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.
Te Papa Tongarewa the Museum of New Zealand
Tangled Histories and Changing Contexts of the Burnett River Rock Engravings
Brit Asmussen, Lester Michael Hill, Sean Ulm, and Chantal Knowles
, as well as cultural heritage removed from land. Detailed considerations of the repatriation of Indigenous cultural property, including secret-sacred objects, were being discussed by 2006 ( Truscott 2006 ). Currently, “there is no legislation in
Collaborative Digital Mapping with the Itelmen Peoples
Brian Thom, Benedict J. Colombi, and Tatiana Degai
: Indians and the British Colombia Frontier . Vancouver : Douglas & McIntyre . Brown , Deidre , and George Nicholas . 2012 . “ Protecting Indigenous Cultural Property in the Age of Digital Democracy: Institutional and Communal Responses to Canadian