Innovative Education Engaging Millennials Heritage Education UK Professional Development Commemorations Volunteering - Museums Aotearoa
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Innovative Education
Engaging Millennials
Heritage Education
September 2016
UK Professional Development
Commemorations
Volunteering
Contents Museums Aotearoa
Eds Quarter 3 Te Tari o Ngã Whare Taonga o te Motu
Engaging Millennials in Museums 4 Is New Zealand’s independent peak professional organisation for museums
and those who work in, or have an interest in, museums. Members include
Policy Matters! 6 museums, public art galleries, historical societies, science centres, people who
work within these institutions and individuals connected or associated with
Staff Changes 6 arts, culture and heritage in New Zealand. Our vision is to raise the profile,
strengthen the preformance and increase the value of museums and galleries
The Global Museum World 8 to their stakeholders and the community
Attingham Adventures in 2016 10
Contact Details
Open Palace Programme 12 Level 8, 104 The Terrace, Wellington 6011
PO Box 10-928, Wellington 6143
Samoan Language Week 14 Tel: 04 499 1313
Fax: 04 499 6313
MA17 15 Email: mail@museumsaotearoa.org.nz
Web: www.museumsaotearoa.org.nz
Heritage Education 16
Contributions
Museum Profile We welcome article suggestions and contributions. For enquiries about
- Pukerua Bay School Museum 17 contributing to MAQ please contact us at mail@museumsaotearoa.org.nz.
Ka Maumahara Tatou 18 Staff
Phillipa Tocker – Executive Director
Commemorating Richard Seddon 19 Talei Langley – Membership Services Manager
The Kauri Museum 20 Advertising
Enquiries about advertising in this publication, or mailing flyers, should be
Krupps Traverser 22 addressed to the Museums Aotearoa office
Museum Shops Association 23
My Favourite Thing 24
Next issue
December 2016
Copy due 21 November
Disclaimer Cover Images
The opinions expressed in this publication are not
necessarily those of the Editor or of Museums Main:
Aotearoa Dan Rose, Tracey Glass, Kelly Mace, Erin Mooney, and Loraine Rowlands
making butter on Settlers Day at The Kauri Museum
ISSN 1177-7362
Lower:
Aurelia, Paddy and Isaac after receiving their membership cards from
Museums Aotearoa. Pukerua Bay School Museum.
2 MAQ September 2016
EDs Quarter
This issue of MAQ includes a range of contributions from our members, with
a general theme of education and innovation. The articles show just some of
the inspirational activities that museums and galleries engage in. They also
show how professional development can come in many guises, and that we
can all learn from each other.
Sharing our professional stories has two-way benefits. The authors of these
MAQ articles have all taken the time to think through what they have
achieved, and distilled their learning to share with colleagues. As readers,
we can learn from their experience without having to actually go through it.
The same is true of other MA activities. For example, our MA Board members
give up their time to consider sector priorities from a national perspective,
and can then take that broader consideration back to their own workplace.
In Palmerston North we have an enthusiastic group who have now met
twice to plan and host our MA17 conference. This team is looking forward
to sharing their place and their manaakitanga with colleagues in May 2017
– and to learning from everyone who contributes, whether as presenters or
delegates. MA17 He Waka Eke Noa – Museums of Inclusion will explore
questions about diversity, access and barriers to inclusion. We are calling for
expressions of interest rather than papers, and are open to any and all ideas
until 31 October.
In the next two months we're looking forward to getting out and about for
curators' and kaitiaki hui, and our 2016 regional meetings. These events are
another opportunity to share and learn with colleagues. Each regional meeting
will include a workshop session on advocacy (see p6) and a discussion about
commemorations with the Ministry for Culture and heritage.
As well as planning meetings and conference, the MA office has been busy
lately with upgrading technology and sorting office files. With thanks to Te
Papa for providing new computers and some IT support, we have been able
to upgrade our systems and take advantage of new software.
Next we need to work on our website. We want to be able to provide a more
user friendly interface for events, membership and online resources. If you have
any suggestions that we might incorporate, please let us know. We are also
interested in anything you would like to see covered in MAQ – we're always
very happy to hear from our members about whatever is current for you.
I hope you find this MAQ interesting and informative, and perhaps a catalyst
for some more discussion and action.
Phillipa Tocker
Executive Director
2016 September MAQ 3
Engaging Millennials in Museums
Ideas to Inspire Discussion Museums are fun, right, so why aren’t Millennials
visiting? If we know our audience well – a
I have always been interested in doing things. When people ask what my young, possibly childless person, seeking fun and
hobbies are (I really hate that word) I tend to say, “I like to get out and experiences and ways that they can share that
about, and do things”. My view on life is about collecting experiences and with others – then offering programmes and
I also want to have those experiences available to people my own age – to experiences should be easy, right?
Millennials – and I would really love to share my passion and respect for
museums with them. The ideas expressed here are my own opinions, ideas I think the main points for thinking about
and experiences. museums and Millennials are:
Millennials (or Generation Y) is a name for a generation, the years given for • Is it going to be free or cheap?
this generation normally fall between 1981-2001; however, I will be focusing • Is it going to be fun? Will I learn something?
on those who fall into the 18-35 category. We are already most likely part • Can I give back in a way that is meaningful
of your staff; we are Emerging Professionals (amongst others) and we are to me?
definitely an undervalued target audience. • How can I share this via social media in a
meaningful way?
I must note; Millennials are not born digital. We did not grow up with
iPhones in our hands. Even though we take to technology easily and are Here are a few things that other museums are
excited by new technologies – we do not expect to have them – or for doing to engage Millennials:
museums to have them.
Museum Lates
Millennials see museums as high value but they also don’t visit. Museums are
for children. Museums are for families. Museums are open when Millennials The museum late really is one of the best activities
are at work and Millennials have other things to do on the weekends. to attract a millennial audience. We get to be in
the museum without children. We get to be in
the spaces when it is not 'normal'. We get to fill
an evening. We get to be in a museum to learn,
experience something new and to socialise with
likeminded people.
While I was living in London, I attended two
different museum late nights, one at the Victoria
and Albert Museum and one at the Science
Museum. These two late night events have really
shaped how I expect late museum nights to be.
This combined with the activities that are offered
around Auckland, especially by the group Scribble,
just show how creativity can be utilised to get
people involved in the spaces in their communities.
A favourite activity at the museum late nights that
I attended was the silent disco – music to dance
to with no vibrations from the music – keeping
collections people happy!
Sleepovers
A little bit more involved is the adult sleepover
where adults get to stay overnight at a museum.
This gives the feeling of exclusivity, it is an
experience that not everyone can have and also
fuels that 'nostalgia factor'.
Museum Hack
Museum Hack is a museum tour service but
approaches museums and art in a completely
different way, making it more relatable to those
4 MAQ September 2016
who may not have a background in art history,
history or science. Museum Hack works with the
curators of the museums they offer tours at to
discover lesser known stories of the collections.
Meaningful Money
Millennials do not have a lot of money but we give
to organisations and causes that are meaningful
to us. Museums need to cultivate relationships
with Millennials so that they see museums as
meaningful places to give their money to for now
and the future. Utilising crowdfunding sources
such as Kickstarter or New Zealand’s GoFundMe
can be a way to make people feel like they are
making a difference when they can only give a
small amount at a time.
Social Media
Social media is probably the easiest way to engage
Millennials. Over 85% of Millennials have a smart
phone – so they’re pretty likely to have access to
social media platforms to engage with museums.
But doing things slightly differently is what is
getting people to really engage.
Some museums, such as the Columbus Museum of
Art have invited social media users to participate in
exhibitions. Instagrammers were asked to submit
photos on several themes, the museum then chose
38 to exhibit physically at the museum. They also
offered Mobile Photography workshops to learn
how to take the best photos with a phone and
discussions on the future of mobile photography.
Snapchat is a photo and video sharing app where
the photo only lasts for a few seconds and can be
combined with other images to create a story – the
Los Angeles County Museum of Art started to
use the app in 2014 to showcase their collection
by having captions often written in slang, playing
on current memes or using popular culture as
references.
I hope that these examples give some food for
thought and help the discussion on engaging the
Millennial audience. Don’t forget the resource of
the Millennials on your staff – I am sure we will
happily help more museums engage more of us.
Anika Klee
Collection Technician – Human History,
Auckland War Memorial Museum
Images supplied by Sarah Booth, Audience Researcher, Auckland War Memorial Museum based on
responses from museum visitors aged 15-29.
2016 September MAQ 5
Policy Matters!
Advocacy – the art of annual conference. As with councils, we need to
be positively visible and `in the loop' so that our
gaining public support voices are heard when decisions and changes are
being made.
An easy word to say but much harder to do…
In recent years MA has taken part in consultation
Sometimes confused with PR or lobbying, I prefer to think of advocacy as and made submissions on financial reporting,
taking an active part in the democratic processes which frame our society. immunity from seizure, incorporated societies,
Effective advocacy ensures that our politicians and other decision-makers have copyright, tourism and other issues impacting
the required facts and understanding to make good decisions on our behalf. our sector.
Advocacy can be general or specific, and target stakeholders of all kinds – the Our latest submission was to the Fire and
media, local businesses, patrons, funders and politicians. Our annual awards Emergency New Zealand (FENZ) Bill currently
programme is one way of generally raising the profile of our sector and before parliament. The intention of this Bill is to
showcasing the best of our museums and galleries. More specifically, major bring together the rural, urban and volunteer fire
funding for museums and galleries comes from local councils, so both elected services, and to fund them equitably from a revised
representatives and council staff are vitally important. fire service levy on property insurance, reflecting
potential use of the fire service. We do not disagree
Advocacy is the delicate art of keeping these stakeholders positively informed with the intent, but we are arguing that putting
and engaged, while also being aware of our issues and concerns without being this levy on museum and gallery collections will
negative. On the one hand you want your mayor and councillors to know not be equitable, and could lead to unnecessary
about all the good things you do, and on the other, to know that you could do costs and/or inadequate insurance cover. By the
them so much better with more resources. time you read this, MA will have been before the
select committee to make our case – this will be
Local councils reported in our eNews&Notices.
Laurence Yule, President of Local Government New Zealand (LGNZ), Advocacy workshops
emphasised at our MA10 conference the importance of museums and
galleries keeping councils – elected and officials – informed about their Over the next two months, our MA regional
activities. He chided us for not being positive enough: meetings will include an advocacy workshop. This
will provide information and discussion about
"There is a tendency for museums and art galleries to appear in front of councils what advocacy means at a national as well as local
for the sole reason of asking for more money. Museums don’t spend enough level. It will also be an opportunity for members to
time talking up their successes and getting up front and personal with elected feed back to MA staff and Board members so we
members to get them more closely involved in the process. Routinely inviting can better support local advocacy, especially with
councillors to exhibitions and events that they may (with the greatest respects to national data.
my elected colleagues) have little chance of understanding may be the best way to
get councillors through your front door, but not perhaps the best way to get them Our sector surveys are an essential evidence tool.
to appreciate the complexities of exhibiting and preserving national treasures." We are reviewing the information we have been
collecting, and seeking members' input to help
Yule made the point that openings may give councils the impression that us determine the most important data that we
there is plenty of money to spend on wine and beer, whereas showing them can use nationally and you can use locally. We
the back of house work, or a school visit in action, is much more enlightening. are also working with LGNZ, MCH, Creative
NZ and others to ensure that all our information
National advocacy is shared and used effectively. This will inform
a new iteration of our museum sector survey in
While local councils are the primary funders of our museums and galleries, early 2017.
central government also needs to be informed and engaged so that national
policies and legal frameworks are favourable. MA is in constant dialogue
with the Ministry for Culture and Heritage (MCH) and other government
agencies. We meet regularly with our Minister, and invite her to attend our
6 MAQ September 2016
Council elections So think carefully about who you vote for, and how you represent your museum
or gallery in public. Universal support from any council is unlikely. There
As we head into the final weeks of campaigning will always be some local politicians who think arts, culture and heritage are
for local council elections, we are seeing more 'niceties, not necessities', so we need to make sure there are others who will
hoardings, slogans and candidates vying for stand up for us. The best we can hope for is to tip the balance in our favour
attention. Advocacy in this context can include without being seen to take sides.
asking questions of candidates, but it is probably
not helpful to publicly back anyone in particular! Phillipa Tocker
Executive Director, Museums Aotearoa
In Wellington we recently had a mayoral
candidates' forum organised by Arts Wellington. MA sector surveys, Laurence Yule's MA10 speech and MA submission on
With skilled chairing by Courtney Johnston, each FENZ Bill can be found on the MA website
candidate was given the same questions and time www.museumsaotearoa.org.nz
to speak. This was a great opportunity to hear how
well these candidates were engaged with arts and Creative New Zealand's art advocacy toolkit has data, case studies and links
culture – or not in some cases. to other online resources such as Arts Council England
www.creativenz.govt.nz
Staff Changes
Andrea Par has joined NZ Maritime Museum as Manager; Beverly Eng, Senior Collection Manager, Human History;
Head of Audience and Communications. Lisa Finnemore, Major Works Project Coordinator; David Hayes, Project
Manager Building and Infrastructure; George Haimoana, Collection
Jamie Hanton is the new Director of The Physics Manager Taonga Maori.
Room after a stint as curator of art collections
at the University of Canterbury. He is joined by Matariki Williams has moved from MCH to take up the role of Curator
Assistant Curator Hope Wilson, formerly at City Mātauranga Māori alongside Migoto Eria at Te Papa. Puawai Cairns is
gallery Invercargill. now Senior Curator Mātauranga Māori.
Auckland Museum appointments include: Ane Tonga, formerly at Te Papa, is now Lead Exhibitions Curator at
Dr Nigel Bond as Learning and Engagement Rotorua Museum.
Manager in the gallery renewal team; Susan
Brooker, interim Collections and Research Rachel Wesley is now Curator Maori at Otago Museum.
Coordinator; Luke Lovelock is Audio Visual
2016 September MAQ 7
The Global Museum World
The global museum world through “I found the course opened my eyes to what other
museums are like and to the contribution our
a MOOC: Behind the Scenes of own museum can make to our community.”
– John Morgan, Museum Assistant
the 21st Century Museum
The 21st Century Museum course is delivered
In June this year, three staff and two volunteers from Ashburton Museum online through FutureLearn, a private non-profit
took up a six-week challenge – to complete the ‘Behind the Scenes at the 21st company owned by The Open University, England.
Century Museum’ online museum course. With the promise of a certificate Founded in 2012, they are dedicated to providing
of participation from the prestigious University of Leicester museums quality learning opportunities via Massive Open
programme – and the chance to benefit from that university’s renowned Online Courses, also known as MOOCS.
lecturers and teaching focus – it was also an opportunity to see what’s
happening in the wider world of museum practice, and unpack some of the MOOCS are a popular option for institutional
theory behind that. outreach through public education and learning.
FutureLearn has formed partnerships with many
The University of Leicester’s museum programmes are recognised universities and large organisations, as well as
internationally for their leading academics, the partnerships they forge, and journals and professional bodies. UNESCO and
for championing practice that is innovative and socially purposeful. the British Museum are two partners relevant to
our industry. There are hundreds of free courses on
Museum Director, Tanya Robinson had earlier completed the course out of offer through and similar providers, although you
curiosity – and found the mix of video narration coupled with social media pay for the completion certificate at the end if you
commentary from other students around the world gave the course an wish.
immediacy and a strong sense of being part of a wider community. Arriving
into a new museum role, she thought some of her new team of staff and
“I found the course thought-provoking and
volunteers might also enjoy these aspects, and that it might also give some gained a better understanding of ‘the global
insight into the principles that drive her approach to museum work. Their museum’ and its relevance in today’s world.”
responses are quoted throughout this article. – Helen Alexander, Museum Volunteer
The ‘virtual’ learning environment
8 MAQ September 2016
The 21st Century Museum course ran for six weeks your comments on the social media-style message board. Although there
and involved online connection through readings, was no direct communication with presenters and lecturers, video clips and
videos, academic papers and notes prepared by transcripts kept a reasonable connection with the course objectives of learning
leading researchers. Much of the content centered how museums can engage with target audiences and the role that museums
on the National Museum of Liverpool, which was have to play in drawing attention to social issues within our communities.
used as a case study. Videos featured interviews Issues such as health and wellbeing, slavery and human rights were especially
with that museum’s Chairman, Professor Phil confronting and thought provoking.
Redmond, and Director, Dr David Fleming, as
well as the University of Leicester’s museum Although informative, well presented and comprehensive, the ‘virtual’ learning
studies students. Other content came from the environment misses out on the development of rapport between real people,
museum visitors; along with input from well- especially the learner and the presenter or lecturer. In part, we overcame this
known University of Leicester museum studies through our informal conversations during breaks and worktime. We also
educators, Suzanne MacLeod, Jocelyn Dodd, met as a group to share our ideas and experiences as a result of what we had
Richard Sandell and Sheila Watson, community learned. The course has made us think of ways we can implement the ideas
members and museum workers. There was plenty raised, and become more alert to other museums and their practices.
of opportunity for further reading, plus interaction
with other students, through the online message Although lots of reading, this course was successful in enabling new
board. At the end of each section a short quiz perspectives to be developed about the role of museums (and art galleries)
tested learning, but all content could be reviewed, in society and how public engagement (when it happens) can be a powerful
and remains ‘live’ so that students can go back and route to thinking about social change.
revisit the content anytime they like.
“I found the whole course interesting, especially as I had visited the Liverpool
Questions for course discussion and learning museums. The discussion concerning the Slavery Museum and how we, as museum
included: How can we understand museums professionals can address ‘difficult’ topics was possibly my favourite topic. It took
today? Who are museums for and why are they museums away from being places where old things from the past were displayed
working to engage new audiences? How do we and talked about, to being venues for thought provoking involvement with the
respond emotionally to museum objects and spaces, community. The ability to share our ideas and thoughts with other people from
and what are the ethics of display? And how can around the world was another important feature – it was very active learning.”
museums play a role in the pursuit of social justice, – Kathleen Stringer, Museum Archivist
human rights, or health and wellbeing?
Tanya Zoe Robinson
"I particularly enjoyed the course topics on Museum Director, Ashburton Museum
the memory boards for people with dementia,
the disability topic, and the video of the Glenn Vallender
artwork made of biscuits really took my fancy.” Museum Volunteer, Ashburton Museum
– Susan Philpott, Museum Assistant
For participants, the course provided much food More info
for thought and new perspectives about why we
have museums, what they do and how they engage The start date for the next FutureLearn - University of Leicester
with communities and society. There were many ‘Behind the Scenes at the 21st Century Museum’ course can be found at
opportunities to offer opinions on the material www.futurelearn.com/courses/museum. We recommend the course to other
presented and it was good to read what other museum staff and volunteers, and for continuing professional development.
people thought, especially when others ‘liked’
2016 September MAQ 9
Attingham Adventures in 2016
J M W Turner’s commissioned paintings glow in
the elaborately carved interior of the grand hall at
Petworth; coming face to face with the dashing
young portrait of Frederick Howard, 5th Earl of
Carlisle by Joshua Reynolds at Castle Howard;
and, my oh my, sitting on ‘Georgiana’s’ furniture in
the private rooms of Chatsworth. And then there
was lunch with the Duke of Devonshire...
Picture too, an international exhibition geek
like me, finding myself standing in front of an
extravagant sideboard that had been displayed
at the 1851 Great Exhibition, and having lunch
in a conservatory designed after Joseph Paxton’s
Crystal Palace, both at Flintham Hall. It is hard
to find words to describe these experiences. It’s
also hard to describe the generosity of private
owners of properties we visited, and how they
enriched our understanding of the challenges and
opportunities posed by the country house in the
Kedleston Hall, designed by Robert Adam, Staffordshire twenty-first century.
Earlier this year I was privileged to attend the Attingham Summer School as Eyemats and lasagnes
a Monument Trust Scholar and with the support of my employer, Te Papa.
To give you a sense of the experience, just imagine travelling around the But it wasn’t all historical. I hadn’t anticipated the
English countryside with a busload of arts professionals, following a non- prevalence of replication in the country house,
stop itinerary with a daily schedule from 8am to 9.30 pm, visiting no less whether it was the production of the Eyemat (a
than 30 country houses in three weeks, hearing lectures and seminars from digitally produced image that is laid over carpets
leading art historians, curators, conservators and cultural historians – and or surfaces) to protect or replace historic floors
being hosted by the odd Duke or Lord! and carpets, or even the replication of significant
portions of houses. This was the case with Uppark,
Dining with the Duke which was largely rebuilt and refurbished by
the National Trust following a devastating fire
The most remarkable aspect of the Summer School was the way it brought in 1989. A remarkable enterprise, but one that
art history and history to life. As someone who has studied the art of display left me unsure as to the boundaries between the
and exhibition for decades, I was unprepared for the emotional impact of original and the ‘fake’. I came to understand that
seeing art in context. This occurred in different ways at different sites: walking while none of these decisions are made lightly, the
into the ridiculously beautiful neoclassical entry hall at Kedleston; hearing country house often occupies a difficult position
experts refer to a painting as ‘one of the better Van Dyck’s in the house’ at between presenting an ‘authentic’ view onto the
Arundel Castle (thereby suggesting there are plenty more than one!); seeing past and acknowledging the impact of history. One
Table setting at Chatsworth, Derbyshire
10 MAQ September 2016curator summed up this conundrum by referring
to country houses as ‘lasagne houses’ presenting
layer upon layer of history.
Ho ho’s, Ha-ha’s and
tussie-mussies
Attending the Attingham Summer School also
increased my word power. I learnt that Ho ho is
another word for Phoenix, and that a ha-ha is a
landscape design element designed to keep live-
stock out of formal gardens without obstructing
the view from the house (definitely an element Ha-ha warning sign at Burton Constable, Yorkshire
of ‘Ha ha! fooled you!’ there). And the tussie
mussie? Well that’s a small bouquet of flowers and
aromatic herbs worn to protect the wearer from
the less pleasant odours resulting from historic
hygiene practices (or lack thereof…) – look out for
one in your next Van Dyck portrait.
Contemporary cool
More and more, owners, managers and curators of
the country house are engaging the contemporary
as a strategy to engage the public, to make the
country house relevant, cool, even, to a new
generation of visitors. However, as Lady Harewood
of Harewood House pointed out, artists, such as
Turner, Van Dyck and others, were always part Eyemat reproducing painted wooden floor at Belton House, Lincolnshire
of the fabric of the country house. Yet when she
began hosting exhibitions and inviting artists to
produce work in response to the house, gardens
and collections in 1989, they were one of the
only country houses doing so. Now, the practice
is widespread. Chatsworth, for example, regularly
commissions artworks for specific sites, such as
the North Sketch Sequence by Jacob van der Beugel
which takes the family portrait in new directions
by representing the Devonshire family’s DNA in
small ceramic blocks, while incorporating mirrors
so visitors could put themselves in the picture.
The Attingham Aftermath
I am still reeling from my Attingham adventure.
As I was warned, it is life-changing, and I don’t
think there will be a day that I don’t reflect upon
some aspect of the experience in my work, or share
updates with a new network of colleagues from
throughout the globe. Thanks to all of those who
supported me on the journey, including Museums
Aotearoa.
Dr Rebecca Rice
Curator Historical New Zealand Art,
Museum of New Zealand Te Papa Tongarewa Sideboard from the Great Exhibition at Flintham Hall, Nottinghamshire
2016 September MAQ 11Open Palace Programme
The Open Palace
Programme, run twice
this year, is a unique
three-week long course
where people working
and studying in the
heritage sector are given
hands-on experience
with staff at England’s Hampton Court
most prestigious Museum of Bath Architecture and worked with their Education Officer to
develop programmes for different groups of visitors.
cultural institutions
The next day we left for Brighton, stopping on the way at a place that
and finest stately needs no introduction - Stonehenge. We began our visit to Brighton with
a tour around The Royal Pavilion, which was one of the most elaborate and
homes and palaces. astounding places we saw. In contrast, the afternoon was taken up with a look
around The Regency Townhouse, which is undergoing restoration to become
Six New Zealanders were lucky enough to be a heritage centre displaying information about social history and architecture
selected to attend the course, which ran throughout of the area. After leaving Brighton we travelled north, fitting in a visit to
July and August, and started in the World Heritage Windsor Castle. Here we had a tour around the paintings collection by their
Site of Bath. In Bath, we were introduced to the Art Curator and Education Officer, and discussed how Palaces could hang
different architectural styles throughout the city and interpret their world-class art collections.
by one of the Mayor’s honorary tour guides; visited
Beckford’s Tower and Museum where we looked From Windsor we travelled to Stowe House, which incorporates a National
at building conservation considerations with the Trust garden, house and private school. We were shown around by the House
Curator of the Bath Preservation Trust; met the Custodian and the Operations Manager, and introduced to ceilings designed
Exhibitions Officer for No 1 Royal Crescent and by William Kent and gardens sculptured by Capability Brown. We also learnt
designed a temporary exhibition using objects on about the conservation challenges of having a Grade-1 listed house and a
display in the house and temporary exhibition; boarding school combined. We looked at their exciting new exhibition area
looked at the Cleveland Pools (the only surviving and discussed how they stimulate childrens’ interest in the house and gardens.
open air Georgian lido) and how their Trust is We all had a fantastic time and were dubious about leaving the relaxing school
looking to bring them back to life; and visited the grounds for the bustle of London.
London began with a trip to the Tower of London, where we were taken
to brainstorm how a wall painting in a room not currently accessible to the
public could be included in the tourist route. Our next stop was Kensington
Palace, where we were given a tour of the State Apartments before being
taken into a storeroom and shown Queen Victoria’s Privy Council dress.
5 out of 6 NZers Stowe House
12 MAQ September 2016The dress is now brown, although it is believed to have originally been black,
and we discussed ways to exhibit this important dress while preserving its
fragile nature.
The next day we went to Hampton Court, where we met their conservation
staff and learned about their roles in this important historical home. We also
met a Curator and discussed her role and the art of object label writing. The
highlight here was a lunchtime tour through their conservation suite, and
discovering the Bacton Altar cloth lying on the table - this is now thought to
be a segment of a dress belonging to Queen Elizabeth I. The British Museum
was next on our itinerary, where we met a Conservator and heard about the
daily challenges of her role.
The following day we visited Fulham Palace, where we constructed a visitor
route based on the notable people who lived there in the past, and also went
to Apsley House where we met the Keeper of the Wellington Collection and
discussed how they can organise important upgrades to the heating system,
without restricting visitor access to some of the world’s finest paintings. The
final day was based back at Kensington Palace and featured Tracy Borman,
Joint Chief Curator of the Historic Royal Palaces and author. She inspired us
all by discussing her job, writing career and how to become successful doing
something you love.
This trip really was a once in a lifetime opportunity, and we definitely
encourage you all to apply for the 2017 course - you will not regret it!
Beth Rees
Collections Assistant, Toitu Otago Settlers Museum Kensington Palace
Open Palace Programme 2017
We are delighted to introduce The
Museums Aotearoa Bursary.
This brand new award is sponsored by Museums Aotearoa,
New Zealand's professional association for public
museums and art galleries, and those who work in or with
them. Museums Aotearoa are committed to furthering the
professional development of all their members and this
bursary represents their support of global initiatives that
address this aim.
This bursary is worth £750 and Recipients will contribute an
when awarded will be deducted article about their experience to
from the full OPP fee for 2017. Museums Aotearoa.
Applicants must be citizens of New Zealand and members of Museums
Aotearoa at the time of application to be considered for this bursary.
For further information please visit
www.openpalace.co
2016 September MAQ 13Samoan Language Week
Samoan Language Week Education The resource had four key focus areas:
• Unpacking the 2016 theme, E felelei manu,
Resource – a collaboration ae ma’au I o latou ofaga – Birds migrate to
environments where they survive and thrive, and
between Te Papa and the providing helpful key messages
• Giving a range of activity and resource ideas
Ministry of Pacific Peoples that related directly to the key messages
• Providing support around pronunciation,
Sāmoan Language Week is going from strength to strength – with rising helpful words and everyday phrases;
participation within the education and GLAM sectors, and amongst Sāmoan • Promoting the Ministry’s new Language
and non Sāmoan peoples. Its relevance comes as little surprise when we Champions initiative. This initiative speaks
recognise that Gagana Sāmoa (Sāmoan language) is the third-most spoken to the impact of everyday efforts and
language in Aotearoa New Zealand, and Sāmoan people account for 48.7% environments in language maintenance and
of our Pacific peoples population (2013 census). growth.
The inaugural Sāmoan Language Week Education Resource, co-created by Te Te Papa and the Ministry are pleased to report that
Papa and the Ministry of Pacific Peoples (MPP), was a response to ongoing the resource was viewed more than 5,000 times
feedback and requests directed towards both institutions. The Ministry’s within a three week period. It has been utilised
Language Week Posters – annual A3 posters featured the year’s theme, plus throughout Aotearoa New Zealand, but also by
helpful words and phrases – were highly valued, but families, ECE centres, significant numbers with groups in Australia and
schools, and community groups around the country were calling out for more the US. The overwhelmingly positive feedback
practical support: encouraged the team to move forward together to
• How can we celebrate Sāmoan Language Week? create a Cook Islands Māori, and a forthcoming
• How can we better support our Sāmoan learners? Tongan resource in a similar manner.
• How can we engage with the language and culture?
• What resources are out there for us to use? Our experience taught us many important lessons
around collaboration. Here are our top five:
The Te Papa Learning Innovation team had success in 2015 with a hands- • Working with the community and across
on Celebrating Pasifika programme – a collaboration between kindergartens institutions is hugely rewarding, but don’t
and ECE teachers from the Wellington region – but as the national museum underestimate the time, effort and energy
there was a desire to extend and enhance the reach and impact. required to do the work, and to get sign off.
• Opportunities for collaboration come up when
Staff of both organisations came to the conclusion that a digital resource could you least expect them. Be open and responsive.
be the way forward, and began putting down the foundations to make this • Talk about your strengths and weaknesses
happen. A connection was also made through a MPP/Ministry of Education straight off. This helps to divvy up the work
initiative called the Great Pacific Play Date which Te Papa helped to host last effectively and efficiently. It will identify
year. This gave those involved in the project an opportunity to meet, and talk significant gaps in the early stages – it can
with each other about their work. Te Papa and MPP quickly realised that we sometimes be difficult to fill gaps last minute.
both sought the same outcomes: to provide support to Sāmoans of all ages to • It cannot be overstated how important
learn about their identity through their own language and culture – regardless communication and relationship management
of their current ability with Gagana Sāmoa; and to recognise and facilitate are in partnership situations. Build these skills!
non-Sāmoans who are championing Gagana Sāmoa and Sāmoan culture in • Amazing feats can be achieved when
their schools and community groups. There was a meaningful opportunity for passionate, dedicated and hardworking
partnership. Together we could create something better. professionals come together.
For the resource to be relevant, it needed to be authentic. The project team Check out our Pacific Language Week
turned to local communities to guide and generate the content, as well as collaborations so far on the Te Papa website at
using their own cultural knowledge, experiences and background. The www.tepapa.govt.nz/learn/for-educators/teaching-
Ministry has strong relationships, and so worked to engage its Sāmoan resources
Language Week Partnership Group with the project. This group of volunteers
included community leaders, teachers, academics, librarians, parents, and civil Lemalu Alexa Masina
servants based in Auckland, Wellington and Christchurch. Te Papa brought Senior Regional Advisor (Central),
its experience around educational resource development and delivery to the Ministry of Pacific Peoples
table. Among other things, this allowed the development to happen on a
tight time-line. Rebecca Browne
Museum Education Specialist, Te Papa
14 MAQ September 2016MA17 Conference
He Waka Eke Noa – To achieve this, we need to interrogate:
• Who has a stake in what we do?
Museums Of Inclusion • How do our communities want to access collections and how can we
collaborate with them to provide this appropriately?
Palmerston North, • How can we fulfill our commitments of manaakitanga?
• How do our audiences gain ‘ownership’ of stories and their place in a
22-24 May 2017 museum or gallery?
• How do people of diverse backgrounds see themselves reflected in
How do we make our institutions more inclusive museum collections and stories, or linked to the culture and history of a
– accessible to everyone? Who is not included region or place, if at all?
now? What would full inclusion look like? Come • How do we amplify marginalised voices and promote inclusion?
and be encouraged, challenged and inspired
by industry experts, colleagues and invited Inclusive museums and galleries are committed to bringing high quality
participants at MA17. exhibitions and experiences to their diverse communities, while at the same
time providing those same communities with platforms to develop their own
As cultural and artistic hubs, museums and connections inside and beyond the walls of our buildings. Growing networks
galleries strive to be places where all people feel of artists, makers, communities, performers and organisations – including
welcomed and inspired. tertiary institutions, differently-abled artists and performers, activists and
cultural groups – are more engaged than ever, contributing and revealing new
We have a unique role caring for our peoples’ meanings at the beating heart of all we represent.
taonga and shared histories and experiences. This
means we have a responsibility to remove barriers This conference will provide us opportunities to advance towards our goal
to participation and build stronger relationships of museums and galleries being waka eke noa – vessels on which we can all
with individuals and communities who have travel together. We will examine the barriers, devise new ways of working
experienced limited access to our collections, together to dismantle them and learn from each other on this kaupapa.
sites and resources for physical, geographical,
technological or social reasons. The 2017 Museums Aotearoa conference committee looks forward to
welcoming delegates to Palmerston North, one of New Zealand’s youngest,
Museums, galleries and heritage places most diverse and connected cities, where we will explore these critical
internationally are making profound changes in concepts further. We invite you to contribute to the programme with your
their approaches to collections care and access, ideas for sessions and presentations – see the call for expressions of interest,
and the delivery of exhibitions and public open until 31 October 2016.
programmes. These new practices will eventually
see our museums and galleries firmly embedded MA17 will comprise three main conference days with additional pre- and
in the public consciousness as spaces where post-conference events such as emerging museum professionals (EMP) hui,
anyone and everyone can readily find connection research symposium, awards celebration, kaitiaki hui and tours.
and belonging.
Our hosts at Te Manawa are planning a range of public programmes to
coincide with MA17, and the conference team have great ideas for inclusive
programming and social activities – we hope you will join us.
Te Manawa Museum of Art, Science and History, Palmerston North. Image: Michal Klajban
2016 September MAQ 15Heritage Education
Te Awamutu Museum has been taking a creative
approach to heritage education and exhibitions
over the last few months! One of our temporary
spaces, the Front Porch, is designated as a
community space. It is crucial for local people to
engage with and recognise the museum as their
facility. It is also the first exhibition space you see
when you enter the museum.
Our educator, Tereora Crane, mooted the idea
that schools be given the opportunity to create
their own exhibitions, as an extension of some
of the social history learning they undertake in
the LEOTC programmes we deliver here. “I
was fortunate enough to attend the Federation
of International Human Rights Museums
Conference last year. I came away inspired by the
assertion that our museums and their collections Kihikihi School students perform ‘Maori Battalion’ at the opening event for their exhibition’
belong to our communities. And that we as kaitiaki
of taonga and cultural narrative must endeavour to the simple fact that Kupe, Capt. Cook and Sir Ed. were ‘legendary explorers’.
partner with those communities in the business of But by doing this exhibition it helped us explore the topic on a deeper level
heritage management and promotion.” of understanding that we may not have done otherwise. The project helped
facilitate discussion and research about personal identity, adversity, courage,
A key focus for these projects was to include clear bravery and sacrifice all in the pursuit of achieving a dream and looking for
curriculum links for both teachers and students, a better life. It helped us understand that our own family members are just
and to ensure the exhibition enhanced the as inspirational as Kupe, Cook and Hillary and that we too can achieve our
students learning. Alongside this is a commitment dreams just like them.”
to giving school children the opportunity to share
their perspectives on our heritage stories back to Their opening event was also well attended by the school community and the
their own community. In effect whole class groups Mayor assisted the children to officially open their exhibition. Drury says;
have become conduits of our heritage stories, not “With the exhibition came our opening evening to reveal our work to the
just consumers of a programme. public. The students were buzzing with excitement for this once in a lifetime
opportunity. On the night they got a chance to dress up, say their speeches,
This idea has taken off and we have had two local share their work and mingle and dine with their family and friends. But most
primary schools create exhibitions for this space. importantly it gave the community a chance to recognise, and show how
The first, Kihikihi School, created an exhibition proud we were of them for the fabulous work they had done. There was a
about their learnings on the topic of the 28th lot of work getting this exhibition done but it was worth every minute that
Maori Battalion. They created three text panels, it took.”
plus a video. The two classes and their families
were invited to an opening event at the Museum, Both exhibitions were covered by the local newspaper as well, adding further
which was attended by 85 of the local community, pride for the students, not to mention boosting the Museum’s profile. The
including the Mayor of Waipa District and article and image of the Paterangi exhibition led some elderly members of
representatives from the RSA. Senior Teacher, the community to come in and visit, not because of a family connection, but
Dion Marchioni says that “Kihikihi School because they had attended Paterangi School themselves!
students made many connections with this study
were proud to have gained some understandings to The Museum team are excited by the success of these two programmes and
remember the sacrifices that were made for them.” hope to continue to have schools taking the opportunity to present their own
exhibition, with even more involvement from the students in content, design,
The second school is Paterangi School, whose objects and marketing.
topic is Legendary Explorers. They learnt
about Polynesian and European explorers and To see what other exciting programmes the Te Awamutu Museum team are
navigators in New Zealand’s history, and how offering, both in education and as public programmes, like our Facebook
their own families have come to be in the Waipa pages at www.facebook.com/TeAwamutuMuseum and www.facebook.com/
district. They created three text panels, (two with WaipaLEOTC .
interactivity!) and a slideshow. Simon Drury, the
class’s teacher says “The students in our class came Rowan Miller
up with the title Legendary Explorers because of Museum Administrator, Te Awamutu Museum
16 MAQ September 2016Museum Profile
Pukerua Bay School Museum catalogue our collections because we are receiving
donations and loans for the museum. We have
The Pukerua Bay (PKB) School Museum is a museum run and founded employed staff to help us, and Aurelia catalogues
by three children aka Isaac du Toit (12), Paddy Rockell (11), and Aurelia her own collection. We are ensuring the museum
Hercock-Roberts (9). It is set in the old journal room at Pukerua Bay School. continues after we leave school by making sure we
We have had some experience because we set up a museum at Aurelia’s house are aware of younger kids who might be interested,
(in her living room). It was a big success. We had many customers. and making sure they become part of the museum.
We really hope other schools get into having their
Isaac runs an exhibition on local history. It is called ‘PKB History’. It has old own museum too. We have made connections with
photos of Pukerua Bay. Isaac’s actual passion is the 18th century and 17th people at Te Papa, who have shared a lot with us
century, and British Royal history. He also enjoys rococo and baroque. He including showing us around the back of house,
has an amazing room but we have had a bit of a problem with people not and sharing tips on storage, how to display things
wanting to bring things into the museum because they are worried they will and ideas, and they asked us to write a post for
get broken. their blog. What Now, the children’s show saw
the blog post and came to school to film us for a
Paddy runs an exhibition called ‘Fine Arts’. It is about art on paper and section on their show. We are learning from others
canvas. He has a section of his exhibition about NZ adults art and one about and at the same time we are teaching others.
PKB kids art. One of Paddy’s favourite pieces of art is of him and someone
else walking, painted by his mum. What he might do differently next time is We are working on getting more people to visit
catalogue earlier. by advertising within the school, sharing at school
assemblies to get parents to book in to come and
Aurelia currently is responsible for an exhibition on Natural History which visit. We are also getting a link put into the new
is mainly about gems and fossils. She is interested in nature, fossils and gems. school website that means people can book online.
Aurelia has a gem collection and a few fossils. Aurelia wants to be a curator At the moment if people want to visit they need to
or a vet when she grows up. email office@pukeruabay.school.nz or ring the school
on 042399744.
We are planning a new exhibition that Isaac and Paddy are curating. It is
called ‘The Secrets Of The Art’ (or Secrets Of Art for short). We plan on Written by
getting other kids from the school to help us with this exhibition. We will be
interviewing artists who have done art for the museum. Isaac du Toit
Paddy Rockell
We are problem-solving display and storage issues and how to keep track Aurelia Hercock-Roberts
of our collections. We have found out that stapling art to the walls damages Cat Lunjevich
the art, and the wall is very hard to get staples out of. We are starting to
Aurelia, Paddy and Isaac after receiving their membership cards from Museums Aotearoa.
2016 September MAQ 17Ka Maumahara Tatou
Ka maumahara tatou – We remember Details about various New Zealand historic events
and anniversaries can be found on the NZHistory.
Commemorations in the 21st Century net.nz and Te Ara — The Encyclopedia of New
Zealand websites.
In 2018 we will celebrate the 125th anniversary of Women’s Suffrage,
remembering the enactment of this landmark legislation on 19 September Aroha Rangi
1893, when zNew Zealand became the first self-governing country in the Senior Adviser – Commemorations,
world in which all women had the right to vote in parliamentary elections. Ministry for Culture and Heritage
The 125th anniversary of Women’s Suffrage in 2018 is one of three non-
military anniversaries that have been given Tier 1 (major) anniversary status
under the government’s Commemorations Policy 2014-2020.
The other two anniversaries include: the 175th anniversary of the signing of
Te Tiriti o Waitangi / the Treaty of Waitangi acknowledged in 2015; and the
250th anniversary of the first meeting of Māori and European when those on
the HMS Endeavour, captained by James Cook and including the Tahitian
chief Tupaia and a number of European scientists, first circumnavigated and
landed in New Zealand, that will be commemorated in 2019.
Manatū Taonga Ministry for Culture and Heritage is responsible for
the Commemorations Policy, which was updated in 2014 to improve the
coordination and planning of significant anniversaries for New Zealand.
The policy categorises anniversaries as either Tier 1 or Tier 2 national events:
• Tier 1 status is given to the anniversaries of events which had a significant
impact on New Zealand as a nation (for example, the 100th anniversary
of the First World War)
• Tier 2 status is given to the anniversaries of events which are important
but not of the same nation-changing magnitude (for example, the 200th
anniversary of New Zealand's first school or the 100th anniversary of film
censorship, both commemorated in 2016).
Recurring anniversaries such as Waitangi Day are not included in the policy.
The inclusion of an anniversary on the list does not mean the event is
remembered only as a celebration. Events are included because they had Meri Te Tai Mangakāhia, of Te Rarawa, addressed the Māori
an impact on New Zealanders and our society (for good or ill) or marked Kotahitanga parliament in 1893 to ask that Maori women be
significant turning points in our national development. allowed to vote for and become members of that body.
Image citation: Mason, F.W. [Copy of Portrait of Meri Te Tai
For a commemoration to be recognised as Tier 1 it must be: Mangakahia]. Auckland War Memorial Museum – Tāmaki
• Significant to the nation as a whole Paenga Hira. PH-CNEG-C5101.
• New Zealand-focussed while events that took place offshore can be
recognised they should be events or aspects of those events in which New
Zealanders were centrally involved or where there is a clear connection
to New Zealand.
• Diverse and representative representing the diversity of New Zealanders’
historical experiences, noting that while the World War One and World
War Two anniversaries mean that military events dominate the current
list for 2014 – 2020, other non-military events will be included as the
policy is refreshed.
• A major anniversary (normally the 25th, 75th, 50th, 100th anniversary)
For more information on the national Commemorations Programme please
go to
www.mch.govt.nz/nz-identity-heritage/commemorations-and-anniversaries
18 MAQ September 2016Commemorating Richard Seddon
his long-standing concern for the welfare of worn-out old miners on the
West Coast and they returned the gesture with fervent devotion.
Hokitika Museum will be exploring the long-standing links between the
Seddon family and Westland for the exhibition which will also provide a
rare opportunity to see treasures from both private and public collections,
for example testimonials and gifts given to the Seddons now held by
Parliamentary Services in Wellington.
Descendants of Richard and Louisa ( Janie) Seddon’s family have responded
enthusiastically to Hokitika Museum’s request for items relating to the
family and one of the treasures offered for scanning were albums belonging
to Thomas Edward Youd (Tom) Seddon, the ninth child of Richard and
Janie Seddon. One of these albums covers Tom Seddon’s experiences during
WW1 and is especially relevant given the current interest in WW1 material.
Discussions have been had with other Museums about Seddon items held
by them.
Meanwhile staff have been delving into Seddon’s life and times to discover
exactly what Seddon and the Seddon family’s legacy has been. Interestingly
we are trying to tease out the influence of his ‘clever wife’ who managed the
constituency business in Kumara while Seddon was in parliament.
In addition to the summer-long exhibition, the Seddon150 Weekend
(November 25-28) will include a Kumara Gala Day, a plaque unveiling by
Heritage New Zealand, a historical seminar with the theme ‘Surviving the
Richard John Seddon 1845-1906 Wilderness’, a Seddon family reunion and guided walking tours around
Hokitika Museum Collection, #6621. Hokitika, the cemetery and Westland Industrial Heritage Park. The ‘Seddon
Trail’, a self-guided journey along the paths taken by the early gold diggers
NZ’s longest serving Prime Minister (then known through Goldsborough and Stafford to Kumara, will also be launched.
as Premier) Richard Seddon arrived on the West
Coast in late 1866 and Westland will be celebrating David Verrall
the sesquicentennial in November this year. Receptionist, Hokitika Museum
Seddon lived in Westland for 30 years and began his Julia Bradshaw
political life on the Arahura Road Board in 1870, Director, Hokitika Museum
progressing to a seat on the Westland Provincial
Council in 1874 and the Westland County Council
in 1876. Seddon was the first Mayor of Kumara
in 1877 and become a Member of Parliament in
1879. Originally a miner and storekeeper Seddon
was known locally as ‘Digger Dick’ but during his
political career Seddon’s autocratic manner saw him
nick-named ‘King Dick.’
Seddon was Premier from 1893 until his sudden
death in 1906 and was a skilful and hard-working
politician whose identification with the ‘common
man’ was an asset to him. Although Seddon
described himself as a humanist, his dream was for a
white imperially loyal New Zealand and he opposed
votes for women (although this act was passed by
parliament in 1893) and Chinese immigration.
Seddon relentlessly pursued West Coast interests Seddon’s larger than life personality provided plenty of material for cartoonists. This drawing by E.F.
while in parliament and perhaps his most Hiscocks in 1902 of ‘King Dick’s’ visit to England and meeting with King Edward VII shows a view
significant legacy is the Old Age Pension Act of Seddon’s beloved West Coast in the background.
which he fought hard for. The Act was a result of A-130-005. Alexander Turnbull Library, Wellington, New Zealand
2016 September MAQ 19You can also read
