Whakatāne Museum and Research Centre REVENUE GENERATION STRATEGY

Confidential: Aspects of this document are commercially sensitive and subject to intellectual property rights. This document cannot be published without express permission from Giblin Group.

Prepared by Giblin Group: March 2014 (Updated September 2014)

Contents

1. Executive Summary ...... 3

2. Introduction ...... 8

3. Risk and Challenges ...... 21

4. Revenue Generation Overview ...... 24

5. Revenue Generation Summary ...... 29

6. Corporate Sponsorship ...... 31

7. Central Government Funding ...... 38

8. Local Government Funding ...... 46

9. Iwi Funding ...... 48

10. Trust Funding ...... 49

11. Community Engagement ...... 55

12. Community Fundraising ...... 71

13. Recommendations ...... 75

14. Appendices ...... 76

15. References ...... 76

1. Executive Summary

The Whakatāne Museum and Research Centre (the Museum) redevelopment is the second stage of Whakatāne District Council’s (WDC or Council) major Arts and Culture Project. The Arts and Culture project was established in August 2009. The first stage saw the development of Te Kōputu a Te Whanga a Toi - Whakatāne Library and Exhibition Centre (Te Kōputu), which opened in June 2012. The redevelopment involved the retrofit of the former Briscoes building in Kakahoroa Drive into a purpose-built library and exhibition centre that includes a semi-permanent museum display area and three changing art gallery spaces. In its short lifetime, Te Kōputu has already celebrated a number of successes, including architectural awards, high visitor numbers and revitalisation of the business area.

Council is now focusing on the Museum redevelopment which proposes the existing building (formerly the Museum and Art Gallery) in Boon Street be redeveloped as a purpose built research, storage and archives facility that addresses longstanding issues around the care, preservation and management of the Museum’s collections and the accessibility to museum resources. The Museum collection is currently valued at $9.5m and consists of 600,000 photos, 100,000 objects and more than 650 boxes of community and accessible Council archives. Some of the Museum’s collections are nationally and internationally significant, e.g. the Te Kōhika collection, comprising examples from one of the most important swamp excavations in New Zealand and iconic material such as a Captain Cook’s tripot, the hatchet of the chief Titokowaru and Von Tempsky’s sword.

Andrew Irving, of Irving Smith Jack Architects, developed some preliminary concepts and designs for the Museum redevelopment during the development of Te Kōputu, but Council felt it was necessary to reassess the project before commencing for a number of reasons. These included the scale and scope of the design brief written in 2009 had evolved, the Museum’s operations changed with the opening of Te Kōputu, the disestablishment of the Arts and Culture Manager position (replaced with the Team Leader of Museum and Arts) and a Heads of Agreement, signed between Te Runanga o Ngati Awa, Tuhoe Establishment Trust, Te Whare Wananga o Awanuiarangi and WDC to consider the possibility of a combined facility lapsed in February 2013.

A needs assessment (Lumin, 2013, b.) undertaken by Wellington based consultants, Lumin in 2013 found the Museum did not meet legislative requirements and museum standards in a number of areas, including sufficient storage or adequate climate control for the preservation of the collection and public access to the Museum. The report said the Museum has a unique and important role in

© Copyright Giblin Group Ltd 2014 3 the Whakatāne District but fulfilling this role is challenging due to the constraints with the current facility, staffing, programmes, services and marketing (Lumin , 2013).

A new design brief was developed and architect Andrew Irving was engaged in November 2013 to undertake a study of feasible options, recommending the most appropriate option which is as follows:

1. Partial New Development to Burgess Park, accommodating storage, loading, plant and specialised spaces. New development sized to temporarily accommodate existing collection. 2. Refit and seismically strengthen the existing building. Refitted areas will accommodate simple storage, public and staff areas with limited storage on the upper floor. (Irving:Smith:Jack Architects, 2014)

This option will require building and resource consents. Resource consent is necessary as the neighbouring Burgess Park, where the existing Museum building will be extended into, is zoned as a reserve under the current district plan. Resource consent has been successfully granted in August 2014.

In 2009, Council had indicated it would allocate $1.5m towards the construction cost of a $3m project. 1 A decision was to be made by Council in February 2014, based on the project feasibility and funding generation of the preferred option for development. Council then needed to include this into the 2014 Annual Plan and confirm the level of council funding commitment. A QS Report (Appendix Five) was completed in May 2014 and has estimated the total project cost to be $4,489,100.

Flooding from a severe storm in Easter 2014 has since delayed Council’s commitment to the project. The focus of the Museum has since then has been to remedy the storm damage with an application to the Lottery Grants Board being submitted for additional resources.

Giblin Group was engaged by WDC in November 2013 to complete a Revenue Generation Strategy and this has since been updated in September 2014 based on the completion of a QS Report and new timeline. The (RGS) provides a blueprint to raise the subsidy funding for the Museum Redevelopment which currently stands at $2,989,100 based on the assumption Council will support the project with $1.5m. This RGS sets out a comprehensive and strategic plan for maximising funds

1 Conversation with Paula Chapman and Hamish Pettengell on Museum Development, 17/10/2013

The Revenue Generation Strategy is built on five key components, each critical to the overall success of the Museum redevelopment. These are:

 Central Government Funding

 Corporate Sponsorship

 Trust Funding (Community, Private, Gaming)

 Community Engagement

 Community Fundraising

This report provides a robust fundraising plan, establishing realistic targets for where funding should be sought from and for how much each source should be approached.

Central Government Funding

Initial investigations indicate that the Museum meets the criteria for a number of Government funds. The RGS recommends applications to the following Central Government funds:

 Ministry of Heritage and Culture: Regional Museum Fund (RMF) – The Ministry has indicated the Museum would be low level priority. Unless the application can demonstrate the Collection is of national significance, will have a positive regional impact and the community is engaged with the redevelopment.  Lottery Grants Board: Environment & Heritage Fund  Lottery Grants Board: Significant Projects Fund (If an unsuccessful application to RMF)  Te Puni Kokiri (TPK): Māori Potential Fund – A consideration once relationship between WDC and TPK developed.  Ministry of Education – For programme development post construction.

Corporate Sponsorship

The RGS will also outline the sponsorship properties available for partnerships within the Museum, what the benefits are to those potential sponsors and how to manage those commitments in the long term to ensure sustainable relationships.

Early designs show the Museum features a number of attractive sponsorship properties, which after construction have the potential to attract good level of brand exposure if the Museum is embraced more heavily by schools and tertiary institutes. Engaging corporate sponsors is a fundamental component to successful revenue generation. Through this strategy a targeted approach has been used to identify potential sponsors.

Finding the right fit between the project and a corporate is the key to establishing meaningful and mutually beneficial partnerships. This RGS aims to identify opportunities for sustainable sponsor partnerships, with equitable and tangible benefits, that fund the construction of the Museum and operations beyond opening day. Other benefits can be leveraged from these partnerships, such as in-kind resources and expertise, access to business networks and commercial enterprise. If successfully managed, sponsorship can be renewed and even increased in future.

Trust Funding (Community, Private, Gaming)

Funds sourced from trusts and foundations will also be critical to the success of the RGS. Utilising contributions from community, gaming and private trusts is a well-established method for supporting community projects; however the amount of money that trusts have to distribute is trending downwards. Trusts are still an important source of income but a coordinated approach is required to secure adequate revenue. This is achieved through establishing key relationships, understanding the needs of trusts, and being able to show the value that trust funding will provide to the community at a variety of levels. It is recommended WDC undertake Gaming Trust applications, a source of funding which was not leveraged for the Te Kōputu project.

Community benefit is an underlying criteria for funding applications so it is paramount the Museum illustrates a compelling case for community-wide benefit and improved accessibility to its collections will be a key argument for this project. The development of the Museum will provide significant social and cultural benefits to the community such as connecting the community, promoting learning and research, promoting civic pride, local identity and community well-being, strengthening cultural well-being and providing a catalyst for creativity. If feasible, the addition of some element of open storage alongside the additional proposed improvements would be advised, creating a stronger case of improved accessibility and community benefit.

Community Engagement To achieve success in generating revenue for a project such as this, it is important to engage and

Meaningful community engagement is vital for corporate sponsors to leverage their investment and Central Government, community, gaming and private trusts need to see a good level of community support to be satisfied they are meeting their mandate through funding the project. This strategy outlines the importance of addressing community engagement and provides high-level campaigns and practical mechanisms for connecting with key community target audiences.

Community Fundraising

On-going community fundraising initiatives are also a key component of the RGS, not necessarily because of their ability to raise revenue, but because effective community fundraising provides opportunities to engage the community. This strategy provides innovative community fundraising initiatives that can operate independently or together with other components of community engagement. Providing a mechanism for the communities of Whakatāne District to contribute, even in a small way, will build awareness and generate ownership within the community.

The Museum not only aims to enhance access to its collections, but is focussed on broadening audiences, inspiring the community experience of the facility and strengthening the Museum as a research and learning facility. The completion of the Museum will strengthen Te Kōputu’s offering and cement the future of Whakatāne’s arts and culture sector. The Whakatāne Museum and Research Centre will endeavour to reach multiple community segments, attract new users and supporters and capture the hearts of the community to re-engage with a facility which safeguards the story of Whakatāne District.

This Revenue Generation Strategy takes the same approach of reaching across the community, and looks to coordinate and connect across multiple revenue sources to maximise all opportunities to fund this significant development for Whakatāne. Based on initial discussions with Central Government funds and gaming trusts, there is a good appetite to support the Museum redevelopment although the Ministry of Culture and Heritage (MCH) has indicated it’s a low level priority and the application will need to present a strong case for collection significance and regional impact. It is recommended community engagement for the project start immediately to ensure community support is strong for the Lottery Grant Board applications in early – mid 2015.

2. Introduction

Project History: (Giblin Group, 2014) The Whakatāne Museum opened in February 1972 following substantial local and District fundraising. The fundraising was drawn to a close by the donation of the proceeds of a Hillcrest property by local businessman R. A. Niederer, and a small mortgage underwritten by local bodies Whakatāne Borough and County Councils. The Whakatāne District and Historical Society ran the museum for the first four years of its operation. It came under Council control in 1978, with additions to the building made in 1978, and again in 1990.

Following ongoing concerns the District library and Museum and Gallery was not meeting community need or national standards, WDC considered creating a new purpose-built arts and cultural centre. The core components of the arts and cultural centre were to include the library facilities, museum and art gallery and associated back of house and storage. The proposed budget for this combined facility was unrealistic for the district which meant the project got split into two stages.

The current (and scaled back) Arts and Culture project was established in August 2009. The first stage saw Council purchase the former Briscoes building in Kakahoroa Drive and convert it into the public library and exhibition centre, Te Kōputu. Te Kōputu opened in June 2012 and includes a permanent museum display and three galleries. The second stage of this Arts and Culture project is the redevelopment of the Whakatāne Museum (previously referred to as the Research, torage and Archives project) at its current site 51-55 Boon Street. Initially it was anticipated the redeveloped Museum would open in December 2012 but the redevelopment was delayed pending the completion of Te Kōputu and changes in the Arts and Culture Team. Council had also entered into a Heads of Agreement with Te Runanga o Ngati Awa; Tuhoe Establishment Trust and Te Whare Wananga o Awanuiarangi to consider the possibility of a combined facility.

During the development of Te Kōputu, Andrew Irving (of Irving mith Jack Architects, who designed Te Kōputu), developed a number of preliminary designs and concepts for the redevelopment of the Museum. However the Museum believed it was prudent to reassess the project for a number of reasons before commencing on the second stage of the project. These included the scale and scope of the design brief written in 2009 had evolved, the Museum’s operations changed with the opening of Te Kōputu, the disestablishment of the Arts and Culture Manager position (replaced with the

Team Leader of Museum and Arts) and the Heads of Agreement (as stated above) lapsed in February 2013.

Council engaged Wellington firm Lumin Associates in January 2013 to undertake a needs assessment to identify the current needs of the Museum, community, Council and provide a clear plan of action for staging the redevelopment.

Te Kōputu Fundraising Summary: It is important to recap on the fundraising and success of Te Kōputu as Stage One of two significant WDC Arts & Culture projects. The council committed $3.25m towards a total project cost of $4,770,261 split over a four year period. It should be noted this project did run over budget by approximately $400,000.

A summary of the additional funding received is outlined below: Funder and naming rights received Amount/Term (if applicable)

DIA: Environment & Heritage Fund $363,000

Bay Trust $250,000

Eastern Bay Energy Trust $120,000

Little Orchards Naming (Naming rights to internal activity space and children’s library) $55,000 / 10yrs

Horizon Energy (Naming rights to Library) $50,000 / 10yrs

Opus (Naming rights to 2nd gallery) $20,000 / 5yrs

Whakatāne Community Board (Naming rights to 3rd gallery) $15,000 / 5yrs

Sheaff Family (Naming rights to 4th gallery) $15,000 / 10yrs

Sir John Logan Campbell $15,000

Eric Hattaway Bridgman Trust $2,500

DIA Community Facilities Declined

Total Funding $905,500

Since opening in June 2012, Te Kōputu has celebrated a number of achievements. Visitation has increased, and the centre is well used by a wide cross-section of the community. Its programme of changing exhibitions showcases local history and art, promoting the region, valuing creativity and building local identity. The library has a new staff position dedicated to public programmes, which is

© Copyright Giblin Group Ltd 2014 9 beginning to develop events and initiatives throughout libraries in the district. The development has revitalised that part of town, and ‘ignited interest in local history. The marked increase in visitor numbers through the museum display has a direct relationship with new objects being gifted to the Collection’ (Whakatane District Council, 2013, g.).

It should be noted that the project did fall short in funding expectations but this can partially be attributed to minimal community fundraising and this was due to lack of planning to drive several suggested events. Naming rights properties were possibly also undervalued in hindsight. Sponsors expectations have been exceeded in terms of the facilities performance at a community engagement level. The only space not sold was the semi-permanent museum display, which is also the largest of the four galleries and displays local histories on a two-five year rotation. With potentially less pull for repeat visitors, it was felt this space would not deliver enough value to a sponsor. Iwi have been earmarked as a potential naming rights sponsor for this site in the future. Sponsors on a five year term will be up for renewal in 2017.

Current Situation: WDC is now progressing the Museum project to ‘provide for the Collections, Archives, 20 years future growth, research needs and any other activities and services deemed appropriate and necessary to meet the needs and requirements of the community and stakeholders’ (Whakatane District Council, 2013). Council also decided in July 2013 to store Council archives at the Museum and have relocated these out of off-site storage into the Museum.

WDC engaged Wellington consultants Lumin, to undertake a needs assessment report to ‘identify the current needs of the museum storage, archive and research functions including issues relating to the care of the collection and its use by both Council and the community, and a rationale for service and infrastructure change’ (Whakatane District Council, 2013.b.). This was presented to Council August 2013. A QS Report (Appendix Five) was completed in May 2014 and has estimated the total project cost to be $4,489,100.

The adoption of the project by Council been delayed due to flooding from a severe storm in Easter 2014. The focus of the Museum has been to remedy the storm damage with an application to the Lottery Grants Board being submitted for additional resources.

Project Outline: WDC reengaged architectural firm Irving:Smith:Jack in November of 2013 to undertake a study of feasible building options to redevelop the Museum building.

At the same time, Giblin Group was engaged to undertake a Feasibility Study of the preferred option and develop a RGS for the redevelopment. A draft options report from Irving:Smith:Jack was completed in January 2014 to assist in council planning, consultation and decision making.

Preliminary Project Budget and Timeline: A QS report completed in May 2014 has estimated the total project budget including professional fees and contingency at $4,489,100 (excl GST).

Physical Build $3,634,000 Consents and Design $450,000 FF & E $325,100 Operational Projects $80,000 Total Project Cost $4,489,100

The Whakatāne Museum & Research Centre’s Collection: (Giblin Group, 2014) 2 Aotearoa Collection Categories: Art, history, natural history, Taonga Māori, technology

The Museum collection consists of 600,000 photos, 100,000 objects and more than 650 archive boxes of community archives.3

The Museum’s collections are largely drawn from the Eastern Bay of Plenty. ome of the Museum’s collection is nationally and internationally significant; refer to RJ Watt, Letter of Support (Appendix One). The Museum’s collections are of considerable intrinsic value, are highly valued by the community, and used for a variety of research purposes. (Lumin, 2013, b.)

The collection was evaluated at $9,550,775 effective on July 1 2013 by R.J.Watt & Associates, Wellington-based Cultural Heritage Consultants, Collection Valuation (Appendix Two). The valuation states the most valuable collection is that of Taonga Māori, valuing it at $ $5,054,450. The Museum’s Transition Plan states this was a sampling valuation and did not include an individual valuation of

2 Aotearoa Collection Categories – as stated on Museum’s Aotearoa website 3 Lumin states there are approximately 600 recall boxes of closed file Council records that require appraisal. It was estimated at the time of that report that once assessed approximately half of these would be accessioned into the Council archives collection.

© Copyright Giblin Group Ltd 2014 11 each object. For the relocation and insurance purposes, the Museum will need to complete individual valuations of key collections including Taonga Māori. This means the current value may increase. (Giblin Group, 2014)

The collections are wide ranging and categories consist of: ● Taonga Māori

● Community Archives

● H.D.London Library

● Social History

● Fine Arts

● Gordon Ellis Collections

● Photography

● Ethnology

• Te Kohika • Textiles • Natural Environment

● Recent acquisitions

Items of Significance

The Taonga Māori collection includes significant examples from Ngāti Awa, Ngāi Tūhoe, Ngāti Tuwharetoa, Ngāti Rangitīhī and Te Whakatohea as well as the Te Kōhika collection, comprising examples from one of the most important swamp excavations in New Zealand (Whakatane District Council, 2013.c.). The prehistoric archaeological material from Kōhika is deemed to be of both national and international importance. It has been published and will form an integral part of research into New Zealand’s and the Pacific’s prehistoric past. Holdings also include iconic material; a tripot of Captain Cook’s, the hatchet of the chief Titokowaru of the New Zealand wars, the finely carved Te Maungarongho amo, well-known internationally to researchers of tribal art, and Von Tempsky’s sword taken at the time of his death in the Taranaki war. “Internationally important examples include the Pink family Daguerreotypes, some of the earliest forms of photographs in the world, and a rare Resolution and Adventure medal from Cook’s second voyage” (RJ Watt & Associates, 2011).

Archives The archive has grown into an important social history collection and continues to be an important regional resource and, overall, is a major contributor to New Zealand’s cultural heritage (RJ Watt & Associates, 2013).

Archives include: Council, Harbour Board, and local company archives from 1880 to the present, and family and personal collections forming the community archives from 1830 to the present. Māori Land Court records include: Rotorua Minute Books 1-38, The Ōpōtiki Minute Books 1-47, the Māori Land Board Minute books 1-17 and the Raupatu Document bank.

Snapshot of Bay of Plenty Museum Facilities On reviewing the Aotearoa Museums directory (Museums Directory, 2013), 18 museums are listed in the Bay of Plenty region. The six members below and neighbouring district museums have been examined in more detail for their significance and type of collection.

 Whakatāne District Museum and Research Centre

 Sir James Fletcher Kawerau Museum

 Tauranga Heritage Collection

 Rotorua Museum Te Whare Taonga o Te Arawa

 Te Amorangi Trust Museum – Rotorua Heritage Collection

 Tauranga Art Gallery

Ōpōtiki OHAS Museum Aotearoa Museum Categories: Agriculture, historic sites, history, military and technology

The Ōpōtiki Museum collection includes an extensive collection of implements and vehicles and is located in a three storey building. Early pioneer photographs and an exhibition focused on the importance of shipping in early Ōpōtiki occupy the mezzanine floor, while twelve heritage rooms trace history from the arrival of pioneers to the 1930s on the Elvira Sundell third floor, along with the Whakatōhea Research and Archives Taonga (Treasures of the past) (Ōpōtiki Museum, 2013).

Sir James Fletcher Kawerau Museum Aotearoa Museum Categories: History and technology The Kawerau Museum was named after Sir James Fletcher (1914-2007) who joined the family business, Fletcher Construction Company Limited in 1937. The Museum was established to preserve the history of the area that centred on the pulp and paper industry. The Museum has received

© Copyright Giblin Group Ltd 2014 13 valuable assistance from the Fletcher Trust over the years and can be accessed through the Kawerau Library during library opening hours. The Museum is currently exploring storage options.

The Tauranga Heritage Collection Aotearoa Museum Categories: Historic sites, history and open air

The collection has approximately 30,000 objects. Originally on display at the Hamilton Street Museum, it became one of the attractions at the Tauranga Historic Village. In 1998 the Historic Village was closed and the collection moved into storage. The collection is diverse and rich with local significance including pieces of national importance. ‘Hands on Tauranga’ is an online platform whereby schools can access items in the lending library (not on public display) which are not part of the permanent Tauranga Heritage Collection.

Rotorua Museum Te Whare Taonga o Te Arawa Aotearoa Museum Categories: Art, historic sites, history, natural history, Taonga Māori, technology

The Museum is situated in the Bath House, which is listed as a Category 1 Historic Building and is believed to be the most photographed building in New Zealand. The Museum collection covers the story of the famous Pink and White Terraces and the disastrous eruption of Mount Tarawera that destroyed them. The story of the Te Arawa people, told through some of their magnificent taonga (treasure), is also a must see. This museum has been redeveloped and fundraising was completed in 2009 for $22 million.

Te Amorangi Trust Museum – Rotorua Heritage Collection

Aotearoa Museum Categories: Agriculture, historic site, history, military, natural history, Taonga Māori , technology

A small restored Douslin house in a garden setting within Rotorua presents the Sheward collection of Māori, Missionary & colonial artefacts, ‘Evansville’ country life in the 1920's, history of indigenous logging in the area, steam, industrial and agricultural machinery.

Tauranga Art Gallery

Aotearoa Collection Categories: Art

The gallery is the first public art gallery in the Western Bay of Plenty and delivers exhibitions of historical and contemporary art. Exhibitions are developed in-house by gallery staff with the balance being a mix of touring exhibitions from other institutions and artist projects. Education is a key focus for Tauranga Art Gallery. A range of education and visitor programmes is developed around the exhibitions to enhance the visitors' experience.

Future Regional Museum Developments:

There are two projects that will start to gain momentum over the next five years for redevelopment and these include the Waterwheel Heritage Park in Kawerau and the Tauranga Museum. The Waterwheel Historic Trust is focussed on establishing and operating a live historic village and heritage park which will serve as a tourist attraction, a place to learn and a place that protects the skills and heritage of times past. The Tauranga Moana Museum Trust is charged with the Tauranga Museum development which proposes a purpose-built Museum of 3000 square metres, costing $25m by 2021, serving a resident population of 180,000 (Cousins, 2012). Tauranga City Council has recently agreed in principle, subject to conditions, to provide Council-owned land at Cliff Road (or elsewhere) for a museum, and to the Tauranga Moana Museum Trust accessing the Heritage Collection for the proposed museum. The Council has also budgeted $100,000 toward resource consent for the museum in the 2014/15 year of its current Ten Year Plan. The latest newsletter reports that the main focus for the 2013 would be to raise enough money to ensure a "sound administrative base for the main capital fundraising effort" (Cousins, 2012).

Based on the above overview of the other neighbouring or significant4 museum facilities within the Bay of Plenty, the Whakatāne Museum project is in a good position to receive funding at a national and regional level based on the collection’s significance for the Eastern Bay of Plenty and regionally for the Taonga Māori collection. It will be prudent to watch the Tauranga Museum project closely, in relation to central government funding application.

Whakatāne Museum & Research Centre Objectives: (Whakatane Museum, 2013.b) A draft strategic plan for the Museum has developed the below objectives over the next four year period. These assist in identifying the benefits that the development will bring which helps select suitable funding sources.

1. Manage, preserve, develop, and enhance access to its collections. The Museum will ensure that collections are professionally managed, preserved for future generations, developed strategically and are accessible for its communities.

2. Broaden the Museum’s audiences and provide inspiring experiences for its communities. The Museum is committed to broadening the audience which access its exhibitions, collections and resources. It is also committed to ensuring that its communities experience and participate in

4 Assumption: If a Aotearoa Museum Association member, have assumed a noteworthy facility with significant collection

3. Strengthen the Museum as a centre for research and learning. The Museum is committed to strengthening the museum as a centre for research and learning on a local and national stage, enabling its audience to expand their knowledge and understanding of the social, cultural, natural and artistic heritage of the Whakatāne District within the wider context of New Zealand.

4. Develop and strengthen relationships with stakeholders. The Museum is committed to strengthening existing relationships, supporting the needs of stakeholders and dedicated to developing new relationships.

5. Strengthen the museums operations and capabilities. The Museum is committed to the continual improvement of operations and to ensuring the museum has the resources to carry out the activities to achieve its vision, mission and objectives.

Community Benefits (Giblin Group, 2014)

The proposed Museum could provide significant social and cultural benefits to the community and these must be taken into account in considering the redevelopment.

1: Connect the Community

The collections can be used to connect the community with the past and with each other in the present, increasing community engagement (Lumin, 2013). The redeveloped facility provides community space in the form of two viewing rooms (potentially three if the clean room is able to be utilised as a viewing room) which will also be able to be used by the community as meeting rooms. The larger viewing room upstairs will provide a multifunctional community/educational space. It will accommodate up to 30 people and be available for use out of museum opening hours. These community spaces provide an opportunity to contribute to and increase the levels of social capital.

The Museum could also contribute to the regeneration of the community in the case of a natural event. Museums Aotearoa states that by providing heritage records as well as a repository of conservation expertise enables Museums to contribute to a rebuild after devastating climatic or environmental events (Museums Aotearoa, 2005).

2: Promote Learning and Research

One of the Museum’s objectives is to strengthen the facility as a centre for research and learning. The benefits of this could be significant and far-reaching. There is significant potential within the education sector. Lumin notes local academic institutions and school groups underutilise the resources held by the Museum and there is great potential for developing promotion and programmes to increase access (Lumin, 2013). The Museum reports it ran a successful education programme in the 1980s but this ceased following the departure of the education officer.

Lumin states the redevelopment can also connect users with a wider network of libraries and research resources throughout the country. Its online presence can support and connect those living across the district, and wider Bay of Plenty. It can make easy and exciting for all to discover and “enjoy the rich social, cultural and creative achievements of the region and the wider world”. It can “enhance our knowledge of each other and other places; provide a forum for new ideas, and creativity and a place to have fun” (Lumin, 2013).

3: Promote Civic Pride, Local Identity and Community well-being

By telling stories of the community, celebrating where it has come from, and looking to where it is going, the Museum can promote civic pride, and support the creation of local identity and community well-being (Lumin, 2013). Museums Aotearoa says a primary role of museums in our communities is that they are places where New Zealanders can learn about their identity as individuals by enabling them to seek out and relate to family connections, and to establish their place as part of local and regional communities. They enable our people to develop an understanding of who they are, where they have come from and where they are going.

4: Strengthen cultural well-being

The opportunity to access archives such as are held at the Museum will allow people to better research and discover their culture and heritage. This in turn will contribute to cultural wellbeing of the community. It will also enable preservation culture and heritage for future generations.

Cultural well-being (Museums Aotearoa, 2005) encompasses shared or contrasted beliefs, values, customs, behaviours and identities reflected through language, stories, experiences, visual and performing arts, ceremonies and heritage. Museums help to strengthen cultural wellbeing since they:

• Develop intellectual capacities and inspire curiosity

• Explore spiritual symbols, meanings and stories

• tore information about other societies, cultures and values, thus acting as a window on the world for their communities

• Build understanding across diverse cultures

• Research, record and present cultural histories of the citizens of their region

• Promote creativity and exploration of shape, design, structure and harmony

• Develop partnerships with iwi to explore and display the life and beliefs of iwi and significant Taonga

• Are places where the status of iwi in the region, and Maori in Aotearoa, are recognized

• Can become meeting places where cultural barriers can be relaxed and discussed

5: A Catalyst for Creativity

The Museum can foster creativity and promote the local creative arts scene by supporting local arts societies, and encouraging others to get involved by making available its arts collections (Lumin, 2013).

Museums Aotearoa states Museums stimulate individual creativity and inspiration. They stimulate debate in the community not only about what they show in their exhibitions and collections but also about what they do as an institution. Museums show creativity in their display technique and new museum architecture provokes interest and debate, and showcases the architect’s creativity.

Museums are also bringing thousands of objects, images and narratives to a generation of new users in on-line applications. Museums also provide vocational and practical experience to volunteers (Museums Aotearoa, 2005).

The Value of Open Storage Collections:

Open storage allows the general public access to a museum collection in the hope of raising interest in research and the collection. The Museum is keen to explore this avenue for potentially perhaps a small proportion of its storage facility as it would add strength to the Museums’ educational offering as well as creating a unique point of difference from other facilities. In the design brief to architect Irving:Smith:Jack, open storage was not stipulated as a ‘must-have’ but was highlighted as an avenue not to be discounted. During the development of this RGS, some successful international case-

© Copyright Giblin Group Ltd 2014 18 studies were researched such as the Brooklyn Museum in New York (Brooklyn Museum, 2013) and Museum der Dinge in Berlin (Museumderdinge, 2013) and it is recommended that open storage, in some capacity, would be advantageous to the project.

Community benefit is an underlying criteria for funding applications and improved accessibility of this collection will be a key argument for this project’s community worth. It is paramount the Museum illustrates a compelling case for community-wide benefit. By incorporating a degree of open storage alongside a robust digital catalogue system, improved research library and classroom space, educational programmes, research services and programmes including outreach services, in conjunction with a one-third of Te Kōputu’s annual exhibition space assigned to the collection, the argument of improved accessibility and community benefit will be strong.

The development of the Whakatāne Museum & Research Centre will:  Provide a sound storage facility to prevent the deterioration of a significant regional and national collection;  Provide a superior catalogue system and enhanced working space for researchers by which to access the collection;  Strengthen Te Kōputu’s exhibition offering and profile through showcasing more of the collection.  Help re-establish the Heads of Agreement with Ngai Tuhoe, Ngati Awa and Awanuiārangi, thereby strengthening ties and hopefully future support from iwi;  Provide an important educational platform to local primary, secondary and tertiary institutes that have up until now, had very little engagement or access to the collection;  Provide opportunities for building social capital, through galvanising community spirit behind a worthy heritage cause and an important community asset.

Participation in the arts brings community benefits including increased recreational, leisure, knowledge and learning opportunities, as well as social cohesion, sense of identity and pride. Research completed for Creative New Zealand, Audience Atlas New Zealand 2011 Report (McIntyre,et.al, 2011) shows that there is a large market for arts in New Zealand. In total, 95% of New Zealanders aged 15 or more have attended at least one arts or culture event over the last 3 years. Bay of Plenty region had a participation rate at 95%.

The New Zealanders and the arts: attitudes, attendance and participation in 2011 survey (CreativeNZ, 2011) found that the majority of New Zealanders agree that the arts help define who

© Copyright Giblin Group Ltd 2014 19 we are as New Zealanders (80%) and that the arts contribute positively to the economy (73%). They agree that their community would be poorer without the arts (69%) and support public funding of the arts (76%).

This supports the premise there is a strong demand for arts and cultural facilities and events nationally and that support should be canvassed from within the communities of Whakatāne District.

3. Risk and Challenges

Te Kōputu has been a huge success, with an increasing number of users visiting the facility since it opened in June 2012. The funding of Te Kōputu as covered in Section 2, did not undertake any significant community fundraising which means the community of Whakatāne will not be suffering from fundraising fatigue and in a good space for fundraising campaigns for the Museum.

Likewise, local large and mid-sized corporates were not activated for fundraising but have now seen the benefits of Te Kōputu to their own businesses, especially those nearby Te Kōputu.

There are still some potential challenges in funding a project of this kind. The table below identifies and assesses key project risks related to fundraising and possible mitigation strategies.

Risk Mitigation Strategy

Fluctuating political support: As elected members The timing of recent local body elections means the and priorities change, political support for the project project is being progressed at a good time and it will may be affected. have the continuity of the same Council for 3 years.

The Te Kōputu project did not meet targets with The support demonstrated for this project (e.g. from fundraising which may deter some members with iwi and Historical Society and Te Kōputu users) and another significant capital project. the multiple benefits it will bring, reduces this risk.

The level of external funding for the project will have To further reduce this risk, it is recommended to a large impact on Council support and perceived develop a Stakeholder Engagement Strategy to ensure affordability of the project. regular reporting to the relevant Council Committee and find opportunities to involve elected members with the project. Regular communication is needed to keep the elected members informed, engaged and up-to-date.

Close timeframe to Te Kōputu: The risk of fundraising fatigue has been mitigated by Te Kōputu was a $4.95M project and completed in period of two years between fundraising and the 2012. With the Museum budget looking a similar success that Te Kōputu has had with architectural size, it will add pressure on fundraising. recognition and increased usage should give council and the community confidence to support it. Also, Te Kōputu did not activate community fundraising campaigns, so the community is not ‘tapped out’.

Fluctuating Museum Support: Because of the low numbers, it creates an opportunity The Friends of Museum membership is currently very to reshape this group. Regular communication is low and this could well be attributed to the needed to keep members informed, engaged and up- uncertainty surrounding the Museum Redevelopment to-date. Opportunities to assist in fundraising and various other reasons. campaigns or lead activities will create revived ownership from this group and help drive

membership numbers. The newly elected Museum Trust Board which covers a good cross section of the arts and culture community will also help reinvigorate this group.

Resource Consent affecting timing of applications: Resource consent has been granted as at August The proposed redevelopment will require building 2014. and resource consents. Resource consent is necessary as the neighbouring Burgess Park, where the existing Museum building will be extended into, is zoned as a reserve under the current district plan. The resource consent application will need to be publicly notified.

Unforeseen external factors unrelated to the project The range of funds available for this project reduces such as regulatory changes, natural disasters and this risk to some degree but a funding buffer should economic conditions could change the funds offered still be built into funding targets for the project. by central government and/or put pressure on existing funding sources. New Zealand has a finite pool of money available and a limited number of corporate sponsors to approach. Contestable funds are routinely oversubscribed. Any change will put pressure on an already tight funding environment. For example, the Christchurch earthquake consumed a lot of charitable giving (including corporate sponsorships) and became the government’s funding priority. The Significant Projects Fund managed by DIA was disestablished in 2010 without warning and funds redirected to the Rugby World Cup. This fund has been re-established for two years, as of Oct 2013.

Cost overruns that blow the budget and negatively This has been mitigated by a 10% contingency being impact deadlines can often negatively affect public built into the total budget. opinion towards a project. This can have a flow on effect to funding. Retrospective funding is typically difficult to obtain.

Effective project management is needed to not only It is recommended a dedicated project manager (PM) avoid cost overruns (e.g. from scope creep) but also is appointed to oversee phases of the project, to ensure sufficient funding is secured on time. including fundraising. The PM should regularly monitor progress against the RGS. The project management within this project is well structured and aligns with better practise for projects of this nature.

Under resourcing the implementation of fundraising It is also recommended that a dedicated resource is campaigns and under delivering on sponsorship committed to fundraising. Establishing good partnership promises. Without funding there is no relationships and maintaining communication with project. Implementation of the RGS is critical to the funders should be assigned to an internal staff success of the project. member.

Effective Governance: Establishing the right The governing body to the Museum - the Whakatāne governance structure is essential for several reasons, Museum Advisory Board’s terms of reference were 1. to ensure the best platform for potential funders to endorsed in February 2014, meaning the Board channel their funds and 2. to demonstrate good members now have a clear understanding of their governance practises that are transparent and role in assisting the project. It is recommended a accountable. 3. to make sure board members are workshop be held with the Board to give them the actively leveraging their influence in the project skills to use their networks for capital raising. beyond attending meetings. Community & Stakeholder Support is critical to A communications plan has been developed but it is attracting investment from Government funds, trusts, recommended this be further developed by aligning it philanthropists and corporates. It is essential the to community engagement initiatives to maximise profile of the facility is raised to ensure funders can community engagement campaigns and CPP progress. leverage their support with the community. It is particularly important to also boost the online profile.

Utilisation affecting operational funding. It is recommended to develop a sound and realistic Business Plan to achieve projected utilisation for the facility.

Limited size of Whakatāne’s corporate and It is recommended a diversified approach be taken, philanthropic community reducing the sources for maximising the level of funding from sources outside funding. the region, such as trust and Government funding.

Limited public space: 1. The lack of on-site exhibition It is recommended that the Key Messages developed space reduces the number of sponsorship properties in this RGS promote the small element of Open and 2. It also limits the number of potential visitors. Storage (if developed) and the Research Library’s enhanced access through APNK wifi and open access. The messaging must convey improved access will assist in increasing visitor numbers.

Other competing Bay of Plenty projects There is potentially more water to go under the Tauranga Museum is starting to gain momentum so bridge before the Tauranga Museum project clicks this too will add pressure especially out of central into fundraising mode, but it needs to be closely government funds if the project is fundraising at a monitored so applications are made at different similar time. periods.

Reduction in Gaming Trust funding opportunities: It is recommended a diversified approach be taken, Due to changes in national policy and ‘sinking lid’ maximising the level of funding from sources outside policies around New Zealand, the pool of Gaming the region, such as trust and Government funding. Trust money is reducing and the number of organisations applying has increased.

Sponsorship Properties are overpriced: As Te Kōputu It is recommended existing sponsorship arrangements has already established naming rights partnerships, are taken into consideration when setting prices for equity between sponsorship investment and benefits properties at the new facility, while still providing is important. attractive benefits and not under-valuing the property.

4. Revenue Generation Overview

Giblin Group uses a proven methodology to secure significant funds for a capital project (see graphic below). Creating a sound strategic foundation is vital to attracting significant funds to a project. For the Musem project, Giblin Group is starting in the Strategic Phase with the development of a Feasibility Study and Revenue Generation Strategy (RGS) as WDC has completed the initial project scope.

The Development Phase typically includes the development of marketing material and community campaigns to support the project and sponsor research. This is a vital stage to ensure that approaches to funders are given the best chance of success. The Implementation Phase is where pre-planning and development of information, material and campaigns align to achieve a cohesive argument (that outlines community support and need) to attract funding. Approaches should be executed by a capable resource that has an intimate knowledge of the project, understands a funder’s objectives and can act flexibly in the negotiation process.

• Project Scope • Feasibility Study • Revenue Generation Strategy Strategic Phase

• Community Engagement & Communications Strategy • Sponsorship Collateral Development • Corporate and Philanthropic Research Development Phase

• Corporate & Philanthropic Approaches • Government Funding Applications • Gaming and Community Trust Applications • Community Fundraising Campaigns Implementation Phase • Maintaining Partnership Agreements

The proposed revenue generation approach enables the Museum to proactively source investment from a variety of funding sources, with a link to sustainable income streams for the future. This strategy identifies the process, sources and activities for securing the revenue required for redevelopment of the Museum. The information contained in this strategy has been developed from experience in past revenue generation efforts and through gaining understanding of the regional, political and commercial environment of Whakatāne, via WDC. The strategy also looks at the community engagement process necessary to gain support for the project so that it will be desirable to sponsors.

The Museum’s Revenue Generation Strategy has the following objectives:

 To engage and connect the Whakatāne community and local businesses with the redevelopment of the Museum;

 To source and secure short and long-term revenue streams to support the redevelopment;

 To maximise the amount of revenue generated for the redevelopment through a coordinated and planned approach;

 To provide the highest level of service and support to sponsors and key stakeholders to ensure long-term and sustainable investment and partnerships.

A comprehensive and all-inclusive approach is the most effective mechanism for maximising the connections between the different revenue streams. Each layer and level of revenue generation is reliant on the value that the Museum can provide for the community, funding partners and key stakeholders. As such, a fundamental aspect of the RGS is community engagement.

Four key components have been identified as essential cogs to securing sustainable revenue for the project.

Funders will be more likely to support a project if

© Copyright Giblin Group Ltd 2014 25 they see that the community wants it to happen. Through community engagement and communication, the value of the project will be demonstrated to the community and stakeholders; thereby creating demand from potential sponsors to be involved. By maximising exposure of the Museum project and the significance of its collection, and the educational benefits it will bring to the community; this will in turn encourage and validate the support of the community. On-going funding will then be easier to achieve for programmes and operational costs in the future.

For the fundraising to be a success, it is essential to ensure that available funding is maximised and that no revenue opportunity is lost. This strategy provides a framework for capturing revenue from a diverse range of sources through a targeted, collaborative and sustainable approach. The benefit of taking a wider revenue generation approach is also the ability to develop partnerships with funders and develop longer-term income streams. While initially the revenue generation must be capital expenditure based, in the long term it is hoped that the relationships established with funders will continue beyond completion of the physical infrastructure and into programme-based development to maximise the opportunities’ for the local and regional educational sector through both Te Kōputu and the Museum.

Governance: The governance of a project is a critical component to successful fundraising. The Whakatāne Museum and Research Centre is a Council controlled organisation with an Advisory Board. The Advisory Board was formed in 1991 when a trust deed was entered into between Whakatāne District Council, the Whakatāne and District Historical Society and the Whakatāne Society of Art and Crafts Inc. for a 25 year period. The Board registered as the Whakatāne District Museum and Gallery Board with the Charities Commission in 2011 as a charitable trust, but the previous deed didn’t reflect contemporary stakeholders or the needs of the Museum and the community.

As a result there has been a review of the Board’s role and function during 2013. This has seen the Advisory Board retained and a new terms of reference endorsed in February 2014. The new terms of reference for the Advisory Board sees the following functions, (Whakatane Museum, 2013.) to be carried out by the Board which are essential for raising funds:

 To promote community awareness of the value and work of the Museum;

 To submit funding applications on behalf of the Museum;

 Assist with fundraising for the Museum as required;

 To assist in developing and retaining mutually beneficial community partnerships.

Project Critical Path:

Based on Giblin Group’s experience, it is recommended that, for fundraising to be successful, the identified key tasks need be completed. Items such as a Feasibility Study, a Revenue Generation Strategy and Quantity Surveyors Report are critical in significant government applications.

At the time of writing, a number of key aspects of the project had been completed:

 Stakeholder Consultation (Lumin)  Draft Design Brief (WDC)  Feasibility Study (Giblin Group) February 2014  Revenue Generation Strategy (Giblin Group) February 2014  Preliminary Consultant Document (Concept Design) (Irving:Smith:Jack Architects)  Quantity Surveyor Report (QS) May 2014  Consent Process – Resource Consent granted August 2014

In order to give Government funding applications and approaches to corporates, philanthropists and trusts the best chance, it is critical the following project milestones are reached:

 WDC support confirmed on recommended option  Public Consultation via LTP  Detailed Drawings  Sponsorship collateral developed  Government applications prepared  Corporate Sponsorship proposals research and executed

The table on pages 29-30 provides a funding summary for the project. On Councils support, Bay Trust should be approached and February 2015 is the next funding round for Lottery’s Environment and Heritage Fund.

Funding Parameters by Geographic Relevance: The Whakatāne Museum & Research Centre Draft Strategic Plan 2014/2018 (Whakatane Museum, 2013.b) outlines the below vision.

‘The vision of the museum is to learn from the past, engage with the present and inspire the future by preserving, protecting and promoting the social, cultural, natural and artistic heritage of the

Whakatāne District and rohe o Mataatua, in ways that increase knowledge, enrich the spirit, engage the mind and stimulate the senses’. (Whakatane Museum, 2013.b)

It refers to the geographic areas of Whakatāne District but also the Mataatua Rohe which includes the whole of the Whakatāne, Ōpōtiki and Kawerau. This has meant for the purpose of this RGS, the geographic area has been widened in terms of local government organisation from which funding may be potentially sourced.

5. Revenue Generation Summary

Source Proposed Target Timeframe Comments Local Government Whakatāne District Council $1,500,000 TBA 33.4% of total budget Kawerau District Council TBC Oct 2014 Storage Proposition Total: $1,500,000

Central Government MCH: Regional Museum Fund $1,700,000 June 2015 Turnaround 2-3 months DIA: WWI, Environment & Heritage $400,000 Feb 2015 Meeting May 2015 Te Puni Kokiri (TPK) $50,000 2015 Once relationship established Total $2,150,000

Community Trusts Bay Trust $250,000 Late 2014 Before 50% of funds secured Eastern Bay Trust $300,000 2015 Energy/electrical purposes

Total: $550,000

Private Trusts Sir John Logan Campbell $25,000 2015 Applications June - Sept Eric Hattaway Bridgman Trust $2,500 2015 Applications open May/June The Lou and Iris Fisher Charitable Trust $20,000 2015 Arts & Culture round Sargood Bequest $5,000 2015 Apply December Total: $52,500

Gaming Trusts Lion Foundation $50,000 Late 2015

Pub Charity $10,000 Late 2015 Apply to these trusts once Four Winds $25,000 Late 2015 QS complete and close to construction, monthly Grass Roots $20,000 Late 2015 applications rounds. Southern Trust $20,000 Late 2015 Total: $125,000

Corporates Viewing Room $25,000 Start approaches once community awareness Research library $15,000 Jan 2015 Foyer $10,000 stronger - one community - engagement initiative Archives (5) $12,500 started and regular updates Dec 2015 Meeting Room $5,000 being provided Display Cabinets (10) $5,000

Total: $72,500

Private Individuals Philanthropists $25,000 Timing as appropriate Total: $25,000

Community Fundraising Museum Art Adoption $16,500 Late 2015 Alongside Heritage Week Museum Heritage Window $20,000 Early 2015 On WDC support confirmed Donations / Corporate Giveaways $7,000 Mid 2015 Total: $43,500

Museum Revenue Generation Target: $4,518,500

Total needed to be raised: $4,489,100

Buffer $29,400 1% buffer

N.B This RGS does allow for FF&E and all figures are GST exclusive

6. Corporate Sponsorship

Effective sponsor partnerships will be an essential component to the success of the Museum both in the short and long term. Signing up a corporate partner will generate funding success for the short term, but sponsorship renewals will ensure cash injections to fund future development of the Whakatāne Museum. In the longer term, the value of a strong corporate partnership can often go beyond financial contributions with expertise and networks. The Museum offers a number of properties which could lend themselves as an attractive space for corporates, but care and diligence must be taken to ensure the following fundamental values are upheld for sustainable partnerships:

 Visual integrity must be maintained to ensure an aesthetically pleasing environment of which both the community and sponsors/partners can be proud;

 ponsors’ partnerships are viewed as a long-term investment that is the product of sound relationships, trust and mutual benefits;

 Consistency in sponsor partnerships across the project is essential to provide fair value to commercial partners;

 Successful long-term sponsor partnerships and sponsor retention requires on-going and proactive management to ensure commercial partnerships receive meaningful benefits that maintain value.

 Sponsorship is more than just signage within the Museum or at Te Kōputu. Sponsors want to see a “Return on Investment” in both tangible sponsor benefits but also in the more intangible benefits, such brand positioning, brand exposure, corporate social responsibility, increased direct access to target audience or employee engagement.

 The resource required for managing sponsors is an important consideration. It is a function, which if it is not managed with commitment, could be detrimental to the long-term relationships the Museum has with sponsors and their continued commitment to sponsorship renewal. The experience sponsors have with this project, good or bad, can also have a knock-on effect to other projects that WDC may want fundraise for in future. It is recommended the sponsorship portfolio is assigned to the most appropriate staff member

and that there is a clear understanding throughout the Councils’ Arts and Culture team of necessary support required to maintain the sponsors. A sponsor management document should be established that ranks sponsors, outlines what benefits have been committed to and how those commitments are being managed. Appendix Three (WDC Arts & Culture - Example of Sponsorship Management Tracker) outlines the current sponsorship arrangements for Te Kōputu and the proposed naming rights properties for the Museum as an example of how the sponsors should be tracked. This very simple example ensures consistency and equity is maintained with corporate sponsorships in the long term.

Estimating Sponsorship Properties: It is important to maximise the funds received in return for naming rights and associated benefits for the limited number of sponsorship properties available across a facility. However, over pricing a property will not achieve the desired result. Estimating the right value for a property is not an exact science and unlike the advertising industry there is no standardised valuation system.

Property values are largely determined by the region and market the facility sits within, in other words a property is worth what the market is prepared to pay. However, it is important to have a sound methodology for valuation in order for potential corporates to be satisfied that they are paying a fair price.

Giblin Group’s property valuation methodology takes into consideration the:

 Facility’s construction costs,  Tangible benefits to sponsor e.g. naming rights, complimentary use of facility  Intangible benefits to sponsor e.g. brand exposure, corporate responsibility, brand leveraging opportunities  Competing projects at both a regional and national level within the same sector

Corporate Sponsorship Packages Sponsorship is more than a sign erected within the Museum. The package must focus on what value the funder will receive and all corporate sponsorship partnerships with this project must be tailored to meet individual needs for maximum benefit. Although the information contained in this strategy sets out generic elements of sponsorship servicing, each corporate sponsor is seen as a valued partner. A specialised sponsorship package should be developed and designed to deliver specific benefits that reflect the ethos and practices of the corporate sponsor.

The following page provides an overview of the proposed Museum’s corporate sponsorship framework including properties, value, and benefits. To undertake this task the following assumptions have been made:

 Selling naming rights to entire Museum facility has not been considered for two reasons. 1. Iwi would need to approve this happening; 2. It is not common practise for Museums to sell naming rights to the entire facility.

 Sponsorship values from Te Kōputu have acted as a ceiling for corporate sponsorship in Whakatāne based on it being a facility with higher community use. The values placed on the Museum’s proposed spaces are therefore at a lower level.

 The quantities of some of the properties listed in the following table may be higher or lower, i.e. open storage once confirmed may have more of less display cabinets from which to sell or one of the archives might not be appropriate to sell.

Corporate Sponsorship Summary

Value of Sponsorship Naming Rights Signage & Exclusivity Promotion & Advertising Usage and Discounts Sponsorship Properties

Naming Right:  Naming rights signage  Significant verbal and  Use of open areas of Museum Platinum package for the written reference to once a year for corporate event Partner associated facility sponsorship at all  Use of activity space on a monthly opportunities basis $25,000 Viewing Room +  Honours board inclusion  Priority invitations to all significant Activity Space Facility or space  or’s logo to appear 10 year Spons events run at Museum and Te recognised as the on website Kōputu Sponsorship ‘ ponsor pace’  Meeting with the Team Leader

Payment over 5  Media coverage of Museum & Arts once a year sponsorship  Team building activity for staff years once a year at Museum  CPP networking function twice yearly

 Use of open areas of Museum  Naming rights signage  Significant verbal and once a year for corporate event Gold Partners Naming Rights: package for the written reference to  Use of activity space 2 times per associated facility sponsorship at all year $15,000-  Research Library Facility or space opportunities  Priority invitations to all significant $10,000 (15k) recognised as the  Honours board inclusion events run at Museum and Te  Foyer ‘ ponsor pace’  ponsor’s logo to appear Kōputu 10 year (10K) on website  Meeting with the Team Leader Sponsorship Museum & Arts once a year

 Media coverage of  Team building activity for staff Payment over 3 years sponsorship once a year at Museum  CPP networking function twice yearly

Value of Sponsorship Naming Rights Signage & Exclusivity Promotion & Advertising Usage and Discounts Sponsorship Properties

 Naming rights signage  ponsor’s logo to appear  Free use of activity space once a Silver Partners Naming Rights: Facility or space package for the on website year recognised as the associated facility  Priority invitations to all significant $5,000 –  Meeting Room ‘ ponsor pace’  Media coverage of events run at Museum and Te $2,500 $5K  Honours board inclusion sponsorship Kōputu  Archives (5)  CPP networking function twice

5 year $2.5K each yearly Sponsorship One-off payment

Naming Rights:  Naming rights signage  ponsor’s logo to appear  Priority invitations to all significant Bronze Space recognised package for the on website events run at Museum and Te Partners Display Cabinets (10) as the ‘ ponsor associated facility Kōputu pace’ $500  Honours board inclusion  CPP networking function twice yearly 5 year Sponsorship One-off payment

Identifying Potential Corporate and Philanthropic Partners:

Simply having the money is not reason enough for approaching a potential sponsor. Corporates and philanthropists will only invest in a project that ticks the boxes for them and is likely to provide a return on their investment. The larger the investment you are asking for, the stronger the synergies and return on investment must be.

When making a list of potential sponsorship partners, it is important to consider:

 Can they afford it? Most companies have a limited sponsorship budget, some may choose to leverage or add further value to a sponsorship, and some simply may not be able too. But for those who do add value through their own internal marketing, there is a rule of thumb that “corporates will normally need to spend at least one dollar on leverage for every dollar of sponsorship. Most companies will normally spend around 10% of their annual turnover on marketing activity, and sponsorship rarely exceeds 20% of the marketing spend. In short, take the price you seek and multiply by 100. Businesses with turnover of less than that amount should not be on your final list” (SportNZ, 2013).  Sponsor need generally exists within one or more of the following areas and it is important to identify in a proposal how your project can fulfil their objectives, which may include (SportNZ, 2013): o Support for brand position: A fast-food chain sponsors key athletes to support the new brand offering of healthy alternatives in the menu. o Exposure of brand: A phone company sponsors a high-profile celebrity to achieve higher television exposure of their brand or a new product or service. A charitable trust funds an event to demonstrate how it supports its local community. o Corporate social responsibility (CSR): All sorts of businesses and funders seek to be seen supporting positive causes as a method of managing their brand’s profile in the community. o Increased access to target audience: A finance company sponsors a NZ Symphony Orchestra programme because the demographics of audience fits their target market and the arts provides opportunities to interact with that demographic. o Employee engagement: A bank sponsors an event in part because many of their staff attend the event and they will stage fun days for employees and their families around the event.  What is their sponsorship history? This is fairly easy to determine but does take time and it is important when it comes time to working up a proposal. This identifies the themes or

priorities they focus on. i e. a local retailer who invests in heavily in the local Rugby Team may not be interested in the arts. It is important that you also acknowledge and congratulate them on their support to date in the community which shows the corporate you have done your homework and are serious about a partnership.  Is the timing right? Large sponsors will have a sponsorship portfolio with several arrangements in place, which expire at different times. Knowing when sponsorships are due to expire or be reviewed can enable you to present a new opportunity at a time when the sponsor is most receptive. Also what else is happening within the company, e.g. have they laid off staff, share price performance.

A planned programme of sponsorship approaches will need to be put in place and supported by fundraising collateral that will “sell” the Whakatāne ‘arts and culture’ story to sponsors. A proposed list of corporates to approach for sponsorship, community engagement support and general funding grants has been identified in Appendix Four – Museum’s Target Corporate List, as a starting point for the project. This list has been completed from a review of Whakatāne’s local businesses in terms of size and association to council and history with arts projects. It will be important to identify family businesses that have a long standing history in Whakatāne as this will also be a strong connection into the project.

7. Central Government Funding

The Whakatāne Museum and Research Centre will re-establish a strong Museum facility for the Bay of Plenty region. The collection with its 100,000 objects and significant archive is by far the largest among the other regional museums of Tauranga, Ōpōtiki and Kawerau and the collection has been endorsed by Wellington valuer, R.J Watt (RJ Watt & Associates, 2011) as offering both national and international significance within several category items.

The project will have a significant positive impact on the community and wider region by firstly preserving a valuable regional collection but secondly through the educational benefits of making it more accessible. Users historically have included local, national and international researchers and limited numbers of educational groups (who have been difficult to accommodate) based on storage and systems within the current Boon St facility. With regular demand from Auckland University and up to 200 post graduate students from Te Whare Wānanga o Awanuiārangi wanting to use the facility, but with the current operation unable to cope with such numbers, the project presents a strong case to seek central government support.

As such, investment and funding from Central Government via several funds is a vital component of the RGS. The project has been checked for suitability against the below funds and the advice given has been provided in the below section. As with any funding strategy it is important to establish contact with each funding body to discuss the project application more fully, before proceeding.

1: Ministry of Culture and Heritage - Regional Museum Fund (RMF)

Every year the Ministry of Culture and Heritage has the opportunity to call for applications under the Regional Museums Policy for Capital Construction Projects. The Regional Museums Policy has been established to assist regional museums that house collections of national significance. The fund applies to capital construction projects only. Applications to the fund are considered each year on a contestable basis against other applications received and within the funding available. The RMF for Capital Construction Projects is a ‘fund of last resort’ and applications must be for major construction projects which will improve access to and care of these collections.

The call for applications to the 2014/15 round opened on 16 May 2014 and closed on 30 June 2014. The total funds available for possible allocation to new projects were around $6 million. (Ministry of Culture & Heritage, 2013). This figure can change annually based on historical allocations. Previous recipients of this fund include the Rotorua Museum - $7.5m toward $22m

Regional museums are considered those located in a main regional city and whose core funder is usually a city council. In 2011, WDC applied for Te Kōputu which was declined on the basis that ‘a significant proportion of the project benefits were associated with the library which is not covered by the fund’ (Finlayson, 2011).

In December 2013, an update of the project was submitted to an advisor for the Regional Museums Policy to determine the projects eligibility. The project has been advised that it would be considered a lower priority project and to be successful, it would need to illustrate the Museum’s national significance and regional impact. A statement of significance will be required for this application.

Based on eligibility, it is recommended the Museum apply for $1.7m as a contribution to the redevelopment of the Museum in the 2015 funding round. For the best chance of a successful application, community engagement will need to be well underway, in particular government lobbying. The Minister for Culture and Heritage needs to be updated on this project reasonably promptly to strengthen its case before an application is submitted and the project should use a local MP or WDC councillor with strong parliament connections to undertake this work. An expression of interest was submitted in June 2014.

The application should focus on the geographic isolation of Whakatāne making the Museum highly important to the Eastern Bay of Plenty and also the significance of the collection to not only the region but also nationally and internationally. The Whakatāne community also has ‘less than average’ income so financial support will be minimal for the project, making a stronger case for central government support. It would be advised to focus on the importance of the collection to Whakatāne District and not the council archive in the application.

2: Lottery Grants Board:

World War One Commemorations, Environment and Heritage Fund The Department of Internal Affairs administers the Lottery Grants Board World War One Commemorations, Environment and Heritage Fund. This fund is for projects which promote, protect and conserve New Zealand’s natural, physical and cultural heritage, such as museums, whare taonga and art galleries. The Lottery Committee meets nationally twice a year; the next round closes mid

February 2015 with the meeting scheduled for May 2015. Typically, the Committee makes grants between $10,000 and $500,000.

The Museum has had two successful applications to this fund previously:  $75,000 for digitisation of all items within the Museum collection and community relating to WWI in 2013 (Whakatane District Council, 2013.d.)  $238,471 for rehousing of collection in 2011  An application for $200,000 was submitted in August 2014 to assist with shelving and staff costs related to the flooding and moving some of the collection. The outcome is still unknown.

Cultural Heritage Projects The Museum will be eligible to apply as a cultural heritage project which looks to conserve or preserve New Zealand cultural heritage. Applications for the development, redevelopment or upgrade of museums, art galleries or archive facilities may include costs for items such as appropriate storage systems, collection management systems, environmental control systems, fire protection systems and display facilities.

Priority is given to projects that:  protect collections at risk;  make collections available to the community;  enhance the learning experience and involvement of young people.

Previous recipients of this fund include the Len Lye Centre - $500,000 towards $11.5m budget, MTG Hawke’s Bay - $1m towards $18m budget, Te Kōputu $363,000 (for re-housing the collection) towards $4.7m budget in 2012.

It is recommended the Museum apply for $400,000 as a contribution to the construction of the Museum in the next funding round which closes mid-February 2015. A Lottery Grants Advisor recommended the application should not focus on the council archives which are not a good fit with the fund.

Key considerations:

 Applicant group discuss application further with grant team before applying;

 Must demonstrate 1/3 of project funds have already been secured; designs must be provided and resource consent lodged;  Work cannot have started before closing date of application, but can begin between application and meeting date if necessary;  The application should ask for a ‘contribution to the construction of the project’ and then provide a detailed breakdown in the budget of items rather than requesting set figures for certain lines in a budget. This then does not lock the applicant in for a set amount per item if the cost alters after the funding is approved.  It should be submitted at least 3 weeks before close off. This allows the opportunity to provide additional information if necessary before close off date.

The above recommendations are based a conversation with the advisor who reinforced an application from the Museum will be up against other projects and on the day, other projects may be a better fit, so the level of financial support and success is always an unknown.

Significant Projects Fund

This fund provides support to organisations undertaking major community-based capital expenditure projects. It was reinstated in October 2013 with a total fund of $30million (over two years) for projects of regional significance after being disestablished in 2010 for funds to be redirected to the Rugby World Cup. The first of the two rounds closed in December 2013 and the successful projects will be announced early March. This will highlight how much of this fund is remaining. The next funding round will likely be in December 2015 and expressions of interests (EOI) are likely to be sought in October before a full funding application can be progressed.

The community outcomes the Committee expects a project to contribute to include:

 increase community self-reliance, capacity building and stability  provide opportunities for social, recreational, civil or cultural participation  reduce or overcoming barriers communities face to such participation.

Projects must meet the following priorities:

 be for a purpose relating to a community benefit of a public nature  meet a clearly identified community need  provide opportunities for widespread and significant community interaction and cohesion

 have wide community support and/or result from a community initiative  is an appropriate size for the community  involve collaboration between the applicant and community organisations, local/central government and/or Māori organisations/iwi. A priority may be given to projects which can start on site within 6 months of the Committee’s funding being granted.

Applicants must demonstrate that their project:

 is for a community purpose  has a total project cost of at least $3 million  has secured at least one-third partnership funding  has a Project Manager  has a completed feasibility study or other report in support of the project  has an approved resource consent  contributes to a regional and/or national outcome, in one or more of the following areas: o arts, culture and heritage; o sport and recreation; o conservation and the environment; o economic development; and/or o visitor services and tourism.

It is recommended the Museum apply to this fund should it be unsuccessful in its application to the RMF or if there is a shortfall on what is requested. The outcome of the RMF announcement will be September – October 2015 if the funding round is in June so will allow the Museum time to consider submitting an EOI in October 2015 to the Significant Projects Fund.

3: Te Puni Kokiri (TPK)

Māori Potential Fund: (Te Puni Kokiri, 2013)

The fund is used to invest in the strategic goals of the Government and TPK in excess of $23 million a year. The fund does not invest in individuals or commercial activities for individual profit.

 TPK's Māori policy framework, the Māori Potential Approach, is about realising Māori Potential or Māori succeeding as Māori. The ultimate aim of the Māori Potential Approach is

to better position Māori to build and leverage off their collective resources, knowledge, skills and leadership capability to improve their overall quality of life;  The Māori Potential Fund supports the Māori Potential Approach by enabling outcomes- based investments that help realise Māori potential. Of particular relevance is tream One: Matauranga (Knowledge / Skills);

The Matauranga stream aims to enable increased Māori acquisition, creation, maintenance, and transferral of traditional and contemporary knowledge. The current Matauranga investment priorities are developing an understanding of Matauranga Māori through:

 Consolidation and transfer of traditional and contemporary Māori knowledge  Intellectual property  Investigative studies  Taonga preservation  Digital archiving

It is recommended a WDC council staff member initiate a discussion with the regional director at Whakatāne. This would be to firstly form a strategic partnership and engage them as a stakeholder and secondly scope the possibility of the project being eligible for support in relation to the preservation of the Museum’s significant taonga collection.

4: Ministry of Education: Learning Outside Of the Classroom (Ministry of Education, 2013)

Learning Experiences outside the Classroom (LEOTC) is a Ministry of Education curriculum support project. It contributes to curriculum-related programmes run by a range of community-based organisations for the benefit of New Zealand school students.

Providers of LEOTC include zoos, museums, historic parks, art galleries, performing arts and science centres that hold significant resources and expertise used to enrich student learning within a unique Aotearoa/New Zealand context.

LEOTC programmes complement and enhance classroom learning. They are authentic hands-on, interactive learning experiences for students. Providers and schools work in partnership to ensure that programmes meet the learning needs of students and support effective teaching and learning.

The Ministry of Education is currently considering future redesign options for the LEOTC programme to ensure alignment with current Government priorities and Ministry objectives. This review was

If you are a prospective supplier, who does not currently hold a LEOTC agreement, then it is important to check the Ministry website including the timelines for any future tender rounds and how to apply.

Given the Museum’s focus on ‘strengthening the Museum as a centre for research and learning’ (Whakatane Museum, 2013.b) and the strong potential for Bay of Plenty wide schools and REAP programmes to work with the Museum, it is recommended WDC consider applying as a supplier of the LEOTC programme as another potential funding stream for the Museum. Once the Ministry finalises its review, we would advise the Museum to have a discussion with an advisor about what is required to proceed.

5: Transpower – Community Care Fund (Transpower, 2013)

Transpower offers two key funds to all regions throughout New Zealand affected by Transpower assets. The Community Care fund has a better fit with the Museum rather than the ‘Greenline’ programme and is evaluated against the selection criteria outlined below:

 Benefit those in close proximity to the national grid;  Provide a clear benefit to the community;  Do not require ongoing Transpower funding support;  One off projects between $5,000 and $50,000.

Projects which meet the above criteria are then rated by the funding panel according to the following criteria:

 Positive and lasting impact on the local area;  Have a high level of community involvement and participation;  Are of high priority to a local community;  Benefit a relatively large number of people in the affected community;  Extent of funds already provided.

Any independent, local, non-profit organisation or community group, non-government organisation, charity, school or educational institution, iwi or regional or district council can apply and there are two funding rounds per year. In 2014, Transpower is seeking applications for projects in

© Copyright Giblin Group Ltd 2014 44 communities affected by the Wairakei to Whakamaru replacement line project and the Lower South Island and Clutha to Waitaki Lines upgrades. Should Transpower initiate any transmission or project work near Whakatāne in the next few years, the Museum should consider an application.

8. Local Government Funding

Whakatāne District Council: The 2009-2019 Long Term Council Community Plan (LTCCP) provided for the establishment of Te Kōputu. It also provided funding for the Museum Research, torage & Archives project and Corporate Archives Facility project. The council committed $3.25m towards Te Kōputu which had a total project cost of $4,770,261 split over a four year period and was completed in 2012.

For the Museum project, the council budgeted in the 2013-2014 annual plan, a total of $1m for the development, however work was not undertaken (Whakatane District Council, 2013.e.) and a needs assessment was deemed the next best step to determine how the development of this facility would take place. The Manager of Community Facilities presented a report (Lumin, 2013) on the Museum redevelopment at the 24 July 2013 Projects and Services Committee meeting. The report highlighted the need to view the Community (Whakatāne Museum) and Council research, storage and archive needs as a whole rather than separate projects (Whakatane District Council, 2013.f.).

It should be noted that in 2009 council indicated they would be happy to contribute $1.5m5 of the estimated project cost of $3m; however this will be reviewed in 2014 at the annual planning rounds. Other significant Council projects on the horizon include a retirement village project, a greenway riverbank development and the retrofit of the Information Centre.

The Whakatāne Community Board which sits within WDC has an annual fund of $50,000, with a strong focus on public art projects. There was support of the Te Kōputu project with sponsorship of a gallery and name recognition was important to the Board. Based on this past support, it is recommended to approach the board as a naming rights sponsor for the Museum.

Ōpōtiki and Kawerau District Councils: Te Kōputu did not receive support from either of the neighbouring local bodies of Ōpōtiki and Kawerau District Councils, both small districts with populations of 8,433 and 6,363 respectively (Statistics New Zealand, 2013). Both districts also have their own museums, the Ōpōtiki OHAS Museum and Sir James Fletcher Kawerau Museum. Ōpōtiki District Council is currently focused on two significant projects with the Library redevelopment costing council $1.2m and the Ōpōtiki Harbour Development. In 2013, the Harbour project was successful in an application to the Regional

5 Conversation with Paula Chapman and Hamish Pettengell on Museum Development, 17/10/2013

Infrastructure Fund from BOP Regional Council. This granted $18m but further fundraising is required and Central Government is now the focus.

Although the above councils both fall within the Mataatua Rohe boundaries of which the Museum holds a strong taonga collection (which is relevant for primary, secondary and tertiary institutes within Bay of Plenty), it was felt in April, an approach for financial support is unlikely to be successful. However the Kawerau District Council has since purchased a building and is currently exploring the option of redeveloping into a Museum Storage area. A formal letter offering the Kawerau Council the opportunity to store the collection in the developed Whakatane Museum with a contribution to the project is currently been drafted.

These Councils should be considered stakeholders to the project and still be engaged for non- financial support, pending the outcome form the Kawerau Museum storage proposition.

Bay of Plenty Regional Council:

Bay of Plenty’s Regional Council established the Regional Infrastructure Fund in the Councils Ten- Year-Plan 2012-22 which aimed to promote sustainable regional economic development, and promote environmental protection and enhancement that supports sustainable regional economic development in the Bay of Plenty (Bay of Plenty Regional Council, 2013). The fund has been set aside over the nine years between 1 July 2013 and 30 June 2022. Council had the authority to decide to allocate the entire $38 million in this funding round, or retain a proportion of this for future funding rounds. Unfortunately the entire fund (or $40.5 million) was allocated in 2013 towards:

 An Innovation Centre at cion’s Innovation Park in Rotorua ( $2.5m)  A shared tertiary campus in Tauranga ( $15m)  A Marine Precinct for Tauranga City ($5m)  The Ōpōtiki Harbour Transformation ($18m)

For the purposes of this report, we were advised, “We are currently working through the contracting process with each of the successful projects. Unless one or more of these projects falls over during this phase (and the allocated funds are subsequently returned to the pool), there will be no further funds available through the RIF process.”6

6 Email Correspondence: [email protected] 17 Dec 2013

9. Iwi Funding

The implications of the Museum redevelopment to local Māori are significant as the redevelopment will ensure their own taonga is preserved and made available for community benefit. The Museum’s Taonga Māori collection includes significant examples from local iwi Te Runanga o Ngāti Awa , Ngāi Tūhoe, Ngāti Tuwharetoa, Ngāti Rangitīhī and Te Whakatōhea as well as the Te Kōhika collection which was one of the most important swamp excavations in New Zealand. The total collection was valued at approximately $9m in 2013 (RJ Watt & Associates, 2013) and with the taonga category worth over $5m, it is the highest valued category within the Museum’s collections. The category helps support the argument of the Museum’s collection being of national significance which is an important aspect of funding generation out of Central Government. It means that strong iwi relationships are critical to ensure the collection is retained within the Museum and if required by iwi, are loaned out.

The significance of the taonga collection has meant there is strong communication and stable relationships with iwi. A Heads of Agreement was established in February 2012 between Te Runanga o Ngāti Awa; Tūhoe Establishment Trust; Te Whare Wānanga o Awanuiarangi and the Whakatāne District Council. This established a working partnership and potential financial support for the redevelopment of the Whakatāne Museum was discussed. In February 2013, this agreement lapsed and financial support was withdrawn due to both Ngāti Awa and Ngāi Tūhoe focussing on individual Whare Tāonga developments. Iwi have indicated they wish to house some of their own taonga on loan from the Museum for periods of time. Ngai Tūhoe are scheduled to complete their own headquarters in March 2014 and Ngāti Awa are still at concept stage.

The semi-permanent gallery space in Te Kōputu was offered as a naming rights opportunity to iwi but was not formalised. Ngai Tūhoe have since shown minor financial support with catalogue sponsorship of a 2013 exhibition and are very much an engaged stakeholder. It is likely iwi will be reoffered this naming rights opportunity once the development of educational programmes makes this gallery a more attractive investment with higher visitation. Support letters from iwi for funding applications will add significant weight to applications.

10. Trust Funding

Gaming and private trust funding is an established and often used tool for generating revenue for not-for-profit organisations at a variety of levels. This form of funding will be an important area for the Museum component of fundraising, in particular, because of the benefits it will bring as a much needed community facility and educational platform. It is also one funding area that was not leveraged for the Te Kōputu project. Sourcing funding from this area relies heavily on the following factors:

 Understanding how to successfully complete the appropriate application forms and the ability to provide the correct information;  Having established relationships with key contacts of gaming and private trusts and understanding how each operate;  Being able to show the value and investment the gaming and/or private trust funding will provide to the community;  Understanding and complying with the legislative requirements of the Gambling Act 2003 in regard to gaming trust grants and subsequent audit requirements;  Having the appropriate project governance and process within the project. Most trusts require the applicant to be a registered charity.

Through this RGS, a targeted approach to gaming and private trusts has been undertaken to ensure the maximum investment is brought about through as many different trusts as possible. This has included tailored and specific approaches depending on trust size, mandate, location, personnel, and connection to the project which has direct links to community and educational benefit.

The amount of money gaming trusts have to distribute has been trending downwards over the past two years. There are a number of reasons for this.

 Firstly, changes to the gaming legislation which has meant increased compliance and regulatory costs for gaming trusts;  Secondly, local authorities have introduced a sinking lid policy whereby if a hotel or club hosting gaming machines is closed, the machines are not able to be transferred to another venue, consequently reducing the number of machines;

 Finally, the economic recession has resulted in less money spent on gambling. In addition there are an increasing number of community groups trying to access a limited amount of money. As a consequence, it is becoming more and more difficult to secure gaming money.

Gaming Trusts:

The project will need to prepare a schedule of items requiring funding and often up to three quotes as required, or a QS report to support a grant request. This should include the development and fit out. Listed below are the local gaming trusts and the number of venues they have within the Whakatāne District. Within their criteria, they fund capital projects that either support community and education or both.

Some common rules with gaming trust applications:

 Require the applicant to be incorporated and also have Charities Commission registration or an IRD income tax exemption;  Applications should be made when the project is close to construction, or once it has gone to tender as applications can require up to three quotes or a QS report;  Accountability is critical for gaming trusts through DIA regulations and they will generally audit within a year of receipt but some are known to do this as quickly as three months so it is important to know of this process, for the the timing of WDC’s application;  Prior to an application being submitted, it is important for the applicant to ring the trusts, highlight an application will be submitted and they at this stage may indicate whether there are funds available for that amount.

Based on suitability against funding priorities and conversations with each trust, the Museum should apply to the below:

The Lion Foundation (4 venues)

 Funding falls into: community 30%, health 15%, sport 40% and education 15%;  In the last financial year across Community and Education, $430,000 was granted to projects in the Whakatāne district;  If the project has Bay of Plenty wide advantages, the funding pool may be larger. Sports is the most oversubscribed of the categories, community less so;  Applications can be made monthly, but it is advised to apply eight weeks before decision is require;  Recommend application of $50,000.

Grassroots Trust (2 venues)

 Funding falls into: sport 75% , community 15%, education 10%;  Whakatāne District Council received $55,000 2012/ 2013 period;  Applications can be made monthly;  Recommend application of $20,000.

Pub Charity (1 venue)

 Funding priorities include: community, culture and arts, education, fire brigade, ambulance, lifesaving, health, and health-related purposes, youth, sport, recreation, leisure;  Whakatāne district total grants from Oct 12 – September 13 were $167,465;  Grants of note include Whakatāne Astronomical Society Inc $11,354, Whakatāne Contract Bridge Club Inc $ 9,506, Whakatāne Districts Friends of the Library $ 2,500;  Applications can be made monthly; an online calendar shows meeting and deadline dates;  Recommend application of $10,000 but they have requested talking to them in regards to a particular tangible item before submitting application and final amount.  Please keep Graeme Ambler up to date on project – [email protected]

The Southern Trust (1 venue)

 Funding priorities include; community, education, fine arts, health, sports and capital projects are funded;  Within Whakatāne District, in the last financial year ended September 2013, Southern Trust grants totalled $258,154;  Grants of note included Whakatāne Astronomical Society - $10,000, Plunket Bay of Plenty - $20,000;  The trust aims to process and determine each grant application within 20 working days of receipt;  Recommend application of $20,000.

Four Winds Foundation (1 venue)

 Funding priorities include; o The provision of facilities for community recreation purposes, in the interests of social welfare. o The promotion and support of amateur sport and recreational facilities, pursuits and activities where health (physical and mental);

o and/or education and/or other community benefits are promoted through such activities on a not-for-profit amateur basis.  Grants were split by: community welfare 55%, amateur sports, 30%, educational institutes 15%  The application must be received four weeks before the date the applicant requires the funds. Applications must be received at Four Winds office by 4.30pm on the last working day of each month. Applications received by this date will be considered by the end of the following month and accounts are required three months after grant received.  Recommend application of $25,000.

Community and Private Trusts:

Both of the below community trusts supported Te Kōputu and the Museum project is on their radar for future support with good communication and relationships established.

Bay Trust

 Will not usually consider projects whereby at least 50% of the costs are in place (or firmly committed).  Supported Te Kōputu project and aware of Museum project;  Museums fits within outcomes of education and arts/culture;  Application will need to concentrate on educational benefit of facility with Trust now focusing more on programmes;  Trust meets quarterly and recommended to apply six months before funds required;  Recommend application of $250,000 to commence as soon as Council on board. .

Eastern Bay Energy Trust

 Funding for energy related purposes;  Museum design brief touches on the design to be environmentally sustainable;  Funding will help with energy and electrical fit-out costs;  The trust meets monthly and requires six months' notice of applications for funding of over $100,000;  Recommend application of $300,000.

There are a number of private charitable trusts in New Zealand mainly administered through legal firms but there are only a handful that support the Whakatāne locality and also have potential fit with the Museum via community benefit or education.

Sir John Logan Campbell Residuary Estate Trust:

 Museum suitable against criteria of: o Public benefit to a sufficiently wide section of the community o Advancement of education  A total fund of $600,000 in 2012 and gave The Coromandel Heritage Trust $50,000.  Supported Te Kōputu - $15,000 over 2 applications  Annual application round: Online applications may be submitted to the Trust in the period between 1st June and 15th September of each year.  Recommend application of $25,000.

Eric Hattaway Bridgeman Trust:  Administered by Guardian Trust, annually;  The last grant cycle 17 May 2013 – 14 June 2013 offered a funding pool $10,000 - $17,000.  Funding criteria centred on; charitable, public, educational, cultural, and benevolent or other institutions or organisations, functioning in the Rotorua district and/or Te Whaiti Murupara and Ruatahuna areas, for work in those areas and/or for the education, advancement in life and/or well-being of any person living there;  Supported Te Kōputu - $2,500;  Recommend application of $2,500.

The Lou and Iris Fisher Charitable Trust:  Four focuses that are rotated each year, with strongest fit for Museum being art /culture however this was the theme for 2013;  The next funding round is 2015, application due Dec 2014, with funds made available in April following year;  Generally offer only a one-off grant. Always quite good to list two items in an application, gives perhaps better chance of having success;  Total annual fund approximately $150,000;  Recommend application an application of $20,000 when focus is art/culture.

Sargood Bequest:  The Trust makes grants to projects and activities in the children & youth, cultural, sports & outdoors, educational and environmental areas with a focus on access, participation and inspiration;

 Annual funding round with maximum grant of $5,000, applications close 31st December annually;  Museum could apply under the priority ‘culture’;  Supported projects under culture include Dunedin Art Gallery, Mercury Bay Art Escape Trust;  Recommend an application of $5,000.

It is understood there are potentially three philanthropic individuals in the Whakatāne area who support the arts. They may consider donating to the project so the RGS has allowed $25,000 as potential funding from this group.

11. Community Engagement

Community engagement refers to the way in which the Museum project can connect primarily with the arts/culture and educational sectors within Whakatāne and the wider Whakatāne communities during and after the redevelopment. It is a critical platform on which to anchor the RGS.

In order to encourage corporate sponsorship, Government investment, philanthropic contributions and trust funding, the project needs to demonstrate the support it has from the community. A mix of marketing and communication initiatives will be required. However, an effective engagement strategy must include initiatives which extend beyond a ‘push’ communication strategy which would see information presented to the community without an opportunity for the community to respond, participate and engage in the project.

The project team need to do more than simply issue media releases, brochures and operate a static website. Opportunities for different stakeholders, particularly local art supporters, researchers, educational facilities and the general community need to be provided with events and initiatives which allow them to become part of the project and help achieve the goals set for the Museum.

The Museum wants to increase public perception of the Museum as a professional facility. It feels in the past it has been viewed as a drop-off and dumping ground for all community material. It is hoping the Museum redevelopment will help cement its place as a valuable professional facility. Council also would like to improve public perception that the museum is meeting its obligations to preserve and protect the collection on behalf of past, present and future generations (Giblin Group, 2014).

In a detailed communication and community engagement strategy, tools and timing would be developed further including how to manage stakeholders, ambassadors, volunteers and community engagement and fundraising initiatives to maximise community engagement in the Museum. Government lobbying is also a critical aspect of this work and the Museum will need to ensure the project is top of mind with the Minister for Arts, Culture and Heritage, Hon Christopher Finlayson. Community consultation via displays, workshops and presentations and effective use of online tools, such as social media would also be developed. Succinct key messaging would be reinforced at all opportunities and would ensure the above perceptions of the facility are improved. The Lumin Report (Lumin, 2013) outlined the requirement of an e-strategy for the Museum as currently neither the Whakatāne Museum nor Whakatāne District Council websites provide effective opportunities for

From a funding and credibility perspective, a strong online presence is critical for profiling the project, for both securing and profiling corporate sponsors and for providing a portal for ongoing community donations, bequests and fundraising campaigns. Sponsors are increasingly sophisticated in their use of online and social media to build connections with their target audience. Many sponsors now market their causes online as a key promotional channel. Engaging, interactive and regularly updated websites that incorporate active social media such as Facebook and Twitter are more than just shop windows, they are a communication channel to a target audience and they are commercial and marketing platforms.

For the purpose of this report and within this section, we look at target audiences, messaging and some specific community engagement campaigns.

Consultation to Date

The most recent consultation on the Museum was in February 2013, with the undertaking of a needs assessment. Lumin consulted with stakeholders; the education sector (Whakatāne Society of Arts and Crafts, Museum Board, Historical Society, Genealogical Society, Friends of the Museum, Reap, Whakatāne Intermediate School) and Library and Council staff (Giblin Group, 2014). The Draft Options report is due to go back to these groups for further consultation. Wider community consultation will commence via the Council’s annual planning process in early 2014.

To work alongside the consultation process, it is necessary to create engagement opportunities for the wider community before and once the construction stages of the project are underway. It is important to recognise the potential that other stakeholders (e.g. Te Kōputu users’, schools, arts and community groups) have to disseminate information about the project to the community. The Museum needs to keep an upper hand in public dialogue about the project otherwise it may be forced into a reactive media and communications model which will put it at a considerable disadvantage. Te Kōputu’s natural linkage with the Museum and the fact it is now a highly used community facility makes it the best platform for wider presentation on the Museum project and should most certainly be the base for a model to be displayed if this is a consideration.

The Benefits of Community Engagement

Genuine and effective community engagement will provide benefits for both the Museum and the community of Whakatāne, including:

 Creating opportunities for the community to connect with the Museum and understand the full extent of the benefits that the redevelopment will provide;  Creating opportunities to leverage off community support to drive further support for educational programmes and volunteers;  To build a platform of community support, which will enhance the social capital potential of the project especially through education;  Promoting a close community relationship (public and private partnerships).

Generally speaking, we want to elicit five broad responses:

 To raise awareness;  To build understanding;  To create a belief;  To create behaviour change, and  To generate advocacy.

One flows from the other. You cannot skip a step – you must create awareness, understanding or belief before you can drive behaviour change or advocacy.

Why Are We Engaging with the Community? We want to move members of the public from left to right.

Awareness Understanding Belief Behaviour Advocacy Change Response “Never heard “I get it – I can “I can relate to “I will do “Everyone of it/ them.” see this as this – I want something needs to important/ to get about this – understand relevant to me.” involved.” and I know this and get what to do.” involved.” Action Build Education, What’s the What’s the call Support and knowledge and engagement/ proposition to action? systems to consciousness involvement for me? How What do you facilitate is this relevant want me to do systemic to me? about it? change (Davies, 2011)

Who are the Primary Users?

The Museum, once redeveloped with increased research space, will have the potential to attract a larger number of community users. The facility will have a research library that will open to the public Tuesday – Friday 9am- 5pm and Saturday 10am – 2pm. This will allow significantly more opportunity for community use compared to current availability of sixteen hours a week, Tuesday- Friday 10am-2pm.

The nature of this project and facilities within the new Museum means that while there is only a limited range of users, the new design will ensure each user group is better accommodated through both space and resource. The key user groups are identified below:

1: Education Providers

This group has the greatest potential for the Museum with historically high use. There are two high schools in Whakatāne; Trident and Whakatāne High Schools (roles of 1162 and 776). There are seven primary / intermediate schools in Whakatāne (1975pax) and one in Ohōpe (320pax). These would be regarded as the immediate target users for the museum. However there is potential for wider use from schools in Ōpōtiki and Kawerau and extended district, particularly with the relevance of the Māori Taonga collection. An overview of the student numbers including kura providers within Whakatāne district are outlined below. Accessing the collection online will be more pertinent for these more distant groups.

Levels Whakatane District Wider District Total (pax) Primary / Intermediate 1975 1570 3545 High schools 1938 348 2286 Kura 232 607 839 4145 2525 6670 (Ministry of Education, 2014)

The three tertiary institutions include; Te Whare Wānanga o Awanuiārangi (Awanuiārangi, ) Te Wananga O Aotearoa – Waiariki and Ana mata. There is the potential for about 200 post-graduate students that could come through from Awanuiarangi and there could be great benefit with them utilising collection/items but currently the Museum does not have the resource to facilitate this. Eastbay REAP is also a key conduit to the rural communities and is an organisation focused on the needs of the community across the early childhood, school, adult and community education sectors. Eastbay REAP covers the Eastern Bay of Plenty region from Ruatāhuna to Matata and

2: Researchers The Museum currently receives approximately 20 researchers a month, mostly local. Historically, many used to come from out of town, specifically to do family research but with the closure and limited hours, this has reduced. The Museum does receive researchers from abroad who tend to stay over a week but once the collection is more accessible with information online, the number of domestic and international researchers has strong potential to increase.

Stakeholders: The Museum is a long standing project for the community of Whakatāne and there are groups such as the Whakatāne & District Historical Society who have played an integral role in ensuring its success to date. These groups have been engaged in this development process and it is important to recognise the potential that these partners and stakeholders have to disseminate information about the project to the community, when the time is right.

Primary Stakeholders: (Whakatane Museum, 2013.c.) includes relationships and partnerships Councillors and WDC staff Whakatāne District Museum Board Whakatāne & District Historical Society Whakatāne Society of Arts & Crafts Molly Morpeth Canaday Trust Friends of the Museum Genealogists Group Te Runanga o Ngāti Awa Ngāi Tūhoe Ngati Manawa Ngati Whare Upokorehe Tuwharetoa ki Kawerau Ngati Rangitihi Trustees of Te Kohika Collection WDC Iwi Liaison Committee/Iwi Leaders Forum Researchers Minister of Arts, Culture and Heritage Local Members of Parliament Lottery New Zealand Philanthropic Trusts; Secondary Stakeholders: Friends of the Library Gordon Ellis Trust Whakatōhea Māori Trust Board Local service organisations Arts Whakatāne Regional, national arts and culture institutions;

Community Engagement Target Groups:

The targeted groups for community engagement do not encompass all of the Whakatāne District and wider Bay of Plenty. However, each target group has been identified as critical to the ongoing sustainability of the revenue generation and strategic support for the Museum. They are also primary influencers and key conduits to the general community.

Four community engagement initiatives are detailed later in this section to connect these target groups to the project. Three of the four initiatives are based on low cost /high yield models that involve low levels of financial investment but higher level of staff resource.

They include:

 Ambassador Programme  CPP: Whakatāne Heritage Partners  Whakatāne Heritage Week  Family Tree Art Installation  Founding Families Features

Community Engagement Target Groups

Business Community:

 Focus initially on Whakātane owned & operated

 Large and small-scale businesses

Business  Commercial and Corporate Community Education Community:

 Whakātane schools / tertiary institutes  Eastern BOP schools / tertiary institutes Community Engagement  Western BOP schools / tertiary institutes Campaigns  Eastbay REAP

Arts Education Arts Community: Community Community  Whakātane & District Historical ociety  Whakātane ociety of Arts & Crafts  Genealogists Group

 Local Heritage Families  Friends of Library

Kick Starting Community Engagement:

The redevelopment of the Museum into a purpose built storage, archives and research centre will have a wide community impact that will provide for the community needs and build on the success of Te Kōputu. The project will also support the Museum in delivering its vision which is to learn from the past, engage with the present and inspire the future by preserving, protecting and promoting the social, cultural, natural and artistic heritage of the Whakatāne District and rohe o Mataatua, in ways that increase knowledge, enrich the spirit, engage the mind and stimulate the senses (Pettengell, 2013). Although it has the initial buy-in from the founding arts community; it still requires wider community buy-in, and with the redeveloped facility will come potential new users who will ensure it is a viable and sustainable facility in the long term.

It is important to create an atmosphere of the Museum being a ‘must have’ facility whereby the community is an active participant in ensuring that Whakatāne achieves a future-proofed storage facility for the heritage of Whakatāne District and rohe o Mataatua . The Museum needs to be a top- of-mind project for Whakatāne that everyone is excited about, following the progress of, contributing financially to and wanting to use the facilities and programmes it will provide. As the project progresses, it is important to invite the community along to Te Kōputu via new exhibitions featuring the collection and leverage these opportunities with a community fundraising campaign. This provides opportunities for locals to see and understand more fully the proposed development – its architecture, how it will operate, and how it will contribute to the economy locally.

The following community engagement objectives are recommended

 Provide opportunities to excite and engage the target groups about the benefits and features of the Museum project;  Generate coordinated media coverage and publicity which creates awareness and support for the project and in turn generates funds and the use of facilities and programmes;  Undertake initiatives with leaders and the arts community which create a catalyst to motivate the community to get behind the project;  Focus on initiatives that target teachers, students and researchers, the on-going users who will take ownership of Museum and the facilities and programmes it provides.

Key Communication Messages for Community Engagement:

The below high-level key messages provide the foundation to all press releases and collateral messaging that can be disseminated through these existing channels. These messages should be maintained at a central point, such as Museum administration, or Whakatāne District Council’s Communication team so all communications are accurate and ‘on message’. They should be used as a guide by spokespeople when being interviewed or making presentations, and as the bones of press releases and any copy for website, brochures or advertising. These messages have been sourced from the communications plan developed by WDC (Whakatane Museum, 2013.c.). The tag lines in italics are suggestions and are recommended for ease of communication.

Message One Whakatāne Museum & Research Centre – The home of our collection. The Boon Street facility is the home of the Whakatāne Museum and all key activities other than the Museum display and galleries at Te Kōputu.

Message Two Whakatāne Museum & Research Centre – Future-proofing our heritage. This project will address a number of longstanding issues, including limited research space for the public and large educational groups; no loading bay; lack of staff work areas; inadequate long-term storage for the collection; no quarantine area for incoming objects; no workrooms for processing objects; and no collection viewing areas for the public.

Message Three Whakatāne Museum & Research Centre – A window to our story.  Improved public perception that Council is meeting its obligations to preserve and protect the collections on behalf of past, present and future generations;  Enhanced ability to care for Museum and Library collections;  Increased Museum patronage due to improved access and more user-friendly facilities; (mention open storage if implemented)  Ability to meet public demand for access to research facilities;  Increased ability to meet public demand for group research and collection visits;  Iwi – improved care of taonga;  Friends of Museum/Library – improved care of all collections; better service delivery;  Historical Society/Genealogists/other researchers – improved access to research facilities;  Te Whare Wananga o Awanuiarangi – improved research capabilities for students.

Project Ambassadors:

Opinion leaders in the community share common traits that combine to achieve success. Tenacious, passionate, committed – these are all words that describe people who achieve great things and are key influences within their social networks. WDC should consider ambassadors for the Museum project as a conduit for spreading information from across their three target groups of the business community and education and art sectors. Ambassadors should be given information via a presentation, with supporting collateral such as a brochure and then invited along to any events such as engagement campaign events or presentations to add strength to the project.

The Museum’s Ambassador Programme works on three levels and a target number for each level has been recommended:

 High-profile Bay of Plenty / Whakatāne icons  Strong media presence and instant name recognition Brand Ambassador’s  Credible role models for the Whakatāne community #: 1 - 2

 Business and community leaders  Well known and connected in Whakatāne Strategic  Mechanism for linkages with education and local government Ambassadors #: 5

 Whakatāne families with strong heritage Community  Students at tertiary institutes and high schools Ambassadors  Arts Whakatāne, Historical ociety #: 10

11.1 Engaging Business Community:

The buy in from the business community will be essential to the success of the project through both financial and non-financial support. Regular communication with neighbouring businesses, aligning with credible and vocally supportive business personalities in an ambassador capacity should be a given.

It is recommended that the Project Team actively inform local businesses through presentations, regular newsletters and community engagement initiatives with their management and staff. These could include formal presentations to individual business management or a gathering of local businesses, such as the Chamber of Commerce drinks;

Community Engagement Strategy: Business Community

Community Engagement with the Business Community should demonstrate the effect the Museum will have on:

 Assist in activating this area of town;  Assist in increasing both local and new visitors to this area of town ;  CBD safety

Campaigns: Business Community

 Commercial Partners Programme (Whakatāne Heritage Partners)  Whakatāne Heritage Week  Founding Families Features (relevant to heritage family businesses)

Commercial Partners Programme

The Commercial Partners Programme (CPP) is an essential component to the Revenue Generation Strategy for those corporates who support the project through sponsorship. It is recommended that the commercial partners for the Museum be linked into the partners from Te Kōputu to form ‘Whakatāne Heritage Partners’. By connecting the individual projects, the programme will have the critical mass required to make it more valuable to its members.

The CPP provides a unique opportunity to connect these commercial partners together. Focused on the synergies of working with like-minded, community-focused and innovative people and companies, the CPP is an initiative that connects partners that have invested in the Museum and Te Kōputu to a range of exclusive benefits. It is a key vehicle for delivering valuable and meaningful benefits to sponsors, and demonstrates a productive business, government and community partnership.

The Museum is a future-focussed development that will create a lasting legacy for everyone in Whakatāne. The CPP recognises and values the contribution commercial partners have made to ensure the redevelopment becomes a reality. Through on-going communication and an innovative programme base, the CPP creates a unique opportunity for commercial partners to maximise their investment in the Museum.

A successful CPP programme creates opportunities to nurture further funding investment; seeing operational funding initiatives brokered, or at least, increase the ‘rate of return’ of sponsors after initial contract terms. The programme will also create the opportunity for partners to encourage

© Copyright Giblin Group Ltd 2014 64 other potential sponsors to come on board. The CPP provides a point of difference for corporate sponsors who connect and invest in both of the art and culture projects developed by WDC and that added value of being recognised as sponsor.

The benefits the CPP provides to commercial partners include:

 A direct mechanism to provide input, feedback and advice on Museum to WDC, and the Advisory Board;  Premium name recognition as a member of the CPP and appropriate branding opportunities;  Access to bi-annual events that will include ‘high profile’ guest speakers and innovative professional development opportunities;  A unique opportunity to build connections and networks across a broad range of ‘high level’ executives and Museum supporters and ambassadors;  A direct connection with the Friends of Museum & Friends of Library, volunteers and associated events;  An opportunity to be involved with the Museum at a deeper level and engage in added promotional and sponsorship leveraging;  On-going support and communication to specifically manage and maximise the commercial relationship with the Museum.

The CPP is based upon two key elements:

 Bi-annual events that include opportunities to network, access innovative professional development, and socialise with fellow commercial partners, local and central government representatives and key Museum supporters and ambassadors;  An interactive communication and information hub that provides a direct link to Museum’s Advisory Board and an on-going connection between commercial partners and all strategic and operational functions of the Museum.

The diagram below shows how a corporate sponsor could engage in the Commercial Partners Programme (CPP) to gain maximum leverage of their sponsorship with the Museum.

Attend CPP Events and listen to invited speakers talk about mixing executive excellence and community contribution.

Attend a CPP Provide input to the networking function strategy of the and connect with a project and provide Whakatāne number of new external advice to contacts that relate assist with further Heritage Partners to an upcoming new development of the market opportunity. project. Commercial Partners Programme

Meet Ambassador Work through the Team for a photo CPP to host opportunity in the corporate events collection local that leverages their school children who involvement in the will be future project to a current beneficiaries of the marketing project. promotion.

Successful implementation of the Whakatāne Heritage Partners will require on-going and proactive management to ensure each corporate sponsor is valued and has the opportunity to maximise their involvement with the Museum through the CPP. As a general rule, the more high quality corporate partners that support Whakatāne arts and culture, the greater value for the members.

11.2 Engaging the Education Community

An intermediate school and REAP were consulted through Lumin’s report so key needs have been indicated from this sector. REAP is already in discussion on ways they can partner with the Museum. Once the project is at a point it can start communicating with this group, it should actively engage the schools and educational facilities because they may:

 Take up one of the community funding campaign opportunities;  Initiate their own fundraising efforts;  Most importantly, use the facility after it opens.

A fulltime resource for managing the relationships and programmes for schools and rural communities is a necessity. This resource needs to be communicating the benefits of the Museum but at the same time working in with staff about how the Museum can best met their needs. Teachers are incredibly busy and most schools have internal fundraising projects scheduled each year so any campaigns run through this sector must be provided well in advance, easy to roll out and potentially weaved into proposed lesson plans at each level so teachers can just pick it up and run with it.

It is recommended to invite teachers along before the start of a new school year to an evening to discuss the project and the proposed campaigns. It is also advised to work closely with one or several teachers from different subjects, i.e. history, social studies and primary level about how the lessons plans could be developed for the Museum alongside Museum lead programmes.

Community engagement with the education community should demonstrate:

 The depth and significance of the Collection stored at the Museum;  The improved support and resources available at the Museum;  Planned programmes to support school curriculum.

Campaigns: Education Community

 Whakatāne Heritage Week  Whakatāne Family Tree – Public Art Installation

11.3 Engaging the Arts Community

This is a sector which includes numerous key stakeholders already engaged in the project so they are well informed on progress and plans. Of note, are the Whakatāne & District Historical Society, a registered charity with approximately 200 members (who pay an annual membership of $25); Arts Whakatāne, the Whakatāne ociety of Arts and Craft and the Genealogists Society. They have good relationships and history with the Museum, and some a vested interest in seeing the development progress, so they should be the key groups to run through the below campaigns and garner resource and support towards the redevelopment. Friends of the Museum need to be reorganised based on low membership numbers but this creates a good community engagement opportunity.

Community Engagement Strategy: Arts Community

Community Engagement with the arts community demonstrates how the Museum will:

 Raise the profile of Whakatāne arts and history both locally and nationally;  Be future proofed to adequately care for the collection;  Provide a venue for arts groups to utilise.

Campaigns: Arts Community

 Whakatāne Heritage Week  Whakatāne Family Tree – Public Art Installation  Founding Families

Friends of the Museum

 Historically this group consisted of 12 board members and approximately 300 members but has now declined to a static membership which creates the opportunity to start afresh;  Friends of the library (Te Kōputu ) is a free membership and is an active group; although a strong platform and there is close co-operation between the two facilities, a combined ‘Friends of’ group is not considered appropriate;  Friends of Museum should be a collective that assist’s in museum projects and operational acquisitions;  Volunteers would automatically fall under this collective and anyone who supports a community fundraising campaign such as the ‘Heritage Wall’ or ‘Art Adoption’ should be offered the opportunity to sign up. A stand at a community event / open day such as the Whakatāne Heritage Week would also be necessary;  Benefits could include; invitations to exhibition functions, such as previews, floortalks, lectures, presentations and performances, invitations to Friends functions, such as breakfast talks, coffee mornings, exclusive viewing of the collection in storage, opportunities for out of town trips and tours, regular email newsletters and invited as a friend on social media platform such as Facebook to encourage forum based conversations.

11.4 Community Engagement Campaigns

Whakatāne Heritage Week

The community needs to be educated on the current state of the museum and a week celebrating the heritage of the area with an open day at the Museum is recommended.

 The Historical Society should be heavily involved in the planning of this week;  This would be best timed for late 2015 once Central Government funding has been secured i.e. MCH’s Regional Museum Fund and DIA’s Environment and Heritage application outcomes will be known by November 2015 and if successful there will be good momentum;  Opportunities for families to talk to local historians about their own family history should be offered via historical workshops/talks;  Local businesses in the CBD could support the initiative with window displays;  An historic newspaper could be run throughout the week;  Essay competitions could be run throughout the local schools;  A social media campaign would be run in conjunction with the week;  The ‘Object Adoption’ campaign mentioned in Section 12 could be launched in conjunction with this week.

Public Art Installation – Whakatāne Family Tree  The ‘Whakatāne Family Tree’ is an opportunity for people to look at their own family tree and identify if the family had a connection to Whakatāne’s early settlers;  In the process of researching a family history, Museum records may be required highlighting a)the facility and b) the depth of the collection;  The Museum would provide the base of an art installation for individuals to bring along and attach their own family tree, this could be freestanding or a wall;  Engage a local artist to help with the design of the structure and a basic family tree template which is provided to individuals and students i.e. a leaf;  Marketed through Te Kōputu , WDC, local primary and secondary schools and the Museum newsletter’s, website and Facebook page;  Resources will need to be provided – the template and how to access further information when researching your family history;

 Should a physical structure be deemed inappropriate, this could transfer to an online campaign but the effect would be lessened;  PR opportunities should be leveraged at the art installation site with interviews of those who have taken part. Founding Families - Story & Photo Features

 This can work in several ways but is an avenue to feature local history in connection to the Museum’s current collection.  It will require a sponsorship investment by either the local paper or business to help support regular features;  Photo Feature: The Museum will submit an interesting photo each month with a visible group of people and invite readers to identify the individual’s via the Museum website. The winner(s) will then be announced in a corresponding media article with details about their connection to the photo subjects. The winner will also receive a prize from a supporting business.  Story Features: This is where the Museum will need to garner support from current historical networks and heritage families to provide an interesting story and photo feature that will connect to an item within the Museum collection. The most unusual and well received story via feedback on the newspaper website, or Museum’s website or Facebook page will be included in the Museums new foyer or in Te Kōputu in a display cabinet.  Beside each feature, a facts box on the Museum project should be included with fundraising targets and a link to the museum website for Beacon support.

12. Community Fundraising

Community fundraising initiatives are an important component in a RGS, not necessarily because of their ability to raise significant revenue, but because an effective community fundraising campaign will achieve the following:

 Educate Whakatāne residents on the multi-faceted role the Museum will play in safe guarding the significant collection and improving access to it creating stronger educational benefits;  Raise community awareness and build community ownership of the Museum;  Engage residents in personally supporting the development and also in making a financial contribution.

It is acknowledged that the project is located in a smaller district however significant projects have been supported. Project Hope for a cancer ward at the Whakatāne Hospital raised $1.5m over two years and $50,000 was raised for the Horizons Hockey Stadium. It is also advantageous to the Museum that Te Kōputu did not exhaust the arts and culture community support with significant community fundraising so although Whakatāne is a smaller community to fundraise from; it is recommended to run several low key campaigns across the district. As highlighted in the Lumin Report, “In providing access to and promoting the collections, the Museum achieves benefits for the community that are intergenerational, their value growing rather than diminishing over time. As a project of intergenerational benefit, investment for this can be drawn from future as well as present users” (Lumin, 2013).

The fundraising campaigns below should be led by the Museum and supported where possible by the Advisory Board members. It is advisable that WDC also encourage stakeholder groups to develop their own fundraising initiatives as long as they do not conflict with planned campaigns.

12.1 Whakatāne Museum Heritage Wall:

The Museum redevelopment is future- proofing the way the community can care for the collection and is creating an attractive and functional environment for young and keen researchers to access the collection.

Every project needs a wall of support and it is important to give these supporters a significant space on which to be recognised. So show your support, donate $200 and be one of 100 names recognised on the ‘Whakatāne Museum Heritage Wall’.

 Encourage arts community, individuals, schools, families and small corporates to contribute to the project by becoming a Heritage Wall supporter.  The wall should be based on the glass wall behind the public desk in reception. Of the two glass walls in the facility, this wall offers the largest and most visible space. Each sponsor will be included on the window with their chosen name. The above image is of the Dowse Museum supporter’s wall which wraps around its glass atrium and is effectively done with its vertical rather than horizontal positioning of the supporters.  This artwork will be a frosted decal with each donor’s name printed. To maximise the visual appeal of the wall it is recommended a professional designer be engaged to develop and implement the name presentation concept.  upported by a webpage on the Museum’s website, which details the wall location and will allow someone to sign up with detail on how to pay. The webpage should provide updates by listing the new supporters each month. This will drive momentum and encourage more people to donate.  Once the target of 100 names is achieved, it will be applied to the glass wall with a special reveal event. Social media and local media are essential elements to supporting this initiative through on-going promotion and advertising.  Projected revenue from the “Whakatāne Museum Heritage Wall ”: $20,000

12.2 Museum Object Adoption:

The Museum needs to run a fundraiser which gives donors something tangible but at the same time at a lower level price point than the ‘Heritage Wall’. 600,000 is a significant number of items in the collection, therefore the community could help support the redevelopment by adopting an existing item within the collection.

 Adopt a piece of our heritage, help future proof our Museum. For an annual adoption fee of $10, you will receive a certificate of adoption with details of your item and a notification when it is on exhibition at Te Kōputu;  Based on a district population of approximately 33,0007 and allowing 5% take up this campaign, approximately 1,650 individuals may support an item;  The collection will need to be assessed to see what objects are suitable and if this initiative is not deemed appropriate, it would be recommended to run an Art Auction;  Projected revenue from the “Whakatāne Museum Object Adoption”: $16,500

12.3 Donate to our ‘Museum Makeover’:

This presents an opportunity to work with local retailers to utilise ‘at register’ donations. Community members will be given the option to add a dollar donation to the project when paying for their goods or services.

 Advertising and promotional materials would be based around encouraging the community to get behind the Museum project;  An opportunity to use this initiative as a vehicle to promote the partner retailers and their connection to the project;  Providing an easy option for community members to contribute to project;  Projected revenue from the ‘Museum Makeover’ initiative: $5,000

12.4 Corporate Community Giveaways:

There is a growing number of corporates who now channel their corporate giving via a store giveaway whereby the public votes for their top cause. The Museum will need to register for these programmes whenever possible and there are two such programmes currently existing which should be considered.

 Z Energy - Every Z station is giving $5000 to neighbourhood groups which will help people who need it. That's over $1M across the country to do Good in the Hood; (Z Energy, 2013)  New World: Anchor Growing Communities (Scoop Media, 2012) – Anchor Growing Communities is a joint initiative with New World supermarkets with Anchor donating funds to local concerns including charities, good causes, sports team and community-based

7 2013 census data – Whakatane District stats 32,688

projects. Anchor will donate $3,500 via each New World store every three months. The initiative is run in selected New World supermarkets in the lower and upper North Island and South Island. Three local organisations are selected by each New World store. Shoppers at that store get the chance to vote for which cause they would like to see the money donated to. When a shopper buys Anchor Milk they will be given a token, which they can then place in the Anchor Growing Communities box for the relevant cause they would like to support. At the end of each collection period, the $3,500 per store will be distributed proportionally according to the number of tokens each cause has received. Hospice EBOP is one example of a local charity who has taken advantage of this corporate giving and registered.  Projected revenue from corporate community giveaways: $2,000

13. Recommendations

This report concludes that there are a number of critical actions required to set the foundation for attracting and retaining sustainable sponsorship partnerships and other external funding. It is recommended that the Whakatāne Museum and Research Centre;

 Review this RGS when accurate construction costs and additional project costs are finalised;  Ensure funding applications to Government funds, trusts and corporates are channelled through a single point of contact to ensure consistency eliminate multiple applications to one source (compromising significant applications) and to ensure sponsorship commitments are carried out.  Conduct a fundraising workshop with Advisory Board to outline their role in fundraising efforts and tap into their networks;  Identify corporate partnerships, research synergies and develop proposals;  Approach ambassadors and develop a plan to maximise their involvement;  Develop a plan for engaging stakeholders, who may not make financial contributions, but help with the community engagement such as Te Puna Kokiri and Ōpōtiki and Kawerau councils;  Open storage should be pursued to some degree as it will assist in adding value to users, create a stronger argument for improving collection access and will be a unique point of difference from other Museums;  Leverage the success of Te Kōputu and reinforce strong messaging about the cooperative relationship of the two arts and culture facilities. Use Te Kōputu as a platform for campaigns / community events for the Museum;  Identify resources to implement community engagement and fundraising campaigns on a stage-by-stage basis including managing Whakatāne Heritage Partners (CPP) and ongoing partner relationships;  Further develop the Communications Strategy by aligning to community engagement initiatives to maximise community engagement campaigns and CPP progress;  Conduct workshops/ information campaign with internal staff to outline the project and community campaigns that will be implemented and advise on how they can assist the project;  Investigate additional funding streams, indicated in this report, for operational budget.

14. Appendices

1 RJ Watt & Associates. (2011, February 22). Whakatāne District Museum & Gallery Support Letter. Wellington.

2 RJ Watt & Associates. (2013). A Valuation of the Collections in the Whakatāne District Museum and Gallery. Wellington: RJ Watt & Associtaes.

3 Giblin Group. (2014) Whakatāne District Council Arts and Culture Projects: Example of Sponsorship Management Tracker. Hastings

4 Museum’s Target Corporate List

5 QS Report, May 2014

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