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MUSEUMS

A S S O C IATION

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M U S E U M S

ASSOCIATION

OF AOTEAROA

NEW ZEALAND TE ROPU HABJGAHAPJGA KAUPAPA TAOPJGA 1:77‘?? ‘7 ‘ NEW ZEALAND AA MUSEUMS JOURNAL MUSEUMS

AS 8 OC IATION

OF AOTEAROA

NEW ZEALAND

Volume 24 Number 2 1994 Journal of the Museum Association of Aotearoa New Zealand Te Ropu Hanga Kaupapa Taonga

M U S E U M S

ASSOCIATION

OF AOTEAROA

NEW ZEALAND AUCKLAND MUSEUM/Te Papa Whakahiku NEW ZEALAND MUSEUMS JOURNAL (formerly the Art Galleries and Museums Association Journal)

Volume 24 Number 2 Summer 1994

CONTENTS

Prof.Prof Keith Thomson 1 Editorial

FEATURES

Nigel Prickett 2 Auckland Museum's 'Caltex Volcanoes and Giants'Giants’

Richard Wolf 5 Planning Processes and Exhibition Design

Bob Maysmor 10 Valuation of Heritage Collections as Assets - An Overview ''

Fiona Cameron 14 Pathways to Access: The Relationship Between Communities and Social History Programmes in Museums

Tim Vial 17 Museums and the Collection of Personal Information A Guide to the Privacy Act 1993

John CosterCaster 22-22 ,_ A Bicultural Museums Association for Aotearoa New Zealand

Richard Cassels 28 Otago Museum, The Wharenui Mataatua and The Waitangi Tribunal

David Butts 32 The Orthodoxy of Biculturalism

NOTES Sean Brosnhan 35 Reaching Out, Drawing In: The Otago Early Settlers Museum's Dutch Settler Project Angela Young 38 Developments in the Army Museum Education Service Richard Arlidge 39 The Left Bank Ellen Forch 42 What's In Those Bottles Out the Back?

NEWS Janet Davidson 45 Museums Association of New Zealand Conference 1994 Angela Young 46 Response to the MAANZ/MEANZ Conference 5 - 8 September 1994 Fiona Cameron 46 Contemporary Culture and Curators Forum - An Organisation for Curators! Billie Kay 47 North American Study Award

REVIEWS David Woodings 49 Courierspeak: A Phrasebookfor Couriers ofMuseum Objects Cordellia Rose Time Walker 49 Arts in Aotearoa New Zealand. Peter and Dianne Beatson

Cover Photograph: The animated dinosaur group. See article by Nigel Prickett pages 2-4

EDITORIAL

ourses in Museum Studies were offered for the first time at a New Zealand University only six years ago. Initially, for internal students, one undergraduate paper was available but the first post—post-graduategraduate diploma paper was introduced for extramural students only. Over the years the undergraduate offering has expanded and changed somewhat and full post-graduate diploma and masterate programmes have been introduced for both internal and extramural students. Courses for the latter qualifications will be greatly strengthened with the arrival in January ofthe first Visiting Fellow in Museum Studies, distinguished Canadian museum director and writer on museum philosophy and practice, Duncan Cameron.

Most, but not all students seeking the post-graduate qualifications have, or aim to find, professional employment in museums. In fact initially most ofthe extramural enrolments were from practicing museum professionals but overtime, and especially since the introduction offull-time internal courses, the balance has swung so thatthe majority are now recentgraduates is arthistory, history, anthropology orone ofthe sciences.

Already recent diplomates have found professional employment in museum institutions around the country and the comments received fromdirectors have been encouragingly complimentary. The very few who have as yet to find an appropriate niche are gaining initial practical experience in part-time or voluntary museum work.

Because ofthe relatively small size ofthe community ofprofessional museum staffin New Zealand entry into the full—timefull-time diplomaprogrammeprogramme is strictly limited. While frustrating to some aspiring students it is believed that this is the responsible approach to be taken.

Experience overseas provides a warning to those who seek to train increasing numbers ofprofessional staff formuseums. Because so many different and rival educational and training programmes have been launched by well meaning, but ambitious institutions it appears young graduates have indeed "flooded the market" in some countries. In the 1984 Autumn issue of "More than Courses" published by Britain‘sBritain's Museum Training Institute, editor Anne Murch writes about "the growing numbers of disillusioned students completing post- graduate museum studies and heritage courses"courses" unable to find employment. This may be, as many believe, because of a shortage of openings but Leicester University's Susan Pearce, believes that the reluctance of some graduates "to look outside their immediate geographical area" can cause difficulties.

The administrators of the Massey proprogrammes,grammes, fully aware of employment prospects for graduates are committed to theprevention ofoversupply in New Zealand. Itis to be hopedthat executive officers and boards controlling the nation's museums will increase their assistance to employed staffto further their professional training and also ensure that future graduates will be given the opportunity to gain hands-on experience in the institutions for which they are responsible. It is a truism that the measure ofa museum is more dependent on the quality of its staff than on vast collections and impressive buildings.

Keith W. Thomson

NZMJ 24(2): 1 AUCKLAND MUSEUM'S 'CALTEX VOLCANOES AND GIANTS' EXHIBITION

Nigel Prickett, Auckland Museum

On 6 May 1994 a new kind of Exhibition planning was kicked off by input, John Wilson, finance and project exhibition for Auckland Museum was Development Project Assistant manager, and myselfas “Team Leader'. opened by the Minister of Science, Director, Anthony Wright. In March Simon Upton. 'Caltex Volcanoes and 1992 a group of us met at Anthony's Valuable sponsorship was obtained Giants' has constructed environments, house to throw in ideas. The exhibition from Caltex Oil (NZ) Ltd. Television sound, lifesize animal reconstructions was soon focused on natural history New Zealand contributed advertising. and animations, interactive computers, and earth science. The Museum had Caltex promoted the exhibition at video clips and big-screen video done nothing new in these areas since Auckland service stations as part of projection. the early 1970s Bird Hall and late '705 their business of pumping petrol. 'Auckland Landscapes' exhibition. These deals were stitched together by The exhibition also has real objects the Museum's Public Relations and lots of information. But it is not The stories of New Zealand's natural Manager Kathy Knott, now regrettably simply a learning environment; it is history and volcanism were seen to departed for pastures new. designed firstly to give the visitor an have wide public appeal. Exhibition exciting and memorable experience. publicity was to label them "New Bruce Hayward was responsible for Zealand's biggest stories". geology and marine invertebrates. The origins of 'Caltex Volcanoes and Curator of Land Vertebrates Brian Giants' go back to Sydney-based The Gondwana connection, New Gill dealt with ancient reptiles and consultant, Lindsay Sharp. In late Zealand's dinosaurs and pterosaurs, birds. Together these two provided 1991 he raised the prospect of a trial giant flightless birds, ancient sea most of the intellectual and curatorial exhibition: to show that we were reptiles, whales and penguins, and input. They also edited the exhibition capable of producing what he called our unique insects , all offered original book. Other curatorial input came 'big-experience' shows, andtopersuade display material and the prospect of from Entomologist John Early, the Museum Council that they would reconstructions and interactives. Botanist Ewen Cameron, Curator of attract a large audience. Volcanism was to deal with Auckland's Marine Vertebrates Brett Stephenson, own volcanic field, and the giant and Angela Lassig, Applied Arts The exhibition thus had a strong ignimbrite explosions of the central Department. political purpose. It was to be a pay- North Island - some of them of a scale for show, demonstrating that we could to dwarf eruptions anywhere in the Object selection, research and label generate significant exhibition world in historic times. writing was quickly set in train. income. This, it was hoped, would Museum conservators began their enlist the financial support of our Curator of Display, Richard Wolfe, work cleaning and rehabilitating funders in the Auckland regional local drafted up an exhibition plan full of display items. Material to be borrowed authorities for a long overdue major display ideas. In late 1992 Iwas asked or cast was identified and ordered. Museum upgrade, to include a to work up a brief. The brief then sat Illustrations for use in the exhibition substantial paid entry component. about for several months while the and associated book were drafted and necessary political work went into contracted out. Another of Sharp's aims was the persuading Council that the show improvement of skills and experience should be funded and would be a Creating the exhibition was not made of Museum staff. There had been few success. easier by the fact that the Museum's major display developments in many Children's Discovery Centre, 'Weird years, but it would be staff who would At the end of July 1993 we were given and Wonderful', was being put together have to carry out this work in the the go ahead. The opening date was at the same time, for opening on the proposed major redevelopment nine months off. In the key same day. Many people were heavily programme, and they needed to be development group were Richard involved with both projects. ready. Wolfe in charge of design and installation, Bruce Hayward, curatorial The exhibition team had to locate and

NZMJ 24(2): 2-4 .l\| I l

work with a larger number of outside following. sell at $7.95. contractors - model makers, sound creators and engineers, sculptors, Our suppliers were mostly based in 'Caltex Volcanoes and Giants' opened animators, artists, computer Auckland. It was exciting to discover at the beginning ofthe school holidays interactive programmers, video the talent out there. We soon developed in a blaze of television marketing. In producers, etc. Final concepts often close relationships with people whose its first three weeks it attracted 73,000 required considerable creative input ideas, innovation and hard work were visitors, with long queues snaking from the suppliers who worked closely eye-opening. I don't believe another around first flflooroor galleries. It is with Museum designers and curatorial country in the world has such ability possible that the wording of publicity staff. available at such competitive prices. made some Aucklanders think it was a school holiday show only. It was a steep learning curve. Just how The Museum's School Service had an some things were going to work was important input. The exhibition was Museum visitation of 153,500 for the none too clear when we set out. Some tailored to the needs of primary and lastthreelast three weeks ofMay was up 100,000 of the off-site contracts were only secondary schools, including earth on the 1993 figure. Thus publicity for finalised in February. Being rung by sciences recently added to the syllabus. a major exhibition raised our profile sub-contractors who insisted there was A comprehensive education kitproved for many people who came to the not enough time to do the job before a surprisingly good seller. Museum but did not visit the particular opening was not a favourite situation. show being advertised. Some major items came in just before Entry was set at $7 per adult, $4 child opening to give us last minute and $15 per family, with under fives Museum visitation has continued headaches. But on opening day there free. School classes and accompanying higher than in 1993. June (99,400) were only a few minor items missing, adults $2 a head. The 48 page full- and July (94,800) figures were 50% to be brought in during the weeks colour exhibition book was priced to up. September, however, was only

w.-.“WI -I“

Sculpture Maurice Quin and his theropod. Note the chainsaw

NZMJ 24(2): 2-4 10% up at 81,300. In the five months twice had its roller-ball stolen. A time job. For individuals and May — September 163,000 people have touchscreen interactive has proved institution it was excellent experience paid to see the exhibition out of a total delicate. The Sin theropod dinosaur for the major Museum development of Museum visitor figure of 507,800. threatened to break up. The problem the next few years. was solved by additional bracing and The exhibition development capital a reworking of the animation The exhibition has posed many cost to the Museum was $600,000 sequence. Visitors who liked riding questions. What resources are needed excluding staff salaries. Entry and the dinosaurs are now kept off by for the more comprehensive Museum exhibition retail to the end of means of a low rail. On demand video development to come? How much September has grossed $716,700. At clips were transferred to auto—rewind interactivity and animation can be present income is well ahead ofbudget three hour tapes. Particular attention maintained in the Museum as a whole? predictions. How visitation holds up has been paid to ensuring minimal Is a 21-month paid entry exhibition for the planned 21 month life of the downtime of interactives. realistic? How do we get some of the exhibition remains to be seen. overseas tourists who make up 40% of The development of 'Volcanoes and Museum visitors into the exhibition? Anything risks breaking down that Giants' involved all staff in one way or What other big topics are there to pull interacts or moves. One computer has another. For some of us it was a full the crowds?

Looking for live wetas

NZMJ 24(2): 2-4 PLANNING PROCESSES AND EXHIBITION DESIGN

Richard Wolf, Display Curator, Auckland Museum

There is a certain irony in talking the luxury of a total upgrade, making grouped according to themes and sup- about exhibition planning. If there is do with galleries of varying ages and ported by devices that survived for the one area of museum endeavour where quality. But there is a positive side to next half century - explanatory labels, time inevitably runs out it is exhibi—exhibi- this: older galleries can provide con— photographs and maps with intercon- tion installation. The very point of trast and texture, while overcrowding necting lines and arrows3. Conges- planning is, of course, to avoid this has acquired a new respectability with tion, it seems, was displaced by didac- sort of situation, but it doesn't usually ‘' the "open storage" approach. With ticism. work out that way and, to be realistic, one stroke the museum can be relieved things probably aren't about to im— of some of its storage problems while A second significant innovation in the prove, given the increasing expecta- the public gets to see more of the 1930s19305 was the temporary or special tions being made of our institutions collections. exhibition, recognition of the benefits and their limited staff and resources. of regular change. Such events at Strictly speaking the Victorian mu— Auckland Museum in the mid 1950s19505 Any useful discussion of exhibition seum died as recently as sixty years and early '605'60s demanded new ideas on planning needs to deal with actual ago. A 1938 English publication noted presentation. Ethnographic material, situations. In the end it all boils down that "When the word "Museum" is mostly from the permanent galleries, to practicalities: the public sees only mentioned, it too often suggests to the was shown in uncluttered surround- what is on display and cares little for average person a dingy building filled, ings, with spotlighting and individual the planning and excuses behind it. often to overflowing, with dusty and plinths and backgrounds. In so doing Auckland Museum'sMuseum‘s recently opened ancient objects which have no relation these exhibitions inadvertently cre— "Caltex Volcanoes & Giants" gives a to present day life'”. Museums were ated controversy, the public mistak- timely perspective on the process at now seen as sources of "visual educa- enly believing these treasures had large. This exhibition was planned as tion", to be achieved by "intelligibly never been shown before“.before‘. an introduction to new technology, and attractively displayed" exhibits. but it can also be seen as just the latest The trick was to show "a few speci-speci— This history of exhibition develop- stage in the Museum's 140 year old mens in a pleasing setting", avoiding ment needs to acknowledge the origin exhibition programme. overcrowding through "systematic of display staff. In the 19th century arrangement" and labelling. But an museum exhibition work consisted To understand what's going on at example of reputed "good display" mainly of taxidermy and the arrange- present, and to prepare ourselves for from that period is at odds with the ment of scientific specimens and eth— the future, a brief historical overviewoverview above bold claimsz. The shelves are nographic "curiosities" in endless rows may be helpful. New Zealand's major crowded, the composition is more le~1e- ofglass cases. But the 19305 called for museums have nineteenth century ori—ori- thargic than dynamic, and there are new techniques, and these were pro- gins, and have benefited from the Vic— no labels or main heading to be seen. vided by the world of shop window torian passion for collecting. While Such displays were self-contained display. Mannequins, plinths, painted attitudes towards cultural accumula- units, with little relationship to neigh- backgrounds and ticket—writing thus tion have changed, we remain eter— bouring elements or the gallery as a became stock in trade of museum dis- nally grateful for inheriting such whole. If nothing else, this approach plays. Museums need to continue to riches. Victorian overtones may have indicates just how antiquated previ- be alert to appropriate developments, been mostly expunged from our insti- ous displays were by today's stand- although new technology can be tutions, but the past has a habit of ards. Anyway, the new philosophy viewed with suspicion. Art museums, returning, with a vengeance. Exhibi- quickly found its way to New Zealand, according to one observer, remove tion style can be cyclic, vacillating and Auckland Museum staff set about ethnographic material from its origi- between the extremes ofmaterial over-over— culling the ethnographic galleries. nal context and bathe it in "boutique" kill - with everything on display - and Artefacts were now selected on indi- lighting5.lightings. the tastefully selected artefactin splen- vidual merit and about one-third were did isolation. Few institutions enjoy relegated to storage. They were

NZMJ 24(2): 5-9 "An example of good display" in 1938, according to the Carnegie United Kingdom Trust's booklet "Museums and the Public"

NZMJ 24(2): 5-9 Displays in the modern museum are and animatronic components, ele—ele- come. Most important is the need to usually a combination of "permanent" ments which dictated the general lay- respond to the initial feeling for the galleries and special exhibitions, with out. "look" of an exhibition, those ele- the distinction between the two disap- ments that give the project coherency, pearing. Sydney's Powerhouse Mu- Concrete block bases, hessian panels character and distinctiveness. It is seum identifies five types of exhibi- and a few light bulbs were display important to maintain this identity tions, its ideal annual plan consisting innovations thirty years ago but hardly through the various planning stages. of one "long—term"long-term gallery" (with a suffice today. In fairness, it is a mis- Compromises are inevitable, but the lifespan of at least 10 years), four conception that museums have not designer's initial "gut" feeling should "section replacement" (lifespan of 2— been up with the latest technology. be heeded. To be avoided at all costs 10 years), two "medium temporary", Until recently there wasn't much to be is a result that looks as if a number of six "minor temporary" and three "cir- up with, but museums have been less independent designers has each had a culation" exhibitions“.exhibitions? The regular effective at maintaining and upgrad- go. refurbishment of public galleries is a ing their advances. With an eye for noble aspiration, and generally the future, Auckland Museum recently A handy asset for the exhibition plan- thwarted only by resources. had a brief flirtation with virtual real- ning process is a fall—back position. In ity, but it came to nothing. New the case of "Volcanoes & Giants", Concerning human resources, the rela- technology is usually expensive and labels were to be silkscreened, in dura- tive sizes of exhibition staff at Auck- untested, but has other implications. ble ink, on coloured panels. Unfortu— land Museum over the lasteighty years The challenge is not only to maintain nately, this process takes time, and make an interesting study. In 1910 it but to replace it before obsolescence our many label texts were slow emerg- the full-time professional staff con-con— sets in. Indeed, how does Auckland ing from the editing process. Eventu- sisted of just two, the curator and the Museum follow its snarling dinosaur ally time ran out and in desperation we equivalent of the modern display art- and flesh-tearing giant eagle? Smaller turned to an alternative, computer cut ist, the preparator of specimens. By institutidns will be reassured by the vinyl letters. Just when that one seemed 1950 the effective exhibition staff had cyclic nature of things. There will to be under control there was an elec— doubled - to two -— a taxidermist and an always be a place for a quieter, static tronic hitch — computer incompatibil- art technician, but now represented gallery, where the public can simply ity. Eventually our labels arrived, but some 13% of the total staff. Forty Viewview and contemplate without having only just in time. years later there were five display art— a life-threatening experience. ists, 8.5% of the full-timefull—time back-of-back—of- Another point concerns both the plan- house staff of sixty7. Proportionally, At the outset of planning it is impor- ning and installation stages of an ex- there is an increasingly smaller team tant to establish a general "feel" for the hibition. These projects can have to cope with the demands ofa growing projects. This is the intended visitor lives and acquire personalities of their staff. The point is that staff resources experience, the combination of all the own. There are times when things must be a major consideration in any major elements. An attractive and proceed as planned, and times when realistic planning process. coherent context is required for all the things don't, and the greater the components, whether animatronics, number ofpeople involved the greater Turning to the reality of planning, reconstructions, videos, computer the scope for irregularities. Optimism "Caltex Volcanoes & Giants" was in- interactives or static objects. There is essential, especially with new tech- tended as the flagship exhibition for are inevitably physical constraints, nology and looming deadlines. Inge- the Museum‘s Redevelopment Project. imposed by the existing space and nuity is another valuable asset, par- A small group of staff and non-staff architecture. Partition walls isolating ticularly the ability to turn unforeseen was given the task ofdevising a theme our various "volcanoes" and "giants" problems to advantage. that had dramatic potential and was were painted intentionally strong col—col~ fundamental to Auckland. "Volca—"Volca- ours, to suggest themes and allow a Perhaps the very definition of an "ex- noes" were obvious candidates, while range of effects under spotlighting. hibition" should be examined. Is it "dragons" were also offered - no doubt To ensure the many labels and panels permanent, temporary, semi-perma- in deference to youth culture and the were both legible and unobtrusive, nent, a blockbuster or just a few dis- current fascination for dinosaurs. In white text was used on these back- play cases? In fact, size doesn't mat- the end, science prevailed; the tuatara ground colours. The aim was to inte- ter, and a single significant object may could not be construed as a "dragon", grate the information with the rest of be sufficient. For example, a natural and giantism was considered a better the exhibition, in stark contrast to the history discovery that attracts the at— line to pursue. The exhibition thus white card labels that once character- tention ofthe media may deserve to go became "Volcanoes & Giants", with ised museums displays. on display at the logical venue, the an emphasis on this country's "biggest local museum. Museums need to re- stories". An early requirement was There are certain aspects of exhibition member that traditionally they have the inclusion of computer interactive planning essential to a successful out- been in the business of "real" objects,

NZMJ 24(2): 5-9 it A typical display case in the Auckland Museum's Maori Gallery prior to its redevelopment in the early 1980s

$2 mum mum ' fl’;

A general view of the 1962 Auckland Festival of the Arts Special exhibition "Primitive Sculpture" at Auckland Museum

NZMJ 24(2): 5-9 and can therefore provide a more sub- 7. Statistics from Annual Reports of stantial experience than most other the Auckland Institute and Mu- entertainment media. In contrast to seum. volcanoes and giants, Auckland Mu- seum recently mounted a small case of 8. WOLFE, R. 1993. "PrimitivePer—"Primitive Per— items relating to the Teddy Bears' ceptions: Changing Attitudes To~ Picnic in the Domain. By such means wards Pacific Art", ArtAn New Zea—Zea- an institution keeps a finger on the land 69, 76-81. pulse of the community, and extends its range and potential audience. These events hardly demand complex plan- ning, simply a policy of responding to opportunities as they arise.

Finally, a quote from an iconoclast of the '605.'60s. Ofour institutions Bob Dylan reputedly said: "Have you everbeen inin, a museum? Museums are cemeteries. Paintings should be onthe walls of restaurants, in dime stores, in gas stations, in men's rooms. Great paint—paint- ings should be where people hang out”. His point was presumably that museums - both of art and natural history - needed to be more accessible to the public. All museums would surely agree: neoclassical facades may be intimidating, but inside should be a heady mixture of entertainment and education. This can be achieved by a dynamic programme of exhibitions and events, the fruits ofeffective plan- ning.

NOTES

1. CLIFFORD, J. April 1985. "His- tories of the Tribal andthe Mod- ern", Social Anthropology.Anthropology, 175.

2. DYLAN, Bob, 1965. Quoted from "Elam Seed", no. 4, Elam School of Fine Arts, 1972, unknown source.

3. FIFE, 1938. "Museums and the Public", issued by the Carnegie United Kingdom Trust, Dunferm- line.

4. Ibid, 78.

5. Illustration: "An example of good display", ibid, facing p.6.

6. POWERHOUSE Museum, 1990. "Long Term Exhibition Develop—Develop- ment Plan" (Draft), Sydney.

NZMJ 24(2): 5-9 10

VALUATION OF HERITAGE COLLECTIONS AS ASSETS - AN OVERVIEW

Bob Maysmor, Director, Dowse Art Museum

DEFINITION people from within the accounting PURPOSE OF INCLUDING COL- profession who it seems did not re- LECTION ASSET VALUES IN Heritage assets are collections or indi- quest or have the benefit of input from FINANCIAL STATEMENTS vidual items ofa cultural, recreational, the library and museum profession. historical or educational nature. They From an accountancy perspective, the are community resources such as mu- DIFFICULTIES primary reasons that heritage assets seum collections, permanently re- should be acknowledged in monetary tained library collections, zoo animals Because there have been no specific terms fall into three main areas. and items such as statues, historic references or guidelines set for the buildings etc, that are usually retained valuation of museum and library col- Management: Many heritage collec- in perpetuity by the local authority. lections, local authorities and maybe tions are valued in millions of dollars. Council, although being the benefi- to a greater degree, district Audit of- Like any asset of similar value, re- cial owner, acts as Trustee for the fices (or at least audit officers), have sources need to be allocated to protect community. applied wide ranging and differing the investment. In the case of heritage interpretations throughout the coun- collections, resource may be needed BACKGROUND try to the perceived legislative require— for conservation and preservation, for ments. storage, for documentation and re- The Local Government Act 1974 and search etc. Valuations providejustifi- the 1989 amendments thereto identify SUBSEQUENT DISCUSSION cation for the allocation and provision the legislative requirements for local of maintenance funding. authorities. It requires that every local The Library Association and repre- authority adopt financial systems that sentatives of Victoria University, the Accountability: The scope and scale are consistent with Generally Accepted National Library, National Archives, of the assets, their stewardship, addi- Accounting Practice (GAAP) as ap— Ministry of Cultural Affairs and the tions and changes to asset value all propriate for the public sector. National Museum formed a working need to be reported on. party to clarify procedures for valuing The NZ Society of Local Government collections. The discussion paper re- Insurance: Provision of a reference Managers promulgated guidelines to leased by the working party dated May point so that potential loss manage- assist local authorities in setting ac- 1992, primarily addressed library ment can be assessed. counting policies consistent with collections, however, these were bro- GAAP. ken into two categories being Current In general terms, heritage assets are Use collections and Permanently Re- not used for the production of income The issue of library and museum col- tained collections. or the provision of services, they are lections was not addressed within the seen to have no opportunity cost and guidelines prepared. This oversight The paper agreed that issues relating therefore do not require the applica- has subsequently led to the need for to Permanently Retained collections tion of a capital charge. evaluation and clarification on just also apply to museum collections and how these collections should be inter- that similar principles could be ap- There is however a growing trend and preted. Specifically, should they (or plied consistently across museums and pressure for museums to generate a any part thereof) be valued as fixed art galleries. higher level of revenue. Often this assets and included in the Statement will result in the development ofactiv- of Financial Position? Perhaps the most notable directive in ity that may reflect a commercial prin- the paper is that these collections ciple being applied to the public use of Crown accounting policies for central should not be depreciated. It also collection material. This may include: Government require valuation of li- suggested that revaluation could be charges for the photocopying ofrecords brary and heritage collections how— optional. If applied, revaluation could and archival material; sale of copies ever these policies were developed by occur on a three yearly cycle. of photographic images from histori-

NZMJ 24(2): 10-13 11

cal collections; merchandising of VALUATION would not be possible to make a blan- material relating to institutional cul- ket annual adjustment to collection tural property etc. Unlike assets such as buildings and values. Too many factors contribute plant, the valuation and subsequent to the value of individual items and Although these activities would have process of depreciating items within within a year or so, a blanket annual profit content, the ratio of profit gain heritage collections such as artworks, adjustment would have distorted many to heritage asset value is likely to be is not straightforward. ofthe values out ofproportion. On the extremely low. other hand the task of updating the Artworks like any commodity attract value of individual items on an annual TYPES OF VALUE fluctuating interest, and values ac- basis would be restrictive both from a cordingly could change from year to cost perspective and also one of time. There are a number of different types year. A release of a body of work by a of value that should be considered in particular artist onto the market could The issue of adequate and specific relation to museum and heritage col- influence values as could a major ret- knowledge of the valuers also arises. lections. Often heritage assets are rospective exhibition, a publication or A recent insurance claim in this coun- seen to have greater benefit in terms of the death of an artist. Unique and try for stolen photographic negatives community significance than in mon- important heritage items that have could not be resolved as neither muse- etary value. never had opportunity to have their ums, photographic dealers, auction- market value tested could also provide eers nor photographers could justify a In environmental economic terms difficulty in determining an appropri- value for the assessors. these values can be listed as: ate value. Should the valuation process for rea- Option values: the availability of a Treasury has partially recognised this sons of funding restrictions be del- resource/service that can provide ben- difficulty.culty, In attempting to value the egated to museum staff, the labour efit to non-users eg. public transport, collections of the National Library, intensive process of researching pur- public museums; the heritage collectionshavebeen sepa- chase prices, auction catalogues, mar- rated from the current collection. ket values etc. could detract from more Existence values: values of an important duties and potentially heavy architectual, natural, or artistic mas- A Treasury report dated 3 October existing workloads. terpiece - once lost it is irrecoverable 1991 notes the following: ‘for her- and subsequently of no value; itage collections the net current value It may be appropriate, as the Audit can be seen to be more difficult to Office has approved for the Auckland Bequest values: the value future gen- access as there is little information on Institute and Museum, that rather than erations may put on an item; which to base a valuation... This area a full asset value, a note to the Muse- is still to be explored as to obtaining um’s accounts be added that indicates Prestige value: the national or civic a suitable valuation. It may be that an a management assessment of the col— pride value felt by individuals towards objective valuation can be achieved lection value exceeds a particular fig- an object/building etc. through specialist assessment.’ ure. This figure does not form part of the assets contained in the balance Perhaps more relevant to this discus- VALUE ASSESSMENT sheet. sion is the market value or as defined in guidelines set down for the Audit There are established auction houses, Such a system for many museums Office, ‘the best estimate of net cur- art dealers, valuers, archivists, and would be a more realistic option. rent value’ which is further defined rare book dealers who can assist in the Collection items could be allocated a as: ‘Thepriceforwhichforwhich an assetmight process of value assessment. bracketed value from a valuation scale. reasonably be expected to be sold at Indicative values of collection areas the operative date, less the costs of The cost of valuation of extensive could then be identified and these disposal that could reasonably be collections especially by art dealers or listed as a note to the accounts. anticipated’ valuers usually carries a ‘percentage of value’ charge. For’For some institu- For many institutions this may be an This definition does not indicate tions the cost incurred would be exces- achievable and relevant solution to whether a local or international mar- sive and not justifiable. Many muse- what could otherwise be an expensive ket should be considered. Rare natu— ums have suffered major funding cut- and somewhat daunting task. ral history specimens, Maori artefacts, backs in recent years. Valuation costs some artworks etc., would all attract would not necessarily be rated as a COST OF CAPITAL much higher market prices on the priority. North American, European and per-per— For most museums operating under a haps Asian markets. Once values had been established.established, it local authority structure their budgets

NZMJ 24(2): 10-13 12

will include an entry for Cost of Capi- items may appreciate in value, some value, ofcollections which are not yet tal. Cost of Capital is an Operating may retain a constant value and others documented, conserved or otherwise, cost which could more appropriately by their nature may lose value. to show what it is going to cost us in be termed as an “Opportunity Cost”. the future to make the collections It is a concept designed to ensure that The only way to overcome this anomaly accessible’. all activities receive afinancing charge. would be to value the collections in their entirety each and every year. Perhaps the major issue from a tradi- The Cost of Capital charge is based on This would be neither financially, nor tional museum perspective is that out- assets employed. physically realistic. lined by Neil Cossons (above).

For museums with collections often It may be argued that just selected Museum collection items that have valued in millions of dollars, and these items could be targeted for revalua- been acquired by way of gift or be— collections being included in asset tion each year and the balance left to quest, or have been funded by grants registers, the Cost of Capital charge average out. Again this is an option from Trusts etc., cannot have an ‘ex- can be substantial in comparative but when the collection is valued in pectation of sale’ as such items do not terms. millions ofdollars, such apolicy would belong to the museum but rather are result in a very false and misrepre- held in trust by the museum on behalf Although the Cost of Capital charge is sented asset value and/or depreciation of the community which it serves. basically a book entry and not a cost to rating. funders (ratepayers), there is often a Without an ‘expectation of sale’ there perception in the minds of elected It should be acknowledged that in can be no market value and therefore members that the real actual cost of general, heritage collections are likely no relevant asset value. operating a museum is indicated by to appreciate over time. Councils may the gross budget. need to determine the frequency of Artwork purchased specifically with revaluation in order to accommodate museum or council allocated funds If the gross budget includes a compo- this factor. may be more easily accommodated nent of a Cost of Capital charge, being within an asset valuation as such items calculated in part on the value of mu— In accepting the issues identified above have an identifiable acquisition cost seum’s collection, then there could be and in acknowledging that cultural and are not encumbered by any deed of further argument on the part of the assets do not have a fixed life, depre- gift, donor expectation or possible museum to exclude collections from ciation of these assets is not seen to be breach of trust. asset registers and thereby reduce the a requirement. potential for misinterpretation of ac- POTENTIAL RISK tual operating costs. There is currently a determination that SSAP - Accounting for Deprecia- By including the asset value (net cur- In accountancy terms such an argu- tion, would not be applied to heritage rent value) of collections within the ment would hold no water however for assets because of the indefinite nature balance sheet a distortion occurs that museums, often seen at best as discre- of the lives of the assets. would not be acceptable within say a tionary in regard to funding alloca- trading company. Because the assets tions, the exclusion of the Cost of A MUSEUM PERSPECTIVE (or part thereof) could not actually be Capital charge on collections could be realised, (for reasons outlined above) beneficial. Neil Cossons - Director: National the balance sheet would misrepresent Museum of Science & Industry, UK. the actual true asset value. In the As restructuring of local authority or- ‘The stock of museums has not asset event of borrowing against the (theo- ganisations continues, this may well value. When we buy an expensive retical) value of the assets, a foreclos- become a non-issue as Cost of Capital picture at auction it immediately has ure could require assets to be realised. and Depreciation charges are likely to no cash value because it is held in This scenario, although highly un— be allocated to Asset Managers rather trust on behalf of us all’. likely for most museums, (especially than the Service Delivery Unit. those funded by local authorities) could Des Griffin - Director: Australia well be encountered by smaller or DEPRECIATION Museum. ‘An ultimate irony is that independent museums working under people concerned with accounting a trust or similar management body. If collection items are included in the standards - auditors - are now seeing balance sheet as assets, then distor- collections as assets and therefore By including collections as assets tions will immediately occur in rela- requiring them all to be valued on the within the balance sheet, the situation tion to the depreciation ofthose assets. books. In fact, the really important may arise, whereby a Council, or its In many cases, artworks for instance, accounting issue for museums is how members could consider that such as- rather than depreciating, heritage to show the liability, not the asset sets could be realised to fund opera-

NZMJ 24(2): 10-13 l313

tional or development projects. Such action would breach the trust that is vested by the donor within the area of gifted and bequested artworks/arte—artworks/arte- facts.

SUMMARY

The following points could be noted as being a summary of this paper:

There are valid reasons for herit-herit— age collections to be ‘valued’; Because of inherent costs, an in- formal valuation as outlined may be more realistic to acquire and maintain; Heritage collections should not be listed as core assets but rather as community resources recorded as a note to Council’s accounts. Depreciation should not be ap- plied to heritage collections.

REFERENCES

GALE, SJ. 1994. Museums and the Community - the rationale for public support. Paper commissioned by Museum Directors Federation.

PROVOST, L., E. Hall, V. Elliot, 1992. The Valuation of Library Collections - A Proposal. NZ Library Assn.

Accounting for Heritage Assets in Local Government (Draft). SOLGM. Working Party - August 1994.

Circulated correspondence - Stuart Park - then Director, Auckland Museum, dated 16 December 1991.

Promulgations - Statement of Standard Accounting Practice No.28. July 1991. Accountants Journal, August 1991.

NZMJ 24(2): 10-131 0-13 14

PATHWAYS TO ACCESS: THE RELATIONSHIP BETWEEN COMMUNITIES AND SOCIAL HISTORY PROGRAMMES IN MUSEUMS

Fiona Cameron, Curator of Social History, The Science Centre and Manawatu Museum

What is the discipline of social history more publicly accountable to the com— ferent approaches. and what is its role in museums today? munities which support them. On a more esoteric level, the post modern- Our Place: Australian people, Aus- History, as a discipline within muse- ist movement with its emphasis on tralian identity, is a community ac- ums, has generally had a stronger discourse and subjectivity, has also cess gallery at the Australian Mu- emphasis on academic methodology, had a major effect on popularist aca- seum, Sydney. The gallery provides a whereas definitions of social history demic thought and practice. space for the community to partici- in museums remain fluid, unstruc- pate in the institution not only as tured and lacking an all embracing or This focus on people and communi- audiences but also as creators, design— collective definition. This situation is ties and issues relating to control, ers and curators. Groups are encour— to some extent due to the fact that access and empowerment has been a aged to take control of the interpreta- social history as a discipline is a rela- source of debate in relation to taonga tion and presentation of themselves tive newcomer to academia. Maori in New Zealand museums since through exhibitions, in association the mid-1980s. These issues were with other expressions of identity For some curators within the museum highlighted during the 'Te Maori' ex- throughperformance. The concept was environment, social history is all em— hibition. Exhibitions such as 'Nga developed through a front-end evalu- bracing, reflecting human activity in Tukemata: Nga Taonga o Ngati ation process with a variety of groups a very broad sense, whereas others see Kahungunu' and 'Nga Iwi o Tainui initiated by the staff and based on social history as the history of the Waka‘ continued this development in South Australian models“. working classes and other minority consultation with particular iwi. It is groups’. Regardless of definition, so- only in recent years that these ideas Access is interpreted in a very broad cial historical practice in museums is have been extended into other areas of sense where community groups initi- becoming increasingly popular. social historical practice. ate their own programmes with the assistance of museum staff. Pro- This trend is the result of a growing This fluidity in definition and ap- grammes are developed by the groups interest in areas such as popular his- proach has provided social historians from concept to content including text tory, oral histories, contemporary and within museums with the ability to writing and design. The relationships minority histories. These develop- explore new grounds and test practi- and the obligations of both parties are ments are coupled with a desire to cal methods. Some ofthese approaches at present being formulated in an ac— become more community inclusive and are outlined below in relation to a cess document. Programmes include focused through the exploration of selection of the programmes being Youth Identikit and African Commu- .‘ordinary’ people, their daily lives, undertaken in Australian and New nitiess. experiences, viewpoints and priori— Zealand museums. ties. A similar commitment to access is PATHWAYS TO ACCESS - seen at the Vic Health Access Gallery, SOME AUSTRALIAN MODELS On a broader level this approach is National Gallery of Victoria, Mel- part of a general trend on the part of bourne. The gallery space is seen as One of the central themes in social many museums to connect with, and being supportive of community art, historical interpretation in museums to access and empower, the local com- rather than ‘high art’. The space munities in which they are situated today is the issue of access. This allows a wider variety of people to through all areas ofmuseological prac— concept has to do with involvement, present their ideas through art in an attainability, influence and power in tice from public programming and institution where they are not ordinar— evaluation to policy development. This relationships with communities? The ily heard. Programmes included an move has in part been due to a real term focus is also used to describe exhibition by Aids sufferers titled, another approach to community in- desire to serve, coupled with the cur- ‘Dislocations, Body Memory Place’ volvement. These terms are interpreted rent economic and political environ- and an exhibition of aerosol art called in different ways and reflected in dif- ment which requires institutions to be ‘Off the Wall’ which certainly chal-

NZMJ 24(2): 14-16 15

lenged ideas of what should be hung SOME NEW ZEALAND programme developed out of a public in a major art institution. The project MODELS meeting attended by members of the contributed to experimentation in the Dutch community. The exhibition’s arts and introduced a whole new range There is very little information on development was based on a commit- of people to the gallery5.gallerys. social history programmesprogrammes within New tee structure with curatorial initia- Zealand museums which appears in tives driving the process on the group's With these examples, communities the literature. However,over the last requestg.request9. are empowered with a high degree of five years there has been a similar control over the presentation of them—them- shift in orientation towards commu- The Science Centre and Manawatu selves. Although assumed to be ideal, nity access and the presentation of Museum, Palmerston North through problems are encountered. Thispower minority, or underprivileged groups, the ‘Slices of Lives’ - Manawatu and shift also engenders an element ofrisk and contemporary communities within its Peoples'Peoples‘ project has been involved on the part of the institution in rela- museums. in accessing the community through tion to the nature of the material pre- oral history programmes and exhibi- sented as control of the programmes Petone Settlers Museum has devel- tions instigated by staff. Many of the concept and presentation is in the oped a ‘Community access’ similar to programmes undertaken were issues hands of the community. Providing the Australian Museum model but based and involved the presentation of access also means that an institution independentlydeveloped, basedon the viewpoints of individuals and groups cannot ‘lay down the law ‘ so to speak institution’s theme, ‘Migration and on topics such as beneficiaries and the as they are community-initiated pro- settlement’. The programme was first welfare state, cultural and ethnic is- grammes and reliant on volunteers to initiated by the museum’s staff but sues, industrial disputes and so forth. run them . In both instances problems subsequent exhibitions have been in- were encountered with the conserva- stigated by community groups as the In this project people were given con- tive institutional management due to principle. is now established in the trol over the presentation of their lives the nature and content of the material widercommunity. Groups represented through a rigorous process of consul- presented especially in relation to gay include the Greek and Polish Com-Com— tation. The incorporation ofartprojects culture. munities and, more recently the Ital- into the programme provided another ian community. Programme develop- venue for access not only by the artists The scheme run at the Powerhouse ment is undertaken within a commit- but by community through the sculp- Museum in Sydney called Community tee structure with an appointed re— tural installation ‘People and Place’. Focus which is part of the Australian searcher working with museum staff A similar process is being undertaken communities exhibition, has a slightly who provide advice and technical sup- for an exhibition on the Vietnam war different orientation. The institution’ s5 port7. issue. staff rely on groups to approach them with ideas. From that contact the Community access is also an active From this project community-based ensuing exhibition or programme is part of the Otago Museum’s pro—pro- oral history workshops are being de- developed as a co—operative project gramme. The institution’s temporary veloped empowering communities based on negotiation and consensus exhibitions space is hired to groups to within Manawatu to develop theirown between staff and the community. mount their own exhibitions, mainly programmes in association with the Curatorial responsibility is maintained of an arts and crafts orientation. The Museum. for the concept, location, budget, women's suffrage year exhibition in- storyline, objects and public pro—pro- volved a number of women's organi- The promotion of community access grammes and has to be ultimately sations such as church groups, Girl is also being undertaken as part of the approved by senior management. Guides and the NZ Prostitutes Collec- history programmes at the The Design and installation is undertaken tive who were invited to present their Waikato Museum of Art and History. by in-house staff“. Exhibitions in- own stories. Technical advice and clude the experiences of Jewish refu- support was provided by the muse- CONCLUSIONS gees and of immigrants from Latin um’s design teams. Commitment to America and Polynesia. access by the institution is further From the examples outlined above it is demonstrated by the appointment of a clear that there are many programme Focus rather than access highlights community programmes officer. models in museums which embrace this approach and a high degree of the idea of access in varying degrees control is maintained by the institu- Another institution actively involved and forms. tion. in facilitating community access is the Otago Early Settlers Museum. This Models fall generally into two catego- approach was first undertaken as part ries. One example defined by the term ofthe exhibition NETHERlands - Post focus provides a forum for expression War Dutch Settlers in Otago. The through a negotiated process with com-

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munities and staff in which the staff REFERENCES AND provide the expertise and resources. FOOTNOTES GENERAL REFERENCES These programmes are often initiated by staff . This process, however, 1 FLEMMING, D, C. Paine, J.D. DAVIES, S., 1994 Social History in provides a framework for both parties Rhodes, 1993 Social History in Museums: The Academic Con- to work within although control ulti- Museums - A Handbookfor Pro- text, in Social History in mately remains with the institution's fessionals HMSC, London, Intro— Museums - A Handbookfor Pro- staff, especially with regard to edito- duction (1-2) fessionalsHMSC, London,(3- 12) rial and presentation concerns. The ‘risk factor’ is generally less. 2 MACLULICH,C., 1984 Issues of KAVANAGH, G., 1994 History in access (part 1) in Museums Aus- Museums in Britain: A Brief In many instances responsibility is tralia, Occasional Papers, Survey of Trends and Ideas in vested in the institution by the com- papers from the MAA State Con- Social History in Museums - A munity itself, which views the mu— ference, 1993 ‘Traditional Handbook for Professionals seum staff as experts in their field. In Boundaries: New Perspectives, HMSC, London, (13-26) - 1990 some instances communities would (33-35) History Curatorship, Leicester rather play a consultative role. The University Press, London. level of access is often a negotiated 3 SAUNDERS, L., 1994 Issues of position. access (part 2) in Museums Aus- tralia, Occasional Papers, papers Access in its broadest sense requires a from the MAA State Conference, [Fiona Cameron is currently enrolled shift in the power base more towards 1993 ‘Traditional Boundaries: in a Ph.D at Massey University. The that of the community group. Initia- New Perspectives, (33-35) topic involves an historical analysis of tives are derived from them hence the exhibitions of Taonga Maori in providing an opportunity for them to 4 MARTIN,M. 1994 Head of Visi- New Zealand Museums] experiment with freer expression and tor Services, Australian Museum, a range of subjects. This approach Sydney (personal communica- allows the institution to respond to tion) initiatives from the community as cu- rators, and designers. This stance 5 SCOTT, J., 1993 Vic Health however, can mean a lack of control in Access Gallery in M.E.A.A. & relation to programming and M.E.A.N.Z 1993.Pathways to timetabling. It may require museum PartnershipsConferenceProceed— staffto deal with a level ofspontaneity ings, Australia (313 — 316 ) rather than certainty as well as putting the institution in a position where it 6 COX, P., 1990 Guidelines for may be supporting contentious issues. Community Focus Displays at the Powerhouse. (unpub. manuscript, Access, whatever the definition, pro- The Powerhouse Museum) vides a means of letting communities find their way into museums, to estab- 7 MEELING, D., 1994 Director/ lish a sense of ownership and rel- Curator Petone Settlers Museum, evance, a level of comfort and confi- (personal communication) dence. In another sense it allows institutions the opportunity to connect 8 BUDD, H., 1994 Head ofExhibi- with groups in the community. This tions, Otago Museum (personal shift in orientation also requires an communication) exploration of the moral and ethical obligation of institutions and commu- 9 BROSNAHAN, S., 1994 Curator nities to each other. of Social History, Otago Early Settlers Museum (personal com- Access gives institutions the potential munication) to widen their audiences and enables institutions to respond to and support public interests. Programmes also work towards changing the traditional view of a museum from being exclu— sive to inclusive.

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MUSEUMS AND THE COLLECTION OF PERSONAL INFORMATION: A GUIDE TO THE PRIVACY ACT 1993

Tim Vial, Executive Assistant, Otago Early Settlers Museum, Dunedin

On July 1, 1993 the Privacy Act came Principles 1 to 4, which g o v e r n 2.2 Principle 2: Source of PI into effect to regulate the ‘ collection, the collection of personal use, and disclosure...’ of personal information, do not apply to PI must be collected directly from information (hereafter PI), and to unsolicited material; for example the individual concerned. facilitate access by individuals to to unsolicited genealogy material. information held about them. PI is However, once unsolicited Exemptions to this principle apply defined as information about an material is deposited with your where the agency believes: that identifiable living individual. institution, Principles 5 to 12 will the information is publicly govern the way that material available; or that the individual The Act is monitored by a Privacy is stored, used, accessed and authorises collection from Commissioner, presently Bruce Slane, corrected. someone else; or that non— who is empowered to investigate compliance would not prejudice infringements of individual privacy 1.2 Private and public sector agencies the interests of the individual (Internal Affairs 1993). Further, concerned; or that compliance is complaints can be brought before the This definition includes not reasonably practicable; or that Complaints Review Tribunal (Internal incorporated and unincorporated the information will be used for Affairs 1993). societies, government and local statisticalorresearchpurposesstatistical orresearchpurposes and governmentgovemmentdeparlmentsdepartments (PA s.2).5.2). the individual concerned will not How muchPIdomuseumscollect? The be identified. Otago Early Settlers Museum (hereafter 1.3 Individual OESM) collects PI for research, both When collection items are brought oral and written personal history; An individual is defined as 3%};amt}, in on behalf of adonor, it is not collection management, the name, natural person. The Act does not possible to collect PI directly from address and phone number of donors; apply to legal persons, for example the individual concerned. for assessing the visitor profile; and for companies. (PA 3.2)s.2) However, OESM sends an maintaining personnel records. In acquisition receipt to donors to be addition, many museums maintain 2. Privacy Act Principles checked and signed, thus avoiding mailing lists of ‘Friends oftheMuseum’ . prejudice to the interests of the These examples suggest that museums At the center of the Privacy Act are donor. are significant holders of PI, which twelve Privacy Principles. Where must now be collected in accordance exemptions to the Principles are 2.3 Principle 3: What must the with the Privacy Act 1993. discussed, they are alternatives, and ‘individual concerned’ be told? you need only come under one ofthe Note: PrivacyPrivacyActAct sections will be cited grounds to qualify for the exemption. The individual concerned must be as ‘PA s. (n) ’, for example, PA s36. made aware of: the collection of 2.1 Principle 1: The purpose for the information, the purpose for 1. DefinitionsDefinitions which PI is collected which the information is being collected, the intended recipient ‘ The collection, use, and disclosure, by PI must be collected for a lawful of the information, the public and private sector agencies of purpose, connectedwithafunction consequences, if any, of not informationinfomiation relating to individuals’ of the collecting agency and must providing the information, the be necessary for that purpose. right of access to, and correction 1.1 Collection of, the information. Each museum should adopt a ‘Collection’ does not include the Privacy Act policy which sets out These steps must be carried out receipt ofunsolicited infonnation’information’ the purposes for which PI is b_eforetheinfonnationiscollected.mforetheinformationiscollected. (PA 5.2). collected.

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Practically, this information would with this condition would not be requestforaccess to PI, per s.11(c). be set out at the top of forms and ‘reasonably practicable’. That is, you must ensure that PI is research questionaries, and only disclosed to the individual brought to the attention of the 2.4 Principle 4: Manner in which concerned. subject. The timetable for information is collected amending forms is set out below. Disclosure of P1 to a person other Information is not to be collected than the individual concerned, Further, s.29(h) suggests that unlawfully, or in a way that which is the purpose of museum individuals depositing material unreasonably infringes on the research facilities, is allowed in with a library, museum or personal affairs of the individual. limitedcircumstances by Principle archive, can place conditions on 11. the disclosure of their personal As oral history interviewing information. Agencies can refuse necessarily goes into the personal Individuals must be advised that to disclose PI if it would breach affairsoftheindividual, thisclause they have the right to request such a condition. For example, is problematic. However, if the correction ofPI, under Principle 7. subjects who took part in a Dutch individual is properly ‘cautioned’ Settler oral history project at under s.3(1), and given the 2.7 Principle 7: Correction of PI OESM were able to place opportunity to place conditions on conditions ofaccess on their tapes. the disclosure of their PI, the Individuals are entitled to request The right to place conditions on amount of information they wish the correction of their P1, or the the use and disclosure ofPI would to volunteer is up to them. attaclunenttotheirPIofcorrections be best explained at the requested but not made. (PA: same time as the Principle 3 2.5 Principle 5: Storage and Principle 7(1)). conditions. security of PI Agencies arerequired to take ‘such Where an agency is collecting the Safeguards must be taken against steps (if any)’ at the request of the same information, or information the loss, access, use, modification individual, or on their own of the same kind, from an or disclosure of PI, except with the initiative, to ensure that individual, and ‘notice’ asrequired authority ofthe informationholder. information is ‘accurate, up to by Principle 3 has been given on a (PA s.5(a).) date, completeandnotmisleading’ recent previous occasion, ‘notice’ (PA : Principle 7 (2)). need not be given again. For If information is given to a person example, if a series of interviews in connection with the provision 2.8 Principle 8: Use of Information is being carried out with an of a service to your institution, for individual, ‘notice’ need only be example the computercataloguing ' ‘Accurac , etc, 0 Personal given at the beginning. ofyour archive, youmusttake care infomtation to be checked before i to prevent unauthorised use or use Exemptions to Principle 3 apply disclosure of that information. where the agency believes: that (PA s.5(b)) Agencies must take reasonable the individual authorises non- steps to check material . What compliance; or that non- 2.6 Principle 6: Information is ‘reasonable’ will be dependent compliance would not prejudice requests on the circumstances and on the the interests of the individual; or purposes for which the material that compliance is not reasonably Where PI is readily available, will be used. For example, a practicable; orthatthe information individuals are entitled to obtain museum could not check the will be used for statistical or confirmation of whetherornotPI accuracy of all unsolicited research purposes and the is held aboutthem,andto access genealogy material before making individual concerned will not be ,any such information. the material available forresearch. identified. For example, OESM If the material was to be used for Archivescannot comply with Individuals can only request private research,corroboration of Principle 3(1)(c), the ‘intended information about themselves. that material from other sources recipients of the information’, as might be a sufficient check in the the intended recipients are A request can be refused if it circumstances, noting that we are unknown, being a class of future involvesthedisclosureoftheaffairs only concerned with the researchers, and thus compliance ofanotherindividual. (PAs.29 (a)). accuracyofinforrnationheldabout living individuals. Agencies must establish the identity of any person making a However, ifthe material was to be

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used for a publication, a more purpose other than that agreed to 4. Charging for access to PI extensivecheckcouldberequired.extensive check could be required. by the individual concerned, eg for use in a malicious biography Can museums charge for access to 2.9 Principle 9: For How long can PI rather than family research, then P1?PI? Thisis addressed byPA s.35(s.35(1)l) be held? the museum may be liable for which states: damages under PA 5.88.$.88. Agencies are not to keep PI longer ‘Public sector agencies are not than is necessary. Museums and 2.12 Principle 12: Unique identifiers to requirepayment by individuals Archives by definition will holdPI forassistance in making a privacy indefinitely. Agencies are not to assign unique information request, the making identifiers to individuals, unless it of a privacy information request, 2.10 Principle 10: Use of PI is necessary to enable the agency the processing ofa request, or the totocarryoutitscarryoutits functionseffectively. making available of information PI obtained for one purpose, shall in compliance with the request’. not be used for any other purpose. A museum archive could assign a PImay beusedbeusedfor anotherpurpose unique identifier to an individual, Local authority museums and if: the source of the information for example in aresearch index, MONZ, as public sector agencies, was apubliclyapublicly available document; as this is arguably necessary for are therefore unable to charge for or the individual agrees; or it is a the efficient conduct of a research privacy information requests as of directly related purpose. service. right. This raises an immediate problem with the charging of fees As noted, museums should set out Public Register Principles for museum research services. the purposes for which PI will be collected. Such purposes should There are four public register Clearly you cannot charge the be carefully drawn to avoid being principles, which apply to such ‘individual concerned’ for access straitjacketed by this section. public registers as the Births and to their PI, but you can charge Deaths registers. (PA 5.59) them for access to information 2.11 Principle 11: Limits on about anyone else. disclosure of PI Of particular importance to museums is Principle 2 which However, if an agency can prove Agencies holding PIP1 are not to states: to the Privacy Commissioner that disclose that information to any they are commercially other person or agency unless: ‘Personal information obtained disadvantaged, in comparison to a disclosure is one of the purposes from a public register shall not be private sectorsectorcompetitor,competitor, by the for which the information was re-sorted, or combined with inability to charge, permission can obtained; or the source of the personal information obtained be granted to impose a charge (PA information is publicly available; from any otherpublic register,for s.36(1)). orthedisclosureistotheindividualorthe disclosure is to theindividual the purpose of making available concerned; or the disclosure is for valuable consideration Requests for access to PI authorised by the person personal information assembled concerned. in aform in which thatinformation Requests for access to PI must couldnotbedirectlyobtainedcouldnotbedirectlyobtainedfromfrom handled promptly, and be Ifthe individual concerned is duly ' the register’. answered within twenty (20) advised under Principle 3 that their working days. (PA 8.40) PI will be used for research This principle appears aimed at purposes, and they havebeen given preventing individuals resorting Where a request is for a large the opportunity to place public information for private amount ofinformation; orrequires conditions on access, then publication and financial gain. a search through a large amount of disclosure to persons other than information; or necessitates the individual concerned, subject As part of its correspondence consultation before a response is to any conditions, would be researchserviceOESMdoesobtain given, the time limit can be permissible under this Principle. information from p u b 1 i c extended for a reasonable period registers on behalf of researchers. of time. (PA 3.41)5.41) However, museums should However, the researcher is only exercise control over the end use billed for the fixed cost of viewing The individual concerned must be of PI by researchers. If PI is the Births Deaths and Marriages advised of the extension within disclosed to a researcher for a Registers. OESM does not gain twenty days (20) of their request financiallynanciallyfromthesetransactions.from thesetransactions. (PA s.41(3) ), the reason for it PA

NZMJ 24(2): 17-21 20

5.44), and the right to complain to Principles 5 to 9 and Principle 11: mation for the purposes for which is the Privacy Commissioner under Apply to information whenever was collected, and to recognise that s.67 (PA s.4l(3)(c)). obtained. “... people’s information is precious to them” (Otago Daily Times 1993); Informationrequestedcan bemade Principle 10: Applies to a fact museums are well aware of. available by providing the information obtained after July 1 opportunity for inspection, by 1993. REFERENCES providingacopyofthedocuments, or by providing an excerpt or Principle 12, subclauses (1) to (3): 1. Articles summary of a document’s Apply to unique identifiers Caudwells, Barristers and Solici- contents’ (PA 5.42). assigned after 1 July 1993. tors. 1993. The PA - An Over- view. Disclosure of PI may be refused Principle 12, subclause (4): if: it would involve the Applies to unique identifiers Department of Internal Affairs. unwarranted disclosure of the whenever obtained. 1993. The Privacy Act 1993. affairs of another individual; or it would breach an expressed or 7. Breaches of the Privacy Act Nankervis, J and Bennett, T. 1993. implied condition of confidence; ‘New law has potential to change or the information is not readily Thecomplaints procedure forbreaches practices’. New Zealand Local available; or the information of the Privacy Act is set out in Part Government, August, 1993. does not exist or cannot be found VIII. (PA $29). For example, if an Office of the Privacy Commis- individual had embargoed Museums should note that the Com- sioner. 1993. FactSheets, No.1 access to their oral history tape plaints Review Tribunal may award to No.8. during their lifetime, this would damages for ‘an interference with be a valid ground for refusing the privacy of the individual’ (PA Otago Daily Times. 1993. Pssst access. 5.88). Thus breaches of the Privacy ...... caught in the Act. Otago Act are taken seriously. Daily Times, Saturday 12 June, Where an information request is 1993. declined, the individualmust be CONCLUSIONS given the reason for that refusal 2. Legislation and, if they request it, the grounds a. Museums should be familiar with Local Government Official Infor- for the refusal. (PA s.44, the the Principles of the Privacy Act , mation and Meetings Act 1987. grounds for refusal are set out in the procedures for the disclosure Part IV. PA s.27, PA 3.28 and PA s.29 ). of PI, and the reasons for refusing to disclose PI. Privacy Act 1993. The individual concerned can complain to the Privacy b. Forms used by museums to collect 3. Other Commissioner and seek a review PI, for example survey f o r m s , Pitchforth, Roger, Business Law of the refusal (PA 3.44 (b)). acquisition receipts, research Deparrnent, Massey University: forms, should be redesigned to Comments on the first draft of this 6. When does the Act take comply with Principle 3 of the article. ~ effect? Act. Though not required by Principle 3, the option of placing APPENDIX 6.1 Forms conditions on the disclosure and use of PI could be included with Sample Headnotes Forms printed before 1 July 1993 the Principle 3 ‘caution’. can still be used up to June 30 1. Survey forms 1995. After June 30 1995, forms c. Museums should implement Information from this s u r v e y must comply with Principle 3 (PA policies to govern the collection will be used for statistical (and s.8(4)). and disclosure of PI. /or research) purposes. The indi- viduals surveyed will not be 6.2 Personal Information Though the Act is complex it is identified. designed to be persuasive rather than Principles 1 to 4: Apply to punitive (Otago Daily Times 1993). 2. Collection documentation information obtained after July 1 As noted by the Minister of Justice, This interim receipt ofgift requires 1993. Mr Graham, the Act is designed to the disclosure of p e r s o n a 1 encourage organisations to use infor- information. The information is

NZMJ 24(2): 17-21 21

being collected by the Museum for the purpose of transferring ownership of your collection item to the Otago Early Settlers Museum. You can request access to your personal information under Principle 6 of the PA 1993. Ifyourpersonal information is incorrectly recorded, you may request correction of your information under Principle 7 of the Privacy Act 1993.

. Research

Personal information collected by this oral history interview (and/ or research inquiry) will be made available by the Otago E a r 1l y Settlers Museum Archive for public research. You may place conditions on access to your personal information. You can request access to your personal information under Principle 6 of the PA 1993. If your personal information is incorrectly recorded, you may request correction of your information under Principle 7 of the PA 1993.

NZMJ 24(2): 17-21 22

A BICULTURAL MUSEUMS ASSOCIATION FOR AOTEAROA NEW ZEALAND

John Coster, Museums Liaison Officer, Auckland Institute & Museum

ABSTRACT (Wetere 1988). In the period leading employment, for young Maori. More up to the 1990 anniversary, the new recently, the museum has appointed Recent restructuring of the former Art view of the Treaty as the founding two Maori to the positions of Director Galleries and Museums Association document of New Zealand society be- and Associate Director of Maori and of New Zealand (Inc.) has resulted in came more widespread. The 1990 Bicultural Development. a bicultural Council, giving equal rep- Commission promoted the Treaty as a resentation to Maori members of the ’living document, the symbol of our THE MUSEUMS ASSOCIATION profession. The new structure specifi— life togetheras a nation andafocus. .. in AND BICULTURALISM cally recognises kaitiaki, in line with the partnership between our (Maori acceptance of the Treaty of Waitangi and Pakeha) cultures’ (Anon. n.d.). The impact of this new recognition of Te Tiriti o Waitangi, as the country’s the Treaty was not lost on the forty founding document. Recognition of The general move toward recognition year old Art Galleries and Museums biculturalism is a step toward enhanc- of Maori rights and the significance of Association of New Zealand ing the role of Maori in the Museum the Treaty was echoed by the museum (AGMANZ), many of whose mem- profession. profession in a number of ways. A bers were already involved in other continuing debate over issues ofrepa- Treaty-based changes. A Corporate INTRODUCTION - MUSEUMS triation and ownership ofcultural prop- Plan (AGMANZ 1988), adopted in AND THE TREATY erty for example, was inspired by the 1988 after an intensive Council work- touring exhibition Te Maori (Mead shop held at Dawson Falls, recognised Between the establishment of the 1984). Initial planning for the new explicitly that effective power sharing Waitangi Tribunal in 1975 and the Museum of New Zealand Te Papa within a bicultural structure for the celebrations in 1990 of the 150th an- Tongarewa (MoNZTPT) had incor- Association had become a necessity. niversary of the signing of the Treaty porated a Maori advisory group, Nga The Plan’s first goal was of Waitangi, a number of significant Kaiwawao. The Museum’s bilingual moves were made toward the Treaty’ 5 institutional concept document "To strengthen and actively develop acceptance as our founding document (MoNZTPT 1989) incorporated the partnership between Maori and (see, for example, Orange 1987, Durie among its guiding principles a com— Pakeha within the museums of 19911157, Sorrenson 19892160, 171). mitment that Aotearoa New Zealand. " In particular, the Tribunal presented a series of reports which outlined Maori ”In all that it does the Museum ofNew by promoting an understanding of the points of view on Treaty issues. The Zealand Te Papa Tongarewa will hon- Treaty and negotiating structures .Court of Appeal had then, by endors— our the principles of Te Tiriti-o- which would allow for a better part- ing the Tribunal’s interpretations, ’le- Waitangi - the Treaty of Waitangi. ” nership with Maori members of the gitimated an intellectual revolution profession. in the way the Treaty should be read in A commitment was also made by the contemporary New Zealand’(Renwick museum’sProjectDevelopmentBoard At the Annual General meeting of the 1991:211, 212). With the election of that the Maori language would be Association at Wanganui in April a Labour government in 1987, some of used wherever appropriate in label- 1989, the name ofthe Association was this revolution was put into practice ling, in the Museum’s work and in changed, after consultation with through, for example, statutes such as publications. Framework concepts kaumatua, to reflect a more bicultural the Conservation Act 1987 which were were derived from a Maori world view approach. The new name, The Muse required ’to give effect to the princi- and from the Treaty (MoNZTPT ums Association of Aotearoa New ples ofthe Treaty of Waitangi' (Anon. 1989). Significantly, the Museum Zealand Incorporated - Te Ropu 1987:s.4) and Government agencies also established a number of Hanga Kaupapa Taonga was adopted moving to ’respond in a definite and internships, many of which provided by the meeting, but was not formally positive way to the needs, concerns museum training and experience, registered for another three years. and aspirations of the Maori people’ though not necessarily permanent Significantly, the Association’s first

NZMJ 24(2): 22-27 23

Maori woman President, Mina with the Corporate Plan, the Pakeha Pakeha members ofthe Council would McKenzie, spoke the following year members of the Council held a two- discuss and resolve their partnership cf(f ’the fashion for adopting Maori day Treaty of Waitangi workshop at responsibilities under the Treaty. names and a gloss ofthe Maori rituals Flock House, near Bulls, during June ofencounter in our museums’museums ’ as being 1989. At the same time, Maori mem- On the day after these meetings, the ’tokenism ’tokenism rather than a genuine at- bers of the Museum profession, in- two groups met together in WanWanganui,ganui, tempt to implementaimplement a marae type man- cluding the Association’s President, with some trepidation, to negotiate a agement style’ (President’s Report were meeting, by prior arrangement, way forward for the Association, as 1990). Her message was that more at the nearby Rata Marae. Among instructed by the Annual General change was needed within the profes- other topics, this hui discussed possi- Meeting. Both reported on the results sion than adopting a Maori name and ble models for partnership and nego—nego- of their meetings and the Maori group speaking a few words of Maori on tiation with their Pakeha colleagues. presented a model of the negotiation ceremonial occasions. process as they envisaged it (Figure 2). The Pakeha workshop was facilitated The meeting, which was at times The Association’s Council, carrying by the training consultancy Double highly charged and emotional, con- forward the impetus of the previous Take, a group of educators formed in cluded that, for the Museums Associa- year’s Corporate Plan, also presented 1987 with the aim of clarifying for tion, the principles of equal partner- the 1989 Annual General Meeting non—Maori what biculturalism might ship required that with a draft restructuring of the Asso-Asso— mean in practice.’ Double Take de- ciation which added a number of con- fined a bicultural society for New Zea—Zea- " 1. Terms ofagreement be negotiated sultative committees to the Council, land as being one: and clearly understood by both but retained the basic concept of a parties, acknowledging the status single association representing thepro- "where the indigenous Maori cul- of the Maori language fession (Figure 1). The meeting re—re- ture contributes equally to policy jected the draft, but asked the Council and decision making at all levels. " 2. Mutual respect and trust be estab- to develop proposals for restructuring lishedandmaintainedbetween the and rule changes for the next Annual The workshop was designed to clarify partners General Meeting. The Council was issues ofseparatism, biculturalism and also instructed to negotiate with multiculturalism, to look at institu- 3. The equal status ofthepartners be tangatatangata whenua on the Corporate Plan tional and personal racism, to shift acknowledged and the structural model to be pro- attitudes away from a monocultural posed (AGM Minutes, 1989). perspective and to tackle, in a realistic 4. It be accepted that a particular way, what biculturalism means on a goal may be reached by diflfierent As a result of these resolutions from day to day basis (Double Take n.d.). means the membership, and in accordance In particular, it was intended that 5. Both parties be accountable for the results of the partnership."

The meeting also agreed that, in re- considering the future of the Associa- tion, it would accept the Pakeha Coun- COUNCIL cil members’ offer to President plus 9-10 elected members EXECUTIVE -, " 1. Recommend that Executive Officer theAssociation ’s permanent/contract staff Council should comprise equal numbers of Maori and Pakeha | | l TlritiTlrifi o WaitenglWeitangl Special Museum Corporate Finance 2. Endorse aprocessa process whereby Maori Treaty of ProjectsProject: Practic-Fraction ldentityIdentity portfolio . WaitangiWaitongi portfolio portfolio portfolio portfolio portfolio members of the CouncilcounCll were se- I lected in accordance with Maori Advioqvi AAdfi‘uory Advioory A“.Add-My AdvkuyAdviuq ‘ _ Comm-[II Committed-l Committed-l Committee“) custom, rather than having to un- We. ] mm. mm... mat... m...Contained-l l custom, rather than havmg to un dergo a competitive election by mmFigure 1. Proposed mamstructure April 1989 the membership as Pakeha mem- bers do

3. Reassess the Association ’s priori- Figure 1: Proposed Structure April 1989 ties" (Brown 198924).1989z4).

NZMJ 24(2): 22-27 TIRITI 0 WAITANGI

Maori 1840 Crown Tangata Whenua Partnership Tangara firiri criteria criteria

Between two Negotiations Between two equal partners equal partners

Results will satisfy Distribution of Results will satisfy Tangata Whenua and resources equally Tangata resources will be and Tiriti because dlstributed according services resources will be to needs distributed accordlng to need

Papatuanuku Resources me . Ranginui = of ki Aotearoa New Zealand / identify areas of Understand the need and understand Treaty and its systems of Tengata terminology - Tiriti Rangatiratanga, Mana. Taonga. \ Accept the differences Figure 22' Model Negotiation Process

In the Association’s subsequent re- New Zealand workshop, these were facilitated by structuring, these three points were the Double Take consultancy. The 5" 5" adopted as constitutional require- 5" Providing the resources for im- workshops focused on an examination ments. The first two, ostensibly the proving both the knowledge and of most radical change the Association experience ofthe kaitiaki ofmuse- was to make, provoked only moderate ums" (Brown 1989z4). 0 Pakeha culture and cultural per- debate and appear to have resulted in ceptions, only one resignation from the Asso- In the event, none of these last three ~ciation. clauses was specifically included in - The history and background of the the Association’s redrafted Rules, on Treaty of Waitangi, A number of changes to the Associa- the grounds that the structure and tion’s Rules were suggested at the priorities of the new Association re- - The meaning of the terms used in Wanganui meeting, including the ob- flected them in practice. the Treaty, and jectives of RESTRUCTURING - The implications for museums of "1.Increasing and disseminating recent Government moves that the knowledge of all matters relating Having established a process ofchange Treaty should form the basis ofour to taonga tukuiho in museums and self-examination, AGMANZ, with society. major financial support from the New 2. Strengthening and actively devel- Zealand Lottery Grants Board, ran The result ofthe workshops, and ofthe oping the partnership between several more Treaty Workshops for political climate in general during the tangata whenua and tangata tiriti members of the Museum profession leadup to the 1990 anniversary, was as guardians of equal standing throughout New Zealand during late that more members of the profession within the museums of Aotearoa 1989 and 1990. Like the Flock House became aware in some detail of the

NZMJ 24(2): 22-27 25

issues surrounding the Treaty and of 0 Museum workers (employees 0of ing the entire profession, could have the very real and long term grievances museums) v emerged from the proposal. of the Maori people in relation to it. The way was opening to the possibil- 0- A Museums Federation (with in—in- As it happened, the membership at the ity ofsome redress being made and for stitutional members, equivalent to Special General Meeting rejected the more real power sharing between the existing Museum Directors proposed new structure and opted in- Pakeha and Maori. Federation) stead for 'a single unified organisa- tion' representing all members of the At the 1990 Annual General Meeting 0° Special interest groups such as the profession, including institutions and in Wellington, the Museums Associa- Museums Education Association, their governing bodies, which, while tion Council, as instructed, presented Registrars Group, Exhibition Of- still a national organisation, would a new restructuring proposal (Figure 3) ficers, Professional Conservators also encourage regional and local which put forward a two-tier model, Group, Science Centres Associa- branches (SGM Minutes, 14 Septem- made up ofthree separate associations tion, some of them formally struc- ber 1990). After further consultation, representing respectively, individual tured associations and others in- and substantial conflict among its museum workers, Maori museum formal networking groups members, the Council drew up a re- workers and museums as institutions, (AGMANZ 1990). vised constitution, incorporating many with a Council ofdelegates fulfilling a of the biculturally-oriented 1989 re- national advocacy role. This time, the This proposal would have replaced, at structuring proposals, which was meeting called for further submissions the national level, an incorporated adopted by the 1991 Annual General to be canvassed from members, with a society, nominally representing all Meeting. The new Association, the finalfinal decision on a new structure to be members of the museum profession Museums Association of Aotearoa made at a Special General Meeting and elected from the membership, with New Zealand Te Ropu Hanga Kaupapa later in the year (AGM Minutes, 5 an appointed body, one step further Taonga (MAANZTRHKT), was for- May 1990). removed from the members. It is mally incorporated on 22 June 1992. arguable that one group ofdelegates to The Council then refined the structure the proposed National Council (those The New Association (Figure 4), proposing a National Mu- from the “Museums Federation”) seums Council, ’representing and would, by virtue of their positions as In constitutional terms, the Museums speakingfor the total museum profes- museum directors, with consequent Association ofAotearoa New Zealand sion'sion’ and made up of delegates from access to funding, have had a tactical differs little from its predecessor, the each of four contributing sectors - advantage over other delegates and Art Galleries and Museums Associa- '- Kaitiaki Maori (Maori museum could thereby have dominated the tion. Its structure is similar to that workers) Council. It is also possible that a presented in Figure 1.l. The main unified national body, body, fully represent- changes, resulting from the debates and consultation of 1988 and 1989, relate to the attempt to become a more equitable, bicultural, Treaty-based organisation.

I[ MAANZ Ij I KAITIAKI MAORI J I MDF Major features ofthe current constitu- I tion (MAANZTRHKT 1992) include: - Regionally based - National - National Museum workers - Museum workers Museum institutions 0 Incorporation of a Maori name, Te Special interest Tangata whenua - Advocacy role and groups ' Service clients professional forum Ropu Hanga Kaupapa Taonga into Service clients - Service provider the Association’s title

NATIONAL 0- Incorporation of a whakatauki, re- MUSEUMS _J ferring to the lasting value of tan- COUNCIL gible objects and the imperma— nence of human endeavour, into - National - Advocacy role the Association’ 5s statement ofpur- pose —

Proportional representation of 3 groups on National Museums Council to be negotiated He kura tangata e kore e rokohanga He kura whenua ka rokohanga Figure 3: Proposed Structure May 1990

NZMJ 24(2): 22-27 26

CONCLUSION

The process of change by which New MUSEUM WORKERS' KAITIAKI MAORI ASSOCIATION OF Zealand’s national museums associa- AOTEAHOAINEW ZEALAND - lwldollnod - Tungnta whonul tion adopted its currentbicultural struc- - 5 Raglan- - Autonomou- - Museum workar- - Represent-liven on ture was a slow one, involving many - Fund-d by Iublcrlptlonc National Muuums Council . Autonomou- people. It extended over at least five - Ruprlunmlvu on Nullcnll Muuumn Councll years, from the first Treaty-based ob- jectives of the 1988 Corporate Plan to NATIONAL MUSEUMS COUNCIL the still—developing establishment of the Kaitiaki appointees on Council as - NIIIOI’III - Funded by levy on the tour plrllclplllng group: a fully functioning entity. Both Maori . Raprounmlvu lrom Ill (our and groups Pakeha members of the Associa- tion have made substantial accommo- dations in working toward a more MUSEUMS FEDERATION OF cooperative and consensual approach EW ZEALAND SPECIAL INTEREST GROUPS AOTEAFIOAIN to decision-making. - Autonomous ' - Autonomous on - Funded by suburlptlonl - Ropruenlaxlvu National Museum! Council - crosunlallvu on - Nallonnl structure Natlonll Munuml Counull It should not, however, be assumed - lnstltutlons - Funded by lubscrlptlonn and that all issues are resolved. At the urv|co delivery instigation of Kaitiaki, the Associa- tion has, for example, recently joined forces with Taonga o Aotearoa, the Figure 4: Proposed Structure September 1990 National Services body of the Mu- seum of New Zealand, to examine, among other things, the levels of par- ° The Association’s Council con- of Maori, employed in museums and ticipation by iwi Maori in the guardi- sisting of 10 members elected from beginning to be empowered to care for anship of their taonga and as workers the general Membership and 10 their own cultural heritage, has amply in museums (Stephenson & Moke—Sly members appointed by the Kaitiaki justified the uncertainty, argument and 1994). It is expected that this project Maori risk-taking of the process leading up will result in further changes. The to the formal changes in the Associa— major achievement for the Associa- ' Appointment of Kaitiaki Maori tion’s structure. The new confidence tion to date has been to facilitate the members of Council by consensus of the Kaitiaki, and Pakeha recogni- emergence of a strong group ofMaori at a Kaitiaki Maori hui prior to tion of that confidence, has inspired a museum workers who can inspire re- each Annual General Meeting. new and changing dialogue between spect in their own right and act posi- Maori and Pakeha in the New Zealand tively toward further developing museums profession. In the two years since the Museums bicultural attitudes within the profes- Association has been operating under sron. its new constitution, the Kaitiaki Maori An illustration of the nature of that Council members have developed a dialogue is to be found in the various ACKNOWLEDGEMENTS strong identity as a group and are at debates which accompanied the adop- tion of the Association’s new logo. the same time an integral part of the A longer version of this paper was This makes use of a pattern which ‘Association. This has perhaps been presented at the Council of Australian carries different symbolisms for dif- most apparent at the last three annual Museums Associations Annual Con- ferent iwi in different contexts. It can conferences, where Kaitiaki Maori, ference in Hobart, in December 1993. also be interpreted in a Pakeha context including their, and the Association’ 5, It is intended to be published by Muse— as representing the interweaving of kaumatua and whaea have played an ums Australia in Collected Papers, the two cultures of the society or a important role. CAMA Conference, Hobart, 1993. I stylised letter “M”, for “museums”. It am grateful to Elizabeth Hinds, Gerard is significant that, while recognising In particular, the acknowledgement of O’Regan, Sherry Reynolds and Brett the validity of all interpretations of Maori protocol and processes at con- Stephenson for their comments on this symbol, the Association has re- ference openings and proceedings, the earlier drafts. frained from adopting one interpreta- guidance and wisdom of Maori elders tion as the “correct” one. In a similar and the attention paid to the concerns vein, Kaitiaki have made a major con— ofMaori museum workers have greatly tribution to the Association’s recently enriched these occasions. The emer- published Code of Ethics gence ofa strong, mainly young, group (MAANZTRHKT 1994).

NZMJ 24(2): 22-27 27

REFERENCES Kaupapa Taonga (Inc.), 1994. Code of Ethics and Guide to ANON., 1987. Conservation Act Professional Practice. 1987. Statutes of New Zealand WanganuizMAANZTRHKTWanganui:MAANZTRHKT 1987, No.65. Wellington: Government Printer. ORANGE, Claudia, 1987. The Treaty of Waitangi. Wellington: Allen ANON., n.d. The Treaty of Waitangi & Unwin / Port Nicholson Press. The symbol ofour life together as a nation. New Zealand 1990 RENWICK, William (Ed.), 1991. Commission. Sovereignty & Indigenous Rights The Treaty of Waitangi in Art Galleries and Museums International Contexts. AssociationAssociationofNewofNew Zealand (Inc.), Wellington: Victoria University 1988. AGMANZ Corporate Plan Press. 1988-1991. Wellington: AGMANZ Council. SORRENSON, M.P.K., 1989. Towards a radical reinterpretation Art Galleries and Museums of New Zealand History: the role Association ofNew Zealand (Inc.),(Inc.), of the Waitangi Tribunal i_n 1990. A New Organisation for Kawharu I.H. (Ed.) Waitangi - Art Gallery and Museum People? Maori and Pakeha Perspectives Wellington: AGMANZ Council. of the Treaty of Waitangi. Auckland: Oxford University BROWN, Cheryl, 1989. Treaty of Press. Waitangi workshop and hui at Rata marae, 6-8 June, 1989. STEPHENSON, Brett & Barbara AGMANZ Journal 20(3):4,5. Moke—Sly, 1994. Bicultural partnership development in Double Take, n.d. Training Museums of Aotearoa: obtaining Programme for Biculturalism. aMaori perspective. Unpublished Leaflet, PO.P.O. Box 825, Wellington. paper for MAANZTRHKT Council. DURIE, E.T.J. The Treaty in Maori History i_n Renwick 1991. WETERE, Hon. Koro T., 1988. Te Urupare Rangapu: Te Rarangi MEAD, S.M. (Ed.), 1984. Te Maori - Kaupapa (Partnership Response: Maori Art from New Zealand Policy Statement). Wellington. Collections. Auckland: Heinemann.

Museum of New Zealand Te Papa Tongarewa Project Development Board, 1989. A Concept for the Museum of New Zealand / He Whakaaro mom0 Te WhareWhore Taonga o Aotearoa mo Te Papa Tongarewa. Wellington: MoNZTPT.

Museums Association ofootearoaNewAotearoaNew Zealand Te Ropu Hanga Kaupapa Taonga (Inc.), 1992. Rules. Wanganui:MAANZTRHKT.

Museums Association of Aotearoa New Zealand Te Ropu Hanga

NZMJ 24(2): 22-27 28

OTAGO MUSEUM, THE WHARENUI MATAATUA AND THE WAITANGI TRIBUNAL Address to MAANZ Conference, Palmerston North, 6 September 1994

Richard Cassels, Director, Otago Museum

On July 4th this year, the Waitangi like area in front of the house is used THE NGATI AWA APPROACH Tribunal commenced its hearing of for all major Museum ceremonies, for Claim No. 46, a major claim by Ngati many civic events, and for bicultural The Te Maori exhibition, a major Awa against the Crown for redress of training for schools, College of Edu- catalyst for the whole New Zealand many past 'injustices'. cation, Polytechnic, University, and museum movement, as well as the both local and regional Government nation's cultural development, trig- Included in the Ngati Awa case was a groups. Plays, rock concerts, musical gered this latest sequence of claims by claim for the return of the Wharenui/ recitals, and storytelling "keep the Ngati Awa. The formal process seems meeting house Mataatua, which has house warm". to have commenced with a letter in been in the Otago Museum since 1930. 1983 by Professor Hirini Mead, on The wharenuiMataatua is a powerful behalf of the Ngati Awa Trust Board, The Waitangi Tribunal hearing is the catalyst for bicultural understanding to the Government, requesting the re- latest of a series of unsuccessful at- and education in the South Island. turn of the house. The Secretary for tempts, beginning in 1983, by Ngati Probably no other taonga in the Mu- Internal Affairs, Mr B. MacLeay, re- Awa to obtain the return of the house. seum provides such a complete physi- sponded in 1984 that Ngati Awa had So what does this long-standing disa- cal, emotional, intellectual and social no claim on the house, which was now greement say about the relationship experience for visitors and other Mu- the property of the Otago Museum. between museums and tangata seum users. In the southern South whenua/indigenous peoples in Island, the house provides a very real The Ngati Awa Trust Board then Aotearoa/New Zealand today, atatime link with the rest of Aotearoa/New waited until the Te Maori exhibition when most of those museums would Zealand in general, ‘and with the North was finished before directly approach- pride themselves on being in the van- Island and North Island iwi, notably ing the Otago Museum Trust Board, guard of promoting bicultural under- Mataatua iwi, in particular. in the form of two delegations to standing? Dunedin, in 1983 and 1987. From a traditional Pakeha curatorial THE WHARENUI AT OTAGO point of view, the house is the 'flag- When I took up my duties as Director MUSEUM ship' of the Museum collections. It is of the Museum in late 1987, there had the largest and perhaps most prestig- still been no formal reply to Ngati The resurrected wharenui was opened ious 'item' in the collections. It has Awa, and this was my highest prior- in the Otago Museum in 1930. The been in the Museum for over 60 years ity. Following extensive and wide- long history of the house prior to this, and has been a landmark in the lives of ranging discussions, the Museum and since its 'opening' in Whakatane, many local people. Trust Board replied in 1988. In the “Bay of Plenty, in 1875, has been de- reply, the Museum Board said that it scribed elsewhere, notably in such Between 1925-1929 the Museum in- wished to retain the house in Dunedin, documents as the 1993 report for the herited a battered and incomplete set that it believed it was doing fulljustice Waitangi Tribunal by Jonathan of wooden carvings. These were re— to the house, and that it would like to Ngarimu Mane—Wheoki, entitled stored, many missing pieces carved discuss this further with Ngati Awa. Mataatua N0 wai tenei whare anew, and all new tukutuku panelling tunpuna ?, and the 1990 Research Re- created. Parts of another meeting A curt reply from Professor Mead said port No.2 by Te Runanga o Ngati Awa house, Ngati Porou's 'Tumoana essentially that unless the house was Nga Karoretanga 0 Mataatua Whare: Kotore', were used to substitute for returning, there was nothing to dis- the Wanderings of the Carved House some missing pieces. By 1930's stand- cuss. Mataatua. ards it was an outstanding piece of Museum restoration. Essentially then there has been a 'stand- In the Otago Museum, the wharenui is off between the two Boards since this at the ceremonial and functional cen- time. However, the Ngati Awa have tre of the whole Museum. The marae- not let the matter lie. In 1988, a report

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prepared by Mr Tom Woods of the made that the Museum is the latest are included as Appendix 1 of this Maori Affairs Department, Legal Di-Di— recipient of a gift that commenced paper, to give an idea of the general vision, argued that the house was a with the gift of the house to the Gov- tenor of this opinion. There is little 'bailment' and not an unconditional ernment by the Chiefs of Ngati Awa in doubt that views like these are held gift, and should now be returned. This 1879. The history of transactions, widely in the Otago community. Fur-Fur~ report was intended to be referred to particularly in the 18705,1870s, is poorly ther, Mr Richard Skinner, the son of the Government's Social Equity Com- documented and open to a variety of the Museum Director who obtained mittee. If it was, nothing came ofthis. interpretations, but the case that the the house for the Museum, expressed The Museum Trust Board contested Museum's possession of the house is strong sentiments (indeed sentiments Mr Wood's legal interpretation. 'wrong' is not a strong one. almost of a Maori style!) in a major article in the paper (see Appendix 2). In 1991 Mr Hiwi Tauroa attempted From the point of view of the Muse- mediation between the parties on be- um'sum‘s collecting policy, the presence of Since the Otago Daily Times is the half of the Waitangi Tribunal, as the the house in the Museum continues to only major newspaper in Otago, let- house was by now part of the Ngati be justified in terms of its relevance, ters to the Editor carry considerable Awa claim to the Tribunal. This use and terms of gift. Descendants of weight with elected officials, such as mediation did not achieve any change other ‘givers''givers' would not be entitled to those that dominate the Otago Mu- to the situation. demand the return of other gifts made seum Trust Board. The Museum Trust in the last century. Indeed, the Muse- Board faces many political battles on In 1993 Mr Jonathan Mane-WheokiMane—Wheoki um's role in 'repatriating' the house to such matters as public funding and produced this report on the house for New Zealand, and in restoring and accountability, and does not seek more the WaitangiTribunal. Among other preserving it, is something it can be conflict than necessary with the com- things, the report pointed out the mul- proud of. munity that funds it. tiplicity ofpoints ofview that had been developed on the history of the house. The Museum does however face some Ngai Tahu, the tangata whenua of the The house had become key player in a difficulties. With the present 'stand— Otago region, have taken the view that saga of cultural misunderstanding off‘off by Ngati Awa, there is a signifi- the issue is one between the Museum between such diverse parties as Ngati cant 'spiritual gap' between the house and Ngati Awa, although an indi— Awa, various Government depart—depart- with its Mataatua ancestors and the vidual view has been expressed by Sir ments and Pakeha officials, the New present Museum operation. This gap Tipene O'Regan that the house should Zealand and the British Government, can only be filled by the people who be returned to Ngati Awa and replaced the Victoria and Albert and the Otago are entitled to tell the story of the by a new Ngai Tahu house. Museums, and many others. house and the ancestors, namely Ngati Awa or other Mataatua iwi. The question of building a NNgaigai Tahu The latest development has been the house for the Museum, and whether commencement of the Waitangi Tri- Secondly, the Museum faces a conflict this could also be related to the issue of bunal hearing in July this year. A between its mission-related role of Mataatua, has also been discussed. numberofsignificant legal issues have furthering cultural understanding There are however considerable yet to be addressed concerning the (with particular emphasis on further- resourcing issues involved in the con- ability of the authority of the Tribunal ing understanding of Maori perspec- struction of a new house. to consider the matter of the wharenui. tives in a still predominantly monocultural Pakeha society), and its While the issue of a Ngai Tahu house THE OTAGO SITUATION wish to argue for the retention of the is quite separate from that ofMataatua, house. there is inevitably some relationship if From the Otago Museumpoint ofview, the departure of Mataatua would cre- the Ngati Awa request is a 'Very Big Thirdly, the Museum is well aware of ate a challenge and stimulus for both Ask'. The house, as has been out- recent trends in cultural heritage 'own— the Museum and Ngai Tahu. lined, is a core component of the Mu— ership' issues and the Mataatua issue seum's functions and collections; it is is a challenge to the Museum'sMuseum‘s role as OTHER EVENTS AT OTAGO a very public and prominent feature of advocate in the cultural heritage area, Otago community life. Even if the and indeed as 'champion' of indig- While there has been a stand-off be- Board wished to, the matter could not enous peoples' rights. tween the Museum and Ngati Awa be dealt with purely internally. since 1987, there has however been .:__ Public opinion in Otago can some- considerable productive collaboration .:__ , The Museum carried out its own re- times be gauged from letters to the and partnership between the Museum , search on the history of the house. local newspaper, the Otago Daily and other Maori communities during Despite the Ngati Awa claims to the Times. Two letters written in 1987 by this time. contrary, there is a strong case to be Stuart S. Scott and 'Looking South',

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In 1990 the new Maori Hall exhibition The issue is not just a Museum one, APPENDIX 1 "Tangata Whenua" opened. The de- and it is appropriate that this should Letters to the Editor, Otago Daily sign and philosophy of the exhibition be so. If museums are not significant Times results from a real partnership be- to their communities, they are doomed tween Museum staff and the Otago to irrelevance and perhaps eventual 15.7.87 Runanga of Ngai Tahu. extinction. ' OTAGO MUSEUM Sir, - My opinion about our Maori At the same time the Museum dis- The community process is more im- meeting house in the Otago Museum cussed the future of the house portant than the purely museological is that it should stay here in Dunedin 'Tumoana—Kotore' with Ngati Porou, outcome. for, it was gifted to, us and restored by and as a result was asked to assemble Dunedin. I am led to believe the carvings of the house from other The process will take its own course, Whakatane has many meeting houses museums around the world of behalf and its own time. of this quality. of Ngati Porou. POSTSCRIPT If it does I can only hope that our De Later in 1990, the Museum and the Beer Art Collection does not go to Runanga collaborated on the carving Museum workers are naive if they Wellington, the the National Art Gal- of the gateway 'Nga Waka o te Tai o imagine that their work is not politi- lery, for no doubt they will want that Araiteuru' for the Museum's prehis- cal. The issue of Mataatua also has next. So I say Dunedin let us fight to tory exhibition, under the guidance of significant political and financial im- keep that which is ours, or we will lose the artist, Cliff Whiting. plications - it is at least a million- many fine art forms. dollar issue. Looking South In August 1994, the Museum returned to Ngai Tahu all the human remains in The New Zealand museum profession 29.5.87 its collections from the tribal rohe has widely embraced biculturalism and MAORI HOUSE (district) - a large and significant sci- the concept of 'Kaitiakitanga' or Sir, - Residents ofOtago and Southland entific collection. Other ceremonies guardianship of collections. Can they should greet with concern and alarm were held concerning the acquisition also claim that this is true of their an approach from the Ngati Awa tribe of taonga (artefacts) from parts of communities? of Whakatane to the Otago Museum Otago, and the return of others from Trust Board for the return ofthe Maori the Taranaki Museum. Museum staff are servants of their House which for the last 50 years has communities. If a museum must been installed in the Otago Museum. In such areas the Museum has devel- choose between its funding and found- Otago and Southland residents gener- oped a strong partnership with tangata ing community and another, which ally do not, I believe, realise what an whenua. comes first? What strategies can the enounnous asset they have in the Otago Museum employ to avoid being placed Museum and its exhibits. It is now SOME CONCLUSIONS in this situation? high time that residents of this area and most particularly of Dunedin city The issue of Mataatua is a major and The Ngati Awa approach has been rose up in defence of their own com- public one that extends well beyond particularly uncompromising. The munity and its traditions. the Museum. It involves the Govem- issue of sovereignty or ownership has ment and museums in general, and been forced. The taonga in question The fact that any item is of Maori more particularly, two communities has a very visible public profile. There origin does not necessarily vest it in in Aotearoa/New Zealand - the pre- is little compromise possible between any specific Maori or group of Maoris dominantly Pakeha community of the two fundamental positions - be— and it seems probable that the legal Otago, and the strongly politicised tween the wharenui being in Otago or title to the house in question could be Ngati Awa iwi of the North Island, the Bay of Plenty. successfully defended. Ifthis does not which includes among its leaders such happen the successful claim of the noted Maori academics as Professor Whatever the outcome, the story ofthe return of the Maori House will un- Hirini Mead, a key figure in the Te wharenui Mataatua is destined to be- doubtedly be followed by claims for Maori exhibition. It would be hard to come one of the great stories of evolv- the return of other items, the result of find two communities in New Zealand ing cultural and social attitudes in the which the nagnificent collection of that were further apart. history of this country. And the Otago Polynesian artefacts now housed in Museum is placed in a key position to the Otago Museum might very well be The negotiations concerning the house change attitudes within communities infinitely eroded. I for one would be will almost certainly involve these - the greatest challenge for, and ulti- very pleased to contribute to a fighting two communities, with the Museum mate purpose of, any museum. fund to defend in the Courts any action playing an important catalyst role. which might be brought to remove the

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Maori House from the possession and ownership ofthe Otago Museum Trust Board. Stuart C. Scott

APPENDIX 2: Extract from article by Richard Skin- ner, son of former Otago Museum Director Dr H.D. Skinner, entitled 'How the Maori Meeting House Came to the Otago Museum'. Otago Daily Times, 13.11.87

AGAINST ALL ODDS Skinner and the Otago Museum achieved an end-result that at times must have appeared distant and daunt- ing. Mataatua was retrieved against all odds from the other side of the world. No one else had remotely envisaged such a project or had the faith or energy to carry it through.

The capers and posturing of today evaporate in the face of fact and spe- cicificfic achievement. Here we have Mataatua an outstanding asset, but in many respects markedly different from the original; a substantially larger porch, a very different pitch to the roof, necessitated by structural con- siderations relating to the condition of some of the major fabric of the house.

If Mataatua can be seen to owe its origins to those far-off and, dedicated craftsmen of the Ngatiawa, it can cer- tainly be seen to owe its present exist- ence as a restored and truly magnifi-magnifi- cent link with our country's cultural past, to one totally dedicated New Zealander and his inspired and equally dedicated team of workers and sup- porters, none of whose spirits would rest in peace if Mataatua was at this late date against all edicts of common sense, to take to the road yet again.

We recall the words of Mr J. Erihana at the opening ceremony of the House in 1930 in which the Ngatiawa took part. He formally thanked the pakeha people who had given generously of theirmeans to enablethe famous build- ing to be erected in that finefine wing of Otago Museum where, he trusted, it would now remain forever.

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THE ORTHODOXY OF BI-CULTURALISM

David Butts, Director of Museum Studies, Massey University, Palmerston North

Bi-culturalism has been adopted with Maori and Bi-Culturalism at the Mu- ered to control the care and interpreta- such enthusiasm by New Zealand ‘new seum of New Zealand Te Papa tion of their taonga in New Zealand right’ governments, both National and Tongarewa, in 1994, was a significant museums? The answeris, as you would Labour, over the last decade that one appointment and is characteristic of expect, that some institutions are mov- can only wonder whether this new the commitment of that institution to ing towards this goal with a greater orthodoxy is designed to facilitate the employment of Maori staff. The sense of purpose than others. Public change in post-colonial political, so- number of senior Maori staff through- institutions have an amazing ability to cial and economic power structures or outNewZealand museums is still very adapt to changing social, economic to re-image an archaic system which small and the total number of Maori and political circumstances without continues to be driven by the priorities staff distributed throughout the coun- actually making fundamental changes of the majority culture. try, with the exception of the Museum to the power structures that control ofNew Zealand Te Papa Tongarewa is them. Museums are no exception. Bi-culturalism, to me, means acknowl- scandalous. There are still major col- edging the right of Maori to determine lections of taonga Maori not being While Maori may have gained a de- their own destiny. This is the logical cared for and interpreted by Maori. gree of moral power over their herit- outcome of recognising Maori This being the case, one can question age they do not yet have control of the rangatiratanga as guaranteed under the legacy of the Te Maori Exhibition resources that would make it possible the Treaty of Waitangi. Others would which is often remembered as a turn- for them to care for their treasures in quite properly argue that most of the ing point; a recognition that Maori public collections without having to rhetoric about bi-culturalism in the should control their own heritage. negotiate with the Pakeha power last decade has been about partnership bro- kers in those institutions. Thus it is between Maori and Pakeha, recognis- New Zealand museums, and particu- not unreasonable to suggest that most ing the validity of different cultural larly the Museum of New Zealand Te of the change to date is cosmetic and perspectives and providing opportu- Papa Tongarewa, seem to be enjoying often accompanied by paternalistic nities for reconciliation. something of a rising reputation rationalisations. It is certainly true around the world for the operation of that many of our museums have kept It is fortunate that the Treaty of bi-cultural policies. One One would not up with the latest fashion very well. Waitangi has, at long last, been given want to criticise the spirit of the poli- Unfortunately, as we all know, new some recognition in law. Before this cies that have been developed with the clothes cannot hide an ailing body for began to happen, about twenty years vision and support of Maori elders, ever. ago, the New Zealand government, Museum Trustees, Directors and staff. and the population at large, had little Virtually every museum in the coun- Recent changes in the Constitution of inclination to recognise the rights of try claims that their institution ac- the Museums Association of Aotearoa the indigenous people of our nation. knowledges the principles of the Treaty New Zealand are a clear sign of the Public institutions, including muse- ofWaitangi. There are certainly many commitment of some in the museum ums, were no exception to this. Ten individuals working in museums who profession to fundamental structural years ago New Zealand museums had are committed to observin g the Treaty. change that will mean effective power very few Maori staff and only one It would be very interesting, however, sharing. The Association now has a Maori director who worked in a small for someone to undertake research to Council with fifty percentMaori mem- provincial museum. At the beginning document what this has meant in terms bership. These members are elected of this year there were two Maori of changes in resource allocation by from the membership of Kaitiaki museum directors, both working in museums to the employment of Maori Maori. This is an organisation ofMaori small provincial museums. With the staff and the improvement of services people who care for Maori heritage in recentresignation ofboth these women to Maori, let alone the provision of public institutions. Although one the fragility of this state of affairs has accurate information to tribes about would expect there to be a settling-in become all too apparent. The appoint- their treasures held in the museum period as a result of such a radical ment of Cliff Whiting, as Director— collections. Are Maori really empow- reorganisation there are already signs

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that a generation of younger Maori conservative the need for trained Maori by the Cultural Conservation Advi- and Pakeha museum professionals are museum staffis obvious. It is in antici- sory Council, with some assistance rising to the challenge. It is sad that pation of a growing awareness of the from other organisations. Since this so many senior museum profession- need for this training that the museum Council has ceased to function no new als, particularly museum directors, community, Maori and training pro- Maori students have gone to study have walked away, preferring to con- viders must work together. conservation in Canberra. The mu- centrate their energies elsewhere. Not seum community and Maori working one director from a major metropoli- The range of training options is only togetherat a national level would stand tan museum in New Zealand is onthe limited by the planning processes and a much better chance of having this recently elected Council of MAANZ. level of resources applied to the chal- scheme continue than either would When I began working in museums lenge. Theseoptions will include train- have working separately. fifteen years ago this Council was ing in traditional university and poly- dominated by senior museum profes- technic Museum Studies courses, It is not entirely clear to me why sionals including the directors of our Maori Wananga courses, and museum Pakeha museum administrators want major museums. This suggests that internships. It is important that Maori to continue to control Maori collec- while there are many positive things students have the opportunity to train tions. The management of these col- happening in the museum community in New Zealand and overseas. The lections should be effectively trans- in New Zealand there are also some recent establishment of the Manaaki ferred to Maori. Then when Maori very deep divisions and some of these Taonga Trust, using the surplus funds come together with Pakeha to under- are in part related to the challenge of from the Te Maori Exhibition, will take joint projects they would come bi-culturalismbi—culturalism and Maori self deter— provide some support for Maori stu- from a position of power. How diffi- mination. dents to train for museum careers. cult would it be for the Museum of Individual museums that need Maori New Zealand Te Papa Tongarewa to New Zealand missed an important staff should also provide study bursa- increase the size of the Board of Trus— opportunity to explore the potential of ries. It wt>u1dwOuld be disappointing to hear tees so that there is an appropriate bi-culturalism when the Maori com- a museum Director say that his or her level of Maori representation? Resist- ponent of the Museum of New Zea- museum wants to employ Maori staff ance to effective partnershipparmership is resist- land was not granted a greater degree but there are not any suitably qualified ance to the real transfer of power. of autonomy in the organisational candidates applying for positions. In structure ofthatinstitution as theorigi-theorigi- these circumstances museums may One can only conclude that the recog— nalnalconceptdevelopersrecommended.concept developers recommended. need to make the commitment to fund- nition of Maori rights to manage, care Perhaps the National Museum of the ing a small number of suitable candi- for and interpret their heritage in American Indian at the Smithsonian dates through a period of postgraduate museums, which are still organised will demonstrate the potential of an study in the required disciplines. There around priorities set by Pakeha, will autonomous or semi-autonomous may also be a case for recognising be extremely difficult. Many Maori model. This institution may create a other than traditional academic quali- kaumatua have shown considerable precedent that will eventually demand fifications.cations. good-will to museums overmanyover many years similar developments in New Zea—Zea- in working towards the situation we land, Canada and Australia. Until our If museums are to offer internships in have today. Are museums presently society in general, and the museum the future these should be designed to resting in a comfort zone having mis- community in particular, overcomes ensure that the individual ends their interpreted this cooperation as a sign its fear of independent initiatives, the contract, if not with a permanent posi- that fundamental and radical change full potential for the care and interpre- tion, at least with a portable qualifica- to existing power structures will not tation of Maori collections in public tion and a systematic programme of be required? While the Trustees and institutions will not be realised. A in-service experience. Directors of many institutions are cur- minority partner in a bi—cultural na- rently preoccupied with strategic tion should not be coerced into operat- resourcing issues the fundamental is- ing within an institutional framework It may be that some of the larger sues of heritage control which preoc- imposed by the dominant culture. structural issues still to be resolved in cupied much museological discussion Surely this is not bi-culturalism. New Zealand will only be resolved in the 1980s19805 have not dissappeared. when the museum community begins IfonepursuestheargumentthatMaoriIfone pursues the argument that Maori a national dialogue with Maori. Issues There is an increasing number of peo- should be given the resources to deter— ofappropriate levels ofMaori staffing ple in New Zealand, both Maori and mine the future management of these to care for Maori collections and pro- Pakeha, who are becoming frustrated collections then the importance of viding the resources to train Maori by the orthodoxy of bi-culturalism. training for Maori is brought into staff may receive some attention. For Professor Mason Durie of the Maori focus. Whether one’s interpretation of example, the fifiveve Maori conservators Studies Department at Massey Uni- the previous sentence is radical or trained in the last decade were funded versity recently used the term ‘post—

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biculturalism’ to identify the thinking of those in the Maori community who are moving away from the compro- mise inherent in bi-culturalism to- wards independent initiatives. In this way the rangatiratanga, guaranteed in the Treaty of Waitangi, can be exer- cised in the interests of the whanau, hapu and iwi. Those who observe the working of bi-cultural policy in our museums from the outside should not be charmed by the apparent calm that pervades the surface.

[This is a revised version of a paper read in absentia at the Northwest Museums Conference in Hawaii, No- vember 1994. It is published here in the belief that one should be prepared to say at home what one will so boldly say abroad].

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REACHING OUT, DRAWING IN: THE OTAGO EARLY SETTLERS MUSEUM'S DUTCH SETTLER PROJECT

Sean G. Brosnahan, Curator - Social History, Otago Early Settlers Museum

The title of this paper conveys some- tion's collection of artefacts and ar- ing up to their bourgeois roots. In this thing of the essence of the modern chives is quite profound. It is unlikely case the exclusivity was much more social history museum and its role as that any other museum in New Zea- complex. Ironically the tangata the cultural treasure house of the com- land could show a more concentrated whenua of Otago were in many ways munity, enticing the citizens and visi- sense of purpose in its collection poli- not excluded at all. They passed the tors to come in and make contact with cies over time, or demonstrate a more crucial test, they were here in time. In the treasures within. But it also has a tightly focused sense ofregional iden- fact the unique southern experience of more particular meaning in the con- tity. This is the positive side of the early and extensive miscegenation text of the Otago Early Settlers Mu- equation. On the negative side must means that a large proportion ofOtago seum and its unique history and role in be placed the de facto alienation of Kai Tahu descendants will find their the Otago community. those groups and individuals who were ancestors represented in the records of not part of the original settler group or the Early Settlers Association, even if The Museum was created inadvert- who felt excluded by the aura of Pres- this reflects their participation in the ently by an Association founded in byterian probity attached to the Asso- European side of Otago life rather 1898 as part of celebrations to mark ciation's members. Until the mid 1970s19708 than the special Maori dimension. the fiftieth anniversary of the New aspiring members ofthe Early Settlers ZealandCompany settlementinOtago. Association had to demonstrate the The temples ofhigh culture in Dunedin The Association sought to gather the appropriate ancestral pedigree. are the Otago Museum, the Dunedin remnants of the earliest European set- Public Art Gallery and the Hocken tlers of the province and foster an By then the Association's Museum Library. The Early Settlers Associa- appreciation of their special character had overwhelmed all of its other ac- tion represents the counter thrust of a and their achievements. The special tivities and could claim to be the larg- founder group reminding the city as characterwas definedchronologically est privately owned museum in the one study puts it "that what really - those who had arrived in Otago Southern Hemisphere. The material mattered was pedigree and nothing so within a decade or so of the 1848 it had gathered together over more transient as money or success". The settlers, or less positively as those who than seventy years formed an unparal- Association provided an opportunity had preceded the 'rabble' drawn to leled collection ofregional social his- for the humble Scots migrants of the Otago by the goldrushes of the 1860s. tory, far greater than the Association's early years to make their claim to be expertise or financial resources could Otago's aristocracy, in spirit if not in This posited a moral superiority in adequately provide for in terms of achievement. At stake was not just a this order ofprecedence by arrival and suitable storage, documentation and personal sense of identity but gaining indeed there was a case to be made for public access and as professional staff the Otago community's acknowledge- the early settlers on this level, with were employed to put the Museum on ment of their predominant contribu- their organisation around the Scottish a more appropriate museological foot- tion to Otago history. The real movers PresbyterianFreeChurch andthetheo- ing the inevitable appeals for public and shakers of Dunedin, the colonial cratic ideal of the original settlement funding began to be made. Ultimately elite of merchants, professionals, as a place where Free Church values this led to a declaration that the Asso- runholders and the like, were to be put would hold sway. The imperfectreali- ciation was holding its collections in in their place by the assertion of the sation of this ideal, the significantsignificant role trust for the people, all the people, of "Early Settler Myth". of English episcopal settlers and the the province. In 1991 the Museum limited material progress ofthe Otago became a department of the Dunedin The downside of this assertive rejec- settlement in the pre-pre-goldgold rush period City Council and the Early Settlers tion of the notably successful later were down played in the interest of an Association took a step back from the arrivals was thattheAssociation lacked / / early settler myth. Museum operation. influential patrons and seems to have always been strapped for cash. The The legacy ofthe tight geographic and Exclusivity and exclusion are perhaps success of the mythmaking also had chronological focus of the Associa- common problems for museums fac- its negative corollaries. While

NZMJ 24(2): 35-37 A Visitor to the Dutch Settler Project surveying comments and reactions of other visitors

NZMJ 24(2): 35-37 37 ‘

Dunedinites came to accept the spe- family snapshots of life in the Nether- whole Otago community is the richer. cial place of the Early Settlers and to lands and in Otago around which the troop respectfully through the Mu-Mn- whole Exhibition was organised. l seum - essentially a communal mau- g soleum, a shrine to the veneration of The Exhibition was authentic for it the Otago worthies - the image of the truly represented Dutch experiences institution was inevitably dowdy, in Otago. It distilled from a multiplic- dusty, dull and the image clings tena- ity ofindividual stories aacommonalitycommonality ciously, whatever is proclaimed in that rang true for a broad range of mission statements, however much is settlers. This reflected the success of done to broaden the appeal, enliven the whole project andthe secret to the t presentation and showcase the riches success was straightforward. The of the collection. Museum simply imitated the original activities of the Early Settlers Asso- The Museum's Dutch Settler Project ciation in 1898 extending an open of 1992/93 was initiated by the Mu- invitation for contributions fromDutch seum in response to the 350th anni- settlers. Originally local Dutch set- versary of Abel Tasman's voyage of tlers were probably surprised by the exploration, which included the first attention - the "Early Settlers" Mu- European contact with New Zealand. seum was undoubtedly the last place There were events and celebrations they expected to evince an interest in throughout the year right across the their affairs. But from the first their country but nothing quite like what response was enthusiastic. The cura- was done in the project It involved torial staff depended on it absolutely. the establishment of a special Dutch They started with nothing. Reaching settler collection of archives, photo- out, the Museum drew them in, and it graphs, oral histories and artefacts to is where it is hoped they will stay. document and record the experience of Dutch settlers in Otago since the But it is not really quite as simple as 1950s. On the basis of what was that. Museum staff have reached out collected the Exhibition, which was before to specific groups, previously called "NETHERlands" was mounted. out of the "Early Settler club", but without the same reaction and the The Exhibition was a major success. promise of a real on-going sense of It consistently came top in surveys of connection with the Museum as the what Museum visitors had liked and guardian of the Dutch settler heritage. was able to hold the attention of visi- The Dutch settlers were ready - after tors the way it is wished all display forty years a whole group of people work would, but so seldom actually were reaching the age of retrospec- does. Dutch settlers were repeat visi- tion, easing back from the years of tors - one man came five times with work and struggle and contemplating different groups of visitors from the a second generation of their families Netherlands. It would be nice to give emerging as thorough-going Kiwis. the credit for this appeal to staff con- Like the Early Settlers in 1898 it was tribution - the slick presentation and time to think back on what had been. display tricks which are one's stock in The invitation to share these memo- trade. Certainly it is probably the best ries and preserve a record of the trau- looking display in the last five years at mas and exhilarations of the immi- the Museum. But the real essence of grant generation came atjust the right the Exhibition and the key to its im- time for them, and for the Museum. pactreally lay elsewhere. It was in the The Project has been a giant step away power of the personal testimonies of from the constraints of the peculiar the settlers interviewed. It was in the history of the institution and yet it is tangibilitytangibility of the personal possessions also a faithful echo of the very great loaned and donated for the Exhibition strengths of the institution's history as - the inevitable skates and clogs, the a museum of the common people. It baby's cot built outofapackingapacking case in was a deeply satisfying enterprise to 1953 and it was in the intimacy of the be involved with and one for which the

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DEVELOPMENTS IN THE ARMY MUSEUM EDUCATION SERVICE

Angela Young, Education Officer, Queen Elizabeth II Army Memorial Museum

In June of 1994 the Queen Elizabeth 11 their results in a written assignment. larly important. Army Memorial Museum (Army Mu- This assignment formed a part of their seum) made a significant commitment internal assessment mark. Evalua- Another key area of education pro- to education at the institution with the tion of this programme included both gramme development at the Army appointment of a full—time Education staff and student response and the Museum is the need to keep abreast of Officer. Prior to this appointment the programme will be available "on call" the changes to the national curricu- Education Service at the Army Mu- from 1995. lum documents. To this end I am seum consisted of the audio visual closely involved with Ruapehu Col- presentation, a twenty three minute The third term of 1994 also saw the lege as they develop strategies for the overview of New Zealand's military trialing ofa primary school programme new Social Studies Curriculum. This history, a guided tour of the Museum also developed in conjunction with a document, due to be released to schools taken by one of the Custodians, who local teacher. The class were to com- in early December, will have tremen- are also responsible for floor security, plete a unit of study on "Ancient War- dous impact on the way that schools and the firearms' presentation which riors" and the teacher was keen to link utilise museums, and the opportunity demonstrates the evolution ofthe mili- this unit with three visits to the Army to be involved at the implementation tary firearm. The obvious problem for Museum. The first visit explored the stage is tremendous. My involvement schools was that students could visit concept ofa weapon, its role in society also gives the teachers in the group the the Army Museum more than once and its different uses. The second opportunity to explore a museum per- during their school careers and expe- session investigated the role of an spective in curriculum development rience exactly the same kind of gen— army, the United Nations as, collec- and implementation. eral visit. My role is to provide spe- tive security and the peacetime and cific, curriculum based education pro- wartime roles of the army. The third The development of the Army Mu- grammes that cater for individual visit was designed to investigate the seum Education Service is an on-go- classes and individual needs, merging role of a soldier and examine an his- ing and constantly challenging proc- the extensive resources available at torical context for the activities of the ess. The above trialled programmes the Army Museum with requirements New Zealand soldier. The students as well as those under development in the curriculum. cooked a present day army ration pack currently, will be available in a new and then back at the Museum assessed facility from Term 1 1995. Thepresent To achieve an effective education serv- how New Zealand soldiers had com- cafeteria space will be converted into ice at the Army Museum I have en- pleted this activity in the two world office space, an education resource listed theassistanceofthe local schools, wars. Finally the students considered room and education area. It is in the particularly Waiouru Primary School what a soldier spends most of his time education area that programmes with and Ruapehu College. I have received doing, then drawing and naming some the Education Officer will take place. a tremendous response and have of these leisure activities. This pro- It is my aim to make these programmes worked closely with teachers from both gramme was trialled with a combined as activity based as possible with an of these schools in programme devel— standard three and four class and will emphasis on participation by the stu- opment, trialling and evaluation. In be available "on call" from 1995. dents. To facilitate the activity based conjunction with Ruapehu College I nature of the programmes, an Educa— have developed a programme designed The benefits of working directly with tion Collection of objects that the stu- to assist senior secondary school stu— teachers and trailling programmes are dents can handle is being developed. dents identify resources. "What's A obvious. I have been especially de- Bookings are now being taken and to Resource," trialled with a fifth form lighted with the opportunity to in- ensure a focused visit I am encourag- history class, involved resource defi— clude student evaluation, however both ing teachers to contact me directly. nition and identification. The stu- ofthese programmes have been trialed This allows for a more specific and dents were then asked to use their with only one class and therefore the effective visit that may comprise an knowledge of resources to prove or evaluations can only highlight areas education programme or a combina- disprove an hypothesis. The students for consideration. For the long term tion of any other of the visit options. collected the data for the hypothesis development of the Army Museum testing at the museum, and with the Education Service regular evaluations [Angela Young completed the inter— aid of a resource kit, prepared using of programme effectiveness and nal Diploma in Museum Studies the museum's resources, presented achievement of objectives is particu- Course at Massey University in 1993]

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THE LEFT BANK

Richard Arlidge, former Director of the Left Bank Art Gallery

In 1992 the first permanent art gallery scheme supplied the wages and the days when people robbed banks at was opened on the West Coast of the venue was named “SHED 2”. The night) has been converted into an South Island. The West Coast has a onus on the Council to purchase a environmentally controlled storage population of 35,000 and covers an permanent home was maintained by area for the Society‘sSociety's collection. area equivalent to a distance from Mayor, Barry Ballas and in 1992 the Wellington to the Bombay Hills. Grey District Council committed The walls have been covered with 3.3 Ninety percent of the land is owned by $100,000 towards the purchase of the metre high sheets of20mm flake board the Crown, seventy eight percent former Bank ofNew Zealand building and covered with Taso cloth. A fully controlled by the Department of as a permanent anart gallery. dimmable Phillips lighting track has Conservation. been suspended from the ceiling and The Bank of New Zealand (BNZ) had the windows that look out on to the There has been an Arts Society in occupied the site on the corner of Grey river flood wall have blackout Greymouth since the 1940s.19408. The early Tainui Street and Mawhera Quay (on curtains. members included Alan Holcroft the left bank of the Grey river) since (brother of Monty), St Claire Sofield, the 19905 when Greymouth was a The collection which has been Arthur Foster, David Graham, and busy trading port for the West Coast purchased and donated over the past George Chippendale who were joined gold fields. The original two story decade includes works by Olivia in 1949 by Toss Woollaston. wooden structure was destroyed by Spencer Bower, Woollaston, Holcroft, Exhibitions were held in private fire in 1926 and replaced by the brick Sofield, Yvonne Rust, 1990 Muka homes, halls and hotels. The current and concrete building which still Studio Lithographs and a collection of incarnation of the West Coast Society stands today. Designed in an 1880’s contemporary pounamu/jade carving of Arts emerged in 1984 with the aim Italianate style to match the other the purchase of which has been of promoting the visual arts and buildings in the precinct it is one ofthe sponsored by Air New Zealand. establishing a permanent art gallery. few buildings in the town to retain its parapet thanks to the innovation of The GDC owns the building which is The first art gallery came into being in putting steel in the cement. The floor leased to the Society for $10 per week. 1984 when a vacant area in the level was raised 1.5 metres above the The lease runs until 2009. The Council Greymouth Borough Council footpath which protected the is responsible for the exterior Chambers was offered to the Society. furnishings from any flooding until maintenance and the Society is Although being out of the way the the second big flood of 1988. responsible for the interior venue was successful and with wages maintenance. The Council pays the from a P.E.P. scheme the Society A local architect purchased the MawheraIncorporation lease of$3,000 presented awide variety ofexhibitions. building from the BNZ in 1990 and per year and the rates (to themselves) refurbished the interior and repainted of $2,800 per year. Despite requests 1987 saw the demise of the New the exterior. The building was by the Society for funding of $30,000 Zealand Forest Service and the creation identified as ideal for transformation in 1992, $40,000 in 1993, and $50,000 of the State Owned Enterprise into an art gallery and with $100,000 in 1994 the Council has committed Timberlands who decided to seekoffice from the GDC and $55,000 from the $10,000 per year towards the gallery‘sgallery's accommodation in Greymouth. The Lottery Grants Board the building was operational costs. Council offered Timberlands the purchased and converted into an upstairs area of the council chambers, exhibition space. The building The Society has secured some funding and the Arts Society was homeless. provides 236 square metres of floor from Lotteries' Community area on two levels. The downstairs is Development Fund but has been In 1990 130 people attended a public made up of a large open exhibition unsuccessful in achieving ongoing meeting to discuss the need for a space withwitha6metrehighomatea 6 metre high ornate plaster money from this source. Gallery permanent art gallery for the town. A ceiling, a small room and the walk in operations generate $45-50,000 per temporary home was found and the vault. The upstairs area (which was year. Council paid the rent. The Restart once the assistant manager's flat in the

NZMJ 24(2): 39-41 40

RATES AND THE CULTURAL ‘poverty’ is a result of the large areas THE ROLE OF THE CROWN DOLLAR of land under the control of the Department of Conservation, a vast The Ministry ofCultural Affairs began The funding of libraries and art botanic museum which does not operations in July 1991 to provide galleries is covered by the Local generate rates. All other provincial advice to the Government on cultural Government Act (1975). PART 1A, galleries are surrounded by farmlands matters and assist Government in its 37K says that the purpose of local that provide the economic activity and provision and management of cultural government is to provide; the rates, that provide the cultural resources for the benefit of all New dollar. Zealanders.” 3 (d) “Scope for communities to make choices between By comparison the Gore District has a In considering the capital funding of different kinds oflocal public population of 13,500 and a rate income Museums, Cultural Affairs chief facilities and services”.1 of $5.4 million. The Grey District has executive Christopher Blake says “the a population of 13,900 and a rate role oflocal authorities and the Lottery There is no reference in the Act to art income of $4.7 million. The Gore Grants Board — traditional sources of galleries and the only reference to libraries have an annual budget of museum funding - is undiminishe ”. 4 libraries is PART XXXVI, 601 (4)a: $450,000 while the Grey District Perhaps it is time to review the Local “The right to join the library shall be Libraries have an annual budget of Government Act (1975) and set in open to the residents ofthe district free $250,000. The Eastern Southland art place a structure for cultural spending. of charge”. gallery received operational funding of $54,000 for the 1994-95 financial The Minister of Cultural Affairs The historical model of local bodies year while the Left Bank Art Gallery Douglas Graham says “Central funding art galleries works in most received $10,000. Government does not regard itself as cases (except Tauranga and being the provider ofregional museum Blenheim). On the West Coast it is The Local Government Association facilities but sees this as very much not so easy. When asked for an has calculated that a small or medium one ofthe services that local authorities increase in funding for the art gallery sized district council will see a greater should consider supplying to their the Grey District Council (GDC) says proportion of its budget devoted to ratepayers”.5 that it does not have the money. The roading and a larger percentage of its GDCpleadedpoverty given the limited revenue derived from the general rate2 Central Government policy can rating base of the District. This change. In 1993 the QEII Arts Council had a policy of not providing visual

Exterior of Left Bank

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arts funding for art galleries that sold time staff and the development of an Art galleries are the new churches. art works, a policy known as the exhibition programme. The gallery is Art galleries in smallsville are Exclusion Clause. This has now been currently operated on a voluntary basis important facilities for the cultural, deleted from the policy and the Arts after having a full time Director for spiritual and mental health of that Council funds AMBA (Arts the past three years. community. Marketing Board of Aotearoa) which opened a retail outlet in the foyer ofthe The Society has been able to take BIBLIOGRAPHY James Cook Hotel during the 1994 advantage of the Arts Council’s Artist International Festival of Arts. in Residence programme and has 1. Local Government Act of 1975 received grants for exhibitions from 2. PALMER, R. and Chin, D. Local The Arts Council assists in the funding the Southern Regional Arts Council, Government Debt Series, NNZLGA/ZLGA/ of professional theatre in the main but that has been the limit of central KPMG, Peat Marwick Data Base. cities. The four professional theatres government sources of funding. 3. Ministry of Cultural Affairs in Wellington received a total of information pamphlet. $932,000 in the 1994 financial year. 6 The exhibition programme at the Left 4. BLAKE, C. 1994. ‘The Ministry The only arts institutions paying full Bank is made up oftouring exhibitions of Cultural Affairs’, in NZ time salaries likely to occur in the which are affordable or can be Museums Journal, Vol. 24, no.1. provinces are art galleries. The Arts sponsored, artists from West Coast 5. GRAHAM, D., Letter 20 July Council also funds the Museum and Canterbury, awards and group 1994 Directors Federation but the West shows. Up to three exhibitions can be 6. QUIN, P., Letter 19 September Coast Society of Arts can’t afford the held at a time and the usual length of 1994. $1500 membership fee and we don’t a show is two to three weeks. have an exhibition budget. THE AUTHOR The Left Bank has the potential to THE FUTURE more than double its space with a two Richard Arlidge was the Director of story extension which could include the Left Bank Art Gallery from 1992 Without a solid funding base the West some museum functions. There is no until July 1994. He is currently a full Coast Society of Arts cannot commit shortage of stories waiting to be told: time student at the Business Studies itself to an employment contract or the story of pounamu, the birth of Department of the Christchurch undertake any long term planning. A socialism (and its death), the history College of Education. base funding of $100,000 per year of gold, coal and timber. would enable the employment of full

4???

Interior of Left Bank

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WHAT'S IN THOSE BOTTLES OUT THE BACK?

Ellen C. Forch (PHD Zool), Programme Manager, Foundation for Research Science and Technology

INTRODUCTION suitable method ofkilling can result in tend to have a higher content of struc- a much more useful preserved speci- tural matrix compared with animal Natural history specimens in collec- men. tissue, they are more resistant to this tions can be conveniently described as distortion. Any loss of fluid by evapo- "wet" or "dry". Dry collections share THE NEXT STEP ration will concentrate the fixatives in many of the storage requirements of the tissues and exaggerate these ef- other museum items, but "wet" collec- The first step is "fixation", a process fects. tions have a unique storage medium. which alters the structure of the tis- This medium is a fluid of variable sues. Fixatives create links within the Fixatives need time to penetrate the composition, depending upon curato- tissue to help it retain its form. This tissues. The amount of time must be rial practice, the specimen‘s preserva- effect is not completely irrevocable carefully judged - long enough to do tion history and degree of deteriora- and can be changed in character by the the job, but not too long, resulting in tion. medium, eg. if the pH falls (acidity embrittling of the specimen. Too con- increases) or the formalin concentra- centrated a fixative solution will rap- Unlike paintings or furniture, the ma- tion falls. These changes in the fluid idly fix outer tissues and prevent fixa- jority of destructive effects on a "wet" medium are critical to the long term tive from penetrating the inner tis- natural history specimen occur in one preservation of spirit collections. As sues. With some larger specimens, major event, deliberately inflicted by these cross links tend to be slits may need to be cut, and fixative the collector or curator. This is the proteinaceous itdoes not entirely solve may need to be injected to reach all process of "fixation". For "wet" col- the long term preservation problems tissues before decay sets in. lections the continued wellbeing of for specimens with very high carbohy- the specimen is then almost exclu- drate levels eg. some algae, jellyfish Fixatives, especially aldehydes, also sively determined by its surrounding and tissues with high levels of slimes sterilise. However, once specimens fluid. and gums. Although the general prin- are taken out of this medium they are ciples of treatment are similar, each once again vulnerable to attack by ON ARRIVAL taxonomic group has slightly differ- microbes, especially fungi. For this ent tissue characteristics and has its reason specimens should always be Temporary storage is often needed for own historical preservation practices. kept fully immersed in a preservative incoming natural history specimens. The intended use of the specimen is fluid. Speed in treatment is essential to pre- also an important factor eg. whether it vent damage for, from the moment of is intended for public display, or his- There are other substances, sometimes death, deterioration is rapid. The tological examination. called pseudo-fixatives, which have a freezer is widely used as a temporary denaturing effect on tissue eg. ethanol, store, but this practice is not ideal There can be very large changes (usu- methanol, acetone, chloroform, acetic because of the cell and tissue damage ally shrinkage) in the volume of the acid. Specimens fixed solely with caused by ice crystals. When collec- specimen. The long term effects have these chemicals should be handled tions are made by museum staff, speci- seldom been studied systematically, very gently as they may be very soft. mens can be treated in the field or and are often overlooked in compara- They should not be exposed to air, for immediately upon arrival back at the tive morphometric studies of museum as the tissues dry, they may blacken museum. However, the unexpected specimens. In some cases fixation and crumble. The majority of very old arrival of large items (eg. marine will result in mechanical destruction. specimens are likely to have been pre- mammals, giant squids or elephants) Examples are the loss of eye fluid, the served only in ethanol (wine spirits). can be easier to cope with if a local tearing or sloughing off of surface cool store can be persuaded to pack the layers and delamination of deeper tis- FORMALDEHYDE specimens on pallets and seal them in sues, particularly by the fixation of plastic to avoid freezer burn. If the glycoproteins eg. laminin, cellulose, Formaldehyde is the most commonly specimen is still alive (l) choosing a chitin, and collagen. Because plants used fixative because it is relatively

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cheap, reasonably effective and less both for the correct handling of the alcohol to specimen should be about toxic than many other fixatives. Its specimen, the safety of the researchers 2:1." use represents many compromises. In wishing to examine the specimen and the recent past formaldehyde was also also in case of need to reconstitute a I would disagree with her and suggest used for long term storage, but this is damaged specimen. at least-4:least4: 1,l, and in the case ofplankton currently considered inadvisable. or soft bodied invertebrates, some- Formalin (the solution of formalde- Most fixative and preservative com- thing nearer 7:1. It is even more hyde) is essentially an acid fixative, pounds should not be stored amongst important to consider how a rigid and and although normally buffered to the collection or associated work- brittle specimen will be extracted from neutral, the pH tends to fall with time. rooms. The safest place is out of the its jar. The weight of the specimen Current treatments to formalin in- main building in a dedicated danger- should not cause it to slump into the clude adding sodium hydroxide, cal- ous goods store. bottom of a jar and distort. In this cium carbonate, hexamine or borax. respect tanks may be more suitable Phosphate buffers are not generally Jars and plastics that have been used storage since specimens may be laid regarded as suitable for use with bone. for a particular fixative should be re- out flat wrapped either in muslin, Old preparations used some very unu- garded as permanently contaminated cheesecloth, or perforated plastic. sual buffers and care must be taken and only used for those compounds. with these storage solutions. Every international meeting I attend Preservative solutions: has biologists keenly debating the Formaldehyde solutions can be pre- merits of their storage jars. There is vented from becoming turbid with An ideal preservative solution will: no ideal storage jar! Glass jars with paraformaldehyde by storing in dark- 0 protect from decay or deterioration ground glass stoppers are considered ened bottles in a cool place. Formalin '0 give as normal an appearance as great for display, but expensive and depigments most tissues. occasionally the stoppers get stuck, or possible worse, rattle loose. Glass jars with 0 afford mechanical protection to the The related fixative glutaraldehyde metal screw top lids do not mix well results in looser spacing ofcross-links, specimen with fifixatives.xatives. If plastic liners are thus creating fewer stresses (better for used these may disintegrate, or split. eyeballsl). Some museums have There are two general types of pre- Pinholes may develop in metal lids, enthusiastically substituted servative solutions: resulting in loss of fluid while appear- glutaradehyde for formalin even 0 glycerol based ing intact. Plastic snap on lids become though there is no long term research 0° ethanol brittle and split, and plastic screw top on the relative merits of these fixatives lids rarely seal well. Corks eventually (Simmons 1991). Zooplankton and similar organisms disintegrate in alcohol. Glass display are stored permanently in Steedman's jars with flat glass tops are awkward to ALTERNATIVE FIXATIVES solution which maintains fixation and seal and almost improcurable. On preserves while employing the soften- balance the so—called "Danish jars" Bouin's microanatomical fixative can ing properties of propylene glycol and are considered to have the most dura- be used either short term or indefi- phenoxetol. Whenever a specimen is ble plastic lids and come in conven- nitely. It contains highly toxic and put in spirit or glycerol, there is some ient shapes and sizes. explosive picn‘cpicric acid and should never reversal of fixation, lipids leach out be stored in contact with metals. Stor- and oxidation discolours the liquid. Plastic and perspex have their uses for age is safest in a glass vessel under display, but are universally rejected water)water.‘ If such a specimen should dry Ethanol has greater fire risk, rapid for long term storage. Glass is pre- out, the residue may appear orange or evaporation, greater shrinkage, oxi- ferred as a more inert substance and greenish. Extreme care should be dation risk and depigmentation. Jars one which retains its clarity, although taken. and tanks need regular examination to the jars can be easily broken and drain and restore the fluid. chipped with bad handling or over- Most other fixatives are acid in char- crowded storage. acter and acutely toxic, especially the STORAGE VESSELS lead, arsenical or mercurial based. Rubber surgical gloves shouldbe worn Zenker's fluid is particularly danger— The size of the jar in relation to the to move spirit jars around, both as a ous since it looks like water and has no size of the specimen is very impor- protection against leaking andbecause smell. It too, should never be stored in tant. Reilly (1989) said, ".. specimens of the non-slip qualities of the rubber. contact with a metal. should not be crammed into jars that Ramer (1989) found that careless han- are too small as alcohol can become dling is one of the main causes of It is very important to record the fixa- diluted by body fluids. Therefore it is damage to zoological collections. Poor tion history of a specimen. This is important that the relative volume of storage, among other things, leads to

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mishandling ofspecimens. Good stor- ronmental Biology, University of age apart from ensuring the physical Manchester. pp. 39-45. safety of the specimen, will give in— creased access to the material, making SIMMONS, J.E. 1991. Conservation inspection an easier and more effec- problems offluid-preserved collec- tive task. Conservation needs can tions. In: Cato, RS. and Jones, C. then be identified and appropriate ac- (eds). Natural History Museums: tion taken. Directionsfor Growth. Texas Tech University Press, Lubbock. pp. 69- The predominant conservation need 89. of spirit collections is the regular inspection and maintenance of the STEEDMAN, HF. 1976 (ed.) preserving fluid. Zooplankton fixation and preser- vation. Monographs on oceano— USEFUL LITERATURE graphic methodology 4. Unesco Press, Paris. 350 pp. ASHFORD, D. and Alsford, S. 1989. Planning for collections holding. [Dr Ellen Forch has completed the Chapter 1. In Housing the reserve Diploma in Museum Students with collections of the Canadian Mu- Distinction] seum of Civilization. Canadian Museums of Civilization. pp 5-14.

HOWIE, F.M.P. 1989. Spirit collec— tions: health and safety considera- tions. In: Horie, C.V. (ed.) Con- servation ofNatural History Speci- mens. Spirit Collections. Proceed— ings of a one day course organised by the Manchester Museum and the Department of Environmental Biology, University of Manches- ter, pp. 39-45.

LINCOLN, RJ. and Sheals,J.G. 1979. Invertebrate Animals. Collection andPreservation. British Museum (Natural History) and Cambridge University Press. London. 150pp.

MOORE, S. 1970. Problems with glass museum jars solved. Biologi- cal Curator’s Group Newsletter 2 (8): 384-389.

RAMER, B. 1989. A conservation survey of museum collelctions in Scotland. Scottish Museums Coun- cil.

REILLY, M. 1989. Curation of a small collection. In: Horie, C.V. (ed.) Conservation ofNatural His- tory Specimens. Spirit Collections. Proceedings of a one day course organised by the Manchester Mu- seum and the Department of Envi-

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REFLECTIONS ON note speakers should stimulate and outset. MAANZ 1994 provoke and for me, each of the three I heard did just that. Any conference The other aspect of time which got that can provide three really stimulat- really out of hand was the serial run- Janet Davidson ing keynote addresses in two days is ning ofthe MAANZ AGM, at least for doing well. Both the overseas speak- the faithful few who attended. The My principal reason for going to the ers, Gaynor Kavanagh and Barbara champagne breakfast was a great conference was to join in the tributes Kirshenblatt—Gimblett, gave excellent fishhook to lurepeople there, but some to Mina McKenzie on her retirement. papers. But our kuia, Mina McKenzie, people (including myself) lingered It was this, rather than the quality of struggling against the ‘‘flu,flu, was just as over the breakfast at the expense of the the programme, that lured me to thought-provoking with her patai, first of several sittings of the AGM. A Palmerston North, and my expecta- which I scribbled down and have had routine AGM with no contentious or tions were more than fulfilled. For this occasion totoconsultconsult several times since. important issues to discuss could be reason, also, I chose to attend the first The other papers in plenary sessions I handled very well in this way. In this two days and forego the third, a deci- found less satisfactory (it can’t all be case, the report on the Kaitiaki Maori sion I subsequently regretted, for I outstanding). meeting, held the previous weekend, obviously missed some excellent ses- and the presentation by Kaitiaki Maori sions. Panel discussions are notoriously dif- representatives of the work they have ficult to do well. They give more peo— already done on issues important to It is quite a few years since I have been ple an opportunity to speak, but are the future of our Association, were too able to attend a New Zealand Muse- often unfocused. Both the discussion important to be squeezed between urnsums conference and I was impressed of Gaynor Kavanagh’s paper and the breakfast and a major keynote ad- by the professionalism of the confer- panel on science and science centres dress. Adjoumments to lunch time ence organisation. It was, as always, (part of which I missed through lin- and after the end of the day’s session good to see old friends; it was also geringgering too long in the Science Centre) resulted in wildly fluctuating num- salutary to see how the museum pro- raised interesting points, but both bers and impairedconcentration.impaired concentration. What fession in New Zealand has grown seemed to lack coherence. to do in future? Perhaps separate the and diversified, and how many people routine business of the AGM (if such I did not know. Concurrent or parallel sessions can be there ever is) and any major issue, the bugbear of large modern confer—confer- such as the progress of the Kaitiaki The success of a conference depends ences. I know they are necessary, when Maori project, and timetable them on a unique mix of venue, informal much material must be covered in a accordingly. and social contacts, and formal pro- relatively short time and the confer—confer- gramme. In this case the venue was a ence includes a range of people of This difficulty of finding time to give bonus for me, as I had not yet visited diverse interests, both of which were serious attention to what must be the the new Science Centre and Museum the case here. I chose to hear about Association’s major project at the complex and displays. I tried to make Gordon Tovey and Pompallier House, present time brings me to my last the most of the opportunity, as well as neither directly related to my immedi- point—the state of biculturalism in enjoying the Art Gallery exhibitions. ate professional interests, and thor- our organisation. In recent years It is always good for those of us who oughly enjoyed both sessions. MAANZ has taken what some may work in New Zealand’s largest insti- have seen as a radical direction in tutions to see what good things are Time presents some of the greatest reorganising itself to give balanced being achieved in smaller centres. problems. There was the perennial representation to the bicultural part- problem of lack oftime for discussion, ners. Yet there are relatively few non- I was not able to attend all the social which seems to be a complaint about Maori members who appear to be in- functions even during the first two every conference I have been to in terested in the issues that‘most affect days. My impression, nonetheless, was recent years. Although to some extent Kaitiaki Maori and many of us still that this was a conference at which I sympathise with this, I think we have experience difficulties in discussing people mingled and interacted hap- to ask seriously whether we would issues of biculturalism. I certainly felt pily, helped by the venue and a good prefer to listen to the papers, argue that the most unsatisfactory sessions I mix of opportunities. Tuesday night’s about the issues informally with col- attended were those dealing with Maori special function at the Science Centre leagues, and take them away to ponder or bicultural matters. There was a and Museum was certainly a highlight on, or whether we really would prefer muted response to Bella Te Aku and I was sorry that the need to drive fewer papers and longer discussion Graham’s presentation. Interest in traf- back to Wellington prevented me from time. I don’t know the answer, but the ficking authenticity palled before the staying ‘until late'.late’. question is one future conference or- speaker’s emotion as a result of her ganisers must address. If they opt for recent experiences in Whanganui. Joe The formal part of the programme more papers and less discussion, per- Doherty’s earlier paper in the same provided plenty to think about. Key- haps they should make this clear at the session provoked some heated com-

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At the end ofthe Conference I felt both ment from our kuia, Mina, reminding tral and free of politics. In her explo- The ideas left us just how few Maori have been ac- ration of history, memory and muse- inspired and daunted. and full of enthusiasm, tively involved in the Association for ums Gaynor asserted that museums me stimulated and the chal— any length of time, and what an enor— must move away from a linear and while the issues raised despondent about mous burden they have carried. Lastly, singular representation of history and lenges made, leftme effect I could have to make im- Richard Cassels’ presentation on include memories to arrive at open- the However the lasting im- Mataatua, a case surely of enormous ended histories, where visitors are provements. MAANZ/ interest and importance, was some- encouraged to share and explore their pression of the 1995 is that there is a how disappointing in its ‘progress re- memories and make their own conclu- MEANZ Conference commu- port’ format and lack of position from sions. I felt that I could identify with strong and devoted museum in Aotearoa New Zealand. They the speaker. The ensuing discussion Gaynor’s assertion that museums are nity myriad of was no more satisfying than the pres- guilty of constructing histories. Fresh may be from any of the the mu— entation. to the job and full of the ideology of a professions that comprises new graduate I look forward to deal— seum community, but the strength and meeting the challenges I do not think that we should be too ing with this issue at the Army Mu- motivation for together to- disheartened, however. The Associa- seum, as a significant part of the audi- is derived from working goal. I’m looking tion and some of its members and ence are war veterans, all of whom wards a common next joint MAANZ/ their institutions are in the forefront of have specific memories. forward to the something important in our country MEANZ Conference. and we cannot expect an easy path. Carol Scott’s address highlighted is- and equity of But we cannot afford any compla- sues of accountability CONTEMPORARY cency either and perhaps need to re- access as she discussed visitor research CULTURE AND CURATORS double our efforts to keep working on and evaluation. Carol’s address was the relationship. That surely is essen- followedby an extremely useful work- FORUM - tial in any fruitful partnership. shop that dealt with the practical prob— AN ORGANISATION FOR lems of visitor research and evalua- CURATORS! tion, giving participants the opportu- TO THE nity to explore both the issues and RESPONSE Fiona Cameron MAANZ/ MEANZ CON- solutions. It’s relatively simple to dismiss ideas that appear to have no FERENCE 5 - 8 September The first meeting of the new relevance to your institution or that international organisation, 1994 require facilities or abilities perceived Contemporary Culture and Curators to be unavailable. The sessions on Forum was held on the 18 September Angela Young visitor research and evaluation are to 1994 at the Museum of Contemporary be commended for their practical rel— Art, Sydney. The idea of a forum for extremely high quality speakers, both evance to each of the different muse— curators was initiated by Gregory international and national. A wide ums represented. While fully explor- Burke, Managing Curator at the range of topics were covered includ- ing the issues and practical problems Wellington City Art Gallery and ing biculturalism, constructing his— of visitor studies, Carol demonstrated Bernice Murphy, Chief Curator, tory in museums, research, conserva— examples and shared practical, achiev- Museum of Contemporary Art. It tion, museums and tourism, funding able solutions. The opportunity to developed out of a need expressed by and accountability, evaluation and participate was particularly welcome curators for an organisation that dealt volunteers. It is hard to imagine an as digesting and confronting the many with issues that affected them within area of museum practice that wasn’t issues presented at the conference be- their professional work. About eighty addressed. As a first-timer, the qual- came more and more difficult as the curators and affiliated people attended ity both of the speakers, and the issues days progressed. meeting at the Museum of they addressed was excellent, though the first Contemporary Art . a little daunting at the post afternoon The international speakers were not tea sessions. Gaynor Cavanagh’s pa- alone in stimulating and challenging Although initiated by curators working per and Carol Scott’s address were the conference audience. Lindsay mainly in the area of art curation, the both highlights. Johnston from the International Ant- organisation’s mandate is to explore arctic Centre in Christchurch spoke and advance contemporary curatorial Both addresses explored visitor par- about the Centre’s development and practises and provide a context for on- ticipation and audience involvement, in particular the education pro- going communication between issues relevant to museum educators, grammes. Lindsay’s address was in- all persuasions and curators, administrators and exhibi- spiring and made us all envious of his curators of professional specialities in the Asia - tors alike. Gaynor asserted that nei- energy, resources and phenomenal ther history or museums are ever neu- success. Pacific area.

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46

all woven together. It was a truly to be unavailable. The sessions on RESPONSE TO THE unforgettable and moving experience. visitor research and evaluation are to MAANZ/ MEANZ CON - be commended for their practical rel- The FERENCE 5- 8 September Conference was characterised by evance to each of the different muse- 1994 extremely high quality speakers, both ums represented. While fully explor- international and national. A wide ing the issues and practical problems range of topics were covered includ— Angela Young of visitor studies, Carol demonstrated ing biculturalism, constructing his- examples and sharedpractical, achiev- tory in museums, research, conserva- able solutions. Any response to the joint MAANZ/ The opportunity to tion, museums and tourism, funding participate MEANZ Conference in September was particularly welcome and accountability, evaluation and as digesting and must at some stage involve the word confronting the many volunteers. It is hard to imagine an issues presented "issue". This conference in its three at the conference be- area of museum practice that wasn’t came more days of speakers, panel discussions, more and more difficult as the addressed. As a first-timer, the qual- days progressed. workshops and presentations, exam- ity both of the speakers, and the issues ined a wide range ofissues, constantly they addressed was excellent, though The stimulating and always challenging. international speakers were not a little daunting at the post afternoon alone in As a freshly graduated Museum Stud- stimulating and challenging tea sessions. Gaynor Cavanagh’s pa- ' the conference ies Diploma student and newly em- audience. Lindsay per and Carol Scott’s address were Johnston ployed Museum Education Officer, from the International Ant- both highlights. arctic the opportunity to share ideas, swap Centre in Christchurch spoke about the problems and meet some ofthe leaders Centre’s development and Both addresses explored visitor par— in in the international museum commu- particular the education pro— ticipation and audience involvement, grammes. nity was extremely exciting. However Lindsay’s address was in- issues relevant to museum educators, spiring and there were a number of personal high- made us all envious of his curators, administrators and exhibi- energy, lights that remain with me as synony- resources and phenomenal tors alike. Gaynor asserted that nei— mous with the 1995 MAANZ/MEANZ success. ther history or museums are Conference. ever neu- tral and free of politics. In her explo- At the end ofthe Conference I felt both ration of history, memory and muse- inspired The Conference opened with an ad- and daunted. The ideas left ums Gaynor asserted that museums me stimulated dress by Mina McKenzie, Emeritus and full of enthusiasm, must move away from a linear and while the Director of the Manawatu Museum. issues raised and the chal- singular representation of history and lenges Mina spoke of developments within made, leftme despondentabout include memories to arrive at open— the effect the museum community over the past I could have to make im- ended histories, where visitors are provements. twenty years and challenged attendees' However the lasting im- encouraged to share and explore their complacency. The work is not over. pression of the 1995 MAANZ/ memories and make their own conclu- MEANZ Many issues are unresolved - are we Conference is that there is a sions. I felt thatI could identify with as museum professionals satisfied? strong and devoted museum commu- Gaynor’s assertion that museums are nity Mina asked where the museum com- in Aotearoa New Zealand. They guilty of constructing histories. Fresh munity would go next. I wonder if her may be from any of the myriad of to the job and full of the ideology of a professions challenge will be answered. As the that comprises the mu- new graduate I look forward to deal- Conference programme evolved, Mina seum community, but the strength and ing with this issue at the Army Mu- motivation became the focus for a number of for meeting the challenges seum, as a significant part of the audi- activities, many of which were trib— is derived from working together to— ence are war veterans, all of whom utes to her many years of service to wards a common goal. I’m looking have specific memories. both MAANZ and MEANZ. In a forward to the next joint MAANZ/ MEANZ particularly moving ceremony, an ex- Conference. Carol Scott’s address highlighted is- hibition of weaving was opened in her sues of accountability and equity of honour and a gift presented by access as she discussed visitorresearch MAANZ members. During the and evaluation. Carol’s address was evening Richard Nunns and Hirini followed by an extremely useful Melbourne performed with traditional work- shop that dealt with the practical prob- Maori instruments, many of which lems of visitor research and evalua- were all butlost with the passing ofthe tion, giving participants the opportu- generations. The rarity of the music, nity to explore both the issues and its haunting tones, the magnitude of solutions. It’s relatively simple Mina's contribution to the museum to dismiss ideas that appear to have no community and the warmth and re- relevance to your institution or that spect that it is a part of her legacy were require facilities or abilities perceived

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The programme for the conference So What Happens Now! mentioned, of the need to begin more involved presentations by six invited serious work on recent history. curators working in different areas of The participants resolved to continue professional practice. Each speaker and further develop the organisation For many years it was a Jewish resort commented on issues that affected their and its membership base. We also and still is a predominantly holidaying areas ofpracticeasacurator. Speakers made a commitment to plan for the Jewish community with what remains included: Aboriginal Curator, Djon next annual meeting of the forum. The of the old inns, hotels and boarding Mundine from the Museum of date and location have yet to be houses serving Kosher food. Contemporary Art, Sydney and Bula decided. Working parties were set up Bula Ans, Ramingining, Northern in Australia and New Zealand to There are sulphur springs to which Territory; Maori Curator, Rangihiroa facilitate these activities. visitors in the early 20th century came Panaho ofthe Wellington Polytechnic; for “the treatment”. Many of the build- Ian Wedde, Exhibitions Conceptual The New Zealand group is made up of ings are crumbling with neglect and the Leader (Art) Museum ofNew Zealand/ the following: Gregory Burke, town has the most surreal feeling. Te Papa Tongarewa; Social History Managing Curator, City Art Gallery, Curator, Dr Peter Emmett, Senior Wellington; Lara Strongman, Curator It is fascinating and of real interest to Curator, Museum of Sydney; Art Collections, Waikato Museum of see a young woman historian doing her Independant Craft Curator , Dr Kevin Art and History, Hamilton; post-graduate internship at a nearby Murray and Independant Artist Rangihiroa Panaho, Wellington village/museum, working so hard to Curator , Elizabeth Gertsakis from Polytechnic; Tim Walker, Collections save and restore this small Upstate New Melbourne. Curator Historical Art, Museum of York town. Already she has been suc- These presentations were followed by New Zealand/FePapa Tongarewa; and cessful. Two buildings have been pur— a series of workshops which covered Fiona Cameron, Curator of Social chased. One massive 100 room, Victo- topics such as: shifting economic History, The Science Centre and rian Hotel waspurchasedfor$US60,000 priorities and curatorial practice, Manawatu Museum, Palmerston and another small hotel recently was representing cultural difference, North. “ boughtforSUSS,000 back taxes. Much curators and audiences and money will be needed to restore these interpreting history in the present. This organisation is an exciting new buildings but it shows what can happen development in the curatorial field. If when just one person acts with convic— Objectives of the forum are: you require any further information tion on saving an area ofprominent and contact any of the members of the very unique history. * To provide a forum for on-going working party. communication and interaction The Jewish (and occasionally Gentile) between curators working with and NORTH AMERICAN people travelled from New York City within contemporary culture. and observed a method of home stay STUDY AWARD that is rare in the United States. There * To develop and expand models of are still a couple of operating boarding curatorial practice that respond to Billie J. Kay houses. It is truly like stepping back in cultural, political and economic time. I have no doubt that they will change. In June the Manager of the Tauranga succeed in at least partially restoring Historic Village Museum, with the aid this very special community. * To encourage and promote of a New Zealand Government Study communication and interaction Award, Co-sponsored by Air New Zea- Meetings continued in the afternoon between cultures and sectors land and Shell Oil New Zealand, trav- and a study was made of the Farmers represented by the museum elled to New York 8tate to participate in Museum in Cooperstown New York. profession. a conference on historic village muse— This village has a director named Dr * To empower adiversity ofregional ums. The following is an excerpt from William Tramposch who spent six and cultural viewpoints within her longer report. months on a Fulbright Scholarship in curatorial practice. New Zealand. He loves New Zealand * To explore new methods of “June 21st was a day of field trips to and has visited the Tauranga Historic reaching audiences and producing study several local historical sites. Our Village/Museum stating, “it is one of programmes of relevance to first visit which we approached in the the best”. I spent a great deal of time audiences and communities. fog and soft misty rain, was to an almost with him and a professional and friendly * To provide advocacy on behalf of ethereal settlement named Sharon relationship will continue. the membership to relevant Springs. political and professional The Farmers Museum is a twenty one organisations. Sharon Springs is an extremely inter- building complex depicting a farm esting area and an example as afore- which has been working since 1813.

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48

Interestingly enough, this farm, in its The study group next departed for the early period, raised merino sheep im- HanfordMills Museum which was once ported from our hemisphere. After a timber and grist mill. This small 1829 it was used to raise cattle and in working museum was extremely well the 18905 the new owner made plans to presented. Once again, every exhibit build a modern fully-equipped facility was interpreted either by paid or volun- for his prize herd and of course this teer staff actually working the old mill portion ofthe complex, built in 1918, is saws using waterwheel driven power.” also still standing. TOURISM AND HERIT- The buildings, including the barn, creamery, and cottage were designed by AGE MANAGEMENT: A the architect Frank Whiting in the colo- Profitable Relationship nial revival style and constructed using local stone. The farm’s herd manager This Conference will be held in Auck— lived on site in the cottage. land, November 21-24, 1995. The goal of the conference is to examine This is an immaculate village/museum how a nation's heritage can meet the with a gift shop, snack bar, exhibition needs and aspirations of the host halls, general store, blacksmith, print- culture(s), guests, and the tourism in- ing office, doctor’ 3 office, chemist, law- dustry in a positive and mutually sup- yer’s office, weatherproofbarn, a farm- portive way. stead house, church, cow shed, tavern and school house. Those wishing to be kept updated please send a complete mailing ad- Across the road from the village is the dress to Dr Stephen J. Page, Tourism, Fenimore House Museum which has Heritage and Profits Conference, De- recently received an acclaimed native partment of Management Systems, American collection for which they are Massey University, Private Bag currently building a new exhibit wing. 102904, North Shore MSC, Auck- This traditional museum site houses a land, New Zealand, or via email to book store, research library and an edu- [email protected]. Paper ab-‘ cation building. stracts of250 words can also be sent to the same address. This project is Cooperstown, New York is an histori- jointly sponsored by Massey Univer- cal area with five museums. This small sityandtheAucklandInstituteofTech- town, whosepopulation of5,000 swells nology. to half a million people in the summer- time, houses one of the most visited New York museums, the very spectacu- lar Baseball Hall of Fame. Since base- ball is considered America’s national sport (though this is changing with the current popularity of indoor basket- ball), the Hall of Fame museum is a favourite family attraction.

The special exhibit at the Farmers Mu- seum/Village during my visit was the famous ‘Cardiff Giant’, one of the 19th century’s mostnotorious practicaljokes. The remains of an alleged giant had been dug up and for many years people believed it was true and came from miles around to view the giant in re- pose. He lies gracefully and hugely displayed in a superbly designed ex- hibit.

NZMJ 24(2): 45-48 49

BOOK REVIEWS this publication Cordellia has been The guide also dedicates 35 pages to a assisted, through networking with dictionary of Useful words, the areas many people world-wide who have covered are; Personnel; Places; Pack- Courierspeak. A Phrasebook for collectionmanagementexperienceand ing terms; Equipment; Condition Couriers of Museum Objects the understanding of the couriering report terms; and Materials. This is Cordellia Rose process, to produce a guide of im- followed by a Code of Practice for Smithsonian Institution Press 1993 mense value to the profession. Couriering Museum Objects written Reviewed by David Woodings by The Registrars Committee of the The guide is broken into topics rather American Association of Museums For those of us who have been in- than chapters beginning initially with and a comprehensive up—to—date list of volved the handling and freighting of an introduction which identifies the further reading. Again these areas of artwork internationally, has always relative responsibilities and the capa- text are translated into the six lan- initially been a source of trepidation bilities required for those personnel guages used as standard in the rest of followed by the mandatory organisa- undertaking object/material move— the guide. tion, and ultimately the satisfaction ment and breaking down the tasks felt when a task has met the expecta- ascribed into those required by couri- Cordellia Rose indicates in her intro- tionsofall theparties concerned. There ers, accompaniers and escorts. Abrief duction that when couriering she car- is always an added bonus when the outline of appropriate conduct by ries the followed equipment: camera activity has been personally reward- couriering personnel follows giving a with high speed film, white gloves, ing. For it is only at the conclusion of sensitive guide for behaviour in some ballpoint pen, pencil and notebook, the object/materials transfer, either ofthe countries to which the couriering tape measure, small penknife, small into another organisation's care or the ofobjects/materialhas increasedmark- spoon, flashlight, U-shaped inflatable return to your own institution, that a edly in the last ten years. neck pillow for long flights, phrase . courier can take stock and finally re- book, passport, vaccination certifi- flect on the couriering activity, which The two main topics which form the cates, visas, museum identification may have offered a raft of unique basis for the couriering activity and card, International Council of Muse- experiences. Other than the challenge thereby the majority of the book are ums card, foreign currency, and per- of the process itself there are the peo- titled; Arrival and Departure. Arrival sonal credit card. In future she, as ple to whom a meeting facilitated by a covers all of the issues a courier would with many others introduced to this couriering responsibility can result in potentially face during their task in- guide book, may find that it becomes lifelong friendships or institutional cluding, Clearing Immigration; Stor— a standard 'must pack' when prepar- and professional relationships which ing and Securing; Travelling on a ing to courier material for museums can improve future negotiations and bus, subway, or train; Disembarking and art galleries. often provide a world-wide network the aircraft; Clearing Customs; Han- for support and help. dling in the cargo terminal; Loading Kann ich mir bitte 1hr Courierspeak- the truck; Transporting by road; Stay- Exemplar leichen? The act of couriering objects/material ing at the Hotel; and Documenting. internationallyhas been standardprac- Departure covers issues such as Con- Arts in Aotearoa New Zealand tice undertaken by the museum and dition reporting; Handling in the Peter and Dianne Beatson art gallery profession for many years. cargo terminal; Leaving the museum; Reviewed by Tim Walker Even though the practice has been Exporting a handcarry; Dismantling; reviewed and written about by the Packing; and Clearing immigration With the publication of The Ans in representatives ofmany organisations, and security. Aotearoa New Zealand the authors, few have ever agreed upon standard Peter and Dianne Beatson, present the terms of reference for the activity. Whilst understanding the require— fruits of an exhaustive process ofgath— This guide attempts to synthesise all ments of the couriering activity just ering, studying and analysing infor— of the issues associated with the act of from the terminology utilised in the mation about cultural activity within couriering with a mind to the provi- English/Americanphraseologymakes this country. sion of a document which will have this guide a remarkably useful tool, to application not only in the field of have the equivalent phrases, and for It is an important book for a numberof experience first-hand but also in the that matter the entire book, translated reasons. It surveys 'art' in an open and schools of learning and preparation into French, German, Spanish, Japa— challenging way, suggesting the need for those to whom couriering can then nese and Russian will enable fornew definitions and understandings be undertaken with confidence. museological communication of of the way in which we defme and couriering standards across interna- value the many creative practices Cordellia Rose is the registrar of the tional and cultural boundaries. within our communities. It examines Cooper-Hewitt National Museum of the codes and power structures of 'art' Design, Smithsonian Institution. In in a way rarely attempted before -

NZMJ 24(2): 49-50 50

subjecting this almost 'sacred' realm with considerable authority and in able to piece together the exact rel- to careful sociological analysis. great detail is astounding. They exer- evance of the arguments being devel- cise great care in the equal presenta— oped or the explanation being offered. In attempting this the Beatsons have tion of 'artistic' activity relating to had to challenge a few of arts' sacred different gender, ethnic, media and Similarly the lack of an index is baf- cows; to redraw the outer boundaries class groups - placing traditions which fling and frustrating. In abook stuffed of the field (of endeavour and mate- are generally seen as unrelated within full of an extraordinary feast of ideas, rial) that might legitimately be la— a clearly articulated sense of a wider names, issues and events - gathered belled 'art'. For many involved within societal model of art production and together for the first time — it's a great a world of 'art' which already seems activity. shame that there is no means of easy well described, this move to open up reference. While the text is jargon— the range of creative endeavours that This is a purposeful and focused pub- free and readable, the book certainly might be valued in the same way that lication and those involved in the arts isn't a 'good read' in the 'curling up on 'art' is valued may seem unnecessary. will be both grateful and perhaps a a Sunday afternoon' sense. So re- There will be many others, however, - little bemused to find the workings of searchers and students are faced with many actively involved in creative their sector so thoroughly examined the daunting task of combing through work outside of the generally defined and analysed. For example, the ten- the pages carefully to find what they're 'art world' - for whom this book will be sions between arts institutions and looking for. a breath of fresh air. artists, between commercial artists and their more 'soul' centred counterparts So, this is a useful but, unfortunately, The title suggests that the book covers andbetween creative individuals work- less than inviting book. It's a shame a great deal - theArts inAotearoa New ing within different disciplines are that greater care hasn't gone into the Zealand. At the same time, it doesn't carefully - and often provocatively - editing, design and production. With give much away - which arts, what outlined and examined. more attention to detail and to the about them? The area implied is requirements of the reader, the publi- clearly too great for a 270 page book to The book is presented in an ordered, cation could surely have reached (and adequately survey — even ifthosepages academic thesis-like format - the au- suited the needs of) a larger audience. are densely packed with text and only thors thankfully choosing straightfor- The book doesn't look that good, the intermittently studded with small black ward language within a clearly intro- cover is visually bland and too flimsy and white images. duced and argued style. The chapters to hold the large format (A4) together are organised around clearly defined in any substantial Way. My review The notes on the back cover give a issues and each ends with a summary copy had the first chapter repeated clearer indication of the territory the of the area it has traversed. twice. authors have addressed. "More im- portantly" [than being 'a comprehen- This almost perfunctory style of pres- These quibbles aside however - and sive overview of the country's artistic entation has some drawbacks - espe- they are about detail and presentation culture, past and present, Maori and cially if the book is aimed at a general rather than content or approach - the Pakeha, male and female, high and readership. Reading it one has a clear Beatsons have considerably added to popular'], "it provides a sociological sense that, more than anything else, our recognition and understanding of framework for the analysis of the pro- the book is the amalgam of that ex- artistic endeavour within New Zea— duction, distribution and consump- traordinary data-bank of facts, ideas land. The publication of this book is tion of the arts within their broader and quotes mentioned above. The 'cut part ofthe crucial redefinition ofcodes economic, political, social and cul- and paste' edit that has been used to of taste, authority and value as we tural context". bring all the material together is still move into a fuller experience and un- very much in evidence within the struc- derstanding of the multiplicity of The book's cover clearly suggests the ture ofthe book, perhaps undermining practices and traditions which make breadth of the authors' catchment; the overall usefulness of the text. up this country's 'art world'. photographs of theatre companies, writers, a carved wharenui, a painter Frequently throughout the text, at rel- at an easel with her self portrait, a evantjunctures, quotes are dropped in Samoan artist, a pop-rock band in to amplify or illustrate the authors' performance and so on. point. The sources of these quotes - often wonderfully challenging and It's clear that the authors have amassed provocative - are never credited adja- an extraordinary data-bank of images, cently, nor are they incorporated in quotes, publications and archives re- the body of the text. This requires the lating to their topic. The vastness of reader to refer constantly to the notes the territory over which they move at the back of the book - in order to be

NZMJ 24(2): 49-50 NOTES FOR CONTRIBUTORS

1. Contributions should be typed, doubled spaced, on one side ofA4 sheets, with margins at top, bottom and sides of at least one inch. Two copies should be submitted and one retained (Submitted manuscripts will not be returned whether accepted for publication or not). The Editors reserve the right to send papers to referees and to ask authors to revise papers.

2. The recommended style for the bibliography is:

BASSETT, G., 1984. 'Screen Play and Real Play: Manufacturing Sport on Television',Sites, 9:33- 56.

WOOD, G., 1984. Smashing the Audience: An Analysis ofNew Zealand Political Television, Palmerston North: New Zealand Cultural Studies Working Group.

MURDOCK, G. and P. Golding, 1974. 'For a Political Economy of Mass Communications', in R. Miliband and J. Saville (eds), The So‘cialist Register 1973, London: Merline: 205—234.

That is, titles ofjournals and books should be underlined (including whenever they are referred to in the body of a text) and will appear in italics, dates should follow names and full details of pagination, publication and place of publication should be given.

This permits citation in the text as follows (Bassett, 1984:55). A footnote is then unnecessary. When footnotes are necessary for other reasons they should appear at the end of the text and before the references.

3. Unerlined material, will appear italicised in the final text.

4. Include a biographical note about the author(s) on a separate page.

5. Photographic materials should be printed on heavy-weight glossy paper and not attached to the copy. Figure numbers and captions should appear in light pencil on the backof the photograph. Black and white photographs only.

6. Authors will receive two copies of the NZMJ issue in which their work appears. Additional copies of that issue are available at the normal price.

7. Paper Deadlines: June issue - 10 April; December issue — 10 October.

Further information is available from the Editors, Museum Studies, Massey University, PO Box 11222, Palmerston North; Phone: (06) 350 5348; Fax: (06) 350 5693. Te Ropu Hanga Kaupapa Taonga

Museums Association of Aotearoa/New Zealand

MEMBERSHIP 1993-94

Membership of the Association is available in the following categories:

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"Any museum or similar charitable institution being a corporate body".

(13) Ordinary Members

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The financial year of the Association runs from July 1st to June 30th. Annual subscriptions, inclusive of Goods & Services tax, for the financial year to 30 June 1994 are set as follows:

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Receipts and Membership Cards will not normally be issued, but may be requested from the Membership Secretary, if required.

Subscriptions should be sent to the Association's Secretary:

Kate Pinkham Whanganui Regional Museum PO Box 352 Whanganui 5000

Libraries and Overseas Institutions may subscribe to the Journal and Newsletter at an annual rate of NZ$40.00 Published twice a year by Museum Studies, Massey University, Private Bag, Palmerston North, New Zealand, for the Museum Association ofAotearoa New Zealand Te Ropu Hanga Kaupapa Taonga. Printed at Massey University Printery, Palmerston North, New Zealand. Typesetting by Vivienne Shaw, Secretary Museum Studies, Massey University.

The Editors and the Museum Association of Aotearoa New Zealand assume no responsibility for the statements expressed by the contributors to the New Zealand Museums Journal.

Co—Editors: Professor Keith Thomson ' David Butts ‘

Editorial Committee: David Butts, Julie Catchpole, Elizabeth Hinds, Keith Thomson.

The New Zealand Museums Journal was formerly known as the Art Gallery and Museums Association Journal.

The New Zealand Museums Journal will be published in June and December each year. Copy deadlines are 10 April and 10 October. All papers will be reviewed by the Editors and may be referred to confidential referees at the Editors discretion. Address all correspondence or contributions to:

New Zealand Museums Joumal C/- Museum Studies Massey University Private Bag 11-222 Palmerston North

ISSN 1171-445X

Journal Subscriptions: See inside back cover.