What does a Te Papa curator do? I spent last week following Te Papa’s terrestrial vertebrate curator Alan Tennyson to find out. Here are some of the main highlights:
Visitors
Monday saw Alan meet with Trish Nugent-Lyne, a collection manager at Whanganui Regional Museum. Te Papa staff are helping Trish prepare an articulated dog skeleton for an exhibition Whanganui Regional Museum is holding at the end of the year. The dog bones Trish brought were put into Te Papa’s dermestid beetle tanks to clean them.
Alan examining a skeleton being cleaned by beetles.
Alan also showed Trish through the vertebrate collections where they viewed other skeletons that she may borrow from Te Papa for their exhibition. They also discussed different storage techniques for fragile items such as eggshells.
Alan and Trish looking at birds eggs in Te Papa’s collection. Te Papa has recently improved their storage method of these fragile items.
Many researchers visit Te Papa, both from within New Zealand and overseas, to use the natural history collections for research. This week Alan communicated with a Chilean researcher who wants to visit Te Papa to examine pleisosaur bones.
Outreach and networking
Last week was Primary Science week. During the week Te Papa curators and educators visited schools in the Wellington region. On Thursday Alan spent the day at Dyer Street School in Naenae talking to the kids about his job as a curator. The kids especially enjoyed seeing the moa bones and giant shark teeth that Alan took along and hearing about his fieldwork in Vanuatu.
Alan was interviewed by Alison Balance from Radio New Zealand about the New Zealand Birds online project, led by Te Papa curator Colin Miskelly. Alan’s contribution to this website has been writing the texts for a number of living and extinct bird species and contributing photos. This week he worked on the final edits of some texts (the website goes live over Queen’s birthday weekend) and took photos of extinct penguin bones which will be displayed on the website.
On Wednesday afternoon Alan attended the launch of a new fossil book at GNS in Lower Hutt. These types of events provide a great opportunity to network with colleagues working at other institutions.
Public and professional enquiries
Te Papa receives many enquiries from the public, these are passed on to the appropriate curator to deal with. For Alan these types of enquiries typically involve identifying birds or fossils. However, this week Alan also responded to an enquiry wanting advice about restoring seabird sites in the Waikato. He also discussed developing legislation to prevent the sale of moa bones with the Department of Conservation.
Research
This week Alan assisted me with selecting prion samples from Te Papa’s bird skin collection for DNA analysis. Alan is part of the Te Papa seabird research team undertaking several projects into seabird taxonomy.
Alan looking at a selection of Te Papa’s prion skins.
This week Alan learnt that a team he works with in Adelaide have identified a couple of bat teeth from new species. These had been previously collected from the St Bathans fossil site in central Otago. Alan has been involved in excavating this site for the past 12 years. It takes many months to sort through the material collected in a single trip.
Further time was spent in the collections identifying bones from the Chatham Islands, including an extinct penguin, that had been donated to Te Papa.
Collection development
Alan also manages contractor Catherine, who prepares new bird skeletons, wings and tails for inclusion in Te Papa’s collection. He decides which specimens Catherine should prepare and the type of preparation each one needs. This involves checking both the condition of the specimens and seeing what is already held in the collections.
Alan with a shearwater skeleton prepared by Catherine.
A wing being prepared by Catherine for incorporation into the collection.
Bruce – deranged, 2004, Auckland. Sean Kerr. Purchased 2006. Te Papa
I have been thinking about digital and new media art again this week ahead of a panel I am part of tomorrow night (20th) discussing collecting media art (Adam Art Gallery, 6pm).
In 2008 I wrote an essay for the Aotearoa Digital Arts Reader, (btw, the essays from the book are now available in PDF form on the ADA website) in which I argued that media art pushes gallery professionals and artists to re-examine how they participate in the care, storage, interpretation and display of artworks – particularly art works that are ‘born’ digital because they are made using software.
Te Papa has a small number of new media art works in the collection including Sean Kerr’s Bruce – deranged (above), and Stella Brennan’s ZenDV; Bluescreen and Bars and Tone (below).
Four years on I’m curious – are regional galleries and museums collecting digital, or new media, art? It would be great to hear about what people are up to out here….
ZenDV; Bluescreen and Bars and Tone, 2002, Auckland. Stella Brennan. Purchased 2009. Te Papa
Rātana is a Māori adaptation of the Judeo-Christian tradition. Founded in 1918 by T.W. Rātana (1873–1939), Rātana has become a major Māori church in New Zealand with over 45, 000 Morehu or followers (as at the 2006 census). T.W. Rātana was raised Presbyterian with Wesleyan influences, so it is highly likely this religious familiarity has influenced the presentation of the Rātana kākahu, which show a distinct and direct correlation to the Protestant ecclesiastical vestments. The clothing that symbolised authority within the Protestant faith was adapted as the symbols of authority and leadership in the Rātana faith.
From its establishment to today, the Rātana Church continues its role as an important faith and guide for many Māori across the country, and T.W. Rātana had a major impact on Māori leadership in the twentieth century.
A.005127; At Ratana; 1939; Maori; Raine, William Hall
A.005115; Ratana; about 1933; Raine, William Hall. 5 men (all 5 wearing suits), on house porch, attending the 60th birthday celebrations of Tahu Potiki Wiremu Ratana (centre, front row) :- Back row (left to right) – PK Paikea, T Omana. Front row (lerft to right) – HT Ratana, Tahu Potiki Wiremu Ratana and ET Tirikatene.
Rātana Ministerial Uniforms
Uniforms are of great importance to the Rātana Church, especially as visual signifiers of the specific roles and duties of the wearer. There are three levels of Āpotoro – three different ministers/readers, and each of these is identifiable by their various prescribed uniforms.
In the image below, you can see three types of minister uniforms.
The different Āpotoro at Rātana Pā. Photograph courtesy of Robin Ohia. 2011.
The Āpotoro Rēhita or the Registered Apostle is an official registered minister who not only has spiritual duties but also legal. They are legally mandated to carry out the similar duties as a Justice of the Peace. (Purple cassock, white surplice, purple stole)
There are also the Āpotoro Wairua, the lay-readers, who support many followers of the Rātana Faith with spiritual counsel and guidance. (Blue robe, red stole)
There are the Akonga, or the disciples in training. (White surplice, yellow stole)
Colour origins
The design origins of the Rātana ministerial clothing lie within the Old Testament from the Exodus gospel: “And of the blue, and purple, and scarlet, they made cloths of service to do service in the holy place, and made the holy garments for Aaron; as the Lord commanded Moses. (Exodus 39, 1)
The Donor – Mita Ririnui
The Honourable Mita Ririnui in his Āpotoro Rēhita robes. Photographed by Michael Hall. Copyright Te Papa Tongarewa, 2012.
These kākahu were gifted by Honourable Mita Ririnui, a retired Labour MP for the Waiariki District and an Apōtoro Rēhita in the Rātana Church for the last 25 years. He lives in Tauranga, where he was born and raised, and is of Ngāti Ranginui, Ngāi Te Rangi and Ngāti Pukenga descent. He continues to carry out Treaty Settlement work following his retirement from Parliament in 2011 and was raised in the Rātana Church:
“I have always been a member of the Rātana Church, my dad was a member of the Rātana Church, my granddad was a member of the Rātana Church so that’s the only religion I have ever known. …. I have always followed the philosophy of the Rātana Church; much of it has been instrumental in my upbringing.” (Mita Ririnui, interview with the Curator, 14 June 2012).
Mita became an Ākonga at the relatively young age of 27 and just a few years later he was made an Āpotoro Rēhita. His ascension within the church not only meant a commitment by him as an individual, it also required the commitment of his wider whanau. He described the special process in acquiring his appropriate robes for his new roles and the involvement of his family, almost as a rite of passage:
“My family gave me my kākahu – my first set of kākahu were my lay reader’s kākahu. My dad and his sisters gave me those. They were the only set of kākahu I had for that particular tūranga (appointment). When I graduated to the next level as an Āpotoro Wairua, the responsibility was mine from thereon…and so when I was appointed the position, I made a deliberate approach to the church authorities and presented my certificate. And once it had been signed, I made a deliberate attempt to purchase my own, because it had to be mine. And because the role became more important I had to take total responsibility.” (Mita Ririnui, interview with the Curator, 14 June 2012)
The Āpotoro Rēhita robes that he wore as a Registered Apostle were, in the end, paid for by Mita and his father. The involvement of family in the ordination and robing was significant. To acquire the robes, the pair made a trip to the Rātana Pā near Whanganui.
“They’re only made in the church office, Rātana Pā – these lovely ladies in the back room, with their sewing machines, having been seamstresses in previous lives, and I’d like to say made to measure, but they fitted me perfectly.” (Mita Ririnui, interview with the Curator, 14 June 2012)
Mita was then 30 years old, and still continues to practice today as an Āpotoro Rēhita.
Detail close ups of the kākahu. Photographed by Michael Hall. Copyright Te Papa Tongarewa, 2012.
On a slightly more personal note, while I was brought up Katorika or Catholic, I was also raised alongside many of my extended family and members of my tribes who belonged to the Rātana church. Indeed three of my grandparents were raised Rātana (until my maternal grandmother converted to Catholicism after marrying my grandfather). So the Rātana church had a very strong presence in my childhood and I’ve always loved the colours and sounds of Rātana – their striking purple uniforms, hymns, the thunder and lament of the Rātana Brass Bands (otherwise called the Reo), and the solemnity of the spiritual Āpotoro. And in this, there were memories of watching uncles who were Āpotoro, dress in their Āpotoro robes, in readiness for Whakamoemiti or prayer service. There was a tangible sense of transformation and reflection as they dressed. In that short small and informal ritual of donning their robes over their everyday clothes they stopped being our uncles, and became spiritual leaders. I wanted to duplicate this process somehow in the Uniformity exhibition.
When I explained this to the Uniformity exhibition team and to Mita, they were in full support. And with huge amount of gratitude to the generosity of Mita, we were able to film the following clip here in our studio at Te Papa. We filmed his dressing process in the morning, and in the afternoon, I interviewed him about his life in the church and as an Āpotoro.
Filming Mita Ririnui in Te Papa studio. June 2012. Photographer Puawai Cairns, copyright Te Papa Tongarewa 2012.
Adjusting robes for filming. Photographer Michael Hall. Copyright Te Papa 2012.
Mita Ririnui and the Curator. Photographer Michael Hall. Copyright Te Papa Tongarewa, 2012.
I’m always interested in hearing and seeing your own memories of churches in your life. Please feel free to share images or stories, either of the Rātana Church or of any other denomination.
He mihi:
Thank you to Mita Ririnui for his generosity in contributing to the Uniformity exhibition and sharing his personal stories with Te Papa.
Thank you also to Te Herekiekie Herewini, for peer reviewing this article.
Glossary:
Kākahu: Clothes, robes
Tūranga: appointed position
Āpotoro Rēhita: Registered Apostle
Āpotoro Wairua: Spiritual Apostle, Layreader
Ākonga: Acolyte, Learner
Whetū Marama: The crescent moon and star symbol of the RātanaChurch
This past Saturday (1 December 2012), we had a special request from a group of visitors who were going to be in Wellington for a weekend. They wished to come in and talk to some of the curators and see the collection. This is relatively common but what was slightly unusual about the group was that they had come from Rapa Nui, otherwise known as Easter Island.
Map of the Pacific. Image reproduced courtesy of Easter Island Travelling
Image of the famous Moai. Image reproduced courtesy of World Heritage Sites, on Tumblr.
Rapa Nui is in the furthest southeastern part of the Pacific, one of the most isolated of the islands which make up the Pacific Islands. It is home to the magnificent moai statues and part of Polynesia. Rapa Nui is called ‘Te Pito o te Henua’ (the bellybutton of the world), is a territory of Chile and home to nearly 6, 000 people. On the island, Spanish and Rapa Nui te reo is spoken. Rapa Nui reo is very similar to Te Reo Māori and speakers of both languages are able to communicate.
As part of the Pew conservation work, they are looking to develop a relationship with the indigenous people of Rapa Nui, where the Pew Group have identified a proposed reserve. So they sponsored a visit by five Rapa Nui tangata whenua with the intention to bring these representatives to New Zealand for a quick reconnaissance visit, in preparation for a larger group visit next year.
I have a special affection for requests from visitors from the Pacific. Many of the taonga that we care for in the museum have ancestral roots and resonances with many of the island nations throughout the Pacific. So when we have visitors from the Pacific to the Māori collection, I get very excited to hear their reflections and observations of the taonga Māori.
My own travels to two Pacific Festivals of the Arts (one in American Samoa in 2004, and the most recent in the Solomon Islands, 2012), I have been lucky to see the Rapa Nui island represent itself at the festival with dancers and carvers.
Rapa Nui dancer, at the 11th Festival of Pacific Arts, Solomon Islands. Photographer Puawai Cairns, copyright Te Papa Tongarewa, 2012.
Rapa Nui carvings and artists, at the 11th Festival of Pacific Arts, Solomon Islands. Photographer Puawai Cairns, copyright Te Papa Tongarewa, 2012.
For some reason, a ripple of excitement always went through the crowds when Rapa Nui presented itself in any of the parades. Whether it is the exotic, beautifully sensual nature of the dancing, the beauty of their dancers, or just the mystery of the people and culture of Rapa Nui, it is difficult to tell. In any case, Rapa Nui always holds some allure.
But like many of the Pacific Island nations, their recent history has been fraught with protests over land and recognition of indigenous rights, and great efforts to protect, and revitalise their language and culture.
The visiting group and the curator, in front of Te Hono ki Hawaiki (Te Papa’s wharenui). Photographer Dr Susan Waugh, copyright Te Papa Tongarewa, 2012.
The group: Bronwen Golder (not pictured) – Director the Pew Environment Group Kermadec Initiative Simon (Kuchy) Pakarati (left) – a Rapa Nui fisherman and Pew Environment Group leader on the island. Alberto Hotus (2nd from the left) – Chair of the Council of Ancients on Rapa Nui. He was described by the group as a ‘Walking Library’ of Rapa Nui lore. He was the elder of the group and was referred to as Koro. He last visited New Zealand in 1976, when he came to the Pacific Festival of Arts in Rotorua. Pedro Tepano (2nd from the right) –member of the Rapa Nui Council, who is responsible for revitalising Polynesian waka racing on the island. Ernesto Escobar (right) – the Director of the Pew Global Ocean Legacy project in for Rapa Nui and Bronwen’s Chilean counterpart.
The Visit
A group of Te Papa staff gathered and greeted the visitors when they arrived. We had to speak through Ernesto, who translated from English to Spanish for us. I spoke Māori and we all managed to make ourselves understood. But thanks to Ernesto’s indefatigable efforts, he allowed the conversations to flow quite easily.
Te Papa has a few pieces in the collection with an association to Rapa Nui/Easter Island but when they began in the Pacific collection with Grace Hutton, Collection Manager Pacific, they were more interested in seeing material from other cultures. After the Pacific Collection, Mark Sykes (Maori Collection Manager) and I, took them into the Māori collection where we spent several hours going through the taonga Māori.
Through our shared conversations and exploration of the museum, I found it remarkable how many commonalities there were between us. The Polynesian culture – even though spread across thousands of miles – has maintained a strong presence throughout the many different islands. I showed them examples of taonga, such as the tokotoko, and they recognised them immediately – having the same taonga in Rapa Nui – with the same name and same function. In fact, the phrase – “same, same” kept arising the whole time they visited. Koro and I would discuss a story or a taonga and inevitably end up saying “same-same” and then smile at each other in recognition of the ancestral connections which still endure between our two islands.
We had similar stories, humour, and even body language. When discussing some of the bleaker aspects of both countries’ encounter histories; for instance, imperialism, cultural erosion, efforts to revitalise customs and practices – these were still points where we could share common experiences and struggles. It was amusing, poignant and endearing.
Pedro’s pukana. Photographer Puawai Cairns, copyright Te Papa Tongarewa, 2012.
Two places they took particular interest in, were the two whare in Te Papa. Te Hono ki Hawaiiki (pictured above in Pedro’s pukana picture) and the magnificent Rongowhakaata whare Te Hau ki Turanga. When I described the conflicted acquisition history of Te Hau ki Turanga and its negotiated return to Rongowhakaata, as part of the tribe’s Treaty settlement, there were nods of empathy and agreement that the whare’s return to its people was right.
Once they left the Cable Street site, Dr Susan Waugh then took them to the Natural Environment storage at the top of Tory Street, where they spent a further two hours looking at specimens in Te Papa’s enormous NE collection.
The Reo
Before their visit, my curator colleague and friend Reuben Friend from the City Gallery, sent me a list of Rapa Nui words that he thought I could intersperse throughout my conversations. I’ve listed them here because they reveal just how similar we truly are (I haven’t put in the macrons). [n.b. I am by no means a language expert, so consider this a rough guide as opposed to an exact linguistic translation.]
Rapa Nui word
Māori word
English word
wananga
korero
to talk
ite
mohio
know
ina
kaore
no
Maururu
(can use kia ora)
thanks
hare komo
whare paku
toilet
rohirohi
ngenge
tired
Petipeti!
ka pai!
All is well!
hakaora
Whakaora (be well)
see ya
These words came in pretty useful during the day, so many thanks to Reuben. If you want to listen to the sound of Rapa Nui reo, you can listen if you follow this link.
I hugely enjoyed the visit by our Rapa Nui whanaunga (relatives) and do hope they come back to Aotearoa again. I found it a moving experience, listening to their stories, their struggles to bring their own culture back from the brink and to be given the recognition that many indigenous peoples struggle for. I applaud the Pew Environment Group for having the foresight in supporting the people of Rapa Nui to be involved with their efforts to raise awareness of the fragility of the environment and the unique species found within the Kermadecs and around Rapa Nui.
In 2010, one of our staff wrote this intriguing blog about the toromiro tree, a relative species to the kowhai here in Aotearoa, used for Rapa Nui carvings. You’ll see that Aotearoa and Rapa Nui share more than cultural similarities.
I look forward to their next visit!
Maururu / Kia ora!
UPDATE: as a wonderful coincidence, this week two ocean-going waka from Aotearoa – using traditional navigational techniques and after four months voyaging – have arrived in Rapa Nui. You can read about it here: The Waka Tapu Project.
Koro (Alberto) and me. Photographer Dr Susan Waugh, copyright Te Papa Tongarewa, 2012.
I’ve been asked a lot of questions about why some of the new acquisitions were pursued and why they were put into this show, so hopefully this entry will help answer some of the queries and shed light on the curatorial decisions made for Uniformity.
In my last blog Uniformity: Why Uniforms Matter, I talked about the reasons for an exhibition about uniforms. And I promised in that last blog to talk further about some of the Māori uniforms included in the show. So for the next few blogs, I’m specifically going to talk about the seven uniforms from the Mātauranga Māori collection which also happen to be brand new acquisitions for Te Papa.
Uniformity was a collaborative exhibition between the Mātauranga Māori and History collections. This meant there were two curators, Stephanie Gibson and me, working on the show and deciding on the objects for inclusion. In this blog, I’ll just talk about the seven new acquisitions and go into a bit of detail about why these uniforms were acquired and the storytelling role they each have in Uniformity.
How the exhibition is arranged
There are seven large cases in total in Uniformity, and each of these cases holds a number of uniforms grouped according to a theme. After careful consideration of the potential content and the stories we wanted to tell, the themes selected were:
Just so you aren’t still here reading in a month’s time, I’m only going to talk about uniforms included in four of the cases (the ones with the asterisks*).
In this blog I’ll talk about one of the cases mentioned above – the Military.
The historical roots of uniforms are firmly planted in Military and Ecclesiastical histories, so it is only right that the first two cases that begin the story of Uniformity exhibition focus on examples from the Military and Church.
In-situ shot of the Military Case
The Military case was a very satisfying case to work with, and it was also the case that took the most time and attention. Steph and I worked very closely with representatives from the Armed Forces – especially from the NZ Special Air Service (NZSAS) and Clive Robinson Senior Advisor Insignia and Ceremonial Items, from the New Zealand Defence Force. Clive in particular was personally recommended by Sir Jerry Mateparae to advise and consult on all matters to do with his uniform and his expertise was truly invaluable.
New Zealand military uniforms have inherited a legacy of strong traditions from European military dress. The deeply significant customs and particularities around dressing made it very important that we got everything in the case absolutely right. No detail could escape scrutiny – the correct combination of insignia, the placement of the aiguillettes on the shoulder (a trickier task than you would think), and even the buttons – were all subject to careful examination.
I believe the pains we took to make sure everything was as correct as practicable have paid off. However there are a few very small quirks unique to Sir Jerry’s uniform and his wearing preferences, which some eagle-eyed uniform experts out there might spot. But I won’t highlight them, I want to see if anyone can pick them out.
Graphics by Nick Clarkson, Te Papa 2012
From the beginning of exhibition development, the military theme was a huge influence on how the Uniformity exhibition team envisaged the show. The image above is the main graphic identity designed for the show by our Graphic Designer Nick Clarkson. You’ll see the strong silhouettes of soldier-type figures, male and female. Further, look at the bold red (which I loved from the beginning, when Nick suggested the use of it in the graphics) which reference the red in the Military case; and the use of camouflage patterning in the typography, all of these elements underline the significance of the military uniform story in the overarching show narrative.
1. Ceremonial Service Dress uniform and accessories for Chief of Defence Force about 2006
Sir Jerry Mateparae’s CDF uniform. Photographer Michael Hall, Te Papa 2012.
Uniform gift of Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand, 2012 (ME024094)
Suit made by Albion Clothing, New Zealand; aiguillettes and sash by The Wyedean Weaving Company, England; sword by E L M Medallists, Singapore.
Made from poly-wool blend, anodised brass, gold, felt, cotton, steel, plastic.
On its own, this splendid uniform even without any mention of its very famous donor is remarkable enough. It is a wonderful example of khaki Service Dress, with accompanying regalia and insignia to demonstrate the wearer’s service history, and that he is of exceptionally high rank.
Between 1 May 2006 – 24 January 2011, His Excellency Lt Gen The Right Hon Sir Jerry Mateparae GNZM, QSO (Ngāti Tūwharetoa and Ngāti Kahungunu), served as the Chief of Defence of the New Zealand Defence Forces, a remarkable epoch in a long military career. Enlisting in 1972, Sir Jerry rose through the ranks to become the first Māori Chief of Defence in the history of the military – the highest commanding appointment possible in the defence forces – in 2011. At the conclusion of his service as Chief of Defence, he was subsequently appointed as Governor General, the second Māori to be so – a role he continues to perform.
His Excellency Lt Gen The Right Hon Sir Jerry Mateparae GNZM, QSO (Ngāti Tūwharetoa and Ngāti Kahungunu). Photographer Simon Woolf, image courtesy of Government House, 2011.
This uniform that you see here is a Ceremonial Service Dress All Ranks uniform. Known as a Ceremonial 1A, it is worn by all ranks of the NZ Army on formal occasions and directly influenced by the khaki British Army service dress adopted by the New Zealand Army in the early 20th century.
This uniform consists of long dress trousers, a short sleeved shirt and tie, and the service dress jacket. The trousers and jacket are made from polywool, by Albion Clothing in Christchurch. There are two patch pockets with box pleats on the breast, and two bellows pockets on the lower part of the jacket (called the skirt). The anodised brass buttons are removable and feature the words ‘New Zealand Defence’ with the 4 stars of the Southern Cross.
Close up of shoulder rank badges.
While this uniform was issued to All Ranks, there are a number of specific symbols on this uniform – on the breast, shoulders and upper arm – which distinguishes Sir Jerry’s very high rank and the corps to which he belonged or commanded.
Do you notice the prominence of the red – the colour of the gorget patches on the collar, and the puggaree on the lemon squeezer? Visually the red is not only very striking but also herald back to the historical use of red in British military uniforms (as demonstrated by the inclusion of the Gordon Highlander’s jacket). In this example, the red on the puggaree denotes the wearer is permanent infantry staff, and the gorget patches as worn on this uniform are indicators of rank signifying the wearer is above the rank of colonel.
Close up: Ceremonial Sash with kowhaiwhai patterning
This strong Maori identity is further observed in the NZ Army badge, a Herald of Arms that shows an officer’s sword crossed with a taiaha kura. When you come visit the exhibition, you can see a taiaha kura in the military case. One other interesting facet to the taiaha kura is the use of red cloth to form the tauri (collar) of the taiaha kura included in the show, as well as awe or Maori dog hair tassels. Ordinarily kākā feathers would have been used to create the tauri, as in this example but some tauri from the mid century were said to have used the red cloth from soldiers’ red-coats. These examples are however very rare.
There are a number of additional elements that we added to Sir Jerry’s uniform in order for the visitor to see how he would have dressed as Chief of Defence at very formal occasions. These elements have been borrowed from the New Zealand Defence Force. The Lemon Squeezer with its puggaree and hat badge, the aiguillette, the general officer’s sword and leather gloves, the medals and the ceremonial sash, have all been borrowed and I hope to acquire them permanently, so we can always be able to see Sir Jerry’s uniform dressed this gloriously.
Photographer Michael Hall, Te Papa 2012.
When His Excellency Sir Jerry agreed to gift this uniform to Te Papa Tongarewa, it was cause for a bit of celebration among some of the curators. His status and the significant life achievements of Sir Jerry mean that he is a part of New Zealand history and his uniform will be able to tell his story for future visitors to Te Papa.
Please take your time to look at this ‘decoding’ graphic that was produced by the Uniformity exhibition team, which helps the visitor to understand what some of the components of the uniform represent.
My sincere thanks to History Curators, Stephanie Gibson and Michael Fitzgerald for their expertise and for reviewing this entry.
Most curators will be able to pick out an exhibition in their professional history that they are very fond of. And I think the exhibition I’m going to talk about in this blog is one show that will always be a bit close to my heart.
On the 27th of Sept 2012, an exhibition opened here Te Papa, in our Eyelights Gallery on Level Four – an exhibition called Uniformity: cracking the dress code. While an exhibition opening here at the museum isn’t all that unique, shows open and close here all the time, there are a number of unique attributes that Uniformity has in its favour which pick it out from the crowd.
First it’s the first collaborative exhibition between the Matauranga Maori and History teams for the Eyelights gallery, which is an exciting milestone for Te Papa trainspotters like me. But more interestingly for all you well-adjusted museum-going individuals out there, there are a number of brand new acquisitions which feature on the floor for the first time (which will be talked about in the next blog).
So why uniforms? Well, they have an unusual ability to melt into the background so you don’t notice them but they are everywhere. On a personal level, many of us have experiences (happy or unhappy) wearing uniforms. They would have identified to the rest of the world what school you went to or your place of work. But at a national level, uniforms are important records of our country’s social history. They can record organisations, allegiances, status, social movements, fashion/anti-fashion, identities, cultural shifts and beliefs. Te Papa has collected many examples of different uniforms from across New Zealand history span, so their importance in remembering New Zealand’s history is vital.
So come down to Te Papa sometime soon and take a look around the Eyelights Gallery. We hope that the show makes you take a second look at some of the old uniforms that may still be lurking in the back of your closets, stitching together your own personal history.
In the next blog, I’ll be focusing on some of the uniforms that I acquired for the Te Papa’s Maori collection and explain in a bit more depth, the reasons behind their inclusion in the collection and the exhibition.
The Honorable Mita Ririnui in his Āpotoro Rehita robes from the Rātana Church. Photograph by Michael Hall, Te Papa Tongarewa 2012.
Wong Lee, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
Te Papa has a collection of nearly 4,000 glass plate and film negatives taken by the Wellington photography studio Berry & Co. The studio was founded by William Berry in 1897, and operated in Cuba St until 1931. The negatives are mainly portraits – of families, children, men and women, soldiers in uniform, the occasional pet – and are a wonderful resource for those interested in our history, or in the history of fashion.
1,479 of our Berry negatives had been digitally imaged and put online over the past ten years, leaving us 2,397 more to photograph and upload to the web. We’re keen to make more of this great historical resource available online, so we have started a mass imaging project, to photograph them in batches of 100 per week. At this rate, it will take about six months to do them all.
Joliffe 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Photo Michael Hall. Copyright Te Papa. Negatives can be difficult to ‘read’, so creating a positive digital image makes it easier for us to improve our catalogue data, for example by using clothing details to estimate the date the photograph was taken.
From cold storage to the studio
The negatives are all kept in our cold storage vaults, as low temperatures and humidity slow their deterioration. They have to be brought up to room temperature slowly (acclimatised), otherwise there’s a risk that moisture will condense on the surface of the negatives, and damage or destroy the image.
We are using small chilly bins to acclimatise and transport the negatives. These are handled very carefully, but as additional protection against bumps which could crack the glass, the bins are padded out with foam and pillows.
One of the transport chilly bins. The negatives are stored in archival paper sleeves, to protect the surface of the image. Photograph Anita Hogan, copyright Te Papa.
The negatives are placed on their edges in the chilly bin, as this is the way they are designed to travel. The bin is then left closed for five days, so the plates can slowly acclimatise to room temperature.
In the studio
Once the plates have acclimatised, we move them to the photography studio and they are photographed on a light box by one of our imaging team.
Photographing a Berry & Co glass plate negative. We use a Phase I P40 camera and Schneider 110 lens, used with extension tube, with a 40MB back. This gives us a 38MB digital image, which is our ‘access master’ size. Photograph Michael Hall, copyright Te Papa.
When the photographs have been taken, the negatives are moved back to the cold storage vault. As one set of negatives acclimatises another is being photographed, so there are always three sets of chilly bins on the move.
So far we’ve photographed 500 of the negatives in the project, and they are being uploaded as we go. Here’s a small selection. I’ll be putting up more as the project continues, or you can keep an eye out for new additions on Collections Online.
Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
Gregorias 12, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
One of the most generous ways museums acquire items for their collections is from individuals donating things they have made for the benefit of others. This is one way that unique material becomes available to the public and especially to researchers. It is in this spirit that David Carson-Parker, who died 21 October, donated many decorative art and photographic items to Te Papa. However it is the donation of photographs taken by David himself that makes up the largest share of his legacy to the museum.
During the 1960s David travelled around the North Island of New Zealand taking photographs on 35mm colour slide film of numerous meeting houses. Described by David as a ‘personal project’ – I assume he meant self funded – he used Carved Maori Houses of Western and Northern Areas of New Zealand (1955) by William J. Phillips, as a guide book to identify where to go. Now these images provide a valuable record of how these wharenui (meeting houses) looked prior to restoration.
Through his involvement in the New Zealand Potters Association, David also took photographs documenting the visit of British potter Michael Cardew to Wellington in early 1968. Cardew was an important influence on New Zealand potters such as Peter Stichbury. During Cardew’s visit he demonstrated his method of work to local potters and David’s black and white photographs still enable us to see something of the potter at work – physically stretching, kneading and shaping clay.
Sometimes David’s donations were quite personal. One of my favourite items David gave to Te Papa is a beautiful spoon made in Dunedin by Frank Hyams and gifted to David’s grandmother, by her husband, on the birth of David’s mother Elizabeth, in 1903.
David took on many roles that directly supported the creative sector, including a stint as President of the Friends of Te Papa. On behalf of staff at Te Papa I extend our sympathy and condolences to David’s partner and family.
The China Art Museum is the new home of the Shanghai Art Museum, which has relocated to the China Pavilion from the 2010 World Expo.
The China Art Museum in Shanghai. Photo: Hutch Wilco, Te Papa
As part of their re-opening celebrations, the China Art Museum invited several international museums to contribute exhibitions from their collections. The other museums included the British Museum, the Rijksmuseum, the Whitney Museum of American Art, the Victor Hugo Museum and the National Council for Culture and the Arts of Mexico.
While many of these institutions selected important historical works from their collections, we decided to present a selection of contemporary art from New Zealand. Meridian Lines includes works by Bill Hammond, Ralph Hotere, Ani O’Neill, Michael Parekowhai, John Pule, Yuk King Tan and Gordon Walters.
Here’s a glimpse at our exhibition…
From left to right, artworks by Yuk King Tan, Ralph Hotere and Gordon Walters. Photo: Hutch Wilco, Te Papa
The response to the exhibition was really quite overwhelming with a strong level of interest from both the local Chinese and other international visitors. Yuk King Tan’s work was reproduced on the second page of the English language South China Morning Post newspaper and one morning I discovered the show being featured on a Chinese television station.
Yuk King Tan’s work featured in the ‘South China Morning Post’, 2 October 2012.
The China Art Museum anticipates that approximately half a million people will visit the museum by the end of the year, when our exhibition closes.
The Museum of New Zealand Te Papa Tongarewa is coming to Gisborne! The Education and Discovery Centre teams will be based at Tairawhiti Museum for a week of exciting art workshops and learning programmes. Schools in the Gisborne area are taking part in free hands-on workshops, exploring kākahu (cloaks), taonga (treasures) and their connection to the area of Gisborne. Two large artworks, in the form of cloaks, will be created by the students, using digital photography and mixed media. The cloaks will be on display at Tairawhiti Museum and then at Te Papa in Wellington for thousands of visitors to see.
The education staff at Tairawhiti Museum. Aaron Compton and Jen Pewhairangi. Courtesy of Dudley Meadows, Tairawhiti Museum.
Joining the team is Te Papa educator Khali Philip-Barbara, who is no stranger to the Gisborne community. Having grown up in Gisborne, Khali is excited to be returning to her roots to work with local students, extending Te Papa’s reach beyond the Wellington Region. The Te Papa team come from a variety of backgrounds, including Wellington, Sweden, Ruatoki, the Pacific Islands and Gisborne.
The Gisborne Outreach Team (from top left, clockwise) Ati Teepa, Herbert Bartley, Khali Philip-Barbara, Kim Gustavsson, displaying their favourite taonga.
Added to the mix is gifted master carver Anaru Rondon from The Bay of Plenty Matata. Anaru is offering a workshop that will give people a rare chance at making traditional tools using customary methods.
For more information contact Tairawhiti Museum or Te Papa’s Education Team.
Te Papa will be based at Tairawhiti Museum from 17 – 21 September. This is part of Te Papa’s annual national outreach programme. Te Papa wish to thank the staff at Tairawhiti Museum for their support of this programme.
For more information about the use of images from this blog, see our About page.
Please note that some of them are not available for sale, supply or distribution. In any case, to purchase an image, please contact our Picture Library.
![Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.](http://collections.tepapa.govt.nz/db_images/objimage.jpg?irn=84917&width=300&height=350 "Untitled [Michael Cardew stretching clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.")
![Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.](http://collections.tepapa.govt.nz/db_images/objimage.jpg?irn=84909&width=300&height=350 "Untitled [Michael Cardew kneading a ball of clay], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.")
![Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.](http://collections.tepapa.govt.nz/db_images/objimage.jpg?irn=84903&width=300&height=350 "Untitled [Michael Cardew finishing the base of a bowl], 1968, Wellington. David Carson-Parker. Gift of David Carson-Parker, 1997. © Te Papa.")
