientific objects, now just a have said, i believe firmly that all that unteer museum staff. These Schools vague memory, was a real problem in has been done for the betterment of were funded with the assistance of the the 1950s, 19605, the early 19703, and museums is ipso facto also forthe bet- Queen Elizabeth 1! Arts Council and the one on which AGMANZ was very ac- terment of the museum profession and JR. McKenzie Trust. The courses run AGMANZ - A Retrospect to enable New Zealanders to study for AGMANZ to offer a Maori Curator’s many New Zealand museum people. and completethe Diploma of the Muse- Fellowship in 1983, and moves are in The flaws of the Diploma scheme were ums Association of Great Britain were a train to offer a second Fellowship. primarily caused by the fact that it has way of providing more advanced pro- l have mentioned above the been taught on a spare time basis by fessional training. Six New Zealand Association’s publications, and espe- people with very heavy professional museum people, I think, gained the cially its Newsletter/Journal. As a commitments already. The announce- British Diploma through this scheme, mechanism of communication, of dis- ment by the Minister of internal Affairs including Hamish Keith, Gordon persal of information and of education, of the funding of the Diploma of Social Brown, R. Fraser, James Mack, Betty the Newsletter/Journal has been in- Science (Museum Studies) at Massey McFadgen and Ian Rockel. My own valuable. Whether or not a particular University could not have been a better study for the British Diploma was also issue has anything in it you are inter- present for AGMANZ at its fortieth facilitated, in a less formal way, by ested in, there is always some piece of Annual General Meeting. AGMANZ officers. information that is important or rele- A celebration of an anniversary like AGMANZ was able to offer through vant, or it there isn’t, there will be in the a fortieth Annual General Meeting is a the Gulbenkian and Carnegie Founda- next issue. AGMANZ has been well time for congratulations, and a time for tions museum training fellowships in served by its editors, and earlier its Hon looking back at the achievements of the the 19605, and several leading mem— Secretaries, in this respect - Jan Bier- past. it is also a time to take stock, and bers of the profession today furthered inga, Wendy Carnegie, Bob Cooper, to planforabetterfuture. AGMANZ has their museum training and their careers Vic Fisher, Flay Forster, Brenda much to be proud of in what it has through this programme. Assistance Gamble, Margaret Gibson-Smith, Ken achieved. it is howeverfarfrom perfect, with overseas travel to further their Gorbey, John Malcolm and John and it can and I am sure will achieve museum experience has been pro- Maynard are names which come to my betterthings in the future. It will only be vided by AGMANZ to a considerable mind - I hope I haven’t omitted any— able to do that however, if every New numberofmembersthroughthegener- body, especially from the earlier days. Zealand museum, and all of those who ously endowed De Beer Fund. This But it was the establishment of the are museum people, especially those fund was the gifttothe Association over AGMANZ Diploma in Museum Studies who believe themselves to be museum many more than the initially indicated which saw the major advance in mu- professionals, are numbered in its ten years of Dora, Mary and Esmond seum training. The establishment of ranks. Whatever AGMANZ may or may De Beer, members of afamily with long the Diploma was the culmination of not have achieved for the museums of association as patrons and benefac— several years of hard work by several New Zealand orforthe museum people tors of New Zealand museums and art AGMANZ Council members, Keith of New Zealand, its strength to perform galleries, especially in Dunedin. Re— Thomson, Rodney Wilson, James better depends absolutely on its per— cently, the De Beer Fund has been Mack, Peter Purdue and myself, ceived strength as the organisation augmented by AGMANZ from its own among others. Many other people have which represents, or indeed which is, resources, and by the generous sup— assisted in the operation and teaching the Art Galleries and Museums of New port ot Unilever New Zealand Limited. of the Diploma, since this has very Zealand. Support from the Maori Education much been a self—help scheme. For all Happy Birthday AGMANZ! Foundation and from the Fletcher its flaws the Diploma has provided an Challenge Charitable Trust enabled improvement of museum education to

‘AGMANZ ADVERTISING Full Page $375 V2 Page $220 1A; Page $100 100/0 Reduction for four issues. Copy should be supplied camera ready otherwise provision for setting easily accomodated at commercial rates. For inside front cover or colour please contact the editor. Agmanz members less 250/0.

10 Fortieth Birthday Conference April 28-29th 1988

The manuhiri is led on to the marae by Georgina Kirby, Bil/ Cooper welcomes us on to the marae. Mina McKenzie, Emily Schuster and Marjorie Rau-Kupa.

John Takarangi speaks for the manuhiri. Ngapera Moeahu greets James.

11 Intensum/Extensum Installation, Paul ine Rhodes ! 1 988

The Robert McDougalI Art Gallery Botan ic Gardens, Christchurch P.O BOX 2626. Phone 650-915 Open daily10 —~ 4.30 .Adm‘ISSion free 1988 Conference

James Mack Kei te korero ano matau i te Reo Ran— This gathering is important. it is a President, AG/l/IANZ gatira o Aotearoa. time for celebration. it is a time to 1 986- 1 988 cherish the things we have been. it is a Ko tenei hui he hui tino nui mote kata, time when we must debate our profes— mote maumahara i nga mea katoa. sionalism so we can project a future Tena Koutou He wa motatau kite korero penei - Pera that will be exciting for us and equally Tena Koutou i o tatau Karanga nui, kia haere totika exciting for those people who use our Tena ra Koutou Katoa ano tatau mo nga tangata kei te haere institutions to make this nation grow. it mai ki nga Whare Taonga, a, is a time when we must start looking Ka nui aku mihi ki a tatau Kia tipu ano tatau he iwi kotahi. into the Pacific Ocean to see our own i huihui mai nei i te ra nei. reflection so we might know what we Kua tae mai te wa me titiro tatau ki roto really look like. He aha te mea nui o te a0? i te moana, ara, Te Moananui-a-Kiwa, He Tangatal ki o tatau whakaata kia mohio ai e Aroha He Tangatal pehea ana o tatau ahUa. He Tangata! No reira, Tena Koutou, Tena Koutou Kei te wiriwiri oku ringaringa me oku Tena Koutou Katoa. ngutu ki te korero Maori, ahakoa, ko Hon Dr Michael Basset toku Wairua kei te mohio. As my hand trembles and my lip stut- Minister of Arts and Culture Ko toku roro kua korouatia engari kei te ters with this language that my spirit kaha tonu au ki te tu. knows but my aging brain won’t learn, i E whakapono ana au ki a koutou i can still stand with pride and say that l Thank you for inviting me to address whanau au ki tenei moutere ataahua. was born of this wonderful land. Aotea- you in this, the year ofthe Art Galleries Aotearoa, nau i homai ki a au he -roa has made me what I am - there is no and Museum Association’s fortieth turanga tino nui, tino kaha hoki other placethat i want tocall home. The birthday. Anei taku Kainga tuturu. power of this land has nurtured me in The theme of your conference is this profession that is my very life. ‘The Role of Museums in Interpreting | nga we 0 mua Ko Aotearoa te mout- This land that once was the home of Culture’. I respect AGMANZ for tack- ere, te kainga o nga manu, great birds and great trees, has slowly ling such avital issue directly. Culture is o nga rakau nui been filled with concrete and there is a something that all of us are part of, but kua purupurutia ki te kohatu kua hole in the sky, but there is new resur- few of us are brave enough to try to waihotia e Horu kei roto i a Rangi. gence, spirits which have been tired are define. Ratherlikethe air around us,we being heard once more talking the lan- know it is there but we are hard put to Kei te maranga mai ano nga reo a o guage of the ancestors. This time the know what shape it takes - where it tatau tupuna, a, voice cannot be denied. begins and ends. As Ministerof Arts and Culture, lam often asked the vexed question - ‘What ‘AGMANZ WAlATA is culture?’ I don’t pretend to have the answer although I have heard it Nga Whare Taonga o Aotearoa, 0 Te Waipounamu described as everything that gives 0 ts Tairawhiti, o te Tai Hauauru meaning to life. That must come close to the mark. O te Taitokerau, o te Taitonga Culture is not just about high art Ko te Amorangi Ki mua hanging in hallowed halls, or elegant Ko te Hapai o Ki muri string ensembles, it has just as much to Te Tuturutanga mahi pono do with marching girls, hangis, hot rods O te Maori mana motuhake and hairstyles anything that gives

13 1988 Conference beauty and meaning to people’s lives. already indicated that there seems to AGMANZ also showed extraordi- It is a positive trend that museums be a consensus out there in the com- nary commitment to raising the level of and art galleries are now displaying as- munity that the Government should not professionalism in Museums by devel- pects of our culture which would once set up a huge administrative structure oping and administering a museum have been considered unworthy or for the new ministry. studies diploma. tasteless. I hope that trend will con- We do not need a costly and un- Training and education are vital if tinue. The only way our cultural institu- wieldly super-structure but some- we aretodevelopthe already high stan- tions will attract more people to them is thing streamlined and action-oriented. dards in New Zealand’s Museums and if they are seen to reflect people’s per- i hope you will be feeding in to that galleries. in that context, l am delighted ceptions of their culture. This govern- consultation process. As the largest to put on my hat as Chairman of the ment is determined to do everything it body of people in New Zealand working Lottery Board and to announce to you can to develop art and cultural activity, professionally in the arts and cultural that lottery general has agreed to fund and to encourage New Zealanders to heritage area, all of you have a contri- a Diploma of Social Sciences (Museum get involved. bution to make. You have over the Studies) at Massey University forthree To this end, I recently appointed a years played a forceful and important years. After three years, Massey Uni- small group of people, headed by Mike role in developing Government policy in versity will fund the course if a satisfac- Jarman, who have begun the process this area. tory level of student numbers is of consulting as widely as possible with You have played a major part in achieved. The Lottery Board grant will groups, organisations and individuals, getting education officers placed in amount to a total of $216,303 over to report back to me on what shape the Museums. At the moment negotiations three years. The first grant, of $64,439 planned new Ministry of Arts and Cul- are underway with the Education De- will be made to Massey University in ture should take. We are going to get partment to get further positions estab— October 1988, and the diploma will be that Ministry underway in 1990. lished in Museums and Art Galleries. offered as part of the University’s aca- There are already a large numberof Thanks to you, interactive programmes demic programme in 1989. AGMANZ Government Agencies working in the for primary school classes are now has promoted the idea of this diploma, arts and culture area, ranging from the highly developed, particularly in some so it is appropriate that this fruit of your GE” Arts Council to the film commis- regional Museums, where kids get a labours should be announced first in sion and the National Museum, not to chance to get involved in cultural activi— this forum. mention the many non-governmental ties as diverse as stone carving, print- A Diploma of Museum Studies is an arts groups that abound. ing, cooking and singing. important step in the development of The challenge to the government is Anyone who has seen some of the museological profession. This pro- to find ways of better co—ordinating and these youngsters getting thoroughly fessional, tertiary qualification will pro- developing arts and cultural activity in engrossed in, and excited by, learning vide a sound theoretical base for ad- this country. Mike Jarman will be re- about aspects of our culture, would feel ministrators, historians, archaeolo- porting to me in December. But he has optimistic about the future. gists, art historians, exhibition curators, and registrars. it should encourage more people into these professions, while also giving necessary stimulus to people already working in the field. The Lottery Board has long recog— nised the importance of Museums and Art Galleries as guardians of New Zealand’s cultural heritage. Through the Art Galleries and Museums scheme, it has granted a total of $2,650,000 to Galleries and Museums over the last five years. This further announcement is in the grand tradition. And what of the future? It is impor- tant that Art Galleries and Museums establish strong links with the people in their own town or region. The relation— ship with local Government will be par- ticularly important, since this will be The Hon. Dr Michael Bassetf addresses the conference undergoing fundamental change over

14 1988 Conference

the next eighteen months. Kl TE TANGATA WHENUA ME NGA history, on the basis of information The Government is committed to a MANUHlRl agreed upon and gathered by Tribal complete reform of local and regional elders, gathered by tribal people, so Government, designed to make it more Ki a koutou te tangata whenua tena that Maori people are inspired, and efficient, more cost-effective, fairer, koutou, Mr Minister Dr Michael Bas- where every other New Zealander or and more responsive to its community. sett, distinguish guests, members of visitor is informed correctly about Maori Central Government will be developing the Art Galleries & Museums Associa- culture. the responsibility for the delivery of a tion. Kia ora and Greetings AGMANZ — in presenting any form of culture wide range of goods and services to and oh to be 40 years of age that makes a statement about a people regional and local Government. It Celebration is a beautiful word, im- and the evolution of their culture, all would be unwise for Art Galleries and plying joyous human relationships, yet taonga should speak for themselves. Museums to ignore the implications of while we rejoice in the success of Every Museum and Art Gallery in these changes forfuture funding. They AGMANZ past deeds of 40 years with New Zealand, has been entrusted with will need to develop effective advocacy the tangata whenua, the memory and Maori taonga, that has been imbued at regional and local level to establish tributes of a long list of dedicated and with a mana of its own, named and a their claim to adequate financial re- notable people, like Te Peehi and tapu placed on them. So that all these sources. Roger Duff, many many artists and institutions are considered Wharenoa AGMANZ will have a vital role in ad— artisans come to mind, of the work that or neutral repositories, that have be- vising and assisting institutions or ad- was done, and of, the progress come the Kaitiaki or custodians of justing to the imminent reorganisation achieved, such joy must forever be Maori belongings, of gifts, of taonga, of local and regional government. tempered by the concerns of NOW. that are the mana of the Maori people. Given the way your organisation Evolution did not create two differ- These reverent Taonga were kept, has developed overthe last forty years, ent human minds, one for westerners looked after, and respected. Museums I am quite sure you will cope with the and another for everybody else. and Galleries have benefited from the changes admirably. Happy fortieth It is culture that develops certain po- reflected mana of those Taonga. birthday AGMANZ, and thank you. tentials of the human mind. Maori people have great respect for No one would care to deny that dif- the skills of people whose task it is to ferences exist. Any denial would be help in protecting these Taonga. Georgina Kirby tantamountto saying that differences in Ngaz‘i ahungunu experiences, that result from living in Te Maori different cultures and technologies have no importance. I acknowledge AGMANZ on whose THEMEzThe RoleofMuseums in Inter- What we should concern ourselves insistence and a pre condition before preting Culture with are the nature ofthose differences the Te Maori exhibition travelled over- MlHl: E te Marae, E te Whare, E te and how they are characterised. seas or in New Zealand, that the per- Whare Tapu How does the culture in which a mission of the Tribal owners of the Te E te lwi tapu o tenei rohe person is brought up affectthe develop- Maori taonga had to be sought. E awhina te lwi nei ment of thinking and learning, and are The exhibitions in USA, I saw three E manaaki ana te lwi nei the abilities to think and learn essen- of them, in New York, St Louis and San Tena koutou, tena koutou, tena tially different in cultural and racial Fransisco were artistically and aes- koutou katoa groups. thetically displayed, there was very Ki 0 tatou tini aitua kua wehe ki If this is considered and agreed to, little need for interpretation, the Te te Po we then would be confident in saying no Maori taonga spoke loudly for them- Haere koutou Haere koutou one is superior or inferior, but merely selves, and we as Maori people could Haere koutou different. do no less, but join them, speak to Ki te Hunga ora, E Kui ma, E them, but not for them. Koro ma, The Theme I was irritatingly perturbed how Te Tena koutou i tenei ra Maori was crammed into display cabi- Tena koutou i runga i te I am going to address the theme, the nets, and squeezed into unsuitable kaupapa o te ra role of Museums in interpreting Maori spaces back home here. ls that inter- No reira E nga Mana Tangata e culture. pretation, or did it highlight a need for Hui rawa Let me begin by expressing that specialised training in how to exhibit Ka nui nga mihi atu ki a koutou there is no role for Museums and Art taonga,orisittimelythat we aregetting Ka piki te ora ki a koutou Galleries in interpreting Maori culture, it a new National Museum. Tena koutou katoa. should be a role in presenting a tribal I was further irritated to hearvarying

15 1988 Conference translations by guides about the Hirini Meads is the only one. Over a are absolute minimum to ‘this earth’ of Taonga - it varied from city to city and period of fifty years there should be Aotearoa, as a fundamental principle, with the changing of the guides. dozens of Maori historians emerging. Maori people have the rightful claim to Being forced into giving an interpre- Why is it prestige and credibility is given ‘this earth’ of this country, by virtue of tation, was it because it was an honour to Pakeha writers? Unfortunately and I possession from time immemorial. to participate, or did we feel guilty to be do mean it is unfortunate that we all ‘This earth’ is the foundation of Mao- with our Taonga, or did we have to have helped to create such an atmos- ridom, the fountain from which Maori make up a good story to match the phere where Maori elders with knowl- culture and language flourish, it is our creativity of the past. edge of history, only see an ability for historian, the keeperof events, and the Maori peoplecame intheirdrovesto interpretation in Pakeha people. It bones of our ancestors. It is the source see their Taonga, and yet they and seems like 150 years of conditioning to of Maori independence: it is Papatu— most New Zealanders did not get the me. anuku; It is our Mother; it is our lite; opportunity to see Te Maori in all its Encouragement has to be made for | recommend to you that a clearly magnificence. Maori people to write the true Maori defined relationship is established be- interpretation of their past, present and tweentribalgroups and AGMANZon all Nga Taonga I Te Kainga future. relevant issues pertaining to art and cultural matters, under the partnership New Zealand must certainly have more Treaty Of Waitangi principle of the Treaty of Waitangi. Maori Taonga than anywhere else in 1 go further and challenge AGMANZ the world. Since we have so many great l have been talking about gifting and to move towards a true partnership Maori artists, artisans, men and sharing of a culture. under the Treaty of Waitangi to that of women, I have to askthe question, why The Te Maori exhibition reflected equal partners, where satisfactory is it so few are prominent in our Galler— the spirit and the principles of the methods of consultation for the inclu- ies and Museums. The New Zealand Treaty of Waitangi. Even if we go back sion of cultural perspectives, and all public has recognised Maori art why not in history of this National Museum the levels of policy making, and the sharing the Institutions too? Why is it so few late Te Peehi was held in high esteem, of resources, power and decision Maori writers are not writing tribal, he acknowledged that partnership, making within all your institutions. You Maori or New Zealand history? Why though annoyingly superior attimes, he may be doing it already, but it has to be isn’t there adequate research funding still recognised Maori Rangatiratanga. more meaningful and in real ways of as— for Maori people? Why is it younger After Te Maori, Museums and Art sistance and support to Maori people. Maori people are not encouraged to a Galleries will never bethe same in their These are the words of an English free forming interpretation of their past attitudes towards Maori people and mystic who was an artist, and a Poet, or today. Who after Sir Peter Buck has theirtaonga. I might add it is not accept— that could well apply with equal force to hadthe opportunity to write about Maori able to retrenchment. the intricate work of a carver. people? Very few. Probably Professor The Treaty advocates rights which

A great and golden rule of art as well as of life is this That the more distinct, sharp, and wiry the boundary line the more perfect the work of art The less keen and sharp the greater is evidence of weak imitation plagiarism and bungling What is it that distinguishes honesty from knavery But the hard line of rectitude and certainty in the actions and intentions Leave out that line and you leave out life itself All is chaos again

Discussion: The Role. of guest speakers individually as tollows: Jock Phillips, Director of the Stout Museums in Interpreting Research Centre and author of ‘A Culture Hon. Leslie Gandar, Chair ofthe Board Man’s Country’; for Capital Discovery Place; John Bevan Ford, Senior Lecturer in Louisa Crawley, Deputy Directorforthe Maori Studies at Massey University; Cheryll Sotheran, Chair, introducedthe Ministry of Pacific Island Affairs; and Marjorie Rau-Kupa, Ngati Mu-

16 1988 Conference

tunga of Te Ati Awa, elder who has that the indigenous people ofthis coun- includes a special concern for cultural been deeply involved with main issues try had a unique culture; that their lan— and aesthetic objectives. in Taranaki. guage must be preserved and we must The programmes will include recognise their relationship with their dance, music, ceremonies, pro— The speakers spoke in the order as set taonga. grammes in Maori, preparation of food, out above with John Bevan Ford agree— lt is with joy in his heartthus, that Mr puppets, masks, dolls, and will try to ing to speak at 10 minutes notice! Gandar takes up the task of educating interpret cultural customs, lifestyles again. His involvement as Chair in the and demand a high level of participa— ‘Capital Discovery Place’ gives him the tion. opportunity to be involved with the It is, says Mr Gandar, necessary to youth of our country. make things of the past come alive for The Roy McKenzie Foundation children. Hon. Leslie Gandar which helped to fund the MEANZ con- Can children hearthe call ofthe huia ference 1985 ‘lnterpreting Cultural it they see a stuffed one in a museum? Diversity’ also gave a seeding grant to ‘lf we truly listen we will hearthe call (The following report, with Mr Gandar’s the Capital Discovery Place. of the huia - it continues in the spirit of permission, has been edited.) The three broad principles are: the taonga that we are privileged to share with the Maori people. if only we ‘Whakarongo kite tangi ate huia 1. Traditional emphasis on things that would but listen’. Hula, huia, huhuia mai tatou’ children could participate in, as well Mr Gandar then sang a walata as look at. which had been given to him;

Years ago he read Wittgensteins ‘Phi- .N lnteractive sciences losophicus Mathematics’ - and the 3. An opportunity for the children of ‘E tu ana hau phrase that stands out in his mind is the Aotearoa to respond to our cultural E Koa ana roto saying “I am my world”. diversity. In this we need a diversity Ko nga mahi This was a moment of great truth of help, advice, and education from Ka piki ki maunga e and led MrGandarto realisethat his an— the component parts of that diver— cestors live in him, and that his ances— sity. Ka titiro ake au tors should be just as much part of a Kua eke kl te rangi person as that persons’ physical being. In the initial planning of Capital Dis- Mo nga mahi The Maori, says Mr Gandar, can covery Place, it is evident thatthe vision E arohatia nei, e tama’. teach us a lot about this concept, it is something they understand instinc- tively.

Sir Apirana Ngata wrote: E tipu e rea i nga re 0 tou ao Ko to ringa kite rakau ate Pakeha - hei oranga mo to tinana Ko to ngakau ki ngataonga 0 cu tupuna Maori - hei tiki tiki mo tou mahunga Ko to wairua ki te Atua nana nei nga mea Katoa.

(for translation see Marjorie Rau- Kupa’s speech)

Remembering that these words were spoken to a young child, the poem shows the lesson we Pakeha need to learn. It is arrogant of us to interpret other cultures when we ourselves are embarrassed to talk of our own! Mr Gandar told us that he had tried 2 to bring to Pakeha, the understanding The Hon. Leslie Gandar and Jane Komin/‘ck

17 1988 Conference Louisa Crawley Funding is an important resource. l dren. How she was able to see a won- hope they are well funded throughout derful part of Wellington on a the country. The most important func- shoestring. In their half day in Welling» Louisa Crawley introduced herself with tion is a museum which reflects people ton they were able to see three muse— a formal welcome. She thanked AG— outside the museum so that what is ums. The first one was a cricket mu— MANZ for inviting her to share her insidethe museum reflectsthe commu— seum at the Basin Reserve - cricket thoughts on the topic. She said she had nity. We need things from overseas bats, cups, photos, momentos of great looked up the dictionary definition of which reflect a large section of the games - a maritime museum at the ‘museum’ and had been disappointed people in the community but more wharf in Jervois Quay — shop models, because the definition and reality are importantly we need people who under- old maps, steering wheels, a com- quite different. She said that one of the stand the groups and items that are in pletely fitted out captain’s cabin - and exciting things about the museum is the museum reflecting the community. the Porirua Museum with yesterday’s that different people have different As a Pacific lslander and migrant we household equipment, as well as a definitions about it depending on what have few, if any, who work in museums. Colonial and Maori outwear display. they experience inside the museum. Those in the museums can attract That particular family planned what When people put technology into a other people. Iwas in a plane last week they wanted to see and went away with museum it is usually a sign that it is and was particularly interested in the a certain amount of history of this city dead. All museums can become grave— article in ‘Pacific Way’, on four New which is supposed to be windy. yards for culture but good museums Zealand cities. The first was Dunedin | used the museums well in Christ- give the objects new life as items of ontheQuiet-an article aboutawonder— church in my job as an ESL teacher. I symbolic life and educational value, ful surprise in Dunedin. Another one took some refugees from Asia outside when their utilitarian life has been su- was on — Christchurch on Wheels - all of the polytech to the museum. Some- perseded. you need is a ten speed bike. Next was one came to the class - a lonely looking “For me a good museum is what l an article on - Auckland on Deck - city male. I made the class see the New will describe to you. I do not know any of sails. Anyone without a boat is some- Zealand Maori section. They came and bad museums. A good museum is a one who is unauthentic, unworthy and they looked and they touched things. I building which is bright and beckoning. many companies will give you an expe- sawthis loner standing with his hand on lt has things in it that are attractive to rience in a boat! Finally there was Wel- the glass cabinets. He was peering look at. lt will say, ‘have a look‘. ‘Go and lington on a Shoestring — many people down with tears in his eyes. He said read all about me’. A good museum is have a preconception Wellington is ‘mine’. He felt very comfortable withthe one that is well funded, that allows staff windy and cold. It is not. There is a pre- people there. it was the first time he to do the things they want to do, that conception it is boring and expensive, smiled. He thought of his parents who they thinkthe people in that community full of civil servants. The article talked no longer lived. In the museum there need. about a parent with three young chil- was a section which was precious and special to him. We both cried. l goto the New Zealand section because there is asection i can relate to as well. This boy allowed me to learn that all those sec— tions l do not pay attention to are spe- cial to other students. Every section of the museum has a meaning to every- one who goes there. i would liketo concludethatthings in museums interpret and express cul— tures. Make them alive. l would like to express an experience l had earlierthis year at Dowse which held an excellent exhibition oftapa. l thoughtwe were the only special people who had tapa. l learnt that most pacific people have tapa. Two Tongan women were invited to demonstrate how those mats were made. It was important to make it alive. So yes, a museum has a role in inter- Louisa Craw/ey preting culture."

18 1988 Conference

Jock Phi/lips and politics this move into the study and crafts of every day life. How little we of minority groups and ordinary people know about stone masons, craft work- into a broader range of every day ex- ers ordinary people who in many Tena Koutou perience and people’s lives. Elite colo- ways enrich the physical environment nial families will have to give way. Mi- ofourown world but who remain anony— I am speaking here today as a 40 year nority groups will have to take their mous people, unremembered. I am old Pakeha and male to boot. Like your place. aware too of women’s crafts, sewing, organisation I was born in 1947 and l The most powerful museum experi- flower arranging. These things need to am holding on to the fact that being 40 ence for me was in Mexico City which is be brought into the environment of the is the most creative period of one's life. a tribute to the Indian civilisations. I museum. This means there is going to l get the sense looking around at these came away from that museum with the be, before any of these exhibitions, an posters that museums are in a period of sense of shame of coming from a soci- enormous amount of expansive and great creativity. l have found over the ety where there was a distinct and time consuming research. There needs last 3 or 4 years museums have be- precious culture we did not think mag- to be more communication between come places I enjoy going to and give nificent and without a place to act as a media in society when publishers me a sense of living in Aotearoa. i am tribute to that culture. We can broaden and people begin to write books co- speaking in the capacities of parent and the emphasis to include ordinary ordinating museum people and pub- historian. people clothes people are wearing, lishers, e.g. history of food. We could As a parent there are physical transport and a range- of issues which ask publishers to design a fascinating things any museum needs which deter- were not seen as important before, like exhibition on the history of food. mine whether they are enjoyable. is the history of food, child birth or adver- if one is going to move into specula- there a restroom, a place to change tising, the history of prisons or forms of tion and interpretation of areas, what nappies? (Disneyland provides dispos- punishment. There should be more worries me here is an individual inter— able nappies.) When one gets into the interest in the history of work. The list pretation from a particular person. That exhibits, one wants fast pace and in- could go on. lam indicating the kinds of the museum speaks with great author- stant involvement. Tactile interaction is things which seem to me to provide ity museums need not be afraid of important in exhibits rather than pas- possibilities for fascinating exhibitions. being speculative of presenting an sive observation like those in London Recreating ways of life our people can idea and signing it. Names of people where one is required to stand back in relate to in their own experience. in should be up front should be seen as awe of British creativity. terms of art, a move away from concern interpretative. This is a plea for individ- In the USA. I spent a day in a for high art and more concern with arts ual integrity. museum doing, experiencing and pushing buttons extending the whole range of one’s senses and it seems to me that New Zealand museums still have expectations that visitors are passive observers. Children respond to new modes of communication - T.V. and video games. We need to be more creative in using video games and neon lighting. in the U.S.A. the life cycle of a chicken was so effective that for the next six years my daughter would not eat eggs. My perspective as historian I am interested in jobs for my students. I believe that people trained in the his- tory of this country should see them— selves communicating in such places as the museum environment. This country has been extraordinarily defi- cient in any sense of its own country. We Pakeha people are realising the creative possibilities of our own past this move away from the study of elites Jock Phi/lips speaking to Conference

19 1988 Conference

John Bevan Ford certain). In other words let us reverse awareness that time was before aware- the cultural appropriation attitudes of ness dawned. Te Kore is the name or the past and rapidly move towards title given to that pre-awareness exis- He spoke to the Conference, thanking methods and styles of exhibition pres- tence and is appropriately ambiguous: members of the profession for creating entation based on the values and vi- meaning both The Nothing and NotThe an environment in which he could talkto sions of the people who created the Nothing. The association with Te Kore friends. works. For instance let us consider the is seen as a genealogic link but the The report that John spoke to is one implications of the following: Captain connection covers so vast a span and he made to Dorota C. Starzecka, Mu- James Cook was an English and Euro- occurs in a pre-awareness time, it is seum of Mankind, London. The report pean navigator of great renown but he referred to as Te P0. The main factor is on file forthose who would like to see is not a Maori of standing. To highlight that is transmitted through this descent it, and with John’s permission, those him or ‘his’ collection in an exhibition of and which validates it is a character or parts considered applicable to the dis- Maori works is to subtly change the feature of Te Kore, namely the invisible cussion are printed here. emphasis away from a Maori event essence called mauri whose essential toward a European perspective. in past feature in turn is creativity. Report on Visit to Study Te Maori times that view meant that our art was Awareness evolved to the level Collection pinned against a panel in a glass case where man perceived that the sky and labelled, ‘items collected by X’. arched overhead, the earth stretched It is partly because of the new develop- out below, the trees grew in the earth ments occurring in the management of Te Wairua Maori (The Questing and reached toward the sky, and he, the Maori role in this new complex (Te Spirit of the Maori) man, was in the midst. He perceived Marae Taonga O Aotearoa) as well as the fertility ofthe earth andthatthis was in the many New Zealand Museums The questing spirit of the Maori people related in some waytothe sky. in telling and Art Galleries, especially in respect took them across the Pacific Ocean to how his reality came to be he would to display concepts, that l have taken eventually settle in New Zealand where reach back into his memory to events the liberty to present you with a series every stream, valley, inlet, beach, hill or dimmed by distance and would say: of statements that reflect and partially mountain was explored and named. There was a time when all was dark— describe Maori attitudes, past and This spirit was also seen to be reflected ness as sky and earth lay in such present that impinge on the presenta- in the creative humanism that was embrace as to exclude the light. A tion of Maori work. applied to virtually every aspect of our prehuman ancestor Tane separated in so far as my own experience material culture: from small fish hooks sky and earth allowing not only for light within the Maori community goes, to large house carvings and personal and space but also for a variety of whetherthe Museum of Mankind is an clothing of old to the contemporary creative activities. Tane created the ‘ethnographic’ or an ‘art’ institution is at dress patterns and murals of today, the first anthropomorphic female by shap- present of little consequence to most art process is continually used as a ing her body out of the fertile earth and Maori people. The important factor to statement of human identity, acknow— us is that the works are things our ledgement of the ancestors and a cele— ancestors fashioned and are links we bration of the questing spiritual impulse have with those ancestors. For us it is itself. through the ancestors that we feel and in Maori society neither mana (pres- express our day to day identity and tige) nor life is taken forgranted and the sense of well being. The past is always art forms represent an endeavour to present in Maori awareness and as has continually reaffirm mana and to reflect been demonstrated so clearly during the wonder of life. The presence of the the course of the Te Maori exhibition art is the means through to the pres- through USA. and New Zealand, we ence of the past which provides a re— have a most direct and vibrant affinityto lease forthe forces which we hope may the material manifestations of our an- cope with today and tomorrow. cestors. We would hope that institu- The connection between the spiri- tions that are the present guardians of tual state called wairua and the material the works would act not only with re art forms can be found through spect toward the works themselves whakapapa (genealogy) and korero (which we feel that they do) but also tahito ~ ancient explanations. with respect to ourselves and ourvision There was first the dawning of of them (of which we are often less awareness from which evolved the John Bevan Ford

20 1988 Conference

transmitting as an agent the mauri that wairua concerned with discovering person and therefore invoking the tapu unites them. Hence she possesses the many layers of events and ideas but so associated with him and warning us not creative spirit and the creative or fertile too is Maori art for it is abstract in style to trespass on to that tapu space. body.’ (Tawhai personal communica— as well as in content. Maori art carries Highlighting ‘display’ techniques tion 1988). Maori society began to many layers of meanings and effects can with imaginative flair evoke the symbolise theconceptofMaurithrough from its on the surface specific mes- emotional context of a work — the flash- a piece of land or stone or something sagesthroughtotheexpressionofnon- ing dread of a deadly mere, the mana of that emerged from earth or stone. Fur- verbal indications of social order and an ariki in the folds of a kaitaka cloak or ther deliberate fashioning or designing emotional states of pride, wonder and in an angled comb - floating on high. these materials through the art process often a little fear. Nevertheless l must The techniques ofvisual display can be could not only focus upon particular admit that it is difficult to explain wairua made to carry many messages on their ideas, events or relationship but still without becoming trite or trivialising a own account ~ in particular messages of contained abstract qualities which concept that in the main operates in immediate emotion and feeling that eventually reach back down into the that area of the mind just before sym— explanatory notes may only partially world of primaeval evolution. Hence we bols are formed. Because symbols that reflect. ‘Context’ is not only the dimly have a lineal development toward art eternalise ourthought and feelings are glowing idealised past but also the forms that are added to the cyclical sought by the wairua is perhaps the bright sharp vitality of now. movement of the natural order of recur- most significant reason I can promote The‘highlighting’or‘art object'tech- ring forces. it is interesting to note that forthe use ofthe title I have suggested. nique need not be used all of the time the thread from which the taniko pat— and in any case it need not precludethe tern developsinthe making ofacloak is The Exhibition simultaneous showing of a quantity of called the aho. This is also a term used similar items (say to show variety of in whakapapa: Whatever else the exhibition should try single form and style). in fact quantity to accomplish it should, above all else, and variety can be used to create an aho wahine - a female line of descent concentrate attention on the works accumulative impact which maytend to aho tane — a male line of descent themselves. They are, as Ngata said of highlight one of the works and that in names (A. Ngata, the Price of Citizen— itself may reflect attention back onto An important point here is that the ship 1943) ‘charged particles... (they) the others. art act is at a distance along the chain would release forces that would invoke of events starting from the deeper the spirit of the ancestors’. They are not Light cosmic forces. Therefore the use of art only what they are and what they used forms to express people’s mana and a to be and what they were once used for Light is a factor that could well be a chief’s tapu (sacredness) allows for a - they are also a way through to the starting point for display methods, for less dangerous perception of these future in their role as models of creative light is an important Maori cultural latter yet still contains the germs of the integrity. Any contextual display used symbol: from the realms of potential deeper (more dangerous) forces. The should also support and extend their being, to the realms of night, to the human thread finds a parallel in the potential for immediate emotive im- separation of Rangi and Papa that al- material thread and could be explored pact. ‘How it was used on Mondays’, or lowed the light to break in. The creation by imaginative and innovative display ‘what it was made of’ display cases for of the stars and the partial taming ofthe techniques in this exhibition. little (or big) learners may easily trivial- sun are each elements of concepts The wairua can be thought of as the ise the meanings these taonga (treas— about light as well as part of the ancient ability of the Maori mind to make the ures) have for living Maoris. The thou- explanations of the great migrations, sorts of connections just described, sands ofMaoripeoplethatcrowdedthe the approaching seasons, and the rain- connectionsthatare part ofthecreative ‘Te Maori’ exhibitions — the largest at- bow warnings of spiritual movements. process needed to design images that tendances at any Maori or European Not only can light be used to trace the put us in contact with those ideas with Visual Arts exhibition in New Zealand, course of a Maori day but also Maori symbols that at the same time protect reacted vibrantly and actively to the eternity and poetic memory. us from their dread. Europeans would power of the works themselves and As the Maori world is a world of con- understand this as creative imagina- thoroughly endorsed the ‘high art’ dis— tinual movement, linear and cyclical, tion, especially that aspect of imagina— play methods often employed. moving light and colours can be made tion which enables us through memory The tapu nature ofthe works also in- to symbolise aspects of that world. to plan in abstract. vokes a sense of distance - as it were Even at the mundane level of spotlights The last connection I wish to make an area of emotionaltension - the same or flood lighting one can provide a between the wairua and Maori art is distance that the placing of the works space for charged particles! that of abstraction. Not only is the on an ariki achieves by identifying the Lighting cleverly used can also pro—

21 1988 Conference vide links and unifying effects that can The economy of symbol sign and we are looking at. If this is a Christian mediate between differing display sec- colour. message, then so be it, but the white tions and can create a movement be- Dislocation - an element of abstrac- feathers, peace and goodwill, signify tween them. lt can also stop us at a tion. this wairua”. particular place for a specific period of The invasion of art into almost every Auntie Marj said that we have a time demanding our attention and then form of the material culture. moral responsibility to one another release us to move to another display. whichiswhyshedoesn’tbase herargu- The following brief list are simplifica- I hope that in discussing the display ments on the Treaty of Waitangi. tions of its possibilities: under various separate headings I do Auntie Marj asked us rhetorically, if not contribute to the design of a sec- she belongsto an art cultureoraculture Light as illumination and its opposite tional concept. On the contrary it is that has art and told us that to her, lack of it. important that a holistic view of the culture is the study of the love of hu- Light moving through various inten- culture is attempted and that consider- mankind. sities. able thought be given to creating linear The Maori culture is one that treas- Light as a means of creating shad- links and other means to draw together ures wairua, expressed in the hongi. ows. all the items within one cultural and For me, the message that was Light as an awareness of colour — visual world. brought to us by this kuia was that you also coloured light. cannot separate the objects from the Light as illumination of the mind. spirit,thatwairuaisadifficultconceptto Light as an aspect of density. understand at times, but it is the secret Light as a symbol of the changing Marjorie Fiau—Kupa Ngati to unlock the understanding of the tan— natural world. Mutunga 0 Te Ati Awa) gata whenua of Aotearoa. Light as stillness. Auntie Marj ended by quoting in Mrs Rau-Kupa, orAuntie Marj as she is English the great poem of Sir Apirana Movement Concepts — often known in Taranaki, spoke to Ngata, which the Hon. Leslie Gandar the vigour and ever changing re— Conference on the importance of had begun the session with. lationships between people and aroha, emphasisingthat, inthe end, the ‘Grow and flourish during your days things can be hinted at by the people are most important. He aha te on this earth use of moving display methods. mea nui? He Tangata, he tangata, he Your hand grasping the material tangata. things of the Pakeha Space She spoketo us ofthe importance of her white feathers, symbolising peace The use of space to allow a work to and signifying her relationship with Te create its own resonances is well Whiti o Rongomai. known. In Maori society space is also a She talked of Parihaka, where the feature of tapu and mana - is a conse- prophet Te Whitibroughtthe Christmas quence and an expression ofthese - so message to the Maori people, and space carefully used, can create a emphasised again the message of conscious feeling of this in the exhibi- aroha. tion. The Maori are concerned, she said, that Taranaki will become the Texas of Art Concepts New Zealand. They are concerned for their fish and land but after all, they are There are several concepts con- concerned for ‘he tangata’. cerning Maori arts that the exhibition She explained why she went only to may be able to address. The following the closing of Te Maori in Chicago and are some of them: reiterated her distress at what Mobil is doing to Taranaki. Symmetry with its contradictory She asked how many times we had asymmetry. seen exhibition of artifacts and told us The importance of distance as an that objects were more than just arti- aspect of tapu and mana. facts. They are the wairua ofthe people The abstract style with its multiple who make them. We have, she told us, levels of meanings. such a long way to go before we u nder- The sense of commemoration. stand wairua. ‘It is the wairua question Marjorie Rau—Kupa

22 1988 Conference

Your heart buoyed up by the treas— ures of your ancestors As a diadem for your head And your spirit with the God who made all things’

Tena koe, e Aunti Mari Kei te hoki ki o korero toku ngakau.

Representatives. talk about their own institutions.

On Friday afternoon representatives from institutions spoke about their insti- Eager conference participants tution using slides. Because the ses- sion was quite informal the presenta- tions were unable to be printed here. Roger Mulvay from Otamatea Kauri and Pioneer Museum has kindly given us his speech, which will be published in a later issue. Other speakers were, Bob Maysmor, Porirua Museum, Eliza- beth Hinds, Otago Early Settlers Mu- seum, John Leuthart, Wellington City Art Gallery, Geoff Sharman, Kelly Tarlton’s Underwater World. Our thanks to them all for interesting dis— cussions. On Thursday Jonathan Dennis and his staff showed an excellent pro- gramme of films from the NZ. Film Archives. Elizabeth Hinds talks about Otago Early Settlers Museum

Pamela Lovis tions in which we work are both very AGMANZ has also been closely in- Science Technician diverse and widely distributed through— volved with establishing the museum (Entomology), out New Zealand and it would be easy studies diploma and it was therefore National Museum to become isolated. AGMANZ helps to excellent news to hear that the diploma keep us in contact through the journal course has been formalised and will As a member of AGMANZ for only 6 and by holding an annual conference at commence in 1989. months I was probably one of the which members can catch up with each Finally it is important to rememberthat newest members at the Conference. in other, exchange ideas and discuss an organisation is dependent on and celebrating AGMANZ’s 40th birthday it recent developments. can only be as good as its constituent seemed appropriate to comment on AGMANZ is also important because it members. We must therefore encour- why l had joined and why AGMANZ is enhances our status as professionals. age more people to join AGMANZ and important - at forty years of age why not At a time when rapid changes are being encourage support for our organisa— give ourselves a pat on the back after introduced by government it is essen- tion. all? tial that we do have a professional Happy 40th Birthday AGMANZ from One of the most valuable features of organisation to increase our credibility one of its newest members — and here’s AGMANZ is that it serves to keep us in and to act on our behalf in preparing to a positive, successful future! touch and better informed. The institu— submissions.

23 1988 Conference The President’s Report must be thanked for their dedication to urged to get a copy of the Corporate James Mack the Diploma beyond the call of duty. plan and participate in all levels of its There is however one outstanding indi- adoption. Tena Koutou, Tena Koutou, Tena vidual without whom the Diploma could Koutou Katoa never have been. Without whom our E toku hinengaro ano profession would have been a lesser He wa Kainga hokia mai ano Distinguished Guests place. We have showered him with all Ki nga rau murimuri aroha the accolades our profession allows. It is 1947. AGMANZ is inaugurated and Government have honoured him. Pro- My mind is like a hive of a hundred commercial television broadcasting fessor Keith Westhead Thomson. This honeyed memories, some of the really gets underway in the United States. profession stands yet again to applaud exciting, others not as palatable. I am Museums would never be the same the superlative contribution you have beholden to the Council and must pay again. In the same yearthe 200 inch Mt made and continue to make to our particular attention to the tremendous Palomar telescope was opened to the wellbeing and development. assistance given on your behalf to distant skies and human could see fur- in the last year we have also been Stuart Park by Bronwyn Simes who ther than they ever could before. in given tangible proof that we AGMANZ acted as Secretary/Treasurer with pre- Aotearoa the Wanaganella runs are capable of being a strong lobby cision, applomb and her usual bounc- aground, the National Orchestra gives force to central Government. in the ing good humour in our interregnum. its first public performance, there is the 1987 budget Russell Marshall then During the year, long serving Council Polio epidemic and Frances Hodgkins Minister of Education made provision Member David Butts resigned, to pur- dies. for five Art Galleries to be given half sue Museums even harderthan he had in 1948 the year of our first Annual time Education Officers (it was only half done in the past through his role as General Meeting saw the development what we were asking for - but the first Advisory Officer Conservation of Cul- of aureomycin, the State of lsrael, xe— time such provision had been made tural Property for the Department of rography, long playing records, holog- since the early 1960’s). Internal Affairs. We have also been raphy, the Polaroid land camera, in the Government are to be applauded on advised by Elizabeth Howland and midst of the miracles of modern sci— a couple of initiatives they have under- Michael Trotter that it is their intention ence on the international scene here in taken that will have considerable effect to resign because of pressure from the Aotearoa the Takahe is rediscovered, on our profession. full time jobs. We thank them for the Ruapehu and Ngaruhoe erupt simulta- The first of these and the only one effort they have made on our profes- neously, Mabel Howard becomes the an actuality is the formation ofthe Cul— sional behalf. Stuart Park, Ex-Presi- first woman Cabinet Minister and aerial tural Conservation Advisory Council dentofAGMANZhas beenimportantto topdressing gets underway. which is chaired by Mina McKenzie the Museum profession, and in this This instant history lesson is to pose your Chairperson elect. This council, year, he leaves AGMANZ Council, af- the question, how many ofthese impor- which is so very different to the long ter 12 years of good service. Stuart, tant discoveries are publicly interpreted term interim Advisory Council, have your articulate mind, your knowledge of in our Museums or Art Galleries? widely distributed their two draft docu- rules and your very presence will be But back to the future, with some ments on Policy and howthat policy will sorely missed. things that did getthrough in 1988 that be implemented. The second important Thanks also to all those Council are really significant for the Museum initiative is the appointment of a special members who automatically stand Profession for want of a better potato project Officer in the Department of again for another year, and thanks also crisp joke. Internal Affairs to pursue the formation to those Council members who have The most important thing to have of a Ministry of Arts and Culture. put themselves forward for another happened to our profession is the ap— While Government earns some term. Thanks also to those who have proval given for Masseyto proceed with worthy applause AGMANZ should also allowed their name to be put forward to the establishment of a Diploma. Gov- do some corporate back patting for the ballot. i wish you all well, elections ernment have made a commitment to having produced its first Corporate make for healthy organisations. an establishment grant and a three Plan. This document lays the ground To you all i say get out there and year commitment to the Diploma after for the next five years of development Wow them! Don’t forget the public will which Massey themselves will take re- for the Association. The implementa- allow you to do anything except being sponsibility. It is hoped thatthe lecturer tion of the Mission, Goals and Objec- boring. will be in place before too long so that tives will make us a stronger more the first students can enrol at the begin— dynamic organisation and lead us to— ning of the 1989 academic year. wards the 21st Century well organised There are dozens of people who and with good heart. All members are

24 Council 1988/89

President Immediate Past President Vice Presidents

Mina McKenzie James Mack Bill Milbank Sherry Reynolds Manawatu Museum Dowse Art Museum Sarjeant Gallery Auckland Institute and Museum PO. Box 1867 PO. Box 30396 PO. Box 637 Private Bag PALMERSTON NORTH LOWER HUTT WANGANUI AUCKLAND Telephone : 83951 Telephone : 695—743 Telephone : 58522 Telephone : 390-443

Council

Alan Baker Elizabeth Hinds John Leuthart Bob Maysmor National Museum Otago Early Settlers Wellington City Art Gallery Porirua Museum PO. Box 467 Museum PO. Box 1992 C/- Porirua City Council WELLINGTON Cumberland Street WELLINGTON Private Bag Telephone: 846-019 DUNEDIN Telephone : 720-230 PORIRUA Telephone: 775-052 Telephone: 376—763

Rodney Dearing Peter Ireland Anthony Saville Roger Smith M.O.T.A.T. National Library Canterbury Museum Robert McDougalI Art PO. Box 44-114 Private Bag Rolleston Avenue Gallery Pt Chevalier WELLINGTON CHRISTCHURCH PO. Box 2626 AUCKLAND Telephone : 743-000 Telephone : 68379 CHRISTCHURCH Telephone : 860-199 Telephone : 50914

Jenny Harper Alexa Johnston Cheryll Sotheran Robin Sutton National Art Gallery Auckland City Art Gallery Govett Brewster Art Gallery Ferrymead Historic Park PO. Box 467 PO. Box 5449 PO. Box 647 269 Bridle Path Road WELLINGTON AUCKLAND NEW PLYMOUTH CHRISTCHURCH 2 Telephone : 859—703 Telephone: 792-029 Telephone : 85149 Telephone 841 -970

25 Working Parties

Maori Working Party Executive Officer’s Support Mina McKenzie (convener), Bill Cooper, and Executive Offi- President, Vice President (2) and Past President cer as observer, with others co-opted from time to time.

Conference 1989 Working Party Education Working Party Bill Milbank (convener), Cheryll Sotheran, Mina McKenzie, Cheryll Sotheran (convener), Ann Betts, Sherry Reynolds, Alexa Johnston, Sherry Reynolds, Anthony Saville, and Ex- Gillian Chaplin (co-opted), Bill Milbank, Judy Wright, James ecutive Officer. Mack.

Conference September 1988 Working Party Hodgkins Fellow James Mack (convener), Cheryll Sotheran, Sherry Rey- Roger Smith. nolds, Bronwyn Simes, Mina McKenzie, Ron Lambert, and Executive Officer.

Membership Working Party Rodney Dearing (covener), Robin Sutton, Roger Smith, Bob Data Base Committee Maysmor, Elizabeth Hinds. Peter lreland (convener) and Nicola Woodhouse.

Code of Ethics Working Party Jenny Harper (convener), Mina McKenzie, Alan Baker, Sherry Reynolds and Executive Officer as observer.

Diploma Committee Jenny Harper (convener), Keith Thomson, Cheryll Sotheran, Stuart Park, and Sherry Reynolds.

Finance Working Party President (convener), two Vice Presidents, Past President, Rodney Dearing, Robin Sutton, and Executive Officer.

Communications Working Party Bill Milbank (convener), Elizabeth Hinds, Alexa Johnston, Peter lreland, Anthony Saville.

Publications Committee Bob Maysmor (convener), Peter Ireland, Alexa Johnston, Roger Smith, John Leuthart, Bill Milbank, and Executive Officer as observer.

26 Friday Evening Party at the Dowse Art Museum Theme wear red!

27 Friday Evening Party at the Dowse Art Museum

28 AGMANZ Corporate Plan 1988-1991

On 7th and 8th of April 1988 AGMANZ contact and resource people 1.3.1 .a. Research the history ofthe Council spent two days at Dawson on a tribal/regional basis by 1 Maori Curators’ Fellowship Falls, on the side of Mt Taranaki putting December 1989. and report on its success together our Corporate Plan. 1.2 To review by 31 March annu— by 1 June 1988. aily the information in the di— (Maori Working Party) Mission Statement rectory. b. Discuss ways of imple- 1.3 To review the aims and the menting training pro— The mission of AGMANZ is to repre— implementation of the Maori grammes for Maori cura- sent, to promote, and to invigorate the Curators’ Fellowship by 1 tors with the National Mu- museum profession and the museums September 1988. seums of New Zealand of Aotearoa/New Zealand. 1.4 To make provision in the pro— Project Development gramme of the 1988 Septem— Team by 1 September ber Conference for one ses- 1988. Goals sion to deal with the relation- (Maori Working Party). ship of museums and their 0. Report to Council on the Goal 1: To improve the Association’s tangata whenua. Maori Curators’ Fellowship communication with the tan— 1.5 To hold a hui/meeting in 1989 and the training pro— gata whenua of Aotearoa. to discuss the implications of grammes at the following Goal 2: To maintain and improve pro— the Treaty of Waitangi for the meetings of Council. fessional standards in the museums of Aotearoa/New (Maori Working Party) museums of Aotearoa/New Zealand. 1.4.1.a. Discuss September 1988 Zealand. Conference programme by Goal 3: To improve the communica- Strategies 1 June 1988. tion processes ofthe Associa- (James Mack, Cheryl! So- tion, both internally and exter— ~1.1.1.a. Plan the directory of con- theran and Ron Lambert) nally. tact and resource people b. Establish a working party Goal 4: To be an effective advocate by 1 December 1988. immediatelyto ensure con— formuseumsto governmental (Mina McKenzie, Alan ference contribution and agencies, controlling authori- Baker and Executive Offi- assist in organisation by 1 ties, and other relevant or- cer) July 1988. ganisations. Install computer in AG— (Maori Working Party) Goal 5: To encourage all museums MANZ office by 1 July 0. Report to the next Council and their personnel to be 1988. meeting. members of the Association. (Executive Officer) (Maori Working Party) Goal 6: To establish an appropriate fi- Report progress on the de- 1.4.1.3. Develop plans for the hui/ nancial base and administra— velopment of the directory meeting to be held in 1989. tive structure for the funding to each Council meeting. (Maori Working Party) and operation of the Associa— (Mina McKenzie, Alan b. Report progress to Council tion. Baker and Executive Offi- in September 1988. cer) (Maori Working Party) 1.2.1.a. Establish directory review Objectives procedures by 30 June Objectives 1990. Goal One (Executive Officer) Goa/s Two 1 . To improvethe Association’s com- Complete first review of the 2. To maintain and improve profes- munication with the tangata directory by 31 March sional standards in the museums whenua of Aotearoa. 1991. of Aotearoa/New Zealand. 1.1 To compile a directory of (Executive Officer) 2.1 To define the role and respon—

29 Corporate Plan

sibilities of the Association in Working Party which in- cation of AGMANZ Journal the Diploma of Social Science cludes museum liaison offi— and prepare recommenda- (Museum Studies) at Massey cers by 30 May 1988. tions. University, and report back to (Cheryll Sotheran, Sherry (Publications Working the next Council meeting in Reynolds and Executive Party) 1988. Officer) Prepare final report to 2.2 To review and publish the Report progress to Council Council by30 October 198. AGMANZ Code of Ethics by at each meeting. (Publications Working 30 October 1989. (Education Working Party) Party) 2.3 To develop by 1 April 1989 an Ensure that an AGMANZ 3.2.1.a. Establish a Communica- educational plan to comple- representative on the Mas— tions Working Party by 15 ment the Diploma of Social sey University Diploma June 1988 to identify Science (Museum Studies). Board of Studies is or be— groups with whom contact comes a member of the must be maintained and Strategies Education Working Party developed. (or is able to liaise on a (incoming Council) 2.1.1 .a. Meet at Massey University regular basis with the Edu- Report to following Council to discuss new Diploma of cation Working Party) to meeting on groups identi- Social Science (Museum ensurethatthe educational fied. Studies) including Calen— plan complements the Di- (Communications Working dar content, lecturer’s job ploma. Party) description and advertise— (Education Working Party) Devise a communications ment, admission and con— plan and report to Council tinuing AGMANZ involve- Objectives priorto 31 December1988. ment. (Communications Working (Keith Thomson, Stuart Goal Three Party) Park, Cheryll Sotheran and 3. To improve the communication Implement the communi- Jenny Harper) processes ofthe Association, both cations plan by no later Report to incoming Council internally and externally. than 31 December 1988. meeting. 3.1 To re-examine the purpose (Communications Working (Jenny Harper) and scope of the AGMANZ Party and Executive Offi~ 2.2.1.3. Redraft AGMANZ Code of Journal, and to report, with cer) Ethics by 30 October 1988 recommendations, to Council (Mina McKenzie, Jenny by 30 October 1988. Objectives Harper, Alan Baker, Sherry 3.2 to develop and implement a Reynolds and Executive communications plan to deal Goal Four Officer, Executive Officer with both internal and external 4. To be an effective advocate for to co—ordinate) matters by 31 December museums to governmental agen- Consult with members and 1988. cies, controlling authorities, and receive comments by 28 other relevant organisations. February 1989. Strategies 4.1 To submit the AGMANZ Cor- (Executive Officer) porate Plan to the Depart- Make necessary amend— 3.1.1.a Hold meeting to initiate ex- ment of internal Affairs by 29 ments to Code of Ethics by amination of scope, pur- April 1988 and to make the 1 May 1989. pose and publication of Plan available to AGMANZ (Mina McKenzie, Jenny AGMANZ Journal by 30 members. Harper, Alan Baker, Sherry June 1988. 4.2 To maintain active advocacy Reynolds and Executive (1987-88 Publications on key issues affecting muse— Officer) Working Party) ums, as they arise. Publish Code of Ethics and Report progress to follow- 4.3 To determine the require- distribute. ing Council meeting. ments for the establishment (Executive Officer. Above (1987-88 Publications and maintenance of a data— group to advise on distribu— Working Party) base about the New Zealand tion) Continue examination of museum profession by the 2.3.1 .a. Establish an Education scope, purpose and publi- first Council meeting in 1989.

30 Corporate Plan

Strategies (Bill Millbank, Mina McKen- membership recruitment and zie, Stuart Park and James marketing plan by 30 Novem~ 4.1.1.31. Distribute draft AGMANZ Mack) ber 1988. Corporate Plan to Council Distribute copies of the members by 18 April 1988. submission to Council Strategies (Executive Officer) members by 15 June 1988. b. Make necessary amend- (Executive Officer) 5.1.1.21. Establish a Membership ments on 27 April 1988. 4.2.2.3. Nominate people to hold Working Party by 1 June (Outgoing Council) watching briefs over issues 1988. c. Deliver final plan to the De- of concern to AGMANZ at (Incoming Council) partment of Internal Affairs first meeting of new Coun- Analyse AGMANZ mem— by 29 April 1988. cil. bership by 1 June 1988. (James Mack) (Incoming Council) (Executive Officer) d. Make Corporate Plan avail— Institute agenda item for Identify the needs of actual ableto AGMANZ members discussion of issues of and potential members by at the Annual General concern at each Council 30 August 1988. Meeting on 30 April 1988. meeting. (Membership Working (James Mack and Execu- (Executive Officer) Party) tive Officer) 4.3.1.a. Establish aworking party to Report to Council with e. Publish AGMANZ Corpo— plan the database and re- membership recruitment rate Plan in AGMANZ Jour— port to the Council by first and marketing plan by 30 nal issue 19:2 1988. meeting of 1989. November 1988. (Executive Officer) (Incoming Council) (Membership Working 4.2.1.a. Prepare appropriate sub— Party) mission outlining AGMANZ Objectives Implement the member- interest in contributing to ship recruitment and mar— the planning ofthe National Goal Five keting plan and review Museums of New Zealand 5. To encourage all museums and progress at each subse— and the proposed Ministry their personnel to be members of quent Council meeting. of Arts and Culture by 30 the Association. (Council and Membership May 1988. 5.1 To develop and implement a Working Party)

Members of AGMANZ Council With Albeit Stafford, the facilitator on Mt Taranaki

31 Corporate Plan

Objectives ground report for Council 0. Project AGMANZ funding by 1 November 1988 (to requirementsforthefollow- Goals Six contain information on: ex- ing three years by 1 March 6. To establish an appropriate finan- isting sources of funding; 1989. cial base and administrative struc- levels and timing of current (Finance Working Party) ture for the funding and operation funding; potential sources 6.3.1.a. Prepare a discussion pa- of the Association. of future funding; cost of peronthe amount and level 6.1 To review and assess current AGMANZ implementing of financial information and potential sources of tu nd- above action plans; as— required by Council by 30 ing, and their implications for sessment of shortfall; June 1988. the goals of the Association benefits to sponsors of (Rodney Dearing and Ex- by1 November 1988. AGMANZ activities) ecutive Officer) 6.2 To prepare short and medium (incoming Council) b. inform the Finance Work— term financial plans for the 6.2.1.3. Prepare and adopt 1988- ing Party of the financial Association by 1 March 1989. 89 budget by 1 June 1988. situation on a monthly ba- 6.3 To establish a financial man— (Executive Officer and sis from 30 June 1988. agement information system Council) (Executive Officer) by 1 September 1988. b. Make application to the De- 0. Supply current financial partment of internal Affairs statement to each Council Strategies for continuing financial meeting. support by 15 June 1988. (Executive Officer) 6.1 .1.a. Establish a Finance Work— (Finance Working Party ing Partyto prepare a back- and Executive Officer)

Reflections on Conference Barbara Make-Sly

I have been asked, by way of my Tainui profession and to be able to assess for such irony and their active attempts to Traineeship at Te Whare Taonga o myself where the profession was, and deal with it. Waikato to give an assessment of this where it was going. in the first two Inthe main i don’t thinkthat the chal- years annual AGMANZ conference. instances then, lam glad to say i came lenges offered by the guest speakers When this request was made, I was tothe same positive conclusions. it was were really taken up. It appeared that hesitant feeling that my experience and good to be there and yes l’ll stay. Tothe people were intent onlyto workthrough background knowledge of the associa- latter however, my assessment re— the primary stages. i think that this is a tion too minimal. Perhaps there was mains incomplete. pity, as such hesitancy prevented get- some other — more capable. However l remain puzzled and am still won— ting to the real nuts and bolts of the after much thought and persuasion I dering, what was the essence of the conferences theme. I also think we finally agreed. conference. Thetheme ‘... interpreting missed a glorious opportunity to dis— In doing so I give this assessment culture' has left me perplexed. The cuss such challenges in-house. Per- through the eyes of a trainee and a first term culture itself is ambiguous and haps it reflects the association’s hesi- time attendant at an AGMANZ confer— could mean one of a hundred things. tancy to really take on-board, the es— ence. Being a small fish in a big pond Therefore interpreting culture must sence of what is happening ‘outside’. gives you the unique opportunity of inevitably lead to a multitude of vari- As words like bi-cultural and multi—cul- observing from the peripherals - the ations. My observations therefore tural take on a more common usage goings on, within the swimming pool! turned to extreme irony as l surveyed and with ‘Te Maori’ as part of our most i chose to attend the conference in the obvious ‘oneness’ of the confer- recent history, these challenges will _Wel|ington for a number of reasons. ence and the profession itself. continue to arise. I wonder then, how Among them being the opportunity to This comment is not said in malice, we will cope? return home (having been born there), for l equally observed the sincerity of to decide whether to continue in this many people who had also identified

32 The Democratization of Anthropology and Museums by Michael M. Ames, Museum ofAnthropology, The University of British Columbia

Reprinted with permission from ‘Cul- ferent directions, yet all seemed to ums,transformingthem withinthe span ture’ issue VI (1) 1986 circle back to a common theme: what of several hundred years from private has been the impact of democracy on pleasure palaces of the gentry to public Administrative responsibilities at the cultural institutions, like museums, and houses of mass education. As the pub Museum ofAnthropoiogy, where l have on academic professions, such as an- lic role of museums increased, they been working at directing since 1974, thropology? came more and more to represent the have not allowed time for long field trips This question can be linked to a values and images of the widersociety. to South Asia, where l previously stud— broader issue. Museums and anthro- This has lead to a number of interesting ied. I needed a field station closer to pology are among the principle ways in developments, with profound implica~ home, a more conveniently located which a society regards or contem- tions for those who work in museums culture area. Why not, i thought, study plates itself - as all societies must do if and forthe management and use of the anthropology and museums? Given they are to have any kind of ideological collections under their supervision. my own dual location, embedded in unity - so an examination of these insti- There is no space to describe the both a museum and a university depart- tutions should tell us something about course of these developments, but i ment of anthropology, what could be the production of self-images of a soci- would like to report on two museum homlier? Here, then, is a reportfrom my ety and how they might be changing. conferences i recently attended to illus— exotic new field! Democratization is one of the as— trate the working out in the museum I began my new research program pects of the process of development or community of this democratic impulse with a simple question: what would an- ‘modernization’, thus it is aprocessthat and some of the consequences. thropology and museums look like if I is occurring in all societies around the in May and June of last yearthe Na» looked at them as if they were lndians? world, to some degree at least. Max tional Museums of Canada convened That is to say, if I looked at the profes- Weber referred to an evolutionary trend three successive conferences, each sion of anthropology and the system of towards increasing rationalization. I with about 40 participants, entitled, museums as anthropologists look at would suggest that there is a corre- rather grandiy, as ‘Consuitations ‘85’, native lndians and their communities. sponding movement, equally perva— to considerthe present and future of the This could be described as ‘doing an- . sive and directional, towards increas- Canadian museum community. Direc- thropology in our own backyards’, an ing democratization, what the New tors, curators, trustees, civil servants, anthropology of anthropology and Yorker (July 30, 1984) once referred to journalists, business leaders, and un- museums (Ames, 1979). as ‘creeping democracy’, ‘an insidi— ion representatives were invited to Field work is not too difficult to do. i ousiy infectious benevolent trend’. participate. know a lot of anthropologists and mu— The principle of democracy, that one The conference topics were suita~ seum workers; I can speak their lan- has the right to determine one’s own bly national in relevance, general in guages, more or less, except for the working and living conditions and to scope, and bilingual in presentation, as more technical jargon; and some are participate equally in decisions affect- would betit gatherings of such eminent even myfriends. (My daughtertells me, ing one’s own destiny and identity, is people, who were introduced to one an- however, that knbwing what she now one of the most powerful and corrosive other by the conference organizers as knows she wouldn’t want to marry an ideologies ever constructed, corrosive ‘the vital stakeholders in the museum anthropologist). in the sense that it can so easily pene— sector’s future’. How can we, we were There is not yet much to report. l trate the most stubborn defenses, dis- asked and asked ourselves, develop a have been looking at how anthropolo— solving other ideologies in its path. common understanding of the heritage gists assist in defining who an lndian is What consequences does this proc- mosaic and museum system in con- and what it is an indian does, how we ess of ‘creeping democracy’ have for stituency terms? What are the opportu— might think about the so-calied lndian cultural agencies like anthropology and nities and constraints, the key trends, arts, the symbolic or meta-messages museums, as it creeps over us? the economic indicators, and the social of museum exhibitions, relations be— demographics? What kind of strategic tween anthropology and museums, Democratization and Museums planning will attain best museum sce— and the democratization of museums narios, and what are the implications of (Ames, 1986). The process of democratization has these plans for key constituents? How These enquiries wandered off in dif- had a tremendous impact on muse— do we actuaiize individual and commu-

33 The Democratization of Anthropology and Museums

nity potentials? ciety; and, on the other hand, there was those of professionalization, seemingly These were all heady topics, and the small. town conference of little for the most part in harmony, as if they the stakeholders at each of the three museums and amateur workers, con— were complementary thrusts in a com- conferences spent three intense days cerned with local problems and simple mon direction. And indeed they are locked in extended and serious debate, pleasures. The language and style of complementary to some degree, and breaking only for quiet meals and brief these conferences were clearly differ- the concern for improved public service exercise periods. Each conference ent from one another. The same two is certainly one of the incentives to was brought to a conclusion by a busi- problems surfaced at both places, improve our professional capacities. ness meeting. however, and dominated much of the But underlying these two ideas lurks The second conference l attended discussion. First was the professed the potential for contradiction, waiting was the BC. Museum Associations need to become more skillful in what we like a time bomb with an unstable fuse. 29th annual meeting held in the small do, and second was the expressed At what point does the growth of profes- Okanagan town of Vernon, October 2 desire to serve the public better. How sionalism promote self-interests over 4, where I joined with about 90 other could we, we repeatedly asked our— institutional and public ones? people to consider the present and selves, become more professional, on It was easy for both conferences to future times of British Columbia muse— the one hand, and more popular, onthe proudly affirm, though in different ums. This conference chose “Commu- other. words, declarations of individual rights nications” as its theme. There was first, then, a probing ex- to culture. At the National Museums Compared with the National Muse- amination of the museum community conference we declared that the indi— ums “Consultations”, the BCMA itself, its internal constitution, its vidual has the right to determine, de- agenda was simpler, the vocabulary strength and its needs, leading to the velop and profess his or her own heri- more basic, and the issues more local - realization that, as a community of tage. At the BCMA we agreed that we one museum director, who began her professions who ‘profess’ museum should give the people more of what museum with an annual budget of workz, both amateur professors and they want. Thus, at both conferences $3.85, proudly invited us to visit her paid ones, we are ourselves respon- we explored ways of making museums new museum; a second reported on sible for how well we perform. We more accessible, more relevant to di- how his committee was building their therefore acknowledged, at both con— verse populations, more technologi- museum bytheir own hands, and would ferences, that we still need to mature in cally modern in presentation, and more welcome any help or advice; a third our understanding, to grow in our entertaining. asked how she should deal with the knowledge, and to develop in our ca- Large museums first discovered the personal conflicts between a strong— pacities to perform. general public as a population to attract willed employee of her community Considerable time was spent at in the early 19603, and there was a lot museum - the only employee, in fact - both conferences discussing profes- of discussion in the following years and an equally strong willed trustee, sional needs — topics which, bythe way, about whether and how to make muse- one of only three; the director of the seldom seem to be considered when ums — to borrow a 19803 term — more province‘s largest museum talked university anthropologists gather to- ‘user friendly”. Even as recently as 10 about how at his place they are trying to gether - such as how to improve the years ago, the museum professions rejuvenate their spirit by reorganizing governance of our institutions, how to were undecided about how popular themselves; and then the president of make training more accessible to our- their institutions should become and the association, herself from a town selves, how to become more effective how much their knowledge would ap~ smaller than Vernon, handed out grant writers and fund raisers, how to peal to the masses (Curtis, 1978: 202). apples to everyone as a gesture of articulate more clearly the public im- The debate now seems to be resolved. friendship. During the concluding ban— ages of our institutions, and how to The thrust of the 1985 conferences, quet delegates, driven like those at- promote our institutions more effec- with their noble declarations of the tending the National Museums confer- tively? Note that the focus was on im- individual’s rights to personal heritage, ences by their individual passions and proving institutional as well as the was to push museums even further bonded together by the nobility of their individual’s professional standing. lndi- along the road to popular appeal, to intentions, celebrated the conclusion of vidual and collective interests were being — to borrow another phrase from their meeting by throwing paper more closely linked together than one modern times — more ‘user driven’. airplanes and bread rolls at one an- would expect to find in a university Onthe other hand, asthose working other. setting. in museums continue to professional- On the one hand, there was the so- On the other hand, there was the ize themselves they begin to formulate phisticated performance of a national second problem: how could we im- more sophisticated notions of howthey conference, concerned with the broad prove ourservicetothe public? Discus- can best serve the public interest. issues and the major institutions of so- sion of public service ran alongside Claiming the democratic right of self-

34 The Democratization of Anthropology and Museums

control over the institutions they man- theories, methods and Margaret Mead; pologists might, therefore, learn some— age, they claim, as well, the specialized the other social sciences are increas- thing by examining what is going on in knowledge of how best to serve the ingly encroaching upon our methods and around our museums. people. They thus would like to see and, more insultingly, upon ‘our' socie- their institutions move towards being ties; and - most embarrassing of all - more ‘driver driven’ than ‘user driven’. there appears to be a growing rejection Notes There was a continuing dialogue, at of anthropology by the very people we both conferences, concerning the rela- traditionally studied and claimed to 1. Presented to the Department of tions between the professional inter— represent to the world at large. When Anthropology; University of Cal— ests of those who manage and work even the Indians no longer want us gary, October 9th, 1985. within heritage institutions, and the around, then we are in serious trouble! 2. By museum professions l refer to public interests those institutions claim The second development is one the range of traders and disciplines, to serve. The tensions between these that may threaten the very foundation both volunteer and paid, concerned two sets of interests were usually of how we go about our academic work: with the management of public mu- muted by the enthusiasm of the partici- people are questioning the traditional seums: curators of history, anthro— pants, thus the inherent contradictions privileges of scholarly research. it was pology and art; conservators; edu~ only made fleeting appearances in our once thought that the pursuit of knowl— cators and interpreters; designers; debates. They are likely to become edge was a good unto itself, and there— administrators; technicians, etc. more prominent in the less artificial fore the principle of freedom of inquiry circumstances of everyday life and was almost a law unto itself (Nason, work, however. 1981). The search for knowledge knew References no territorial boundaries. We could go Democratization of Anthropology anywhere, study anything, and bring Ames, MM. our data and ourspecimens backto our 1979 Applied Anthropology in Our What isthe situation in the profession of own laboratories and offices without Backyards, Practicing Anthro- anthropology, as it is professed in uni- restrictions. pology 2 (1): 65—79. versities? The situation is different, of Then, during the 19708, universities 1986 Museums, The Public and An- course. Academics are more insulated discovered the ethics of research in- thropology, New Delhi, Concept from public pressures, there is less volving human subjects, and required Press and Vancouver, Univer- demand on them to perform on a regu- us to pursue knowledge within certain sity of BC. Press. lar basis in such a variety of ways, and moral constraints and with the advance Curtis J. C. they seldom have to account for them- permission of our informants. The 1978 Clio’s Dilemma: To beaMuse or selves as collective units. Neverthe- ' ‘public interest’, as we can see, has to be Amusing, in, lan MG. less, there are several developments begun to exercise more control over Ouimby (ed), Material Culture worth noting. what we do. The universities face other and the Study of American Life, The first is the claim by leading Ca- public pressures as well. Are these New York, WW. Norton, pp. nadian anthropologists that anthropol- pressures increasing? 201-218. ogy is facing a crisis (ct, the London Do the recent developments in the Manning, F. (ed.) conference papers published underthe museum community, whose workers 1983 Consciousness and Inquiry: title Consciousness and Inquiry (Man— are now openly and wholeheartedly Ethnology and Canadian Flea/i- ning, 1983)). Anthropology, we are entering into a dialogue between pro- ties, Ottawa, National Museums told, is losing public interest and re- fessional interests and public responsi- of Canada. spect - it is, after all, rather difficult to bilities, foreshadow what is destined to Nason, JD. compete with the Tribal Eye and David occur in universities? i don’t know, 1981 A Question ofPatrimony: Ethical Suzuki all in one week. Governments though l doubt that universities and the Issues in the Collecting of Cul- do not listen to us; there are diminishing professions sheltered within them can tural Objects, British Columbia employment opportunities for our stu- continue to avoid the pressures to Museums Association Round- dents; growing and increasingly ran- become more responsible to public Up, No. 83, pp. 13-20. corous debate withinthe discipline over needs and interests. Academic anthro-

35 The Role of Museums in Interpreting Culture

He Whare Taonga, He come, primarily, from within this land, authority of that museu m’s region, or, in Whare Korero and are an essential part of its heritage. the case of a national or metropolitan Are Museums Fieally So, what about the future? Are muse- institution, by a consensus of tribal Necessary? ums necessary? authorities. This option offers the main- Dr Ngahuia Te Awe Koz‘uku Two possible options may be pro- tenance ofthe status quo - certainly, all posed, for museum people to think that is good about it — while empowering about, forthe decision makers to imple- the Maori community to determine how Yes, but in saying yes, we must con— ment, and for the Maori to strive to— they can participate in, benefit from, sider the relationship of museums to wards. Neitheroption is exclusive — one and ultimately direct institutional activi- the communities they serve, for it is could most certainly grow out of the ties, while still celebrating and learning surely this relationship which deter- other, andthere is no reason to assume from the taonga tuku iho within those mines their role. And we must ask, in that both could not amiably and suppor- walls. The interpretation of culture be— this bicultural environment, whose cul- tively occur, side by side. comes, in this instance the prerogative ture are they about to interpret? Opinion One is Staying with the of the makers of that culture and the ln Aotearoa, the most potentially System. This involved the Maori com- descendants of the older culture - be- critical and volatile community served munity working within the existing mu- cause culture is not a static ethnologi- by museums is the tangata whenua, seum infrastructure, ensuring that the cal artefact; it is a living, vibrant, ongo- the Maori, whose material and even latter undertakes considerable change ing experience. spiritual culture the museums have and self reassessment at a number of Option Two is Moving Right Out. been attempting to interpret for dec- levels. In all those areas affecting What about a Tribal Museum; the set- ades. After the huge impact of the Te taonga Maori — research and publica- ting up and maintenance of separate, Maori exhibition as a consciousness tion, cataloguing, purchase and acqui- marae or community based, museum raising exercise, in both the Maori and sition, photography, design and dis- facilities, with trained staff, and tribal museum communities the need for play, education, curatorship and con- programmes? clear, rational, constructive dialogue is servation - there should be Maori per— in the current stormy climate of urgent indeed. Some talking has sonnel. if there is a scarcity of qualified devolution, where economic resources started, slowly. Both sides have much Maori, then training programmes and are supposed to be directed away from to gain. For the maori, an immediate internships should be initiated on a central government and into the control proximity to the taonga, the ancestors partnership basis, to prevent any such of tribal authorities, this would seem a works, and access to historical records lack in the next generation - orthe next worthy proposal. To the Maori, cultural and archival information; for the mu- few years. Related to this is the issue of self determination is as vital as financial seum professionals, the opportunity to job interviewing panels, on which there autonomy. Tied in to the development rectify and review information and should always be Maori representa— of Kohanga Reo, marae-based cultural exhibitions, and to enrich the institu- tion, if maori collections are involved. and performing arts centres, traditional tions with an indigenous input and per- Similarly, it is essential that the govern- workshops, and the growth of ethnic spective. ing boards and decision making bodies tourism, the tribal museum could possi- Yet the Maori can claim another, of museums firmly and equitably repre— bly even become a successful up— special role in relation to the country’s sent Maori interests - an assemblage of market user—payes facility — but this is, museums; a role prescribed by the well-meaning, well—intentioned pakeha of course, a remote and long term goal. principles of the Treaty of Waitangi. gentlemen scholars,academicliberals, The Tribal museum is primarilythat This means, ideally, that the Treaty token Maori appointees, and local body - tribal - for the people of the commu- should be observed in the policy state— representatives will never be enough. nity. The Tribal museum is the place to ment and activities of all museums that There should be a bilingual and articu- care for the taonga tuku iho; to present care for Maori collections - for those late Maori presence on every museum and interpret them with sensitivity and collections remain taonga Maori as de- governing body with maori collections, pride; to love and cherish and be physi- scribed in Article Two of that covenant, in this country, as of right, in accor— cally near them; and most of all, to let whether or not they are tribally prove- dance with the principles of the Treaty, them inspire and motivate those nanced or securely identified. Whether and the mana of the aonga in these col- younger Maori coming on. Such a or not they are purchased at auction, or lections. Selection of Maori board museum would generate work, and donated by overseas collectors. They members could be done by the tribal enhance self esteem; it need not be a

36 The Role of Museums in interpreting Culture

massive statement at the very begin- of which culture and knowledge tradi- consider allthe related issues; and then ning - it need only be a few shelves in tion is yet one more. Conservation and to talk, then write, then act out and the meeting house, or a permanent safe custody of returned taonga were implement whatever you can. it is a glass case somewhere on the marae, worrisome as well. challenge. Take it. close to those buildings which are in l am aware that there are a lot of Kia Kaha, Kia manawanuil themselves intrinsically archival and institutions making agenuine and often museological, and a stunning resource heartbreaking effort to meet the Maori Suggested reading. base for a museum project. community; to involve and consult with Established museums could play a them; to facilitate access and discus- Claudia Orange The Treaty of major role in setting up trial facilities - sion; to initiate the appropriate and Waitangi, Allen & Uuwin, 1987. benign paternalism aside, they offer dignified return of kiwi and other Royal Commission on Social Policy excellent training grounds, employ taonga. Maori staff have been ap- The Treaty of Waitang/:A Discus- specialist personnel, and have the cus- pointed at senior levels; Maori advisory sion Booklet July 1987 todianship of much taonga tuku iho, groups meet in the planning of exhibi- Michael Ames ‘Free lndians from their that could be returned at the request of tions; a few institutions currently sup- Ethnological Fate: the Emer- their maker’ descendants. For surely port training schemes for young Maori gence of an Indian Point of View one of the finest gestures of cultural prospective staff. on Exhibitions’ Muse Summer interpretation is in the voluntary repa— Exhibitions have occurred on marae 1987. triation of taonga Maori, by a museum, throughout the land - some generated George P. Horse Capture Some Ob- to the tribal community. through museums, others coming from servations on Establishing Tribal There are many more issues to be withinthemaraethemselves;andthere Museums AASLH Technical discussed, and perspectives to be con— is at least one tribal museum on the Leaflet No. 134, no date. sidered, in this subject area. Repatria— drawing board. Candace Floyd The Repatriation tion is one; funding, and the training of But all that is not enough. Blues, History News April 1985. Maori staff is another. Qualifications This paper urges you to think about and credentials according to the criteria these two - and many other- options; to

Museums as Guardians of our Nations Treasures! Arapal‘a Hakiwai (contract worker with the National Museum)

‘Toi te Kupu, Toi te Mana, Toi te whenua, fe ahorangi, te tangata nga- nga ropu-mahi i whakatungia e te Whenua.’ wari i kaingakautia e te hau-tonga, 9 ts Kawanatanga, pera i te ‘Whanau hau-uru, e te hau-taparoa. He toka-tu- Paneke 0 Te Upoko-o-te lkaroa a Ki nga iwi, Ki nga reo, Ki nga mana, Ki moana koe akinga a tai, akinga a hau, Maui’, ara, Museum Access Training nga huihuinga Tangata e noho mai na akinga a ngaru tuatea. He tangata Module, Ano ra he whakaaro 9 pa aria koutou i nga parae, i nga takutai 0 Te hautu, he kaka waha nui o te pae, he ki nga Whare tiaki taonga mete mahi lkaroa-a-Maui me Te Wai Pounamu. whakaruruhau mo te iwi i nga wa ka tiakitaonga. Kati, metimata au. lwaen- Tena Koutou, tena koutou, tena koutou huri. Heoi ano ra, i tenei wa ka ganui o tera tau kua taha atu nei ka No reira koutou ra e te Kahui Ariki i te wahangu. timata au i konei i te Whare pupuri- po, haere, haere, e moe mai ra i No reira, haere ra e koro, e wehe ite taongao Aotearoa. Itaua wa he tauhou Tuawhakarerel Ka whakapukepuke ai ao, Te murau a te tini, te wenerei a te au ki nga tu—momo mahi ate whare nei. te mamae me te tangi kai roto i te mano. Ka tere te parata, ka maunu te Engari, ko nga Taonga a kui ma, a koro wehenga atu i a koutou ite ao nei. Na, ika i tana rua. Watea kau ana ko te maewhakaarineiirotoiteneiwhare he lru nga ano i nga kupu o te Waita Aroha/ turanga kau o Rehua. Ko tena te po, meatino piripono kitoku ngakau, mai ra Tangi a Ngati Kahungunu: Nau mai te Ao. Tihei Mauriorall ano. Ehara ratou ite tauhou ki ahau. ‘E to e te ra, to atu kite rua, Ki a koutou e noho mai na i o koutou Ka timata mai i konei ite marama o Ka haramai roimata, ka maringi me papa-nekehanga, tena koutou. He Hune i a au e haere ana kite Whare he wai.’ tuhituhinga tenei e rere atu i runga ite Wananga o Wikitoria. Mai i taua wa tae Ano ra, kei te huri nga mahara ki a matata-hautonga hei kawe atu ki nga noa ki enei wa ka pakake haere oku Te Okanga, te puhi o te waka Takitimu, wahi katoa o te motu nei. He korero whakaaro e pa ana kite whare taonga te taniwha no runga no raro o te tenei mo oku whakaaro ake e pa ana ki me ona ahuatanga. Ka kitea au i ngatu-

37 Museums as Guardians of our Nations Treasures! whakahaeretanga o tena tari, o tena on thinking it over for a while I thought rather, that person is transported in tari me nga whakaaro i puta ake i nga why not; perhaps my comments could time through history, reliving events kaiwhakahaere no era tari. Ahakoa te be useful and helpful to those working and experiencing the awe and power of poharatanga o enei tari he whakaaro in Museums if considered in the light of that moment. 80 it is with our national naku pea kia whakanui te putea e is an initial reaction. treasures, national inthe sensethat we Kawanatanga kia u, kia tamaua nga My work with the Museum started in can all appreciate, understand and pou herenga whakaaro ate whare nei. the month of June 1987 while I was still learn to love all that is meaningful in Nate mea kei konei nga taonga maha attending Victoria University. The op- those artworks. ‘ o te ao nei he mea whakahirahira kia portunity came inthe form of an Access The Te Maori exhibition was our awhi, kia tiaki pai enei taonga Museum Module. The Access pro- canoe into the international world. Un— motuhake kei pirau haere. gramme gave me an opportunity to fortunately however and an indictment Ki te iwi Maori he mea work in the Museum, and more impor- on us as New Zealanders was the fact whakahirahira nga taonga a kui ma a tantly to gain valuable experience. The that ourartworks had to leave the coun— koro ma. He mauri totena, totena. Tera Access module was and still is a suc- try before the majority of New Zealan— pea ka kitea te motuhaketanga me te cess, because of the kind permission ders could appreciate and respect our ahua tapu o o tatou taonga. Kei nga and foresight of the Director, John artworks as ‘art per se’. Nevertheless whare pupuri-taonga o Aotearoa i Yaldwyn, in allowing this kind of pro- they did travel and those who were mararatia enei taonga a te Maori, en- gramme to operate in the first instance. touched were enobled by the experi— gari hoki, ka tu-mokemoke te nuinga o Although the number of real jobs that ence while those who failed to be in— ratou kaore he whare pai mo ratou can be created as a result of this pro— vited feltthat they had been deprived of kaore he aroha mo ratou. Nate aha i gramme is rather limited, the benefits something good (Mead 1985: 12). pera ai? He patai nui tonu tenei. for the Museum must be regarded as What the Te Maori exhibition showed Ki ahau nei me korero ano taua tahi immense, rewarding and beneficial. As Museums throughout N.Z. was that ‘art te iwi Maori me te iwi Pakeha kia N.Z. moves through to the end of the is for people, is about people, and is whakakotahi ai o tatou whakaaro, kia twentieth century let the hope be that people’ (ibid: 13). A carving is not just a orite ai te kakau o te hoe i waenganui o the museums throughout the country carving, a beautiful example of Maori te ao turoa nei. lna hoki ra me can reflect a more culturally diverse craftsmanship, it has meaning and whakarahi ake te tokomaha o nga workforce. Given this foundation, let reality. Meaningful inthe sense that we Maori kei ngawharetaonga. Mehemea me now talk about a few ideas that have treat our artwork as part of the human ka tutuki tenei ahuatanga ka tipu haere grown as a result of working at this element and reality in the sense that te aroha mai o te iwi Maori ki nga whare Museum. they are very much an integral part of taonga. l a au 8 mahi ana i konei ka Museums serve a critical role in our our identity as Maori people. As Sid kitea au te ahua whakahihi o etahi society by preserving and interpreting Mead so aptly puts it ‘They are anchor tangata ate whare nei! Pohehe ai ratou our culture and heritage. Concurrently points in our geneologies and in our kei a ratou ke nga korero tika, mo 0 therefore, is it not justifiable to say that history. Without them we have no posi- tatou taonga, nga Korero, mo 0 tatou the ‘collections’ housed in our muse— tion in society and we have no social hitori, mo nga ke ranei. ums are the very essence of museum reality. We form with them the social Ki oku whakaaro ma matou tonu te practice? As guardians of our nation’s universe of Maoridom. We are the past iwi Maori e Kawea nga kaupapa Maori cultural heritage museums have a re— and the present and together we face itetuatahi, a, kote hunga Kiri-ma etiaki sponsibility not only to themselves, but the future’ (ibid: 13). So the question e awhina. Ko te tino awangawanga o te more importantly to the people whose now is what relevance has this to do whare pupuri taonga o Aotearoa, ko— artworks are regarded as very much with museums? The answer is simple. tenei: Kei runga te korero; kei raro te ‘alive’ and ‘speaking’. The commitment to the care of the rahurahu. Ahakoa nui rawa nga korero The care of collections is the pri- collection is paramount to a museum if i puta mai i nga komiti-whakahaere o te mary responsibility of all museums. it is to have the respect of the people. A whare taonga kaore i whakamana ai The museum collections through museum has a responsibility and duty era korero. He aha te take mo tera? out N.Z. represent a unique and irre- tocareforthose collections.Amuseum Kati, inaianei ka huri kite reo ingarihi. placeable national resource and treas~ which pays lip—service to this is a mu- When Cheryl first approached meto ure. Formany,these nationaltreasures seum which defies everything that a write an article for AGMANZ my first cannot be given a monetary value, museum should stand for. it is a cold reaction was one of disbelief and rather, they are looked on as being and hurtful fact that the conservation shock, disbelief because l considered imbued with a life-force and spirituality and care of collections have taken a myself still very young in relation to the all of their own. If one is to look at an backseat to other more visible activities many workings of the Museum and to artifact (to use a cold term) one sees as museums have struggled to meet the many people working in it. However more than a 3-dimensional figure, increasing operating costs and limited

38 Museums as Guardians of our Nations Treasures! resources. However, if we are to be agreement when they say ‘When the to the maintenance of purpose in life. called guardians and caretakers of our institutions we are considering are Without it we would lack all sense of nations cultural heritage let us showthe those charged with the custody and continuity, all apprehension of causal- commitment and thrust in that direction display ofthe heritage, even such inno- ity, all knowledge of our own identity’. and not merely hide behind closed cent errors as misplaced priorities can No reira, me mutu au i konei. Kati ra mo doors while our ‘supposed’ treasures be extremely costly and damaging, not tenei wa. rot in deprivation. Commitment here is merely to the institutions but more the key word. Let us be true to our- broadly to the public interests they Bibliography selves so that we can truly say we are serve’ (Lord/Dexter1983: 3). a good museum. If a museum refuses Given the nature of the problems Lord, B. & Dexter, G. Planning our to recognise this important prerequisite that exist and the relatively logical way Museum, Nat. Mus. of Canada, then this is a museum that openly de- in remedying it let the museums take 1983. fies our sense of worth as people and the lead with regard to the humanities, Mead, 8. Te Maori: MaoriArt from New more importantly the meaning we take let the museums forge ahead with sin— Zealand. Harry N. Abrams, Inc, from our past as a reference point for cerity, respect and love for our national New York, 1984. the future. treasures. I refuse to believe that we as Mead, S. Triptych Mag. Asian Art Mus. Many articles, papers and books humans have no sense of history, no M.H.de Young Memorial Mus. have been written on museum collec— alignmentwithourpast.To concludelet June-July 1985. pp. 11-18. tions and the need, in the first instance, me quote some words of wisdom of Thomson, K.W. Art Galleries and to adequately and respectfully care for David Lowenthal as afitting finaleto my MuseUms in NewZea/and. A.H. & them. Sadly howeverthese ideas have thoughts and opinions on museums. A.W. Reed Ltd, Wgtn, N2. 1981. not been heeded. ‘Awareness of the past is essential The crux of this paper is to inform the reader of the vital importance, the need, the urgency, the prerequisite to any good museum to move with the wairua (spirit) that our artworks de- serve. This must be a major priority. Acrylic Display Cases What’s the point in having a number of good displays while at the same time By New Zealand’s Top Fabricator our nations cultural heritage is rotting away in the many basements through- Display Covers made to any Dimension out the country! From one off to major exhibitions if the museums want the respect of An“ Covers the people then is it not fair to ask that Floor Cases the museums show respect for them, Wall Cases as expressed through their artworks? Display Stands The conservation of objects or rather lack of it is not a new phenomenon. Prof. Keith Thomson in his book ‘Art Galleries and Museums in N.Z.’ quotes a passage from the 1975 publication in Museums in Australia (lCOM) in that ‘the conservation of objects as a prime function certain famous museums in Europe and North America are not really museums; too many of their treasures are quietly decaying in their galleries and storerooms’ (Thomson 1981 : 3). further on he also says that it must be admitted that numerous New Zealand museums both large and Multi-Styles Displays Ltd. small, might well be excluded for the 8 Woodruffe Ave., Henderson, Auckland. same reason. The National Museums Phone Rex Young 8868962 of Canada Association are also in

39 Repofls

Panbiogeogra hy Panbiogeography asks, and attempts the philosophies of museum work, Symposium heldoat the to answer, the question, ‘Do earth and rather than practical techniques. Lec- National Museum life evolve together?’ tures covered the history of museums by Elizabeth Knox As a collaboration between geology and philosophies of collecting, conser- and the life sciences, Panbiogeogra— vation and exhibition. There was little phy is interdisciplinary and is still trying mention made on the course however New Zealand’s first symposium on to develop a new co-operative lan- of educational philosophies. As educa- Panbiogeography was held at the Na— guage and methodology. Many of its tion is now usually seen as museums’ tional Museum on the 9th and 10th of methods of investigation have been main function, this is a serious omis— May. The fifty-seven scientists attend- made possible bythe use of computers sion. Other than simple techniques to ing heard, throughout the two days, the to process vast amounts of informa- assess what the public have learnt, presentation of 14 papers on and re— tion. Using computers it is possible to there was no comment about “hands- lated to this new approach to the life be less selective with data, therefore to on" education, interpretation or teach- sciences. create more representative pictures of ing visitors. Our class did, however, Panbiogeography is, fundamentally, a whole living systemsin space/time. Yet have glimpses of ‘lecture—style’ educa- new philosophy of numerical taxonomy another example of technology chang- tion techniques on visits to museums in - the classification of plant and animal ing the ways in which we are able to Czechoslovakia. This may not be the species. lt is the study of plant and look at our world. chance to investigate the latest theo- animal distributions and the geographi— ries in museum education. cal factors that govern those distribu- The course had a traditional Western tions, all in reference to evolutionary orientation. The theories mentioned for theory. collecting and exhibition had been Darwin proposed that species would Re ort on Icon Summer developed for use in European and disperse from a point of origin. Scien- Sc 00/, Czechoslovakia, American situations and assumed a tists since Darwin have been finding 1987 homogenous public. It would have imaginative ways of explaining species Cindy Li/burn — Registrar been helpful forthe Ethiopian or myself dispersal, all the time sure that plant Manawatu Museum in the class to discuss museum theory and animal dispersal philosophy and when faced with an illiterate or multicul- methods of study must differ, since tural population. These problems were animals are generally more mobilethan As AGMANZ is advertising the second barely touched on in our lectures on plants. Darwinism and its heirs talk ICOM Summer School, to be held in new museology. about competition between organisms Brno, Czechoslovakia, l felt this would The course also appeared to be ori— and colonisation by organisms of other be an appropriate time to comment on ented more to history museum staff ecologies. Apparently many panbio- the value of the course, as l found it, in than art galleries. This was most no— geographers criticisethis view ofevolu- its inaugural year. ticeable in the first part of the course tion and species distribution as not The fourweek coursewas run by ICOM with lectures on collecting which talked merely unrepresentative - for ideas of in conjunction with the Department of about acquiring a sample of the real ancestral areas (almost invariably in Museology at the University in Brno world, but not collecting on aesthetic the northern hemisphere) from which (who usually run afouryeartulltime Di- criteria. Lectures on exhibition planning organisms disperse are hierarchical, ploma course). During the week we used examples of history museums dynastic, linear and imperialist. A way attended lectures, with one hour a and only a third of the institutions we of viewing the natural world dictated by week for a seminar in which we were visited were art museums. western culture. invited to discuss and question what we it is possible that as this was the first Panbiogeography concerns itself with had learnt. On weekends we visited year of the course, the emphasis will be the dispersal of organisms according to various museums throughout Czecho- rectified this year. the movements of the earth’s crust. slovakia, and also had the Museology These problems aside, the course had There is, apparently, no correlation Department library available. many worthwhile points. It provided a between the kind of organism studied, The course turned out to be largely basic but thorough summary of mu- what sort of ecology it has, and its theoretical with an emphasis on tradi- seum theory, and also gave the oppor- ability to disperse over barriers tional European museology. This is in tunity to examine many different mu- (oceans, mountain ranges etc). line with the aim of the course, to each seum traditions.

40 Repons

As can be seen from the summary of of private and publicfunding. When one ery of New Zealand. The 1988 confer- the course, it covers all the essential sees the use ofthe museum system by ence brought together a number of theory included in museum textbooks. the Czechoslovakian government for speakers from a variety ofdisciplinesto I had almost completed the New Zea- socialist propaganda, the implications review current evidence on the date of land Museum Diploma course and of political influence on museums be- first settlement of New Zealand, the found the Summer School summarised come obvious. likely source from which the first set— much of what I had learnt already. In conclusion, I found the lCOM Sum— tlers came, and the question of multiple There were, however, some museol- mer School a basic but thorough mu— settlement » whether there were a ogical approaches new to me. Most seum theory course. it covers all of the number of successful colonising expe— notable was the concept of ecomuse- traditional essentials also in the New ditions rather than merely one. ums, and the information science Zealand Diploma course, with the addi— The conference opened with the analysis of the messages museums tion of reference to new museology and formal welcoming of participants to the presenttotheir public. Lectures on new information science approaches. It also University marae. After the powhiri, museology also provided some radical provides an opportunity to compare a master carver Paki Harrison spoke thoughts on the place of museums in mixture of museum styles. about the symbolism of the whare the future. These topics were only The course is likely to continue its tradi- whakairo and its carvings, and partici- briefly mentioned in the New Zealand tional history museum orientation, and pants were then able to wander freely Diploma course, in my years as a stu— therefore may not be as suitabie for art and admire this magnificent house. dent. gallery staff or someone after radical The conference dinner, later in the The informal learning was as important museum theory to handle New week, was a splendid ‘hangi buffet’ in as the formal education. The Summer Zealand’s multicultural situation. Oth- the whare kai at the marae. The partici- School brought together students from erwise I would recommend it is an pation of the Maori studies section of the museum profession throughout intensive course fora person starting in the Anthropology Department in many Europe and even further afield. This the museum profession here, with aspects of the conference was greatly made it enlightening comparing and some practical experience, but lacking appreciated. contrasting different types of muse- theoretical knowledge. Formal sessions began with a paper ums, their problems and solutions. On i would like to thank AGMANZ for the on Maori cosmology by Cleve Barlow. the course last year, for example, was financial support which made this term The planned companion piece by Peter a curator from Ethiopia, who must work at the lCOM Summer School possible. Adds on Maori views of archaeology in a country with war and famine and an and history was deferred until later in illiterate public who speak 26 different the week, thanks to the closure of languages. Discussing his problems Wellington airport. meant defining the essentials of a mu- We then turned to a vital aspect of seum. Maori Origins Polynesian colonisation, voyaging. The visits arranged to local museums Janet Davidson — Ethnolo- Geoff lrwin expounded a most convinc- are also most educational. We were g/st - National Museum ing voyaging strategy of search and guided through a wide variety including return, which explained how the Poly- natural history, open-air and folk—life nesians pushed ever eastwards by museums, archives, and centres to About 160 people gathered in Auckland exploring up wind, knowing they could house local archaeological finds, in in May to discuss the perennially popu- turn and run homewards. This would addition to the usual history, technical lar topic of Maori origins. The theme of even enable them to reach South and art museums. For art gallery staff, the conference was set by Dr Doug Sut- America and obtain the kumara. How- there is the possibility of viewing some ton, Senior Lecturer in Prehistory in the ever, the discovery of New Zealand of Europe’s best medieval and Renais- Anthropology Department, Auckland would not be readily accomplished in sance art as well as Czechoslavakia’s University, who last year published a this way and so the settlement of New crafttradition in glass andceramics. All controversial paper arguing that New Zealand and eventually ofthe Chatham these institutions are of high profes- Zealand may have been settled much Islands could be significantly later than sional standard (if somewhat staid in earlier than is generally supposed. the colonisation of the rest of Polyne- Czechoslovakia) and offer features There are now several radiocarbon sia. Other contributions on this impor— that could be used in New Zealand dates from the Marquesas and Puka- tant topic were a demonstration by museums. puka which suggest that some or all of Garry Law that it is statistically improb— Czechoslovakia itself provides an inter- the central East Polynesian Islands, able that New Zealand, Hawaii and esting contrast between its state-sup— the traditional homeland of the Maori, Easter Island were each discovered ported, tightly controlled museum net— were settled morethan 2000 years ago, only once, and a public lecture by Den work and New Zealand's own mixture opening the way for an earlier discov- Finney from the University of Hawaii

41 Repons about the voyage of Hokule’a to New interesting possibilities forfurtherwork. Seattle acted as discussant for the Zealand. Helen Leach discussed plants, plant sessions and chaired a final panel dis- in the session on linguistic evi- names, and techniques forgrowing and cussion which, not surprisingly, failed dence, Bruce Biggs rather sadly con— processing plants in New Zealand and to reach consensus on any of the is- cluded that he can find no evidence to elsewhere in Polynesia. The distribu- sues under consideration. A secret support a particularly close relationship tion of dogs in Polynesia was reviewed ballot at morning tea time on the final between New Zealand Maori and either by Liz Hudson. The failure to introduce day revealed that while most people Cook Islands Maori or Tahitian, while pigs and chickens was discussed as a favour first settlement around A.D.800 Ray Harlow more optimistically sug- possible argument against multiple or 1 000, at least a few supporters could gested that there may be features of settlement and Matt McGlone made be found for almost any date between Maori dialects which indicate connec- the interesting suggestion that it might about A.D.200 and 1400. tions with various parts of East Polyne- be easier to date the arrival of Polyne- Not content with this feast of data sia, in particular between the southern sian rats in New Zealand than the arri- and speculation about Maori origins, dialect and a Marquesic language, and val of people. participants found time for field trips, the North Island East Coast dialect and Most of the papers which consid- and a half day session on historical and Cook Island languages. Ross Clark ered the date of first settlement fa— text aided archaeology. Most partici- reviewed what little is known of the voured a date not more than 1000 pants seized the opportunity of a day Moriorl language and concluded that it years ago and, if anything, a more trip led by ian Smith to Motukorea was a separate language, ratherthan a recent date. Among these were papers (Browns Island), the nearest of the Maori dialect, but was most closely by Matt McGione and others present— Hauraki Gulf islands, while a vigorous related to Maori. The urgent need for ing a southern perspective, by Bruce minority followed Bruce Hayward to more work on Maori dialects was McFadgen on North island coastal view historic sites of the kauri timber stressed both in this session and in sections, by John Coster on the far industry in the Waitakeres. Some en- later papers. north and by Tony Walton on the Wel- thusiasts also went with Rod Clough to The evidence of physical anthropol— lington district. These all dealt to some view the recently excavated site of ogy was also inconclusive; a paper by extent with radiocarbon dates. Pat Pollen’s brickworks at Avondale. Phil Houghton restated the East Poly- Grant showed that episodes of erosion Both the Auckland Institute and Mu— nesian connection and a paper by and deforestation during the period of seum and the DOC Auckland Regional Graeme Woodfieid and others on se- human occupation of New Zealand Archaeology Unit hosted evening func- rological data emphasised the exciting (however one estimated that period) tions. Participants were most apprecia- potential of this field but underlined the were merely the tail end of a series tive of the opportunity to view the enormous expense of some of the extending back many thousands of Museum’s Maori and Pacific galleries newly developed analyses. years. and the new carving store, inspect the Reviews of recent work outside The principal supporters of early new premises of the Regional Archae- New Zealand focused on the Cook Is— settlement were Susan Buimer and ology Unit, and enjoy the hospitality of iands, with papers by Kaz Katayama on Doug Sutton, both ofwhom hopeto find both institutions. Japanese studies in physical anthro— archaeological evidence of early settle- pology, and by Richard Walter on ar- ment in Northland, although not, appar— chaeological fieldwork on Mauke. Suit— ently, in the same places. Ray Hooker able conditions for the launching of a presented an impressive amount of Techno/ogy : Education successful voyage of discovery to New Archaic evidencefromthe South island and Entertainment Zealand seem to have existed in the west coast. Although this evidence falls Judy Ho Ie — Education Cook islands between 600 and 1000 within the accepted time span of New Officer — aranaki Museum years ago. There will be considerable Zealand prehistory, it challenges the research interest in the Cook islands in orthodox view of Westiand as a late the next few years. backwater, and warns us that other The Museum Education Associations My own paper looked at artefacts areas could be due for reconsideration of Australia and NZ. - a highly signifi- and concluded that our existing evi— too. A contribution by Alex Brewis and cant nomenclature, because New Zea- dence points overwhelmingly to East others attempted to model prehistoric land museum educators were well Polynesia as the immediate homeland population growth in New Zealand and represented — were both keynote of the Maori, but is insufficient to indi~ argued that a period of 1000 years may speakers and delegates: cate which island or islands the colo- be insufficient forthe Maori population nists came from, when they came, or to have reached a contact figure of Juliet Hawkins whether there was one settlement or 150,000. Education Technician, Auckland many. Both plants and animals suggest Pat Kirch fromthe Burke Museum in Museum

42 Reports

WiebkeHeuer New Zealand might agree) that: pliment the daily keynote address. Two Consultant, Goethe Institute, ‘Traditionallythe Museum has been of the workshops l attended involved Wellington a one-way exercise in communication the training of teachers and volunteer JudyHoy/e with the Museum speaking at the visi- interpreters for museum education Education Officer, Taranaki tor. The audience is expected to play a programmes. One of the major con- Museum, New Plymouth passive role in the whole experience. It cerns for many New Zealand museums Jo Knight seems in some cases, that the visitor is coping with the constant demand Education officer, Kelly Tarlton’s takes an almost secondary role when from teachers and the general public Underwater World, Auckland self-indulgent curators seek the ap- for museum services. The training of Diggeress Te Kanawa proval, not of the majority of visitors to volunteer interpreters and the training Master Weaver, Te Kuiti their exhibition, but oftheir professional of teachers to use the museum envi— Peter Diamond colleagues and peers. ronment and/or changing exhibitions Waitomo Museum, Waitomo Times are changing. Museums are could be an efficient use of museum fighting fortheir survival, at least in the educators’ professional expertise. Diggeress Te Kanawa and Wiebke UK. ‘Let Market Forces Prevail’ arethe Something which could, in fact, solve Heuer both presented papers at the wordsthatdominatethe minds ofthose many of the problems faced by some Conference, Judy Hoyle was invited to in power. Whatever your opinions on museum educators in New Zealand. chair the Thursday morning session this, the interests of the visitor, or is it Steve Pollock described the British and to introduce Wiebke Heuer. the customer, must be served. Museum Teachers’ Centre which ca- The 1987 Museum Education Asso- Visitors today demand increasingly ters for thousands of teachers a year. ciations of Australia and NZ. Confer- sophisticated leisure experiences and The Teachers’ Centre policy is ‘Teach ence was held in the magnificent will pay for them accordingly. Yet their the Teachers’. Evening and weekend Queensland Cultural Centre Trust. desire for sophisticated leisure and courses are designed for practising Because of Brisbane’s climatic con- novel entertainment can be the very teachers and student teachers. The ditions, the ‘Cultural Centre’s’ outdoor potential strength ofthe museum visit.’ courses emphasise such basic teach- surroundings lend themselves to con- Steve Pollock emphasised that a ing/learning tenets as: stant activities specifically designed by visit to a museum should be an active Cultural Centre staff and other inter- learning experience, one that stimu- i. activity based learning ested organisations, for example, dur- lates the intellect. ii. a variety of learning/teaching ing Brisbane’s Festival Weekthere was Under his guidance, many exhibi- strategies constant activity, both within the Cul— tions have been developed using prob- iii. set aims and objectives — both tural Centre and its environs. . lem solving techniques, but to ensure short and long term The generic meaning of the word that these exhibitions met the high iv. teaching teachers to use the ‘museum’ covers diverse collections standards set bythedesigners and met museum/exhibitions which include botanic collections, zoo- the expectations of the visiting public, logical collections, the arts, the hu— an ongoing evaluation programme had Teachers attending the courses manities, the sciences etc; therefore, been planned and effected. This en- were given demonstrations of available the Conference convenors made every sured that the exhibition fulfilled the systems and basic details of current effort to ensure that museum educa- stated objectives: if the exhibition did and projected exhibitions and how to tors from the many diverse member in— not meet client/museum standards, the make the best possible use of these. stitutions would find the conference exhibition was: a) modified or b) Artefactual loan material, videos, slides programme relevant to their particular scrapped. Obviously a number of and a library are available at the Teach- field of museum education, and this highly qualified people are involved in ers’ Centre. All in all, an exciting, yet was indeed the case. the planning, production and evalu- practical, museum education concept. The key-note address was pre- ation of the exhibitions. With the eco- As well as the Teachers’ Centre, the sented by Steve Pollock, who is cur- nomic strictures which New Zealand British Museum (Natural History) em— rently employed as Education Officer museums face and the public concep- ploys interpreters who are trained in for the prestigious British Broadcasting tion of museums, are we able to pro- communicating with museum visitors. Corporation’s Science Education Unit mote change? Do we, in fact, need/ Training interpreters ensures that in London. Steve was formerly Head of want such a process? Are we, as museum visitors are made to feel wel- Visitor Services at the British Museum museum educators, in a position to act come and that the best possible use is (Natural History). Steve spoke about as the catalyst. made of the time visitors spend at the the changing role of ‘THE MUSEUM’ in The Conference Planning Commit- museum. There is an information desk the United Kingdom: and stated (and tee had arranged a number of practical and family participation is actively en— perhaps those involved in museums in workshop sessions designed to com- couraged by a positive museum policy.

43 Reports

The Discovery Room has been specifi— use of technology, the ‘user pays’ phi— for New Zealand museum educators to cally designed (again, exhibitions are losophy — would these innovations discuss professional concerns with constantly monitored and, if neces- encourage more efficient use of our one’s peers, to meet colleagues with sary, modified) for family groups. The museums? Would these strategies whom one can (if necessary) corre— Discovery Room has been extremely mean that a greater number of mu- spond with regard to professional mat- successful as is demonstrated by the seum visitors would feel more welcome ters, to extend one's knowledge and constant flow of family groups. Visitor in our institutions? - and that greater appreciation of other institutional poli— research has also shown that a large numbers of museum visitors would be cies/collections is absolutely invalu- number of families patronised the Dis- encouraged to use museums because: able. This professional association/ covery Room on a fairly regular basis, contact aspect is really the highlight of which demonstrates the validity of the i. museums would be even more such meetings, particularly when one intense research and ongoing monitor- exciting places to visit considers the professional isolation in ing system that has been devised. ii. museum personnel would be which many N.Z. museum educators it was apparent that many of those more freely available to spend work. actively involved in museum education time with museum visitors - inter- I would like to record my sincere ap— addressed delegates on the best and preting, answering questions in preciation tothe Education Department most proficient methods of utilising the relation to exhibits, policy, the and tothe Museum Education Associa- wonderful resources that can only be function/workings of a museum, tion of NZ. for so generously making found in museums. It has always assisting with ‘hands-on’ activities financial grants available to enable me seemed to methat museums are vastly etc. to attend the Brisbane Conference. I under-utilized treasure houses. Effec— would also like to extend my apprecia- tiveteachertraining, volunteertraining, Something for us to ponder? tion to the Taranaki Education Board training of professional interpreters, a The Brisbane Conference was a for granting me paid leave. different approach to exhibitions, the wonderful experience, the opportunity

Proposal for the Introduction of Courses in Museum Studies

Massey University hopes to introduce each year. These will probably be: courses in this general area from 1989. * This paper could be selected from Final approval has not yet been given 1 989 44.644 The Museum and the Massey’s current extramural offer- but it is highly likely that (1) a first year Public ing ortaken as an internal student at introductory paper will be offered on a An approved paper at another University in New Zealand. trial basis to internal undergraduate the 200, 300, 400 or students only and (2) a start will be 600 level in an appro- In due course it is hoped that stu- made on a post-graduate diploma pro- priate discipline* dents who can study internally will be gramme which, over the three years 1 990 44-643 Museum Manage- ableto completethe whole programme 1989—91, will enable extramural stu— ment at Massey University in one year. dents to complete a Diploma in Social 44.649 An approval Research Students who wish to be kept in- Sciences (Museum Studies). Project formed of the progress of this proposal Should the desired approval be 1991 44.461 History and Philoso- should maintain contact with Professor given and the appointment of a suitable phy of Museums Keith Thomson, Dean, Faculty of So— senior lecturer be made in time two of 44.642 Collections Manage- cial Sciences, Massey University. the six required papers will be offered ment

44 Collection Management Bryon Farrel/y, A. W.A. Computers

The aim of a computerised collection required. Indeed, a collection includes item in the collection is described in a management system is for the collec- the items and the ideas associated with single record within the database. The tion manager to know: these items. The ideas and assump- record can be defined to represent an tions change, for example the current exhibit, a collection of exhibits or a part What is in the collection debate over the London auction of a of an exhibit, and at the same time an Where it is tattooed Maori head. Likewise the loca- item, a collection of items or part of an Where it came from tion of items within a collection change, item. As PlCK, the operating system What value it has items on loan, sent for restoration etc. used on AWA Computers, uses vari- What has happened to it Can a computerised collection man- able record lengths, there is no limit to agement system handle such diverse the amount of information which can be Large collections, whether in muse- requirements? What system is capable entered for any one record. ums, art galleries, film libraries or ar— of such associative feats within the Briefly four major functions are re, chives have problems in common. structured, formal and linear environ— quired of a collection management These consist of; ment of technology. system. A collection has a ‘Kinship’ system, Connecting related items together there are family resemblances be- — A cataloguing function, by which Knowing of what the entire collection tween items of a collection. Whether items are described and identified consists the collection be of a nation or a prov- and thematic or intrinsic relation— Tracking movements of these items ince. When housed in a building it ships between items can be estab— Knowing what standards to set cata— appears self-justifying and self-con- lished. loguing by tained. Not so, eachitem has refer- — A locational function which de- ences, associations and resemblances scribes space in which items are The essence of a collection man- both horizontal and vertical. Take for located and identified and monitors agement system is the catalogue. This example the ‘Von Tempsky’ collection external loans and movements. offers the facility for the creation and in the Waikato Museum of Art and - A retrieval function, which allows maintenance of records describing . History; Paintings, letters, musical in— information relating to the items and each item within the collection. in the struments militaria etc, many classifi~ their locations to be retrieved by any case of paintings or artefacts full text cations; nineteenth century N.Z. Art or identified relationship. descriptions are necessary, with any nineteenth century militaria? All of - A maintenance function, by which aspect of the text being available for these and more, written assumptions system operation can be controlled subsequent search and retrieval. The about Von Tempsky? Military hero or and audited. information held in the catalogue sys- cultural bandit? tem has a vertical relationship to the What is needed is technology that Today exhibits are no longer static object described. What is needed are can assess the realtionships between but often mobile, creatively displayed, horizontal or associative relationships the items in a collection. Essentially a curated to convey ideas and informa~ between items Within the total collec- relational database offeres a hierarchy tion on special themes on particular tion. This horizontal relationship in- similar to a family tree, it offers a com- artists. To do this effectively today’s cludes ephemera associated with the prehensive method of cataloguing collection managers need to rely on catalogued item. items, of storing the descriptive records modern technology. Given the heterogeneity of paint- and of retrieving information. ings, artefacts, text and of course the in general terms, any series of rela- References: ‘Exhibit’ User Manual ideas assumptions, values and mean- tionships required by the collecting in- AWA Computers Documenta- ings associated with the collection, a stitutions can be incorporated within a tion Section, Sydney 1987. taxonomy beyond a copy inventory is relational database. Because every

45 Book Reviews

Voices of Silence says, ‘l can only communicate the attendance at the funeral) and the birth Russell Walden experience through poetic metaphor of an authentic New Zealand architec- and colour photography.’ Poetry ture based on regionalism, the happy abounds (Gerald Manley Hopkins, Wil— incident of bi-culturalism, and the spiri- New Zealand’s Chapel of Futuna liam Wordsworth and TS. Eliot are all tual needs of the people. Reviewed by Gerald Melling summoned to say their piece) and The way, for Walden, is clear; Gavin Woodwards photographs - par- ‘Voices of Silence’ is deafening in its Once upon a time on a sunny April day ticularly his interior shots — are powerful optimism for what could be, given the some four years ago, architectural his- and persuasive partners to the text. will. torian Dr Russell Walden - alone and Not inappropriately for a book on re- Once upon a time silent in the darkened pews of Karori’s ligious architecture, a question of faith Futuna Chapel - became suddenly wit- is involved. lfWaldens voices of silence ness to a spiritual awakening, both in are to speak to us with any clarity, we himself and in the architecture hefound must first be ready to receive them (the ‘The Heritage Industry — himself in. He describes this experi- chapel only smiles at you, he tells us, if Britain in a climate of ence as a ‘unique revelation in light’. It we are ready to be smiled at ...). decline.’ seems the chapel had ‘smiled’ at him Walden’s ‘revelation in light’ must, as a Robert Hewison. ‘Voices of Silence’ is Walden’s smile starting point, be given full credence. upon the rest of us. As the poet Harold Norse once said, we Once upon a time, of course, all need “a radar for the irrational struc— Cartoons by Chris Orr. Photographs by good stories began with ‘once upon a ture, the absurd, that goes beyond the Allan Titmuss. time’; fairy tales, for the most part - dreary existential limit of the senses Published by Methuen, 1987. 160 magical vignettes of uplifting moral The voices of silence are, of course, pages. NZ$26.95.. purpose and perception. ‘Voices of Si— the no-word of another consciousness, Reviewed by Warner Haldane lence’ is, in its way, a modern fairy tale, encountered at the climax to the inward a close encounter of the architectural spiritual journey. Walden devotes an If you are worried by the rampant in- kind, couched - in part — in the sort of entire chapter to the contemporary crease in the number of museums and breathless invective one might expect theological explanation of just such a similar institutions, or whether we are from a witness to a UFO phenomemon voyage before taking us on a trip all going to drown in a mire of nostalgia, desperate to be believed. through the gestation of the building ‘The Heritage lndustry’ is for you. The despair is understandable. Late itself, from the martyrdom of St Peter Though it principally concerns the situ- 20th century cynicism holds as little Chapel on Futuna Island in 1841 tothe ation in Britain, it has a great many concern forthe spiritual dimension as it opening ceremony of the chapel in pertinent comments which are equally does for its personal interpretation, and 1961. Along the way we meet the applicable to New Zealand. The book both author and publisher display con— maverick Maori-lrish architect John explores the growth of the concept of siderable courage in floating this table Scott, the artist/sculptor Jim Allen, the ‘heritage’, as well as its commercial and of the ineffable into such a hostile envi- dexterity of the building brothers who political exploitation. By casting a rosy ronment. put it all physically together, and — per- glow over even some otthe less palat- John Scott’s Futuna Chapel has al~ haps most significantly of all - we learn able aspects of the past, the author ways enjoyed an uncertain esteem with of the relationships between them, the suggests that the heritage industry the architectural profession in New unity of purpose. subtly alters the public’s perception of Zealand; as if it knew there was some- Clearly, architecture was wanted in the past, which though it may meet thing of value there without being sure this place. Equally clearly, it happened. current spiritual and political needs in just what it was For Walden, Futuna Chapel is far Margaret Thatcher’s Britain, also Russell Walden couldn’t be more more than a beacon of history; it is a serves to stifle contemporary cultural certain. His book is a deceptively living present and a signpost to the fu- and artistic development. simple story which acknowledges its ture. Futuna, he tells us, marked the ‘The Heritage lndustry’ is very much difficulties at the outset; ‘at best’, he death of colonialism (despite the poor 'one man’s view and perhaps even

46 Book Reviews hobby-horse, but it is readable and of the Auckland Art Gallery reported on search project that l am conducting. stimulating nevertheless. The text is conservation and mentioned amateur Several years ago, my friend and enhanced by appropriate photographs repairs to the rat-eaten Treaty of colleague Dr Travis Hudson (former and witty cartoons. Waitangi. l circulated Gil’s report to all Curator of Anthropology at the Santa members of AGMANZ’s Council, and Barbara Museum of Natural History) we approved circulation of it in the received a Wenner-Gren grant to ex— Newsletter. Then the New Zea/and amine museum collections in Europe Hera/d headlined Gil’s comments, the containing early California indian mate Exhibitions and Government Archivist and the Turnbull rials. As a result of that experience, Dr Conferences Librarian took umbrage, the Crown Law Hudson began to prepare an inventory Office made nasty noises about libel or of California items in foreign museums treason, and it seemed that not one for eventual publication. His tragic I regretthat l have not compiled a list of member of Council had read Gil’s re- death in 1985 left the project partially exhibits around the country for this port before passing it for circulation. Do completed and in abeyance; l am now issue, but I have been specifically members of Council read agendas trying to complete it for him, and need asked to include the following. today? all the help i can get! Waikato Museum of Art and History. it was time i moved to other pas- if possible, l would greatly appreci— tures, and the Auckland Museum ate it if you could provide me with the May 12-Jun 19 Richard Misrach - Council, in offering me the Assistant following information. Do anyofthe col- Desert Cantos Directorship on the retirement of Dr lections with which you are familiar Novel Works - Powell, made it a condition that l resign contain California Indian items, and if Three Painters the secretaryship of the Association. l so, how many? (it the number is small June 27-Jan ’89 Nga Taonga a resigned with regret, ending the Hon. and it is feasible, I would love to have Tainui (Stage ll) Secretaryship on 10 April 1968 (stuck the catalogue number, description or in atrain in a tunnel on the Paekakariki nature ofthe object, and data on collec- Cheryl Brown line while the Wahine slowly sank). tor etc. as well!) In addition, can you Fortunately, Jeanne Goulding, assis— suggest any other institutions or indi- tant botanist at the Auckland Museum, vidualsthat might be ableto provide me was able to get to the Council Meeting with further information. Letters and act as temporary secretary forthat lrealizethat I am asking agreatdeal sad, disastrous day. of you, but l would be deeply apprecia- Dear Editor So all the best forthe 40th birthday tive of any assistance you might be able I party, and all good wishes forthe future to provide me in this matter. From 27 April to 1 May l am hosting a of the Association. I do hope that l will botanist from lreland, and atthe time of make it to the 50th. Thomas C. Blackburn, PhD. AGMANZ conference we will be speCi~ Professor of Anthropology men hunting in the depths of some wet Bob Cooper Department of Social Sciences King Country bush. My best regards to 3801 West Temp/e Avenue Ken Gorbey and Gordon White, loyal Pomona, California 91768 friends for many years. Does anyone Dear Editor today remember those beady-eyed Scotch people looking askance i?) at Congratulations AGMANZ. Life begins the more arty members at the Dunedin at 40. Sorry we can’t all be with you as Dear Editor meeting, orthetables laden with cream we celebrate our new Forster Hall. cakes at the New Plymouth confer- Special good wishes from Gordon DATA STANDARDS ence? ' White AGMANZ longest subscribing i enjoyed being Hon. Secretary from working member, so he says. in his article in the last AGMANZ Jour— about 1953, when Eric Westbrook was nal ‘Dreaming about Collections Docu- not men- our President. Under Eric, Vic Fisher Ofago Museum Staff and Trust Board mentation', Peter Miller does Asso— and Peter Tomory as Presidents, the tion the Museum Documentation Association made real progress, and ciation (M DA). operating in the our membership grew very rapidly. Dear Editor The MDA has been ten years, and in that time Editing the Newsletter was fun, the UK for over developed, docu- most remarkable burst of fireworks lam writing to you in the hope that you has conceived, mented and supported data and proce- occurring about 1967 when Gil Docking might be able to help me with a re-

47 Letters dural standards which have been used on the MDA write to: intend to discuss these standards in by most of the significant museums in Richard Light, Deputy Director, Mu- detail and show their relevance to the Britain. In addition to over 300 sites in seum Documentation Association, NZ scene. the UK the system has been exported Building 0, 347 Cherry Hinton Road, Bill mentions that the MDA have a to many countries in Europe, Africa and Cambridge, CBt 4DH, UK. Tel: simple computer system called Asia. (223)242.848. MODES. It is basically a data entry The MDA concepts are elegant, system which enables various lists and practical, understandable, and flexible. W.G. Vernon ‘cards’ to be printed. l was quite im- They apply equally as well to the man— Vernon Systems Limited pressed when I saw it demonstrated ual card based system as to the most Auckland last year. The idea is that it is a cheap complex and detailed computer system first system which can be used to col- one could envisage. lect the data into a form easily con- The MDA supplies manuals, sta- Peter Millar replies: verted into a more sophisticated sys— tionery and a very simple computer tem. I would be most interested in system called MODES at very reason— Bill Vernon makes a valid point. I did having a chat to anyone contemplating able costs (MODES is about $300). mention MDA briefly in the drafts butwe using the package. When researching for the develop— lost a few lines in the rush to meet the One ofthe veryimportant aspects of ment of our package, COLLECTlON, deadline. any collection management system is we drew extensively on the MDA’s ex- I have some documentation from that it reflects a recognised set of stan- pertise, and made our system compli— the M DA, including some which is out of dards such as those published by the ant with their standards. print. MDA. This is a strong point in favour of lf you would like further information in the next issue of the Journal, I , Vernon Systems’ COLLECTION.

48 Drilling, Kiwi Party Mine, 10 Mile Valley, Westland, 1986.

BEYOND THE PALE Bruce Connew

1 JULY-28 AUGUST DOWSE ART MUSEUM , LAINGS ROAD, LOWER HUTI', NEW ZEALAND