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Rewriting the Script

Te Papa Tongarewa the Museum of New Zealand

Amiria Henare

The national Museum of New Zealand Te Papa Tongarewa was comprehensively restructured in the 1990s in accordance with new government policies of ‘biculturalism,’ designed to reformulate relations between indigenous Maori and descendants of colonial settlers. This article, which traces the development of the new Museum, is a case study, not only of contemporary cultural politics in a settler society, but also of the impact of discursive theory on museums. Te Papa has embraced critical literature and has incorporated into its exhibitions notions derived from literary theory, such as subversion, deconstruction, and ‘play.’ ‘Biculturalism’ may be seen as another rhetorical device, one that effects a conceptual separation between Maori and non-Maori that is given form in the Museum’s physical structure and operations. This article considers how cultural policy shapes museum practice, and questions whether biculturalism is an effective strategy in terms of its stated aim of supporting Maori self-determination and a (cultural and political) ‘partnership’ with Pakeha, New Zealanders of European descent.

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Hinemihi o te Ao Tawhito

How a Māori Meeting House in England cultivated relationships and understanding

Michael Upchurch

to the colonization, repatriation, and heritage of Indigenous material culture. This report retraces the journey of this house 1 (the only complete Māori building in the United Kingdom) as a case study of how to co-manage taonga Māori (“Māori

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Neriko Musha Doerr

’: students who belonged to the Māori–English bilingual unit at a secondary school in Aotearoa/New Zealand; an American student who studied abroad in the U.K. and learned in ways that are not valued in the dominant study-abroad discourse of immersion; and

Open access

Julie Spray

% between 1993 and 2009 ( Milne et al. 2012b ), driven by a startling disparity between rising incidences for Māori and Pasifika children and dwindling rates for non-Māori/Pasifika (primarily New Zealand European) children ( Jaine et al. 2008 ). Mean

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Partial Discontinuity

The Mark of Ritual

André Iteanu

Over time, anthropology has lost the notion of ritual within the framework of exchange and of the ‘total social fact.’ Sahlins as well as Mauss interpreted the Maoris’ hau as a paradigm of exchange in which any event comprising a circulation of objects is but an exchange. The notion of ritual thus vanished, leaving in its place a long chain of logically equivalent transitive exchanges. Drawing on Orokaiva (Papua New Guinea) material relative to the competitive attempt of several religious factions to establish a comparative view of customary and Christian ritual, the Maori hau is revisited. This reading shows a clear contrast between what we must call ritual, comprising a hierarchic and mediated form of exchange wherein gifts are equated by virtue of the ‘spirit of the gift,’ and exchange per se, constituted by a face-to-face transaction of goods wherein equivalence is posited between prestations.

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Jeanette Atkinson, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, Wing Yan Vivian Ting, Caroline Turner, Glen St John Barclay, Jennifer Wagelie, and Graeme Were

Steampunk (Bradford Industrial Museum, UK)

Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)

E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)

The New American Art Galleries, Virginia Museum of Fine Arts, Richmond

Scott's Last Expedition (Natural History Museum, London)

Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)

Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)

A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)

21st Century: Art in the First Decade (QAGOMA, Brisbane)

James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)

Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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Sonya Atalay, Nika Collison Jisgang, Te Herekiekie Herewini, Eric Hollinger, Michelle Horwood, Robert W. Preucel, Anthony Shelton, and Paul Tapsell

Edited by Jennifer Shannon

a way forward, together. Te Herekiekie Herewini (Māori) Karanga Aotearoa Repatriation Programme, Museum of New Zealand Te Papa Tongarewa This is an invitation to Tangihanga , a ritualized Māori funeral. My role at Te Papa includes working alongside

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Julie Gough, Jonathan Jones, Kelli Cole, Shari Lett, Glenn Iseger-Pilkington, Billie Lythberg, Jennifer Walklate, Jeanine Nault, Jake Homiak, Joshua A. Bell, and Natasha Barrett

, academics, and writers, I have introduced my shadow to the shadows of my Aboriginal, Torres Strait Islander, Māori, Pacific Islander, First Nations, Métis, and Inuit peers and friends, and in doing so have begun to understand the collective spaces of trauma

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Alan Crookham, Nina Finigan, Elizabeth Plumridge, and Michelle Horwood

Crookham The National Gallery, London Museums without Borders: Selected Writings of Robert R. Janes Robert R. Janes London and New York: Routledge, 2016 In the New Zealand museum sector, professionals often talk about time through an indigenous Māori lens

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Penny Welch and Susan Wright

particularly associated with those who undertake study-abroad programmes or international internships. The label is not usually given to the types of students she studied – secondary-school students in a Māori–English bilingual unit in Aotearoa/New Zealand, a U