RESERVA PENSIONARIA: Parte de la reserva actuarial, referida solamente al BIBLIOTECA

Amalgamating  the  National  Museum  of  New  Zealand  (formally  The  Dominion  Museum)   and  the  National  Art  Gallery,  Te  Papa  opened  its  doors  on  Wellington’s  waterfront  with   much  fanfare  on  February  14,  1998.  Developed  out  of  the  post  Te  Maori  New  Zealand   cultural   sector   and   the   simultaneous   shift   to   the  New   Museology,   Te   Papa   was   an   institution   that   was   to   reflect   a   contemporaneous   view   of   New   Zealand   culture   and   museological   practice   (McCarthy,   2007,   p.   167).51   _{Soon   after   the   Museum   of   New}  

51  _{According  to  McCarthy  (2013),  while  Te  Papa’s  practice  early  blurred  traditional  boundaries}  

Zealand  Te  Papa  Tongarewa  Act  (1992)  was  passed,  establishing  the  museum  itself  the   organisation  released  the  museum’s  mission  statement.52    

 The  Museum  of  New  Zealand  Te  Papa  Tongarewa  provides  a  forum  for  the   nation  to  present,  explore  and  preserve  the  heritage  of  its  cultures  and   knowledge  of  the  natural  environment  in  order  to  better  understand  and   treasure  the  past,  enrich  the  present  and  meet  the  challenges  of  the  future.    

 (Museum  of  New  Zealand  Te  Papa  Tongarewa,  1993,  p.  6)    

This   included   acknowledging   the   relationship   between  Tangata   Whenua   (Māori)   and   the   Tangata   Tiriti   (people   in   New   Zealand   by   right   of   the   Treaty   of   Waitangi)   centralising   the   institution’s   bicultural   premise.   The   development   of   Te   Papa   has   received   some   discussion   to   which   there   is   no   need   to   examine   here   (Dibley;   1996;   McCarthy,  2007).  However,  it  is  important  to  bring  to  light  a  foundational  principle  that   is  of  particular  relevance  to  this  study.  Arising  out  of  the  practices  and  processes  that   were   developed   during  Te   Maori   exhibition,   the  mana   taonga   principle   is   one   of   Te   Papa’s   core   philosophies   (McCarthy,   2007).   Broad   in   scope,   but   at   its   simplest  mana   taonga   acknowledges   the   relationship   between   Māori   and   taonga.   More   so,   it   acknowledges  the  validity  of  the  Māori  knowledge  system.  As  the  principle  itself  makes   clear.  

Mana  taonga  recognises  that  taonga,  which  includes  objects,  narratives,   languages,  as  well  as  all  forms  of  cultural  expression  have  mana;  that  taonga   have  whakapapa  relationships  with  their  source  communities,  as  well  as   connections  to  the  environment,  people  and  places.  Mana  taonga  recognises   the  authority  derived  from  these  relationships  and  the  innate  spiritual  values   associated  with  them.  Respecting  and  expressing  knowledge,  worldviews  and   learning  systems  including  matauranga  Māori  -­‐  the  views,  explanations  and   perspectives  of  the  nature  of  the  world,  as  known  and  informed  by  Māori,  is  an   important  dimension  of  mana  taonga.  The  principle  is  an  empowering  one  that   enables  Te  Papa  to  acknowledge  the  richness  of  cultural  diversity  and  to  design   and  disseminate  models  of  co-­‐operation,  collaboration  and  co-­‐creation  that   shares  authority  and  control  with  iwi  and  communities,  whilst  recognising,   embracing  and  representing  the  changing  demographics  of  Aotearoa  New   Zealand.    

 (Museum  of  New  Zealand  Te  Papa  Tongarewa,  2012b,  p.  9)    

been  reintroduced  into  Te  Papa,  effectively  watering  down  its  founding  democratic  vision  and   returning  it  to  a  more  traditional  museology.  

52  _{Museum  of  New  Zealand  Te  Papa  Tongarewa  Act  (1992).  Retrieved  from}   http://www.legislation.govt.nz/act/public/1992/0019/latest/whole.html    

Although   receiving   some   criticism   for   its   non-­‐traditional   application   of   the   tangata   whenua  relationship  (see  Tapsell,  1998),  the  principle  seeks  to  establish,  maintain  and   strengthen  the  connection  between  the  object  and  its  source  community.  By  providing   those  whom  the  taonga  means  the  most  say  in  the  practices  and  procedures  regarding   their   care   and   display,   the   museum   acknowledges   that   it   no   longer   has   the   right   to   determine  how  taonga  should  be  managed  (Brown,  2006;  Hakiwai,  2006;  Smith,  2006).   Whilst  in  conjunction  with  the  other  philosophies,  it  operates  as  a  constant  reminder  of   the   museum’s   obligation   to   extend   museological   practice   and   “act   as   a   forum   of   change   in   Aotearoa   New   Zealand”   (Museum   of   New   Zealand   Te   Papa   Tongarewa,   2012b,  p.  9).53  

The  internet  is  increasingly  seen  as  an  important  avenue  where  this  forum  can  also  be   practiced   and   achieved.   Although   early   in   Te   Papa’s   development   the   internet   was   coupled   with   phone   inquires,   as   the   technology   has   evolved   so   to   has   the   internet’s   relevance   within   the   industry.54   _{With   it   now   playing   a   significant   role   in   aiding   the}   organisation’s  practice.  As  the  museum  itself  recognises,    

 Te  Papa’s  online  experience  is  an  increasingly  important  way  of  facilitating   public  engagement  with  the  museum  collections,  sharing  information  with  a   variety  of  communities,  and  fostering  debate.  

(Museum  of  New  Zealand  Te  Papa  Tongarewa,  2013a,  p.  19)      

The   recent   launches   and   successes   of   both  Ngā   Toi   Arts   Te   Papa,   and  New   Zealand   Birds  Online  as  well  as  Te  Papa’s  continuing  desire  to  build  digital  capability  in  and  out  

53  _{Museology  and  Learning  are  the  two  remaining  philosophies.}    

Museology.  Te  Papa  recognises  the  role  of  communities  in  enhancing  the  care  and  

understanding  of  collections  and  taonga,  which  drives  our  approach  to  access  and  research.   Collections  are  seen  as  part  of  living  cultures  that  provide  a  gateway  to  understanding  how   other  people  live  and  uniquely  view  their  world.  Te  Papa  works  in  collaboration  with  

communities  and  individuals  to  deliver  exhibitions  and  experiences  that  are  current,  meaningful   and  relevant  nationally  and  globally.  

Learning.  Te  Papa  encourages  experimentation  that  allows  us  to  try  new  ideas  and  generate   new  knowledge,  upon  which  we  reflect  and  adapt  our  beliefs  and  actions,  change  behaviours   and  enhance  our  performance.  The  development  of  a  ‘learning  organisation’  can  provide   benefits  at  three  levels.  First  organisationally,  the  benefits  are  in  relation  to  being  equipped  to   adapt  to  an  ever-­‐changing  environment.  Secondly  for  staff,  there  are  benefits  in  terms  of   Continuing  Professional  Development  (CPD)  and  improved  knowledge  and  skills.  Finally,  for  the   public,  the  ‘learning  organisation’  should  provide  greater  responsiveness  to  public  needs  and  an   improved  ability  to  meet  these  needs.  (Museum  of  New  Zealand  Te  Papa  Tongarewa,  2012b,  p.   9)  

54  _{In  the  1997-­‐1998  Annual  Report,  Virtual  Visitors  was  a  combination  of  online  visits  and  phone}  

of   the   museum   is   testament   to   the   fact   that   the   online   space   is   perceived   as   an   important  area  for  continued  development.55  _{Furthermore,  Te  Papa’s  participation  in}   the  Google  Art  Project  is  acknowledged  and  embraced  as  part  of  this  development  and   one  of  the  ways  that  visitors  are  able  to  explore  and  learn  about  their  collection  (ibid.,   p.  20).