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Journal articles on the topic 'New Zealand museums'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Crane, Rosi, and B. J. GILL. "William Smyth (1838–1913), a commercial taxidermist of Dunedin, New Zealand." Archives of Natural History 45, no. 2 (October 2018): 292–308. http://dx.doi.org/10.3366/anh.2018.0521.

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William Smyth, unable to get work in a New Zealand museum, ran a commercial taxidermy business at Caversham, Dunedin, from about 1873 to 1911 or 1912. His two decades of correspondence with Thomas Frederic Cheeseman at the Auckland Museum provide a case study of Smyth's professional interaction with one of New Zealand's main museums. We have used this and other sources to paint a picture of Smyth's activities and achievements during a time when there was great interest in New Zealand birds but few local taxidermists to preserve their bodies. Besides the Auckland Museum, Smyth supplied specimens to various people with museum connections, including Georg Thilenius (Germany) and Walter Lawry Buller (New Zealand). Smyth was probably self-taught, and his standards of preparation and labelling were variable, but he left a legacy for the historical documentation of New Zealand ornithology by the large number of his bird specimens that now reside in public museum collections in New Zealand and elsewhere.

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2

Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.

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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?

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3

Paterson, Robert K. "Heading Home: French Law Enables Return of Maori Heads to New Zealand." International Journal of Cultural Property 17, no. 4 (November 2010): 643–52. http://dx.doi.org/10.1017/s0940739110000408.

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New Zealand claims for the return of preserved tattooed Maori heads held by foreign institutions have revisited complex legal, ethical, and cultural questions surrounding human remains in museum and other institutional collections worldwide. Recent legislation in France that facilitates the return of Maori heads in French museums represents a further stage in this ongoing story.

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4

McCarthy, Conal. "From histories of museums to museum history: approaches to historicising colonial museums in Aotearoa New Zealand." Museum History Journal 13, no. 1 (January 2, 2020): 95–110. http://dx.doi.org/10.1080/19369816.2020.1759008.

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5

Smith, Greagh, Conal McCarthy, Bronwyn Labrum, Ken Arnold, Dominique Poulot, Jill Haley, Jun Wei, and Safua Akeli Amaama. "Book Reviews." Museum Worlds 8, no. 1 (July 1, 2020): 235–49. http://dx.doi.org/10.3167/armw.2020.080118.

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Joan H. Baldwin and Anne W. Ackerson. Women in the Museum: Lessons from the Workplace. New York: Routledge, 2017.Christina Kreps. Museums and Anthropology in the Age of Engagement. London: Routledge, 2020.Ken Gorbey. Te Papa to Berlin: The Making of Two Museums. Dunedin, New Zealand: Otago University Press, 2020.Inge Daniels. What Are Exhibitions For? An Anthropological Approach. London: Bloomsbury, 2019.Dario Gamboni. The Museum as Experience: An Email Odyssey through Artists’ and Collectors’ Museums. Turnhout, Belgium: Brepols.Yulia Karpova. Comradely Objects: Design and Material Culture in Soviet Russia, 1960s–80s. Manchester: Manchester University Press, 2020.Gail Dexter Lord, Guan Qiang, An Laishun, and Javier Jimenez, eds. Museum Development in China: Understanding the Building Boom. Lanham, MD: Rowman and Littlefield, 2019.Philipp Schorch with Noelle M. K. Y. Kahanu, Sean Mallon, Cristián Moreno Pakarati, Mara Mulrooney, Nina Tonga and Ty P. Kāwika Tengan. Refocusing Ethnographic Museums through Oceanic Lenses. Honolulu: University of Hawai‘i Press, 2020.

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McCarthy, Conal, and Joanna Cobley. "Museums and Museum Studies in New Zealand: A Survey of Historical Developments." History Compass 7, no. 2 (March 2009): 395–413. http://dx.doi.org/10.1111/j.1478-0542.2008.00587.x.

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7

Massey, Claire, and Kate Lewis. "Exhibiting enterprise: how New Zealand museums generate revenue." International Journal of Heritage Studies 9, no. 4 (December 2003): 325–39. http://dx.doi.org/10.1080/1352725022000155063.

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8

Attwood, Bain. "Difficult Histories." Public Historian 35, no. 3 (August 1, 2013): 46–71. http://dx.doi.org/10.1525/tph.2013.35.3.46.

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In recent decades many democracies around the world have tried to meet growing political demands to make amends for past wrongs by showing their troubling pasts. Museums, especially new national museums, have performed a crucial role in this historical work. In this article I examine the attempt of one of these, the Museum of New Zealand Te Papa Tongarewa, to stage an exhibit about a historic agreement between the indigenous Maori people and the British government that had come to be regarded as the nation’s founding constitutional document at the same time as it remained the subject of much controversy and enormous contestation.

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9

Ross, Kirstie. "Museums, Mobility, and Material Culture." Transfers 3, no. 2 (June 1, 2013): 122–29. http://dx.doi.org/10.3167/trans.2013.030209.

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10

Bel, Marine, Michael Berger, and Robert K. Paterson. "Administrative Tribunal of Rouen, Decision No. 702737, December 27, 2007 (Maori Head case)." International Journal of Cultural Property 15, no. 2 (May 2008): 223–26. http://dx.doi.org/10.1017/s0940739108080156.

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In October 2007, the mayor of the French city of Rouen agreed to return to New Zealand a preserved tattooed head of a Maori warrior (called toi moko by Maori) from that city's Museum of Natural History, whose collection the head had been part of since 1875. The decision to return the head was based on an initiative by the Museum of New Zealand (Te Papa Tongarewa), which has successfully secured the return of other such heads from museums in various European countries and the United States. Before the Rouen head could be handed over, however, the French Ministry of Culture intervened, arguing that its return was unauthorized under French law as being part of a French museum collection and thus inalienable.

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11

McCarthy, Conal. "Editorial." Museum Worlds 7, no. 1 (July 1, 2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.

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Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.

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12

Mason, David D. M., and Conal McCarthy. "Museums and the culture of new media: an empirical model of New Zealand museum websites." Museum Management and Curatorship 23, no. 1 (March 2008): 63–80. http://dx.doi.org/10.1080/09647770701865386.

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13

White, Moira. "‘Your list is certainly a formidable one’: the Rev. A.H. Voyce and the Auckland Museum." Records of the Auckland Museum 53 (December 20, 2018): 27–41. http://dx.doi.org/10.32912/ram.2018.53.3.

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The Auckland War Memorial Museum holds a large number of cultural objects, a collection of shells, and a group of butterflies, all collected by the Methodist missionary Arthur Henry Voyce during his years as a Methodist minister in Bougainville in the period 1926–1958. His relationship with museums in New Zealand, and the background to the acquisitions is described.

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14

Frigo, Manlio. "The International Symposium “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” Paris (France), February 22–23, 2008." International Journal of Cultural Property 15, no. 4 (November 2008): 437–39. http://dx.doi.org/10.1017/s0940739108080260.

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The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the case of thetoi moko, the Maori tattooed head belonging to the collection of the Natural History Museum in Rouen, France, since 1875. The restitution of thetoi mokoto the Papa Museum in Wellington, New Zealand, deliberated by the city of Rouen, was recently banned by the Administrative Tribunal of Rouen, on request of the Ministry of Culture at the end of 2007. The head actually belonged to a municipal museum, which was in fact part of the Musées de France, and therefore it was considered part of a public collection. Accordingly, the 2002 French statute providing for the inalienability of state properties was applicable.

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Cobley, Joanna, Nālani Wilson-Hokowhitu, Maree Mills, and Rachel Yates. "Indigenous Wāhine Talking Critically in the Museum Space." Museum Worlds 10, no. 1 (July 1, 2022): 199–213. http://dx.doi.org/10.3167/armw.2022.100116.

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As greater numbers of community groups experience social disconnect, museums need to find better methods of engagement in order to remain relevant. We know that museums are no longer neutral spaces; in fact, they have a role to play in activism, which means they can shift their mission to support local communities celebrate and protect their Indigenous heritage (Drubay and Singhal 2020; Message 2018; Shelton 2013). What follows is a meditation by researchers in Aotearoa New Zealand who engage with Pacific-Indigenous concepts and museum practice in unique ways. Our big idea is to see “Oceania through Indigenous eyes” (Lagi-Maama 2019: 291) and, in particular, the eyes of Nālani Wilson-Hokowhitu with mo‘okū‘auhau to Kalapana, Hawai‘i, and Moloka‘i Nui a Hina; Maree Mills with whakapapa to Tongariro, Taupō, and Ngāti Tūwharetoa; and Rachel Yates, who hails from Vaisala, Sāmoa. As a collective, their curatorial talano kaōrero/mo‘olelo/stories connect to current debates in the museum world where local problems need local solutions. In this instance, Wilson-Hokowhitu and Mills share the ideas that shaped their mahi at Waikato Museum Te Whare Taonga o Waikato in Hamilton, and Yates has just finished a COVID-19 project as Curator of Pacific Cultures at the Museum of New Zealand Te Papa Tongarewa in Wellington.

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16

Hindmarsh, Jennie. "A Way Forward: The Remaking of New Zealand Museums." Museums & Social Issues 2, no. 1 (April 2007): 89–102. http://dx.doi.org/10.1179/msi.2007.2.1.89.

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17

Labrum, Bronwyn. "Women “Making History” in Museums." Museum Worlds 6, no. 1 (July 1, 2018): 74–93. http://dx.doi.org/10.3167/armw.2018.060107.

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This article examines three remarkable New Zealand women, Nancy Adams, Rose Reynolds, and Edna Stephenson, who, as honorary or part-time staff, each began the systematic collecting and display of colonial history at museums in Wellington, Christchurch, and Auckland in the 1950s. Noting how little research has been published on women workers in museums, let alone women history curators, it offers an important correction to the usual story of the heroic, scientific endeavors of male museum directors and managers. Focusing largely on female interests in everyday domestic life, textiles, and clothing, their activities conformed to contemporary gendered norms and mirrored women’s contemporary household role with its emphasis on housekeeping, domestic interiors, and shopping and clothing. This article lays bare the often ad hoc process of “making history” in these museums, and adds complexity and a greater fluidity to the interpretations we have to date of women workers in postwar museums.

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18

Michalik, Magdalena. "THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH." Muzealnictwo 59 (April 3, 2018): 28–33. http://dx.doi.org/10.5604/01.3001.0011.7254.

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The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.

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19

Knowles, Mary, Xun Li, Carlos Lehnebach, Philip Lester, and Julia Kasper. "Pollen samples from a bumble bee (Hymenoptera: Apidae) collection show historic foraging on introduced and native plants in the South Island of New Zealand." PLOS ONE 17, no. 12 (December 30, 2022): e0278860. http://dx.doi.org/10.1371/journal.pone.0278860.

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Historic pollination networks are important to understand interactions between different plant and pollinator species, as well as to differentiate between causes and consequences of present insect population decline. Natural history collections in museums store biological proxy data, which is used to reconstruct historic pollination networks of bumble bees. Four bumble bee species (Bombus terrestris, B. ruderatus, B. hortorum and B. subterraneus) were introduced to Aotearoa New Zealand in 1885 specifically for pollination purposes. Pollen samples were collected from museum specimens of three of the four NZ species of bumble bee (excluding B. subterraneus) collected between 1954 and 1972 from 56 locations across the South Island, New Zealand. The most common plants identified on all three bumble bee species were Calluna vulgaris (heather), Ulex (gorse), Cytisus (broom), and Trifolium repens (white clover). However, all three bumble bee species also carried pollen from several native plants (e.g. Arthropodium, Weinmannia, Plagianthus, Quintinia, Veronica, Melicytus) and potentially had been involved in the pollination of these species. This study adds new plant species known to be foraged upon by bumble bees in Aotearoa New Zealand. Further studies on pollination networks in New Zealand will help us understand any changes in host plant preferences over time and after the time period covered by this study.

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20

Wheeler, Barbara, and Linda Young. "Antarctica in museums: the Mawson collections in Australia." Polar Record 36, no. 198 (July 2000): 193–202. http://dx.doi.org/10.1017/s0032247400016454.

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AbstractThe relics of polar exploration are treasured in the museums of a multitude of nations. In Australia, the focus of most such collections is Sir Douglas Mawson and his expeditions to Antarctica in 1911–14 and 1929–31. The nature of these collections divides into the two large categories of scientific specimens and expedition relics. The latter are spread among Australian and other museums in a distribution that speaks of fascination with the exotic and heroic aspects of the Australasian Antarctic Expedition and the geopolitical ramifications of the British, Australian and New Zealand Antarctic Research Expedition. The specimens, by contrast, have not been treated well, and although thoroughly documented, may be close to losing their integrity as scientific resources. Both types of material merit the renewed attention of their museum-keepers as resources on the history of Antarctica.

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21

Uhlířová, Jana. "Ma15: Communicating Culture – National Museums Aotearoa Conference Dunedin, New Zealand 2015." Museologica Brunensia, no. 1 (2016): 83–85. http://dx.doi.org/10.5817/mub2016-1-13.

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22

Upchurch, Michael. "Hinemihi o te Ao Tawhito." Museum Worlds 8, no. 1 (July 1, 2020): 188–203. http://dx.doi.org/10.3167/armw.2020.080113.

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This report discusses the overriding significance of cross-cultural relationships in heritage management and conservation with regard to Hinemihi o te Ao Tawhito, the whare whakairo (“carved meeting house”) “displaced” in the late nineteenth century from Te Wairoa in Aotearoa New Zealand to Clandon Park in England. Looking at the history and meanings of the meeting house through the relationships of those who interacted with her, it demonstrates how listening, learning, and understanding are at the heart of improving professional practice in museums and heritage practice globally. This article is derived from and expands upon an assignment written for the course MHST507 “Museums and Māori” taught by Awhina Tamarapa as part of the PG-Dip in Museum and Heritage Practice at Te Herenga Waka Victoria University of Wellington in May 2020.

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23

Terreni, Lisa. "Beyond the Gates: Examining the Issues Facing Early Childhood Teachers when they Visit Art Museums and Galleries with Young Children in New Zealand." Australasian Journal of Early Childhood 42, no. 3 (September 2017): 14–21. http://dx.doi.org/10.23965/ajec.42.3.02.

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EXCURSIONS TO CULTURAL CENTRES, such as art museums and galleries, can add new and valuable learning opportunities for young children. This paper presents the findings from a large scale national questionnaire that asked early childhood (EC) teachers in New Zealand about their engagement with art museums and galleries for learning experiences, outside of their EC centres. As part of a mixed methods research project, the questionnaire also sought to ascertain the degree to which the EC sector uses art museums and galleries as excursion destinations, and the ways in which they are used (or not). The findings suggest that key factors that both help and hinder visiting art museums and galleries with young children include: the pedagogical approaches EC teachers have in relation to visual art education, the ways in which teachers view successful learning opportunities for young children, and a teacher's own perceptions and fears of art museums and galleries. This study suggests that teachers have mixed views about whether visiting art museums and galleries will provide appropriate experiences for young children.

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24

Schorch, Philipp. "Sensitive Heritage: Ethnographic Museums, Provenance Research, and the Potentialities of Restitutions." Museum and Society 18, no. 1 (March 23, 2020): 1–5. http://dx.doi.org/10.29311/mas.v18i1.3459.

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This introduction lays out this special issue, which juxtaposes articles on approaches to provenance research, conducted at German museum and university institutions, with articles on past, present and future potentialities of restitutions to originating societies in Aotearoa New Zealand, Australia and Namibia. In doing so, the issue makes the argument that provenance research and processes of restitution, and their underlying ethical and sensitive considerations, generate, rather than restrict, new knowledge. They are brimming with epistemic and ontological potentialities: for the people related to the material entities concerned, for the (anthropological) knowledge about them, and for the institutions involved. The ultimate goal pursued is the establishment and further development of provenance research and processes of restitution as ethnographic work and an integral dimension of ethnographic museums in the 21st century.

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Gill, B. J. "Birds in Australian and New Zealand museums—a major resource for ornithology." New Zealand Journal of Zoology 33, no. 4 (January 2006): 299–315. http://dx.doi.org/10.1080/03014223.2006.9518458.

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26

Mccarthy, Conal, Eric Dorfman, Arapata Hakiwai, and Āwhina Twomey. "Mana Taonga: Connecting Communities with New Zealand Museums through Ancestral Māori Culture." Museum International 65, no. 1-4 (January 2013): 5–15. http://dx.doi.org/10.1111/muse.12028.

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27

Williams, Isabelle, Florence Esson, Yunci Cai, Lee Davidson, Valentin Gorbachev, Nathan Jones, Kirsty Kernohan, Heidi Weber, Xiaomei Zhao, and Xuelei Li. "Book Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 290–308. http://dx.doi.org/10.3167/armw.2022.100122.

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Women Mean Business: Colonial businesswomen in New Zealand, Catherine Bishop. Dunedin: Otago University Press, 2019.Imagining Decolonisation, Rebecca Kiddle with Bianca Elkington, Moana Jackson, Ocean Ripeka Mercier, Mike Ross, Jennie Smeaton, and Amanda Thomas, eds. Wellington: Bridget Williams Books, 2020.Cosmopolitan Ambassadors: International Exhibitions, Cultural Diplomacy and the Polycentral Museum, Lee Davidson and Leticia Pérez Castellanos. Wilmington, DE: Vernon Press, 2019.Museums, International Exhibitions and China’s Cultural Diplomacy, Linda Da Kong. London: Routledge, 2021.Curating (Post-)Socialist Environments, Philipp Schorch and Daniel Habit. Bielefeld: Transcript Verlag, 2021.A Cultural Arsenal for Democracy: The World War II Work of US Museums, Clarissa J. Ceglio. Boston: University of Massachusetts Press, 2022.Mobile Museums: Collections in Circulation, Felix Driver, Mark Nesbitt, and Caroline Cornish, eds. London: UCL Press, 2021.Écrire la muséologie: Méthodes de recherche, rédaction, communication [Writing museology, Research methods, writing, communication], François Mairesse and Fabien Van Geert. Paris: Presses Sorbonne Nouvelle Ed, 2021.Cultural Renewal in Cambodia: Academic Activism in the Neoliberal Era, Philippe Peycam. Leiden: Brill, 2020.Animal Classification in Central China: From the late Neolithic to the early Bronze Age, Ningning Dong. Oxford: BAR Publishing, 2021.

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28

Ilyina, Irina Ye, Irina N. Vasilieva, Tatiana P. Rebrova, and Dmitry S. Pokrovsky. "Adaptation of International Experience of Creation of Science Popularization Centers to Russian Realities." REGIONOLOGY 30, no. 3 (September 30, 2022): 673–97. http://dx.doi.org/10.15507/2413-1407.120.030.202203.673-697.

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Introduction. In 2021, within the framework of the Year of Science and Technology announced in Russia, the work related to the popularization of Russian science and technology plays an important role. Noticeable shifts in the field of science popularization require the selection of new forms and methods of knowledge dissemination. Interactive scientific museums and science popularization centers are called upon to play a significant role in this field. For now, a system of indicators has been developed, but it does not fully meet requirements that should be applied to the science popularization objects. The main purpose of the article is to analyze the functioning of science and technology museums, museums of natural sciences and science popularization centers in Russia and in foreign countries and, based on the study of approaches to the effectiveness of their activities, to develop approaches and tools for popularization of scientific knowledge in Russia through creation of science popularization centers and knowledge quarters. Materials and Methods. Based on the reviewed forms and methods for organization of museum functioning in China, the USA, France, Great Britain, Canada, Germany, Italy and New Zealand the museum and science popularization center (SPC) activity analysis has been conducted to understand such indicators of their activities as funding, management documents in museum functioning, criteria and procedure for museum functioning assessment, etc. This has given us the possibility to discover common features and peculiarities of museum standards of these countries. Also, primary criteria and institutions for assessment of museums and science popularization centers in Russia have been determined. Through utilization of their activity assessment documents the outstanding centers and museums of Russia have been shown, the map of museums of natural sciences and science and technology museums of our country has been developed, the recommendations to increase their activity have been prepared. Based on the method of structural analysis and synthesis, the data have been studied and summarized, which allowed creating a model as a conceptual representation of the knowledge quarter functioning, predicting new approaches and tools for popularization of science in Russia. The identified approaches in the activities of Russian and foreign museums and popularization centers have been taken into account conceptually when forming proposals for improving popularization activities in Russia. Results. With the help of the conceptual construct used to characterize museums of natural sciences, science and technology museums and science popularization centers, the basic criteria for evaluating a science popularization center in Russia have been outlined; the specifics of foreign experience that can be useful in assessing the effectiveness of an SPC in Russia has been shown; the measures have been proposed to introduce knowledge quarters as an innovative approach to popularize science in the country. Discussion and Conclusion. The work of a science popularization center should be organized at each world-class scientific and educational center and at each world-class scientific center. When implementing the new strategic academic leadership program “Priority 2030”, it is recommended to take into account the need to integrate the activities of leading universities with the activities of an SPC. The creation of a partnership of organizations based on the conceptual novel approaches for functioning of knowledge quarters working in the field of science, education and business, which are geographically located in close proximity to each other, will contribute to ensuring the influx of talented young people into science and will allow the state and society to more effectively solve the tasks of implementing state policy in the field of science, technology and innovation in the future.

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29

Hakiwai, Arapata. "Once again the light of day? Museums and Maori culture in New Zealand." Museum International 42, no. 1 (March 1990): 35–38. http://dx.doi.org/10.1111/j.1468-0033.1990.tb00831.x.

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30

Carey, Simon, Lee Davidson, and Mondher Sahli. "Capital City Museums and Tourism Flows: an Empirical Study of the Museum of New Zealand Te Papa Tongarewa." International Journal of Tourism Research 15, no. 6 (March 6, 2012): 554–69. http://dx.doi.org/10.1002/jtr.1874.

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31

Neuts, Bart. "Mixed pricing strategies in museums: Examining the potential of voluntary contributions for capturing consumer surplus." Tourism Economics 26, no. 1 (March 5, 2019): 115–36. http://dx.doi.org/10.1177/1354816619828223.

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Existing pricing strategies at museums rarely reflect actual market demand. This article compares willingness to pay with paid entrance fees to establish consumer surplus and investigates whether voluntary contributions can serve to capture part of this surplus. A donation box is tested under various design experiments to identify best-performing contribution mechanisms. The proposed method is tested at the New Zealand Maritime Museum, with data collected via an intercept visitor survey and through electronic donation box counters. While the results indicate the existence of a significant consumer surplus, practically none of this surplus was gathered via voluntary contributions, and under normal circumstances less than 1% of museum visitors offered a donation. An animated donation box increased donations to 2% but remained well below the percentage of visitors that claimed to have a positive consumer surplus. The findings conclude that pay-what-you-want principles seem to have limited potential in mixed pricing strategy environments.

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32

MacDonald, Liana, Kim Bellas, Emma Gardenier, and Adrienne J. Green. "Channelling a Haunting." Public History Review 29 (December 6, 2022): 142–55. http://dx.doi.org/10.5130/phrj.v29i0.8218.

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The Aotearoa New Zealand’s Histories curriculum will be compulsory in 2023; what and how New Zealand history will be taught is currently up for debate. An innovative approach to engaging key curriculum understandings like colonisation, settlement and power would recognise that settler sensibilities frame national histories, to make visible the ongoing structuring force of colonisation. To this end, we present a model for teaching students how to consider a relationship between national identity, collective memory, and colonial history; to read settler cultural bias embedded in national institutions. Channelling a haunting is a process whereby students are encouraged to think and feel as though absent and silenced histories of colonial violence are not resolved, and to critique how settler memory and forgetting about New Zealand history permeates exhibitions at national institutions. Findings from a small group of student teachers who were channelling a haunting at two museums housing documents of national significance show how lovely and difficult knowledge about colonial history can create a sense of embodied racial comfort that legitimises the status quo. Rather than perceive national institutions as culturally neutral, students of all ages may be taught to critically analyse how they are biased to settler perspectives.

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Cameron, Fiona, and Conal McCarthy. "Two anthropological assemblages: New Zealand museums, Native policy, and Māori ‘culture areas’ and ‘adaptation’." Museum and Society 13, no. 1 (January 1, 2015): 88–106. http://dx.doi.org/10.29311/mas.v13i1.319.

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In this paper we investigate two anthropological assemblages in Aotearoa/New Zealand in the 1920s and 1930s and how each were used in the adjudication of forms of governmental regulation of Māori populations. We explore the radically different agencements and socio-technical arrangements of people, things and ideas that were formulated within these contexts. Henry Devenish Skinner, curator of the Otago Museum and Anthropology lecturer at the University of Otago, Dunedin, formulated his assemblages based on archaeological fieldwork, ethnology and Wissler’s culture area concept. Indigenous anthropologist Peter Buck and his associates the politicians Āpirana Ngata and Māui Pōmare formulated their distinct assemblages for operating on the Māori social according to living performative culture and anthropological fieldwork. Through these contrasting collecting, fieldwork and ordering regimes, different views of Māori as liberal subjects emerged to articulate ways the Indigenous population could enter into the cultural life of the emerging nation. Indigenous agency was ultimately to become of paramount importance in liberal governance.

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Thompson, George. "Public Control of Museums in New Zealand and the United Kingdom: Implications for Entrepreneurship." Journal of Arts Management, Law, and Society 33, no. 3 (January 2003): 228–39. http://dx.doi.org/10.1080/10632920309597348.

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Terreni, Lisa. "Young children's learning in art museums: a review of New Zealand and international literature." European Early Childhood Education Research Journal 23, no. 5 (October 20, 2015): 720–42. http://dx.doi.org/10.1080/1350293x.2015.1104049.

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McCarthy, Conal. "The rules of (Maori) art: Bourdieu’s cultural sociology and Maori visitors in New Zealand museums." Journal of Sociology 49, no. 2-3 (May 22, 2013): 173–93. http://dx.doi.org/10.1177/1440783313481521.

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Ogden, John. "The long-term conservation of forest diversity in New Zealand." Pacific Conservation Biology 2, no. 1 (1995): 77. http://dx.doi.org/10.1071/pc950077.

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The largely endemic flora of New Zealand is a remnant of the Cretaceous flora of Gondwana, supplemented by later additions from Australia and the tropics. Semi-natural plant communities cover about 50% of the country, and a scheme for the protection of supposedly representative areas is in place. Existing reserves do not adequately reflect the patterns of plant species diversity. Many are modified by introduced animals and alien plants. The latter are being actively introduced into New Zealand at the rate of c. 11 species per year. Measures of diversity are discussed and the broad pattern of (gamma) diversity and endemicity in the country is described. A comparison is made between (alpha) diversity levels in Beech Nothofagus solandri var. cliffortioidesand Kauri Agathis australisforest. Within each of these two forest types there are similar levels of alpha-diversity over a wide range of latitude. Altitudinal alpha-diversity trends indicate an average loss of 3.4 species per 100 m of altitude. This can be accounted for by the reduction of land surface area with increasing altitude on conical or ridge-shaped mountains. The altitudinal data emphasize the importance of the lowlands in the conservation of bio-diversity. The Holocene history of the forests in New Zealand suggests that the concept of "representativeness" is flawed: forest varies continuously in time and space. It may be possible to create some "living museums" of the past biota of New Zealand, but unless there are radical changes in our ability to eradicate animal pests and introduced plants, the composition of mainland forest reserves in the lowlands will change dramatically over the next few centuries. Conservation effort on saving endangered birds may have been at the expense of long-term "habitat" survival on the mainland.

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Cocker, Alan. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 4 (September 14, 2018): 2. http://dx.doi.org/10.24135/backstory.vi4.1.

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As we stated in our first issue of BackStory in December 2016, the editorial team has sought to produce a journal with an appeal beyond the academy to those working in the broad field of New Zealand art, media and design history. We have reached out to those working in the country’s libraries, galleries and museums for contributions and we have also provided space for commentaries and personal reflections on particular aspects of our cultural history.

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Brown, Clare M. "Harry Pasley Higginson and his role in the re-discovery of the dodo (Raphus cucullatus)." Archives of Natural History 47, no. 2 (October 2020): 381–91. http://dx.doi.org/10.3366/anh.2020.0662.

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Harry Pasley Higginson, a railway engineer from Yorkshire, northeast England, is one of the people credited with the first discovery of mid-Holocene dodo ( Raphus cucullatus) bones at Mare aux Songes, Mauritius, in 1865. A question still hangs over who could rightfully claim to be the first discoverer of the bones. It could have been Higginson, George Clark (a local schoolteacher) or perhaps someone else. Higginson collected a number of bones and kindly sent three boxes of dodo remains to museums in York, Leeds and Liverpool. The bones he sent are still there. Higginson later set up residence in New Zealand, where he became established as a successful engineer. Two of his achievements, the Kawarau suspension bridge and a dodo, are commemorated in stained glass in the Wellington Cathedral of St Paul in the New Zealand capital.

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Corbett, Susan. "Archives, Museums and Copyright Law: Reconciling the Traditional with Contemporary Practices." Victoria University of Wellington Law Review 50, no. 4 (December 2, 2019): 587. http://dx.doi.org/10.26686/vuwlr.v50i4.6303.

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By preserving and providing accessibility to cultural heritage, archives and museums have a crucial role in civil society. "Culture" is not a static concept; ideally, the practices of contemporary archives and museums should adapt to meet the changed expectations and cultural values of society. However, the limited permitted exceptions for archives in the Copyright Act 1994 are an obstacle to archives and museums attaining this goal. For example, the provisions are drafted from a traditional, analogue perspective, albeit with more recent minor changes in an attempt to acknowledge digital technologies. Furthermore, the permitted exceptions are confined to not-for-profit and state archives– a somewhat contentious limit in the 21st century when the Internet promises the means for cultural democracy. Museums are not mentioned at all. In addition, there is no legislative process permitting uses of orphan copyright works. This article explains how the permitted exceptions for archives could be amended in the upcoming review of the Copyright Act to better acknowledge and support cultural heritage institutions. It examines recent amendments in the Copyright, Designs and Patents Act 1988 (UK) and suggests that while some of these amendments would be useful for New Zealand to emulate, additional changes should also be considered.

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Cocker, Alan. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 2–3. http://dx.doi.org/10.24135/backstory.vi1.8.

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It is a pleasure to be able to introduce the first issue of BackStory. The idea behind this journal is to provide a medium for those interested in ‘looking back’ at New Zealand’s art, media and design history. These are the stories that lie behind current media, art and design production and practice in this country. It is envisaged that this new journal will provide an opportunity to explore our rich heritage in these fields. In part the motivation to launch a new journal is to meet a perceived need. The country presently does not have a journal which has the focus envisaged for BackStory. The Journal of New Zealand Art History (JoNZAH) was last published in 2012/13 and its absence has meant that those interested in reading and writing about this aspect of our cultural history lost a valued publication. The editorial team has approached the Hocken Library who provided editorial and production input for the JoNZAH and gained their support for the BackStory initiative. It is acknowledged that the new journal is not a re-launch or continuation of the JoNZAH. Instead, BackStory: Journal of New Zealand Art, Media and Design History, seeks to broaden the scope of its predecessor to include media and design history. The editorial teamhope that those who valued the JoNZAH will find value in this journal as a worthy successor.The initial editorial team for BackStory is drawn from the Auckland University of Technology (AUT) and an Editorial Advisory Board has been established. The establishing editorial team are Minna Pesonen (Designer), Rosemary Brewer, Alan Cocker and Peter Hoar from the School of Communication Studies, Peter Gilderdale from the School of Art & Design and Simon Mowatt from the Faculty of Business. It is the hope of this team that BackStory has an appeal beyond academia and will inspire contributions from those working in this country’s libraries, galleries and museums as well as others who have an interest in the history of New Zealand art, design, photography and media. We are pleased that this first issue contains contributions from curators at the Auckland Museum and Te Papa, and that there is a wide representation of different material drawn from across the target disciplines. Our hope is that the quality of the research and writing, and the common New Zealand focus will entice readers into crossdisciplinary explorations. All submissions except commentaries will be blind peer reviewed by two reviewers to conform to university research publication standards but we are seeking contributions that will have an appealbeyond the university. In the so-called online age the decision to publish a printed form is deliberate. The editorial team are seeking the highest print production standards conscious of the artifact value of this journal.

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Thode-Arora, Hilke. "“The Samoans Are Here!”: Samoan Ethnic Shows, 1895–1911." East Central Europe 47, no. 2-3 (November 9, 2020): 233–60. http://dx.doi.org/10.30965/18763308-04702004.

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Abstract Between 1895 and 1911, three groups of Samoans traveled to Germany to take part in ethnic shows. There were titled and high-ranking persons in each of the groups. This article explores the recruiting, organizing, and reception of the shows, contextualizing the European and Samoan perspectives, which differed significantly. In addition to written, visual, and material sources in Samoan, New Zealand, and European archives and museums, the research is based on interviews with descendants of the Samoan travelers who could still be traced.

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Hodder, Peter. "Out of the laboratory and into the knowledge economy: A context for the evolution of New Zealand science centres." Public Understanding of Science 19, no. 3 (June 26, 2009): 335–54. http://dx.doi.org/10.1177/0963662509335526.

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The establishment of science centres in New Zealand coincided with reforms of the way scientific research was conducted and funded and a low-point in career prospects for scientists. For political and financial reasons, most New Zealand science centres sacrificed their independence and became associated with museums and now receive much of their funding through local authorities. This could have assisted in their promotion of the public understanding of science; but the availability of educational funding through a “Learning Experiences Outside the Classroom” scheme motivated the development of educationally oriented programmes targeted to school-children. Despite this emphasis, there is no firm evidence that the centres have had any influence in increasing the popularity of science within education. Moreover, the centres have become perceived predominantly as places for children. International trends suggest that regaining the adult audience might be possible through greater emphasis on scientific research outcomes and their social and economic implications, rather than interactive exhibits portraying scientific principles through idealized and simplified laboratory experiments. In New Zealand, the popularity of science festivals — initiated a few years ago — and the recent growth of café scientifiques, offer promise in this direction. Additional funding for these and research-based exhibitions might yet come from a component of research grants being required to be spent on the promotion of research to the public.

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Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.

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Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.

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Mildwaters, Nyssa, and Danielle Measday. "Silcone-Based Solvents and Emulsions for Cleaning Natural Science Specimens: Case Studies from the Otago Museum and Museums Victoria." Biodiversity Information Science and Standards 2 (June 13, 2018): e26450. http://dx.doi.org/10.3897/biss.2.26450.

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Developed by the cosmetics industry, silicone-based solvents such as Cyclomethicone D4 and D5 and emulsifiers Velevsil Plus and KSG 350Z have found useful applications in museum conservation after being pioneered by Richard Wolbers to safety clean acrylic paint films. These products’ unique properties are also applicable for cleaning of natural science specimens. Silicone solvents are volatile and will completely evaporate away from surfaces. They have very low polarity and cannot not solubilise fats or oils, such as natural preen oils found in feathers. Low viscosity gives them the ability to flood a porous surface, such as bone, protecting it from absorbing chemicals and soiling during cleaning. Velevsil Plus and KSG 350Z provide the desirable ability to form an emulsion with water, and or solvents in a silicone based solvent carrier, allowing for the strictly controlled application of water or solvent solutions to the surface of a specimen. This poster will present case studies from the Otago Museum (Dunedin, New Zealand) and Museums Victoria (Melbourne, Australia) investigating the use of these products in cleaning natural science specimens. The experiments include the removal of an aged wax and shellac coating from a Moa (Dinonris sp.) skeleton, the removal of acrylic coatings on extremely moisture sensitive pyritized fossils, and the cleaning of soiled feathers and fur. Issues around sourcing and shipping these specialised products to Australasia will also be discussed. The successful application of paintings conservation techniques to scientific specimens demonstrates the benefits of collaboration between specialisations in conservation for developing new techniques for caring for our collections.

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Ling Wei, Ting, Howard Davey, and David Coy. "A disclosure index to measure the quality of annual reporting by museums in New Zealand and the UK." Journal of Applied Accounting Research 9, no. 1 (June 9, 2008): 29–51. http://dx.doi.org/10.1108/09675420810886114.

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Richards, Valerie. "ARLIS/ANZ and art libraries in the Antipodes." Art Libraries Journal 11, no. 1 (1986): 12–16. http://dx.doi.org/10.1017/s0307472200004442.

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ARLIS/ANZ Art Libraries Society, Australia New Zealand was formed in August 1976. Since then, ARLIS/ANZ has arranged a number of seminars and workshops for art librarians in both countries; found finance to bring three noted art librarians to the antipodes to give talks and workshops which stimulated both members and other interested professionals; and has published thirteen issues of ARLIS/ANZ News. ARLIS has served as a valuable support for art librarians working in isolation, at great distance from international centres of publishing and art activity. Distance between ARLIS/ANZ centres led to the formation of local interest groups and cooperation between art libraries in art galleries and museums, universities, schools of art, and national resource libraries.

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Bartomeus, I., J. R. Stavert, D. Ward, and O. Aguado. "Historical collections as a tool for assessing the global pollination crisis." Philosophical Transactions of the Royal Society B: Biological Sciences 374, no. 1763 (November 19, 2018): 20170389. http://dx.doi.org/10.1098/rstb.2017.0389.

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There is increasing concern about the decline of pollinators worldwide. However, despite reports that pollinator declines are widespread, data are scarce and often geographically and taxonomically biased. These biases limit robust inference about any potential pollinator crisis. Non-structured and opportunistic historical specimen collection data provide the only source of historical information which can serve as a baseline for identifying pollinator declines. Specimens historically collected and preserved in museums not only provide information on where and when species were collected, but also contain other ecological information such as species interactions and morphological traits. Here, we provide a synthesis of how researchers have used historical data to identify long-term changes in biodiversity, species abundances, morphology and pollination services. Despite recent advances, we show that information on the status and trends of most pollinators is absent. We highlight opportunities and limitations to progress the assessment of pollinator declines globally. Finally, we demonstrate different approaches to analysing museum collection data using two contrasting case studies from distinct geographical regions (New Zealand and Spain) for which long-term pollinator declines have never been assessed. There is immense potential for museum specimens to play a central role in assessing the extent of the global pollination crisis. This article is part of the theme issue ‘Biological collections for understanding biodiversity in the Anthropocene’.

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Grant, Elizabeth Maree. "“Pack 'em, rack 'em and stack 'em”: The appropriateness of the use and reuse of shipping containers for prison accommodation." Construction Economics and Building 13, no. 2 (June 17, 2013): 35–44. http://dx.doi.org/10.5130/ajceb.v13i2.3269.

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Shipping containers are gaining increasing recognition for their apparent durability, adaptability, light weight, ‘low cost' and ease of stacking, spurring a trend that has resulted in shipping container sculpture, homes, housing, hotels, and museums. The use of prefabricated, pre-manufactured and prototype building methods for prison construction has grown considerably as some jurisdictions attempt to deal with the construction of prisons with speed and economy. In the last three years, shipping containers have been used in the prison sector as a way of managing burgeoning prison populations. Recent prison developments in both Australia and New Zealand where shipping containers have been employed for prisoner housing are of considerable interest. In this article, the financial, functional, structural, technical, environmental and architectonic impacts of this approach are discussed.

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Johnson, Elizabeth, and Chern Li Liew. "Engagement-oriented design: a study of New Zealand public cultural heritage institutions crowdsourcing platforms." Online Information Review 44, no. 4 (May 19, 2020): 887–912. http://dx.doi.org/10.1108/oir-10-2019-0329.

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PurposeThe purpose of this study is to propose a set of design recommendations for crowdsourcing platforms with a focus on user engagement. A sample of New Zealand (NZ) cultural heritage institutions (CHIs) crowdsourcing platforms were assessed, with the aim of offering insights into how they have been designed to encourage dialogue and engagement and to sustain participation.Design/methodology/approachThe design recommendations were derived from a review of related works. Following this, 12 crowdsourcing projects overseen by libraries, museums and an archive in NZ were assessed against the recommendations through content analysis.FindingsThe recommendations were classified into four main categories. These were promote ease of use, attract and sustain user interest, foster a community of users and show users that their work is contributing to the institution and society. The findings indicated that the sample of crowdsourcing projects assessed were generally successful at displaying the credibility and significance of their projects, and promoting their crowdsourced collections. Many of the projects could nevertheless benefit from providing further support to promoting dialogues and engagement with their users and contributors and sustaining offline community interaction.Research limitations/implicationsThe content analysis conducted was focused on the functionality of design elements of the crowdsourcing platforms. The design recommendations derived from the analysis were intended as a starting point for discussion and they would need to be validated in further studies. Other relevant project information such as funding and staffing, promotion and outreach efforts were not solicited in this study. Such information could provide important contextualisation. Future research could take the form of in-depth case studies, including surveying those involved in the projects and stakeholders to investigate such contextual aspects of crowdsourcing projects.Originality/valuePrevious research on crowdsourcing in NZ CHIs consisted of single case studies. This study provides a wider snapshot and insights into digital crowdsourcing platforms from public NZ CHIs. The study findings have practical implications for project managers and Web designers involved in crowdsourcing projects, particularly those in the cultural heritage sector.

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