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Matariki approaches

Matariki

“Whakanuia te Tau Hou Māori ki te Taiopenga o Matariki ki Te Papa. I tēnei tau ka whai tātou i te kōrero mō te whakarauora o Matariki rātou ko āna tamāhine i a Tama-nui-i-te-rā. Ko te mana whakaora tēnei o te ira wahine, o te ira tupua, o ngā whetū o Matariki.

Matariki (Māori New Year) is a time to come together as whānau. This year at Te Papa, we are celebrating the role of women in our lives. They are the shining stars in our community – role models who share qualities with Matariki and her daughters.” http://www.tepapa.govt.nz/WhatsOn/Matariki/Pages/default.aspx

Matariki has been celebrated historically throughout many islands of the Pacific as well as here in Aotearoa. Throughout Aotearoa and at Te Papa, Matariki is acknowledged a period of reflection during the quiet time of winter, a time to take stock of preserved stores, and to come together as a people.

At Te Papa Tongarewa, Matariki is usually an exciting time filled with events, concerts, and a taonga display selected specifically for Matariki.

This year in our taonga display, we profile the hue or the gourd to help us celebrate Matariki 2013. Within Māori cosmology, the hue is personified by the deity Pū-tē-hue or Hine-Pū-tē-Hue. She was the daughter of Hinerauāmoa and Tānemahuta and believed to be a queller of conflict. The hue has associations with healing. It also was extraordinarily versatile as a vessel to carry water and preserve food. The Hue or Lagenaria Siceraria is a remarkable plant; an object admired for its subtle beauty, usefulness and widespread presence across the Pacific, and indeed the world. A widely travelled seed that has followed the migration patterns of humankind across continents and oceans is one of the earliest cultivated plants introduced with the first Māori settlers of Aotearoa. However, it is a plant that has had a wider presence in global migratory stories, with many examples that are able the show material history of the hue across Te Papa’s collection.

We have put together a small exhibition celebrating the hue that will be installed closer to Matariki (13 June), where you can see some of the hue from the museum’s collection. That display will be up for a month so come in during the Matariki Festival and explore!

The 2013 Matariki Poster

Each year Te Papa also produces a Matariki poster to promote the busy festival programming and activity at the museum.  I have been asked a few times about the new Matariki poster, so here is a bit of information.

This year, we feature Jasmine Governor, a young Health Sciences student at Whitireia Polytechnic who plans to eventually go into Nursing Training. Jasmine is Ngāti Kahungunu and Ngāti Porou and this was her first modelling foray. I think she did a marvellous job.

The tahā or gourd vessel that she holds has been in the museum collection since 1968. It was purchased from the people of Te Whiti Pā, near Gladstone in the Wairarapa circa 1902. So it is at least 110 years old, probably older.

Because of conservation concerns about the hue, Jasmine wasn’t able to hold it with her bare hands. So we photographed Jasmine with hands posed as if she was holding it, and then photoshopped in the hue (separately photographed) at a later time.  The seven stars which make up the Matariki / Pleiades cluster were also dropped in later, as were the water and light effects.

The whole effect was intended to allude to the feminine and healing associations of the hue while also showing a youthful face of Matariki.  I didn’t know it at the time but after Jasmine and the hue were selected, I contacted the people to whom the tahā has a direct connection – the people from Te Whiti Pā. After speaking to representative Rawiri Smith who gave the peoples’ endorsement, it turned out that Jasmine is from the same people and has whakapapa to that same pā. So through a lovely Matariki alignment, the hue is held by a descendent of the people who made it.

Te Papa Tongarewa, 2013

Te Papa Tongarewa, 2013

Credits:

Model: Jasmine Governor

Photographer: Norm Heke, Te Papa Tongarewa

Graphic Designer: Turi Park from Native Limited.

Make up / Hair:  Natalia Spooner from The Beauty Stop.

Further Reading:

If you want to read further explanation about Matariki and what it represents, here are some online resources for you:

An article written by Harry Dansey for Te Ao Hou magazine, 1968 (2 pages)

http://teaohou.natlib.govt.nz/journals/teaohou/image/Mao61TeA/Mao61TeA015.html

The story of Matariki and her daughters as told by the Tainui tribes of Aotearoa New Zealand. The story provides the theme for Te Papa’s 2013 Matariki Festival.

http://www.tepapa.govt.nz/WhatsOn/Matariki/Pages/Matarikiandherdaughtersthehealers.aspx

Particular Rooms, Particular Moments: A journey to the Venice Biennale

With my departure to Venice imminent, I’m trying to decide what I’m looking forward to the most. Memories of previous visits have flooded back and I’m excited to be reconnecting with the city. As a British art student, my first experience in 1989 fell a little flat. It was mid-winter, just at the close of the annual festival Carnevale, and Venice greeted me with biting cold, wet confetti-stained streets and cafes full of tired Venetians wearing dishevelled 18th Century wigs.

My second visit in 2003, (New Zealand’s artist was Michael Stevenson with This is Trekka) came courtesy of the Whitechapel Galleries’ enlightened staff travel policy, and was a roller coaster ride of art-fuelled emotion: my first experience of the overwhelming cultural avalanche that typifies the Venice Biennale.

Reflecting on curatorial practice and the context a gallery space can evoke, the Tate’s Sir Nicholas Serota once wrote: “Our aim must be to generate a condition in which visitors can experience a sense of discovery in looking at particular paintings, sculptures or installations in a particular room at a particular moment”. The unique context provided by Venice and the intriguing architecture of its exhibition venues shape the experience of viewing work at the Biennale.

Read more about my journey to the Venice Biennale on NZ At Venice’s blog.

Rialto Bridge, Venice. Photographer: Helen Lloyd (c) Helen Lloyd

Rialto Bridge, Venice. Photographer: Helen Lloyd (c) Helen Lloyd

What’s going on behind the scenes

There’s been some publicity about Te Papa lately and in particular our commitment to science and the future of the National Collections.  Just so we’re all clear, here are the facts.

Te Papa’s commitment to science hasn’t changed, in fact we are strengthening it.  We have not reduced our numbers of practising and researching scientists or curators.

We have broadened our sciences programme to include physical, earth and technological sciences.

We have also strengthened our curatorial capability and have established six new scientific roles including a new position of Head of Science. We have created three assistant curator positions and senior research positions will also be added as our research programme expands.

All research programmes underway last year remain in place.  We are also refreshing our major natural history exhibits, Awesome Forces and Mountains to Sea, and these will showcase our own scientific research as well as that of our science partners.

In other developments, we have changed the way Library Services operate. We have reviewed our library collection and the material now sits with the departments and curators who use them.  We then offered the remaining material to other institutions like Victoria University.  Any other material which was duplicated or out of scope was offered to staff.  In some instances these publications were unable to be re-homed and were recycled. This was a very small proportion of publications.

The Sciences Library, the Hector Room at Tory Street, is still there and there’s an archive reading room available by appointment.  We also now have a dedicated Sciences Librarian. We will continue to provide a reading room service and research space for the public by appointment at a new location on Te Papa’s Level 4.  That’s due to open at the end of next month.

One final point: the National Collection.  We have a responsibility to take excellent care of it and we take that responsibility extremely seriously.  We’ve been looking at long term storage solutions so that the Collection will be safe in the event of a natural disaster like an earthquake.  We’ve made no decision yet on where that might be, but rest assured our focus is on the preservation and safety of the Collection for future generations.

A tribute to font designer Joseph Churchward (1933-2013)

0019-joseph churchward

Joseph Churchward standing before portraits of his family, 2008 (photo: Norman Heke).

We would like to pay a special tribute to Samoan artist Joseph Churchward who sadly passed away last weekend. We were privileged to have worked with Joseph in 2008, when my colleague Sean Mallon (Senior Curator Pacific Cultures) and I curated the exhibition Letter Man: Joseph Churchward’s world of type (2008). I recall well Joseph’s sense of humour and his love of family history.

Joseph’s work ethic and commitment to his art practice was inspiring, and a small collection of his work housed in Te Papa’s Pacific Cultures Collection is a testament to his lifelong passion of designing fonts. To view Joseph’s collection, please visit Te Papa’s Collections Online links below

Joseph Churchward’s collection at Te Papa

Queen’s service medal for font designer Joseph Churchward

Joseph’s work in print and digital media is a lasting legacy. Our sincere condolences to the Churchward family at this time.

Ia manuia lau malaga Joseph. May you rest in peace.

Sense and Sensibility in the Southern Ocean – A character-building story of albatross and researcher personalities in extreme conditions. Part 6. Terres Inconnues

Here at the Crozet Islands most remote field Cabin, Pointe Basse, we’re conducting a study of the personality of albatrosses, and linking their behaviour at sea with those we can measure at the nest. We’re doing this with the aid of an inflatable blue cow, named Betsy. Betsy helps us in testing how nesting birds respond to a novel objects. Their responses are noted by us, as we make the little bovine approach over a few metres on a long carbon-fibre pole. Birds seem to either pretend Betsy is not there, or in some of cases, snap at the cow and grumble as she approaches, sits for her chronometered 60 seconds in front of the nest, and then retreats. This allows CNRS Researcher Dr Samantha Patrick to place them on a personality continuum from shy to bold.

We film the exercise, with a small wide-angle camera mounted on the cow’s horns and score the behaviours as they occur in the field. While the link to 19th Century English Literature may seem tenuous, the fascination of people for personality, its heritability and influence on our lives has been ongoing for almost as long as people have written novels. Edward Ferrars, a notoriously shy protagonist in Ms Austin’s 1811 novel Sense and Sensibility said “Shyness is only the effect of a sense of inferiority in some way or other”. Can this be true for albatrosses? Does being bolder or shyer accrue some benefits to the possessor of these traits? Is it easier to find food, or mates, or navigate life’s difficulties if, as an albatross, your character is of one type or another?

Betsy takes a rest in the albatross colony as a group of young wandering albatross display in the back-ground]. Photo: Susan Waugh, Courtesy of Susan Waugh.

Betsy takes a rest in the albatross colony as a group of young Wandering Albatross Diomedea exulans display in the back-ground. Photo: Susan Waugh, Courtesy of Susan Waugh.

We’re linking the behaviours and personality types to the birds’ activity at sea. They’re satellite-tracked using miniature GPS devices, which we fit to the birds back feathers. After a turn a sea, the devices are removed and we download them to discover where the bird travelled to. Although the results of this study will take several months to analyse for Dr Patrick and colleagues at the CNRS, we’re already seeing some interesting outcomes. Male and females appear to have fairly discrete foraging grounds, and there’s some hint that age influences the distance and duration of foraging trips.

Wandering Albatross Diomedea exulans tracks from Crozet Islands, tracked during our study in the incubation period, March 2013. The pink track is a female, the blue a male.

 Wandering Albatross Diomedea exulans foraging tracks from GPS tracking work conducted by the CNRS from incubating birds at the Crozet Islands in 2013. The more northerly track of a female (pink) took the bird to waters off South Africa while many males such as the one shown here (blue) foraged near the Antarctic continent.  Graphic Samantha Patrick, Courtesy of Samantha Patrick.

Only with an exceedingly well-known group of individuals such as that at Pointe Basse, studied for over 40 years, are the strategies of particular birds making up a population able to be determined. We’re beginning to understand what a population does on average is rarely exhibited by any individual, and that a range of behaviours and strategies are used by different birds to make their living.

The link between these strategies and their contribution to the growth of the population, i.e. which birds most successfully raise chicks year upon year, is still being probed into through this work. If the results are conclusive, and can be linked to heritability of traits, it will raise questions about whether certain individuals have a better chance, from the outset at making it back into the breeding population, and contributing in their turn to the next generation of albatrosses.

Do bold birds prefer to pair with like individuals, and how is the mix of these traits maintained in the population?  What effect does change in the environment, either human-induced or ‘natural’, have on the probability of birds of a particular type surviving?

For example, are bold birds more likely to interact with dangers in their environment, such as fishing hooks, or more likely to succeed in competitive exchanges for food, or other resources?

The field accommodation at Pointe Basse albatross colony can house 6-8 researchers, and is well stocked with provisions to allow monitoring of the colony during ciritical periods throughout the year. Photo: Susan Waugh, Courtesy of Susan Waugh.

The field accommodation at Pointe Basse albatross colony can house 6-8 researchers, and is well stocked with provisions to allow monitoring of the colony during ciritical periods throughout the year. Photo: Susan Waugh, Courtesy of Susan Waugh.

The benefits of long-term research programmes, such as that carried out at Pointe Basse are many, and only a few examples exist in New Zealand of this kind of work on wild populations of birds. One is the study of Buller’s Albatrosses at the Snares Islands by NIWA researchers, and that of Red-billed gulls at Kaikoura. We’re able to understand how the rise and fall of human interventions in the bird’s environment influence the populations, and how long-term change such as sea-surface temperature or wind patterns can affect them. For France, a considerable logistical programme, run by the Institut polaire français Paul-Emile Victor (IPEV), exists to support this work conducted by some of the most scientifically productive research centres globally.

Researchers and logistical support staff unload scientific equipment at the Base at the Crozet Islands in preparation for the field campaign of 2013. Photo: Susan Waugh, Courtesy of Susan Waugh.

Researchers and logistical support staff unload scientific equipment at the Base at the Crozet Islands in preparation for the field campaign of 2013. Photo: Susan Waugh, Courtesy of Susan Waugh.

Seasonal and annual field programmes are run, and supported by an agency which supplies the food, transport, health and safety requirements and logistical support and oversees the science content and environmental impact of the studies. The work of the Nature Reserve of the Terres Australes et Antarctiques Francaises (TAAF) ensures that the natural heritage of the sites is preserved and careful managed. This enables teams like the one I’ve been part of to address complex and nuanced research questions. In addition, the programme of deployment of young researchers (lead by IPEV), has seen thousands of budding scientists sent into the field for several months to over a year, for over 50 years, has built a community of committed, methodical and highly dedicated workers in the field, as well as influencing how other domains of science evolve, as the work-ethic and strong scientific culture of the polar research programmes has its influence as these people move into their professional careers.

Above the treeline at 0m altitude

Here at the Crozet Islands in the Southern Indian Ocean, at 41 deg S, we’re well north of what is considered ‘inhabitable’ territory in the Pacific Ocean. However, in comparison this far-flung corner of France, midway between Africa and West Australia, Madagascar and Antarctica, where the waters are cooler and the air is moister, the tree-line is below sea-level.  The Crozet and Kerguelen Islands groups were among the last major land-masses discovered. They were found in the 18th Century (1772), by Marion du Fresne who met his waterloo in New Zealand. He, like other explorers of the period went in search of the great southern continent. Having first found Marion Island (to South Africa) he named this island group after his Second in Command, Crozet, and claimed them for France. Kerguelen Island, 1400 km to our south east is a huge landmass (6,675 km2), but due to the cold conditions and low sunshine hours, like Crozet, it supports only ground-level, tussocky vegetation.

Crozet has a very limited set of native plant species, with around 20 native vascular plants, although I’m reliably informed that there are around 60 introduced species, mainly around the scientific base.

Probably the most famous of the native species is the Kerguelen Cabbage Pringlea antiscorbutica, family Brassicaceae, endemic to sub-Antarctic Indian Ocean Islands, including Kerguelen, Crozet (France), Prince Edward & Marion Islands (South Africa) and the Heard & Macdonald Islands (Australia). Named for the president of the Royal Society (Pringle) by James Anderson, the surgeon on Captain Cooks’ vessel, this was reputedly eaten by sailors, to stave off scurvy (La scorbute in French). Its’ tough, slightly hairy looking leaves are not very appealing looking (in a culinary sense, I mean), but I suppose desperate times called for desperate measures. Now a fully protected plant, we have not been driven to supplementing the excellent rations here with it. In sheltered areas it grows larger, with a tall stalk. At Kerguelen Island, its habitat has been decimated by rabbits and other rodents, and its restricted to fenced reserves on the mainland or to the smaller islands of the group. Its reputed  to be larger and have a more expansive growth form at Kerguelen than at Crozet, and further research is needed to assess inter-site differences for the species.

Kerguelen cabbage grows amongst Aceana and Blechnum

Kerguelen cabbage Pringlea antiscorbutica grows amongst Acaena magellanica and Blechnum penna-marina at Possession Islands northern tip, at Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

A familiar friend to most outdoorsy kiwis is Acaena magellanica. Here it forms whole fields, and along with a small, tough fern, Blechnum penna-marina (another species shared with New Zealand, but restricted to Sub-Antarctic sites in the Indian Ocean), forms dense swards on the low-lying parts of the islands.

Acaena magellanica growing in a dense sward at Pointe Basse, Possession Island. Photo: Susan Waugh, Courtesy of Susan Waugh.

Acaena magellanica growing in a dense sward at Pointe Basse, Possession Island. Photo: Susan Waugh, Courtesy of Susan Waugh.

Around the area where my work has been centred in the north of Possession Island, at Pointe Basse, a major albatross nesting area, these two plants dominate the less boggy areas. I’m not used to seeing whole hectares of the Acaena at one time, but they seem bigger and more luxuriant than the ones I’ve encountered in New Zealand. Many happy hours are spent picking its extra-long ‘Crozet special’ spines out of socks and gloves at the end of the day.

Fern Blechnum penna-marina forming mats with moss. Photo: Susan Waugh, Courtesy of Susan Waugh.

Fern Blechnum penna-marina forming mats with moss. Photo: Susan Waugh, Courtesy of Susan Waugh.

 

Along the coastal margins, there is Leptinella plumosa, a delicate green-grey coloured, flat growing daisy, which is very pretty, and also seems quite hardy. It grows close to the ground with tiny leaves in wind-swept areas but with a larger, more feather-like leaf form in more sheltered environments. It is quite restricted in its range, and is really only found on the dryer cliff-tops to the west of Pointe Basse, although it may be widespread elsewhere around the island. All the plants in this area receive a liberal dosing of salt spray almost daily, and can live in very damp and low light conditions.

Azorella selago and Leptinella plumosa. Photo: Susan Waugh, Courtesy of Susan Waugh.

Azorella selago and Leptinella plumosa. Photo: Susan Waugh, Courtesy of Susan Waugh.

A favourite among the French scientists is the mat-forming Azorella selago (Family Apiaceae), which grows in dense mats. They have named various feature of the island after this plant, including an accommodation block at the research base, and it has featured in a recent series of postage stamps. It has delicate yellow flowers, and the mats can be several hundred metres in extent. To protect this, and the moss beds, we bird researchers wear snow-shoes to traverse the terrain, and we avoid walking across the mat plants where-ever possible.

Volcanic rock forms and misty weather at Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

Volcanic rock forms and misty weather at Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

Moss mats and stream near Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

Moss mats and stream near Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

The remaining common vascular plant is the grass Poa cookii which seems to keep the steeper hillsides together, growing together with the Acaena. This grows in abundance on steeper parts of the terrain, and seems to favour areas with high nutrient inputs, such as around albatross nests, or where giant petrel colonies are established.

Poa cookii surrounding an albatross nest in a field dominated by Acaena magellanica. Photo: Susan Waugh, Courtesy of Susan Waugh.

Poa cookii surrounding an albatross nest in a field dominated by Acaena magellanica. Photo: Susan Waugh, Courtesy of Susan Waugh.

Finally, there remains to describe the vast, creeping, spongy carpets of moss. I’m sure there is a life-times work for bryologists here at the Crozet Islands. At this rather windy, rainy, and foggy northern end of the island, moss is truly the dominant life-form. This gives the landscape a very special appeal. In places, the moss forms up into dense blankets, and ridges appear, rather like the folds in a Shar-pei puppy’s skin. It is rather better to look at than to walk across! In other places, the water percolating through the peaty soils seems to interact with the moss to create convoluted creeks and trickling waterways. 

Moss forming ridges across a low hill at Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

Moss forming ridges across a low hill at Pointe Basse. Photo: Susan Waugh, Courtesy of Susan Waugh.

While restricted in diversity, the delicacy and intricate interactions going on between the plants of the Crozet Islands and other species make this a very appealing environment for research. The staff of the Nature Reserve of the Terres Australes et Antarctiques Françaises and Institut polaire francais Paul Emile Victor (IPEV), work closely with the researchers and logistics teams to minimise the impact of human activity on the flora and fauna of the islands, and keep them in their pristine state. Here at our field cabin, it’s difficult to imagine how we could further reduce our environmental footprint.

DNA sequences reveal unexpected fern relationships

Recently I have been obtaining DNA sequences from some of the fern samples collected by Te Papa Botany curator Leon Perrie on his recent trip to New Caledonia. We aim to determine the relationships of these New Caledonian ferns to other ferns around the world, including those from New Zealand.

One sample, however, gave us a surprising result. Two of the New Caledonian samples had previously been identified by Leon as members of the fern genus Dryopteris, based on their morphology. The genus Dryopteris has not previously been recorded from New Caledonia, so Leon was quite excited by these finds.

The DNA sequences established that one of these samples is indeed a Dryopteris, thus confirming that this genus is present in New Caledonia. However, the other sample unexpectedly grouped with another, albeit related, fern genus!

Watch this space as we do more work to try and establish the identity of this mystery fern.

The mystery New Caledonian fern that looks remarkably like a Dryopteris. Photo credit: Leon Perrie

The mystery New Caledonian fern that looks remarkably like a Dryopteris Photo credit: Leon Perrie.

Seabird sampling strategies: a tongue twister

Te Papa seabird scientist Sarah Jamieson measures defrosted prions from the 2011 wreck

Te Papa seabird scientist Sarah Jamieson measures defrosted prions from the 2011 wreck


Genetic research requires a small amount of tissue from animal or plant specimens to be destroyed in order to obtain DNA. Te Papa’s bird team recently pondered the best way to sample tissue for DNA whilst causing a minimal amount of damage to seabird specimens.

In July 2011 a period of unfavourable weather led to the mass mortality (‘wrecking’) of hundreds of thousands of prions.

Over 600 of the prions that died ended up in the freezer at Te Papa.

Te Papa bird scientists are researching these wrecked prions. Part of this research aims to use genetics to determine from which colonies these wrecked prions originated.

Some of these prions will be sent to a taxidermist to be made into study skins to be incorporated into Te Papa’s collections, so we wanted these bird skins and feathers to have as little damage as possible. Sarah Jamieson, Te Papa’s prion dissector, came up with the idea of using the tongue as the sample for DNA; the tongue is removed anyway during the taxidermy process.

Tongue of a defrosted broad-billed prion.

Tongue of a defrosted broad-billed prion.

A small piece of prion tongue tissue ready for DNA extraction.

A small piece of prion tongue tissue ready for DNA extraction.

We have already shown that there is sufficient DNA in the tongue tissue for our genetic work.

Ralph Hotere, 1931-2013

Te Papa is deeply saddened by the death yesterday of Ralph Hotere – one of the country’s greatest artists. Our thoughts go out to his family, his friends, and the arts community.

Marti Friedlander, ‘Ralph Hotere outside “first studio” on Flagstaff, Port Chalmers’, circa 1976, black and white photograph, gelatin silver print. Purchased 1999 with New Zealand Lottery Grants Board funds, Te Papa.

Ralph once commented that ‘There are few things I can say about my work that are better than saying nothing’. Keeping this in mind, to remember this remarkable artist and his incredible contribution to New Zealand art, here is a selection of his works in Te Papa’s collection.

Ralph Hotere, ‘Cruciform II’, from the series ‘Human Rights’, 1964, acrylic on wood. Purchased 1981 with New Zealand Lottery Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere, ‘Black Phoenix’, 1984-88, burnt wood and metal. Purchased 1988 with Mary Buick Bequest funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere and Bill Culbert, ‘Blackwater’, 1998-99, lacquer on corrugated aluminium, fluorescent tubes, cable, wood. Purchased 1999 with New Zealand Lottery Grants Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

Ralph Hotere and Bill Culbert, ‘Pathway to the sea / Aramoana’, 1991, fluorescent lamps, paua shells, rocks. Purchased 1993, Te Papa.

If you are in Wellington we invite you to come into Te Papa and view one of Hotere’s last great works, ‘VOID’ (2006) made with long-time collaborator Bill Culbert.

Ralph Hotere and Bill Culbert, ‘VOID’, 2006, neon tubes, rubber, glass, steel, paint. Commissioned 2006, Te Papa.

From tomorrow morning, the following work will also be on public display in tribute:

Ralph Hotere, ‘ Lo negro sobre lo oro’, 1992, mixed media on glass, Purchased 1997 with New Zealand Lottery Grants Board funds, Te Papa. © Reproduced courtesy of Ralph Hotere. All rights reserved.

- Megan Tamati-Quennell (Curator, Contemporary Maori and Indigenous Art) and Sarah Farrar (Curator, Contemporary Art)

The Canterbury earthquakes: a small act of kindness

12.51pm today marks the second anniversary of the 6.3 earthquake that caused severe damage and resulted in the loss of 185 lives in Christchurch and its suburbs, with many more injured and displaced. Two years on the citizens of Canterbury are still struggling to rebuild their city and lives. While stories of frustrations with bureaucracy make the news daily, stories of acts of kindness and generosity also thankfully abound.

Tomorrow at the Dowse Art Museum you can take part in a small act of kindness, by participating  in a sewing bee organised by Sarah Read, a jeweller ‘attracted to projects with an element of collaboration, third-party participation or social practice’. As she says:

‘I am currently exploring magical thinking, radical gratitude and the sense of connectedness that makes all the difference when life is difficult.’

The bee is a continuation of a project that Sarah launched in 2012 entitled This Too Shall Pass in order to raise funds to support Caroline Billing’s contemporary jewellery gallery, The National. Sarah was inspired by the fact that although Caroline had lost her business premises in the 22 February 2011 earthquake, she continued to showcase jewellery in Christchurch via other means, such as when she took jewellery to the streets with Host A Brooch. (This project is documented in Te Papa’s collection as part of our collection around entrepreneurial and creative responses to disaster.)

This Too Will Pass ny Sarah Read

This Too Will Pass by Sarah Read

Wanting to put her ‘heart and soul… to help the regeneration of Christchurch. If Christchurch loses places like The National, there won’t be a beating heart’, Sarah created a participatory project. She invited well-wishers to donate their time to assembling ribbons which bore the legend ‘This too will pass’. In selecting the simple form of the ribbon, Sarah drew on an established history of ribbons being used as potent symbols of hope and support, from tying a yellow ribbon to an oak tree to the AIDS and Breast Cancer ribbons.

Once assembled, the ribbons were distributed  to galleries who agreed to waive their commission fees, and  gifted on by purchasers to anyone they know who could need a little extra help. The ribbons are intended to be worn inside clothing where they had protective and healing qualities for the wearer.

An anonymous donor kindly gifted a set of these ribbons to Te Papa last year. Each is attached to an image of the quake devastated city.

This Too Will Pass by Sarah Read, 2012. Te Papa.

This Too Will Pass by Sarah Read, 2012. Te Papa.

You are invited to Pass It On and create more ribbon pins tomorrow at The Dowse Art Museum in Lower Hutt anytime between 10am and 4pm.  While the sheer scale of the Canterbury aftermath is daunting, we should never forget that there are many small things we can do as individuals to make a difference, if not to the whole city, to a friend, colleague or stranger’s day through a little act of kindness.

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