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    Keeping taonga warm : Aotearoa New Zealand's museums and Maori tapu material : a thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology, Palmerston North, Social Anthropology Programme, School of Global Studies, Massey University
    (Massey University, 2003) Park, Marilyn
    This thesis is an interpretative viewpoint from a Aotearoa New Zealand tauiwi, of the importance of the spiritual meaning of taonga and their related concepts of tapu, mana and wairua to Maori, both in the past and today. It is concerned primarily with how taonga and their tapu nature have been addressed by Aotearoa New Zealand's museums, historically and contemporarily, and by the anthropologists and archaeologists and ethnologists working within them. While related issues include all indigenous secret and sacred material, both tangible and intangible, I am primarily interested in how museum professionals, expecially anthropologists and archaeologists working within New Zealand Museums, have incorporated the concept of tapu into their engagement with Maori taonga, and how they resolve their own beliefs with those of Maori. I am specifically concerned with how Maori taonga are kept spiritually ' warm,' by non-Maori museum personnel concerned with their physical care. This involves an analysis of museum traditions and past historical influences now affecting Aotearoa New Zealand today. This discussion begins with an explanation of the author's ontological viewpoint and reasons for writing this, and sets the terms of reference for the following discussions. Chapter One examines of the meaning of tapu, taonga and their related concepts, the way in which early writers and ethnologists have dealt with this subject historically, and the impact that this had on the current museological climate as well as interpretations by current writers including Maori and anthropologists. Chapter Two shows how scientific interests took precedence over Maori tapu concerns in early museum practice, both in collecting habits, display and in the interpretation of Maori tikanga, by ethnologists and museum management. Chapter Three discusses the recent changes in the management of some Aotearoa New Zealand's museums, the effect of professional guidelines and specific pieces of legislation on both Maori and museums, nationally and internationally. Recent changes include bicultural management within some museum management structures, iwi liaison committees within others, and current Maori initiatives in respect to the management of koiwi tangata. Chapter Four examines the impact that the changing attitudes towards Maori issues by non-Maori staff have had in Aotearoa New Zealand's Museums, regarding Maori access to taonga, the handling of taonga by non-museum staff, conservation issues and what the situation is today and where it is going. In the Conclusion I argue that, rather than a growth in understanding of Maori concerns regarding the care of and access to taonga held in Aotearoa New Zealand's museums, and of their tapu regulations, and the implications of these to the current well-being of specific iwi, a process of 'managerialization' of tapu concerns has been instigated in all major museums in Aotearoa New Zealand, and with some variations, within some other smaller ones. This has resulted in the decision making passing into the hands of iwi or joint management committees, whereby individual curators, collection managers and ethnologists no longer need to understand these issues deeply. Finally, I emphasise that only museums who actively pursue a co-operative relationship with their local iwi or marae will be visited by the local Maori community and continue to be allowed to continue to care for these important links from the past with the Maori of today. This should involve a repatriation of stolen taonga, koiwi tangata and mokomokai and retraining of museum staff in tikanga and Maori issues. It is not enough to 'pass the buck' and ignore the issues involved.
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    The present as the past's future : the heritage significance of foundation deposits and time capsules in Christchurch : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Arts in Museum Studies at Massey University, Manawatū, New Zealand
    (Massey University, 2019) Adamski, Maria Ann
    Foundation deposits and time capsules (collectively deposits) are hidden vessels containing purposefully gathered objects to be opened in the future. This thesis examines the importance of this type of artefact within a heritage significance evaluation methodology. Deposits are of interest as they are a representative record of their time selected by communities for preservation. They have not been thematically identified or considered for protection by territorial authorities and therefore are not listed in District Plans. This thesis focuses on deposits at two different locations, the Godley Statue and the Sumner Borough Council Chambers, which were exposed as a result of the Canterbury Earthquakes 2010-11. It also focuses on the modern deposits that were subsequently placed at these sites. In considering these objects this research asks how are these deposits valued and how does this contribute to their significance. The aims of this study are to determine the values associated with these deposits and critically appraise the effectiveness of a territorial heritage assessment method. The research is based on reviewing archival documents, historic records and ceremonial speeches along with an examination and assessment of the objects. The contemporary importance of the object’s is understood through interviewing individuals who had experiential knowledge. The ceremonial speeches and interviews are analysed using an inductive reasoning and adapted grounded theory approach to elicit a core value. This research demonstrates that a participatory process contributes to a greater understanding of New Zealand’s heritage that may not be immediately obvious. It establishes that deposits are valorised and justify increased attention as they have the potential to afford insight into the past, the present and the future. As a result it is essential that they are understood before they are responded to. Further it was found deposits challenge traditional heritage practice. This research suggests increased attention is required towards assessing social values and to evaluating them as a separate criterion.
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    The role of a museum (Te Papa) in the rejuvenation of taonga puoro : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University, Manawatū, New Zealand
    (Massey University, 2015) Tamarapa, Awhina
    This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Maori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Maori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Maori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future. Te Papa documentation from 1995 to 2014 is also a primary source. As a Maori Curator at Te Papa, I reflect on my role and the tensions between personal, cultural and professional roles that the rejuvenation of taonga puoro creates. The thesis argues that cultural revitalisation, as a process of ‘liberation’ (Kreps 2003a) has a transformative power, to redefine the significance of taonga in museums as cultural and spiritual inspiration for present and future generations. The ‘creative potential’ (Royal 2006) paradigm opens up a future for knowledge development that museums should be a part of. This potentiality has cultural and social benefits, which is identified as a restorative healing process, a philosophy of health and wellbeing, a form of ‘hauora’ (healing). This inductive research shows that the role of a museum is important to practitioners’ but there are contradictions and paradoxical issues to museum practice that make situations complex. This research reveals that ‘taonga puoro, taonga hauora’ is a model that can transform museum practice by operating not just to preserve materiality, but the intangible aspects of a peoples’ living culture.
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    Te Maori past and present : stories of Te Maori : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Social Anthropology at Massey University
    (Massey University, 1996) Butler, Philippa Jane
    Te Maori has been acknowledged as an exhibition of great power, an event that had tremendous impact on New Zealand museums, Maori, and New Zealand in general. It generated a lot of comment, both at the time and in subsequent years. This thesis examines the story of Te Maori. It begins with the telling of the story of the event - the dawn opening ceremonies, their impact on the popular imagination of the American and New Zealand public, and the impact of the taonga themselves. The thesis then argues that, while this account is 'Te Maori', Te Maori is also wider than those events. Te Maori is also the stories and accounts and attempts at analysis that accompanied and followed those events. In that vein, those stories are examined - the story of Te Maori, the story of the stories. The articles discussed are more than just accounts of an exhibition, they are also part of that exhibition - part of the tradition and momentum generated. The thesis then moves on to document the story of someone who was involved with the Te Maori Management Committee, Mina McKenzie. This story shows that the process through which things were done, and the energy so generated, were essential to the success of the exhibition. Finally, a more 'anthropological' story is offered, which situates the issues raised by the various accounts within anthropology. By presenting many different perspectives on the one event, it is suggested that a more accurate, more complete telling of Te Maori is rendered.