Preservation of natural and cultural heritage is often said to be something that is done for the future, or on behalf of future generations, but the precise relationship of such practices to the future is rarely reflected upon. Heritage Futures draws on research undertaken over four years by an interdisciplinary, international team of 16 researchers and more than 25 partner organisations to explore the role of heritage and heritage-like practices in building future worlds. Engaging broad themes such as diversity, transformation, profusion and uncertainty, Heritage Futures aims to understand how a range of conservation and preservation practices across a number of countries assemble and resource different kinds of futures, and the possibilities that emerge from such collaborative research for alternative approaches to heritage in the Anthropocene. Case studies include the cryopreservation of endangered DNA in frozen zoos, nuclear waste management, seed biobanking, landscape rewilding, social history collecting, space messaging, endangered language documentation, built and natural heritage management, domestic keeping and discarding practices, and world heritage site management.

The evolution of New Zealand's national art collection is closely linked with the story of Aotearoa New Zealand itself--its places, its people, and its developing sense of identity. Art at Te Papa spans the Museum's collection from superb early European prints to exciting contemporary acquisitions. Te Papa's curators have selected more than 400 artworks, each one beautifully reproduced and accompanied by an engaging mini essay. Works by international artists--from Rembrandt to Mapplethorpe--feature alongside iconic New Zealand art by Charles Goldie, Rita Angus, Bill Hammond, and many more. Lesser-known artworks will also surprise and delight. This special deluxe edition of Art at Te Papa is a treasure to inform, inspire, and delight all New Zealanders and lovers of art.

He kupu whakataki (Introduction) -- 1. Ngā whakamāramatanga (Use and meaning) -- 2. Ngā momo me ngā āhua (Types and shapes) -- 3.Te putakenga mai (Physical origins) -- 4. Ngā kōrero kairangi (Exalted histories) -- 5. Ngā tohu a iwi (Tribal styles) -- 6. Ngā tai whakaawe (External versus local influence) -- 7. Ka whiti ka pūmau, 1750-1900 (Change and continuity, 1750-1900) -- 8.Te whānako toi taketake, ngā tau 1890-ināianei (Cultural appropriation, 1890s-present) -- 9. Te hei tiki me te Māori, 1900-ināianei -- He kupu whakakapi (Epilogue).

In mid-winter, Matariki rises in the pre-dawn sky, and its observation is celebrated with incantations on hilltops at dawn, balls, exhibitions, dinners and a vast number of events. The Matariki tradition has been re-established, and its regeneration coincides with a growing interest in Māori astronomy. Still, there remain some unanswered questions about how Matariki was traditionally observed. These include: What is Matariki? Why did Māori observe Matariki? How did Māori traditionally celebrate Matariki? When and how should Matariki be celebrated? Based on research and interviews with Māori experts, this book seeks answers to these questions and explores what Matariki was in a traditional sense so it can be understood and celebrated in our modern society.

This compact book full of beautiful images is the complete guide to, and memento of, your visit to the Museum of New Zealand Te Papa Tongarewa. The guide provides an introduction to the national Museum and Kiwi culture. It explores not only Te Papa’s wide-ranging exhibitions, but also the thinking behind its fascinating architecture. Learn about Te Papa’s contemporary marae; dip into New Zealand’s natural world; sample the stories of settlement; and get a taste of art traditions from Maori taonga to stunning contemporary works. Richly illustrated with highlights from the collections, it is a must-have for all visitors or those thinking about visiting.

Te Papa holds New Zealands national art collection, whose origins date back to 1865 and the establishment of the then Colonial Museum (later the Dominion and then the National Museum). Built up over the years by a succession of directors and curators, the collections 40,000 works track New Zealand history and the art movements within it. In this generous book, Te Papas curators and a wide range of other expert art writers showcase the strengths of the New Zealand art collection by discussing around 270 works. From very early colonial work through to recent acquisitions, and including photography, their essays offer insights into the art, the artists and the context and issues that drove them. The book is complemented by biographies of all the featured artists, making it a valuable resource.

Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.