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UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Recalibrating the Museum: The Politics of Stewardship and the Physical/Digital Repatriation of Te Hau-Ki-Turanga Permalink https://escholarship.org/uc/item/24p1z87g Author Ferguson, Meredith Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ RECALIBRATING THE MUSEUM: THE POLITICS OF STEWARDSHIP AND THE PHYSICAL/DIGITAL REPATRIATION OF TE HAU-KI-TURANGA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY OF ART AND VISUAL STUDIES by Brinker Ferguson June 2018 The Dissertation of Brinker Ferguson is approved: _______________________________________ Professor Soraya Murray, chair _______________________________________ Professor Elisabeth Cameron _______________________________________ Professor Peter Probst _______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of figures…………..……………………………………………………………..iv Abstract……………………………………………………………………….......….vii Acknowledgements………...…………………………………………..…………......ix Introduction……………………………………………………………………………1 Chapter 1: Contemporary Issues Surrounding Te Hau-Ki-Turanga: Politics over Control and Cultural Memory.......................……………………………………...…15 Chapter 2: “Contact Zones” and the Entanglement of Rongowhakaata/Pakeha Influence in Te Hau-Ki-Turanga ……...…………………………………….………39 Chapter 3: A New Museology: Issues Related to Bicultural Contact Zones and Indigenous Agency at the Museum of New Zealand Te Papa Tongarewa……...….100 Chapter 4: Rongowhakaata and Cultural Development: New Models of Indigenous Agency Inside/Outside the Museum Institution….…………..……..….126 Chapter 5: Decolonizing National Museums: Expanding the Te Hau-Ki-Turanga Case Study to Other Indigenous Communities …………………………………….166 Conclusion: Walking Backwards into the Future…………………………………..194 Appendix……………...…………………………………………………………….210 Glossary…………………………………………………………………………….211 Bibliography…………..……………………………………………………………213 iii List of Figures 1.1 Rongowhakaata bring their taonga into the Museum of New Zealand Te Papa Tongarewa to signal the start of their iwi residency. The taonga will be on display as part of the Ko Rongowhakaata: The Story of Light and Shadow. Photograph by Waateanews.com, 12 June 2017. 2.1 Map of Ko Rongowhakaata: The Story of Light and Shadow exhibition on the fourth floor of Te Papa during its planning stages. Photograph by Brinker Ferguson, 2016. 2.2 Pacing kakahu (cloaks) over the Māori skeletal remains recently repatriated to New Zealand. Photograph by Kate Whitley, Te Papa, 2016. 2.3 Collections manager Lisa Ward holds a model tauihu (carved canoe prow) in the Māori collection at Te Papa. She is a kaitiaki (guardian) who cares for taonga (ancestral treasures). Photography by Te Papa, 2011. 3.1 Māori and European population numbers, 1840-1881. Graph by Te Ara - The Encyclopedia of New Zealand, 2012. 3.2 Poupou (carving) from Te Hau-Ki-Turanga, Colonial Museum, used as a cartes de visite in 1880s. Image from Alexander Turnbull Library Mundy PA I-F-039-32. 3.3 Interior of Colonial Museum, 1870. In the front of the image is an extinct Moa bird (extinct in New Zealand around 1300 A.D.) surrounded by Māori cultural heritage. Image from Alexander Turnbull Library Sebley PA4-1063. 3.4 Apirana Ngata leading the haka (traditional Māori war dance) in front of the meeting house Te Tiriti I Waitangi at the Centennial celebrations, Waitangi, 1940. The haka (still used today by New Zealand’s national rugby team, the All Blacks) along with other Māori heritage like the wharenui (meetinghouse) would become visual icons for which Ngata hoped to unite a large Māori voter base. Image from Alexander Turnbull Library PAColl-3060. 3.5 Māori carvers and weavers in the Sydney Street shed, Dominion Museum, 1936. Photography by Museum of New Zealand Te Papa Tongarewa, 1936. 3.6 Tukutuku (weaving) panels for Te Hau-Ki-Turanga, under construction by the School of Māori Arts and Crafts, Wellington, 1936. Image by J.T. Salmond, MONZ reg. no. B5368. iv 3.7 Waitangi Day Protest, Auckland 1989. Photography by Gil Hanly, 1989. 3.8 Meetinghouse Te Hau-Ki-Turanga being moved to the Museum of New Zealand Te Papa from the National Museum on Buckle Street. Photography by Phil Reid, 1996. 4.1 Photographer Michael Hall leads a workshop for the outreach program National Services Te Paerangi at Hawke’s Bay marae, 2004. 4.2 “Treaty of Waitangi Signs of a Nation: Te Tiriti o Waitangi Nga Tohu Kotahitanga” exhibition space on the fourth floor of Te Papa. The exhibition is placed directly between the Mana Whenua galleries (to the left), and Passport galleries (predominantly Pakeha history in New Zealand-to the right). Photography by Te Papa, 2012. 4.3 Aunty Marj, an elder of Ngati Mutunga, speaks at a museum conference in Te Papa in 1998. She waves a white feather, a symbol of the teachings and philosophy of Parihaka (a community in the Taranaki region of New Zealand). Image by Te Papa 1998. 4.4 Dr. Arapata Hakiwai talking with the Rongowhakaata iwi inside Te Papa about present and future involvement. As Te Papa’s kaihautu (Māori co- director) he stated that the museum was committed to working with Rongowhakaata iwi to assist with the restoration of their wharenui (meetinghouse). Photography by The Dominion Post, 2017. 5.1 Waitangi Day Protest, Wellington 1986. Photography by Gil Hanly, 1986. 5.2 Waitangi Tribunal at Orakei marae 1986. Photography by Gil Hanly, 1986. 5.3 Photogrammetry training with the Rongowhakaata iwi on the marae in front of Te Mana o Turanga wharenui (meetinghouse), Gisborne. Photography by Brinker Ferguson, 2017. 5.4 Photogrammetry training on the exterior of the wharenui Te Mana o Turanga with the Rongowhakaata iwi, Gisborne. Photography by Brinker Ferguson, 2017. 5.5 Māori language petition being delivered to Parliament 1972. Image from the Archives New Zealand. 5.6 Te Reo Māori demonstration outside TVNZ studios at Avaton, Lower Hutt, 1977. Photography by Dominion Post, 1977. v 5.7 Erica Jones, producer of Te Whare Korero o Rongowhakaata video series. Photography by Brinker Ferguson, 2017. 5.8 Video still from Te Whare Korero o Rongowhakaata video series, spoken in Te Reo (Māori language) with English subtitles. Image from Māori Television, 2017. 5.9 Lewis Whaitiri speaking to Rongowhakaata carved ancestors at the British Museum. Photography by Brinker Ferguson, 2017. 5.10 Video still of Poutokomanawa ancestral carving animation created by use of 3D data collected at the National Gallery of Australia in 2017. Image by Brinker Ferguson, 2018. 6.1 Derek Lardelli, Rongowhakaata iwi member and professor of Māori knowledge and development at EIT in Gisborne, speaking at the Ko Rongowhakaata opening pohiri (ceremony) Te Papa, September 2017. Photography from Te Papa, 2017. vi Abstract Meredith Brinker Ferguson RECALIBRATING THE MUSEUM: THE POLITICS OF STEWARDSHIP AND THE PHYSICAL/DIGITAL REPATRIATION OF TE HAU-KI-TURANGA In July 2012, New Zealand’s Parliament passed the Rongowhakaata Settlement Act, which returned ownership of the Māori meetinghouse Te Hau-Ki- Turanga from the Museum of New Zealand Te Papa back to its indigenous iwi, Rongowhakaata. The transfer of title set in motion several important developments for both New Zealand’s bicultural government and the intangible and tangible redress of Māori cultural heritage. This dissertation is an inquiry into the politics of stewardship, or care of cultural heritage, and related issues, concerning in particular, the control of conservation and interpretation at the local, national, and international levels. The history of Te Hau-Ki-Turanga’s creation, preservation, and display constitutes an important case study through which to address core questions that explore New Zealand’s history of struggles with power, control, and indigenous self- determination. Key questions include the following: How are New Zealand’s indigenous communities challenging and contesting the very definition of a museum and its role in modern times? Can indigenous self-determination exist within a Western museum infrastructure? Can such a museum ever be truly post-colonial? Through three Te Hau-Ki-Turanga projects taking place between 2017 and 2020, the Rongowhakaata iwi is working both within and outside the New Zealand national museum to develop alternative models for reconnecting the meetinghouse vii with iwi descendants and disseminating information to the public on the iwi’s own terms. By looking at the case study of Te Hau-Ki-Turanga, we can begin to uncover the entangled power relations between New Zealand’s bicultural government and its Pakeha and Māori populations from the early nineteenth century to the present day. viii Acknowledgements This dissertation would not have been realized without the immense support of many individuals. In deepest gratitude, I would like to recognize the following people: I extend my first note of thanks to Karl Johnstone and the Rongowhakaata iwi. Your guidance, insight, and leadership were invaluable during this process. In addition, to Erica Jones and Lewis Whaitiri, thank you for all the conversations and advice; it was a privilege working alongside you. Out of respect for the iwi and their ownership of Te Hau-Ki-Turanga, I have not included images of the meetinghouse in this document. To the Te Papa museum professionals, thank you for your hospitality,
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