Exploring te ao Ma-ori The role of museums Jeanette Clarkin-Phillips, Vanessa Paki, Louana Fruean, Garth Armstrong and Neil Crowe

Museums offer many opportunities for developing knowledge of the bicultural heritage of . This article reports on research involving a kindergarten located in a national museum. It discusses children’s growing understanding of te ao Māori (the world of Māori) through their regular visits to the collections and exhibits in the museum and suggests teachers in early childhood centres may find connecting with their local museum a valuable resource for enhancing bicultural practice.

useums are storehouses of national treasures for assisting us in our endeavours to provide opportunities and artefacts. In many instances they house for children, teachers and families to strengthen their Mcollections that tell stories of the cultural and understanding of te ao Māori and embrace ideals and social history of a people, a country, a region or simply a principles meaningful and relevant for bicultural practice town or village. In a country with more than one culture, (Ritchie & Rau, 2006, 2010). museums can provide a link between those cultures This article explores children’s growing understanding and be a means of preservation of cultural history and and familiarity with te ao Māori through their interactions artefacts (Falk & Dierking, 2000). The benefits of children with the cultural artefacts and taonga (treasures) of the having experiences with authentic artefacts and resources collections and exhibits at the Museum of New Zealand such as are available through museums and art galleries Te Papa Tongarewa (Te Papa). Te Papa is different from have been described in research by Anderson, Piscitelli, many other museums because it represents artefacts and Weier, Everett and Tayler (2002), Everett and Piscitelli collections of a living culture rather than a civilisation (2006) and Piscitelli and Anderson (2001). Haggard or culture of a bygone era, providing opportunities for and Williams (1992) suggest that leisure pursuits or visitors to gain an understanding and appreciation of te informal learning opportunities such as museum visits ao Māori as a living, vibrant culture. This article discusses are important for identity building and enabling people the value of responsive and reciprocal relationships to understand others better. The early childhood national between teachers, children and the museum in enhancing curriculum, Te Whāriki, states in the introduction the knowledge and familiarity with the stories, values and expectation that “all children develop knowledge and an practices of Māori, the indigenous culture of Aotearoa understanding of the cultural heritage of both partners to New Zealand. Te Tiriti o Waitangi” thus encouraging a commitment to The information and data draw from a TLRI project implementing bicultural practices (Ministry of Education, undertaken during 2010 and 2011 with the teachers, 1996, p. 9). Therefore, museums can be a powerful vehicle children and families at Tai Tamariki Kindergarten,

10 EARLY CHILDHOOD FOLIO VOL 16 NO 1: 2012 located downstairs in Te Papa in . one’s (genealogy), linking past, connection to their surroundings”. The practice Tai Tamariki is a full-day, mixed-age (3 months present and future (Hemara, 2000; Pere, 1984; of taking these very young children on the same to 5 years) kindergarten licensed for 25 Tangaere, 1996). These values of collective route around parts of the museum meant they children under the umbrella of the Wellington learning and the importance of relationships fit became comfortable in the physical space, so Region Free Kindergarten Association. Many with the sentiments of Te Whāriki (Ministry of that they began exploring their surroundings of the families attending Tai Tamariki are Education, 1996) and the reciprocity of learning more closely—for example, intently examining employed at Te Papa in a wide range of and teaching through interactions with people, the carvings in the (meeting house). occupations, including curators, exhibition places and things. Conceptualising the notion This strong sense of belonging not only means designers, publications and marketing staff, of whanaungatanga between Tai Tamariki the children have a relationship with the (tribal) liaison staff, accountants, managers, and Te Papa has enabled shared meaning and museum as a space but they also understand electricians, carpenters, gift shop and cafe purpose to be explored. This shared purpose what they can and cannot do in that space. personnel and many more. The kindergarten offers multiple opportunities for developing The children have become accomplished employs 10 qualified teachers and has been in relationships not only with the artefacts and museum visitors with a strong knowledge of operation for just over 2 years. taonga housed in the museum but also with the the protocols associated with museums and the The project was based on an action research museum as a place within the community. It taonga contained within. This knowledge and or practitioner inquiry methodology that is also about the relationships with the people, relationship has, of course, been influenced and acknowledged the place of teachers and particularly those who accompany adults shaped by the teachers and their interactions children as well as the university researchers and children on visits. The conversations and with the children. In many instances the in the construction of knowledge and the dialogue that occur help make connections respectful relationship the children have with development of a more authentic understanding with past, present and future. The stories that the museum upstairs has been transferred to of their practices (Cochran-Smith & Donnell, are told, and the meaning making that occurs, practices in the kindergarten, so that words make a living link with yesterday and a bridge 2006). The data were gathered through such as taonga and treasure are used to make to tomorrow (te taura here tangata). interviews and conversations with teachers, connections in both places. As the children and teachers at Tai Tamariki children and parents, researcher observations As the kindergarten began to institute began to “go upstairs” on a regular basis to visit and analysis of teachers’ documentation routines and decide how they would celebrate the exhibitions and collections of Te Papa, the (for example, Learning Stories). One of the special events, the idea of having a korowai relationships between children, teachers and research questions of the project, “Does the (woven cloak) for birthdays and leaving the museum evolved. These regular (two to opportunity to interact with a range of cultural celebrations seemed appropriate in terms of three times a week) visits upstairs have allowed taonga deepen children’s understanding of the conceptualising traditional Māori knowledge the children to become very familiar with the bicultural heritage of Aotearoa/New Zealand?”, for contemporary use. Visiting the collection museum as a “space and place”, so much so and some of the findings related to this question of korowai upstairs was a natural consequence that they tend to regard the whole museum as form the basis of this article. Three teachers of this decision, enabling the children to gain “our kindergarten”. In a focus group discussion who had a particular interest in te ao Māori an understanding of the how, why and what of with parents during the research project one and the implementation of bicultural practice korowai design. This was a culturally effective parent said how her daughter identifies Te Papa’s were interviewed. The interviews were analysed thumbprint logo as Tai Tamariki Kindergarten approach to the transmission and retention of to capture the way in which the notion of rather than the museum and is always keen indigenous knowledge. Providing photos and whanaungatanga (relationships) was defined to show out-of-town visitors around “her images of korowai and their trip upstairs helped and conceptualised by these teachers in this kindergarten” (the museum). Another parent the children make connections and revisit the early childhood setting. Documentation of reported showing her 2½-year-old child a Te experience as they made their own korowai. children’s learning and teacher reflections was Papa publication. When they came to a picture The making of the kindergarten korowai also examined for examples of articulation of the “corned beef cow” (Pisupo lua afe, by also instigated the now very common practice about whanaungatanga. Three themes emerged Michel Tuffery) in the exhibitionTangata o le of going to the Te Papa (traditional from this analysis and these are identified and Moana, the child pointed to the cow and turned Māori gathering place), . discussed below. to her mother with wide eyes and a big smile: The first trip, in particular, meant talking about marae protocol, hearing the story of Whanaungatanga in the museum “I’ve got one of those at my kindy!” Children’s growing familiarity and Māui that is depicted on the maihi (arms of The notion of whanaungatanga is about “comfortableness” with the physical the wharenui) and learning about the large collective participation and the practice environment of Te Papa was evident during the (greenstone) at the side of the marae, of manaakitanga (hospitality) and aroha research. From babies to older children, they all which the children were able to rub and wet. (love) (Barlow, 1991; Pere, 1984) embedded have a knowledge of the surroundings and where These are opportunities to make connections within both individual and collective roles to go to find certain places and collections. One to Māori culture, landscape and artefacts and of responsibility and obligation (Mead, of the infant and toddler teachers reflected on for children to travel back in time and into the 2003). The emphasis on collectivism within the sensory response of babies and toddlers to future. Whether consciously or unconsciously, the concept of whanaungatanga links to the the museum surroundings and the “closeness children are linking to the whakapapa of importance of learning for the survival of to tūpuna [ancestors] because of this sensory Aotearoa New Zealand through symbols and

11 EARLY CHILDHOOD FOLIO VOL 16 NO 1: 2012 stories to deepen their understanding of te ao the Māori version of many songs, I think that’s teachers talked about children’s knowledge of Māori. Marsden (2003) explains that symbols, a sign of how it is entering their consciousness moko (tattooing) and its depiction of genealogy myths and legends operate as a system of and they are beginning to learn that it’s an and whakapapa. In a discussion with the knowledge to explain and reveal the existence important part of every day.” This growing researchers, she commented: of a people, its culture and language. This understanding and acceptance of tikanga Māori Tamariki [children] have quite an conceptualisation suggests that the child’s (protocols and customs) enhances children’s understanding of the moko and that it understanding and exposure to things Māori awareness of the place of means something and also the tamariki will be deepened through engaging with the (indigenous peoples) in Aotearoa New Zealand. talk quite a lot about life masks which language and culture of Māori. Ritchie and Rau’s (2006) research with teachers they associate with death masks and The role of the teachers in discovering and found that embedding and enacting Māori making connections about new and old exploring the resources of the museum alongside practices in daily centre life was important for and that’s how you remember and that children has been important in developing a deepening understanding and being accepting you remember people from moko. sense of whanaungatanga. A number of the of things Māori. There have been interconnected conversations teachers have strong iwi affiliations, with two of There have been a number of other ways about moko, and life masks, which the the staff being fluent in te reo Māori (the Māori in which children have had the opportunity children call death masks. A child talked about language). All of the teachers are committed to make connections between the museum the four life masks—three of them are plain to enhancing the bicultural practices of the and the kindergarten. Regular faces and one has moko—saying: “They are all kindergarten and see it as a privilege to work in (performing arts) sessions held at the museum the same but different because we’re looking this unique context. One Pākehā (non-Māori) have provided opportunities for children to forward and looking back, you look forward teacher with strong ties to iwi talked about become involved with this tikanga practice, to look back.” This was her understanding of the importance of children and families not and the teachers report children have re-enacted the stories that moko tell. Within the context being afraid of te ao Māori. He commented: haka (Māori posture dance) and song with of education, Pere (1991) and Reedy (2003) “We have to hold hands with a lot of people (light ball attached to flax string used in suggest that education has no boundaries and and make our way together as we learn about kapa haka) downstairs at the kindergarten. An extends into a process of lifelong learning. te ao Māori—it is about relationships between interest, fostered and extended by the teachers’ They explain that in te ao Māori, the child people and going together.” passion for music, led to visits to the permanent is considered a learner from the time of collection of taonga pūoro (traditional Māori conception, providing the child with the ability Whanaungatanga at the instruments). Children have become familiar to recall the past, connect with the present and kindergarten with the instruments, and their descriptions of to explore the unknown. This conceptualisation The collectivism and creation of a kindergarten the sounds were documented by the teachers. of knowledge and understanding is centred “family” provides a place for daily routines and The pūtorino (bugle or double bugle) is “like around a holistic approach where rituals as might be practised within the whānau a smile” commented one child and the nguru In the Māori world one’s personality (extended family). These rituals and practices at (nose flute) sounds “like a bird”. “I can hear the does not develop in isolation. The family the kindergarten provide continuity of learning person’s breath that was doing the flute” a child setting is not the only environment within between the kindergarten and the museum. The exclaimed when listening to the kōauau (flutes). which learning takes place. The child is wearing of the korowai is one example of this. Later, at the kindergarten, some of the children immersed in the context of cultural The use of te reo throughout the programme who had been upstairs to interact with the values. Like language development these and especially in relation to the routines of the pūoro picked up shells and blew into them to cultural values are also acquired through day has enabled children to gain a knowledge make sounds, or made noises with their mouths and understanding of the language. The and breath, imitating the sounds of the pūoro. meaningful interactions. In the Māori continued commitment to and desire for the The provision of open-ended resources, world these cultural values are the essence revitalisation of the Māori language in early particularly in the art area, provided further of tikanga Māori. (Tangaere, 1997, p. 56) childhood settings feeds into a shift in thinking opportunities for revisiting these museum Tai Tamariki teachers and children have begun and practice among many early childhood places and collections. After a trip upstairs to to take on the responsibility of hosting other teachers (Skerrett, 2007). Teachers have the marae a child commented to a teacher: centres visiting Te Papa. Some of these visits commented on children’s understanding and “Look, that’s a koru [spiral shape of unfolding include the whole centre and others just response to te reo, particularly those children fern frond] like Māori isn’t it” as she pointed out small groups. Being a host offers Tai Tamariki from other cultures. One child whose home the patterns on the heke (rafter panels). Later children opportunities to share their knowledge languages are English and Chinese and who that day she was incorporating koru into her art and familiarity with the museum. The initial was not yet using language to communicate work. Another child was keen to make a whare event had 45 children and nine adults in the responded to the phrase “E noho ki te kai” (house) after visiting Rongomaraeroa, and this visiting group and two children and a teacher (“Sit down to eat”), then waited until karakia led to a project with a small group of children from Tai Tamariki as hosts. One of the host (blessing) had been said. Children have quickly and a teacher constructing and decorating children retold the story of Māui to the group become keen to lead karakia at meal times. In maihi to put up in the kindergarten. when they were in Rongomaraeroa. This child our discussions one of the teachers explained: Another example is the children’s growing was also heard reassuring a visiting child about “The children want to lead karakia, they know familiarity with a range of artefacts. One of the the carvings, saying “You don’t have to be

12 EARLY CHILDHOOD FOLIO VOL 16 NO 1: 2012 scared.” On another occasion, when hosting a haka had had on her child; she enacted the understanding of the bicultural heritage smaller group, a child from Tai Tamariki talked actions and talked about the performances for of Aotearoa/New Zealand?” deliberately about the pounamu: “It’s from the sea and is some time. endeavoured to take account of the unique forever and the wet makes it shine.” The fostering of respectful and reciprocal context of Tai Tamariki Kindergarten. It would relationships between teachers, children and have been unconscionable if a research project Whanaungatanga at home and in the spaces and places of the museum alongside centred in a national museum had not explored the community opportunities to explore and extend these the influence of the rich indigenous cultural The reciprocal relationship of whanaungatanga relationships have been strengthened through presence on children’s learning. However, includes the connections between home, practices at the kindergarten. One such practice taking into account the uniqueness of the kindergarten and community. Children’s has been the use of boundary objects. context, there are implications for other early growing acceptance and understanding of childhood centres. Early childhood centres Māori ways of being and doing are being Boundary objects to strengthen can make use of their local museums—and transferred to other contexts. The examples connections there are certainly many of these around the outlined below demonstrate connections The teachers have found that the use of objects country, including in very small settlements. between contexts. What is gained in the present that make connections between the museum and As stated earlier, museums in Aotearoa New becomes a stepping stone for the future where the kindergarten have provided opportunities to Zealand that house artefacts and collections of children will carry their learning and practices revisit, recontextualise and represent ideas back taonga Māori provide insights into the stories, with them so that others will be enriched. at the kindergarten. These boundary objects practice and ritual of a living culture. It may One of the first opportunities the Tai have included photocopied and laminated be that developing a relationship with the local Tamariki community had to support whānau photos of artefacts and collections, sketchbooks museum, however small, offers opportunities was in attending the (funeral or used by the children in the museum to draw to learn about the local history from a Māori wake) of a staff member’s mother. Both children favourite objects and Learning Stories that and/or European perspective, and encourages and parents travelled to the marae to pay their document children’s experiences in the museum a deeper understanding of the cultures of both respects. Through their visits to the Te Papa and the kindergarten. Boundary objects can partners of Te Tiriti o Waitangi. It may, too, marae the children appeared to have some foster curiosity and courage as they provide offer insights into local historical stories and understanding of the protocol and a familiarity a bridge between the familiar and the new provide connections with the physical landscape with the surroundings; for example, wharenui, and/or strange. Building on children’s interests as well as opening doors with local iwi. (carving), tukutuku panels (decorative can be enriched through dialogue associated The use of boundary objects such as photos woven flax panels in meeting house). Attending with boundary objects. It has been the and images can help children to make stronger connections, particularly if visiting the museum a tangihanga on a marae was a special experience conversations with children about what they is a one-off event. As discussed, these boundary and an authentic opportunity to connect with might see upstairs, followed up with further objects can provide an impetus or provocation the extended whānau and be involved in a discussions, that have assisted meaning making for children to revisit their experiences, significant, traditional ceremony. and the development of working theories. recontextualise them by making meaning Having the opportunity to understand a Boundary objects strengthen the relationships with their own experiences or represent their part of someone’s culture was important to the between the two contexts and provide further knowledge and understanding through their whānau of Tai Tamariki. In our focus group opportunities for reciprocity. We have written hundred languages (Edwards, Gandini, & discussions with parents they commented on more comprehensively about boundary objects Forman, 1998). Reciprocal conversations, the ways in which their children were bringing in another paper (Carr, Clarkin-Phillips, Beer, telling stories and embedding language and knowledge and understanding of te ao Māori Thomas, & Waitai, 2012). rituals into everyday practice are also useful into their wider lives. One father, who is an strategies in making connections between the immigrant to New Zealand, recounted how Conclusion museum and other contexts. impressed he was at his son’s knowledge of We are very aware that the context of Tai Museums are a rich source of the bicultural te reo and tikanga when taking part in the Tamariki Kindergarten offers children, teachers heritage of Aotearoa New Zealand, and as swearing in of the new mayor. The child talked and families unique opportunities, as does children build responsive and reciprocal about the pou (large carved pole) and talked a kōhanga reo on a marae. The ability for relationships with the people, places and things to the kaumatua (elder) about the korowai the children to regularly interact with taonga and of their environment they will deepen their kaumatua was wearing, using te reo. Another artefacts depicting the culture and history of knowledge and understanding of the cultural parent commented on her daughter “being tangata whenua is perhaps unprecedented, not heritage of both partners to Te Tiriti o Waitangi. proud of wearing the korowai on her birthday”. only in Aotearoa New Zealand but the rest of This has been evident in this research. The mother also talked about the child “wanting the world. It appears that the only other early to have karakia at home even though we don’t childhood centre attached to a museum may References say grace”. Another child always insists that be the Smithsonian Early Enrichment Centre Anderson, D., Piscitelli, B., Weier, K., Everett, the Māori version of a song be sung at home in Washington DC. Our research question M., & Tayler, C. (2002). Children’s museum alongside the English. Her mother talked about “Does the opportunity to interact with a experiences: Identifying powerful mediators of the significant impact the visits to watch kapa range of cultural taonga deepen children’s learning. Curator, 45, 213–231.

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Jeanette Clarkin-Phillips is a senior lecturer in the Department of Professional Studies in Education at the Faculty of Education, University of Waikato. Email: [email protected] Vanessa Paki is of Te A-tiawa and Nga-ti Mahuta descent and is the programme co-ordinator for the Ki Taiao programme in the Department of Professional Studies in Education at the Faculty of Education, University of Waikato. Email: [email protected] Louana Fruean is Te A-tiawa, Nga-ti Kahungunu and Samoan. She has been teaching at Tai Tamariki since 2010, working predominantly with the infants and toddlers. Lou is currently seconded to the Wellington Region Free Kindergarten as Kaitiaki Kaupapa Ma-ori. Email: [email protected] Garth Armstrong has been involved in early childhood education for many years in a variety of roles—teaching in kindergartens and working for Group Special Education and NZEI Te Riu Roa. Email: [email protected] Neil Crowe has been at Tai Tamariki Kindergarten since it opened in 2010 and brings a strong musical background to his teaching. Email: [email protected]

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