Cultural Well-being
Arts, Culture and Heritage
Prepared by the Community Development Unit
South Taranaki District Council
Adopted 29 May 2006
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TABLE OF CONTENTS
EXECUTIVE SUMMARY .................................................................................................... 5
VISION ................................................................................................................................ 5
A DEFINITION OF CULTURE............................................................................................ 6
A DEFINITION OF CULTURAL WELL-BEING .................................................................. 6
COMMUNITY OUTCOMES................................................................................................ 7
OUR CULTURAL COMMUNITY OUTCOMES .......................................................................... 7
SCOPE OF THIS POLICY.................................................................................................. 9
OUR FIRST CULTURAL AND ARTS POLICY .................................................................. 9
METHODOLOGY.............................................................................................................. 10
OUR HERITAGE............................................................................................................... 12
INTRODUCTION ............................................................................................................... 12
EVIDENCE TO INFORM THE POLICY .................................................................................. 12
CURRENT COUNCIL ROLE ............................................................................................... 18
CONCLUSIONS ................................................................................................................ 20
POLICY OBJECTIVES AND ACTIONS ................................................................................. 21
DELIVERING ON OUR HERITAGE OBJECTIVES .................................................................. 22
ART ................................................................................................................................... 23
INTRODUCTION ............................................................................................................... 23
EVIDENCE TO INFORM THE POLICY .................................................................................. 24
CURRENT COUNCIL ROLE ............................................................................................... 28
CONCLUSIONS ................................................................................................................ 28
POLICY OBJECTIVES AND ACTIONS ................................................................................. 29
DELIVERING ON OUR ARTS OBJECTIVES .......................................................................... 30
CULTURAL DIVERSITY................................................................................................... 31
INTRODUCTION ............................................................................................................... 31
EVIDENCE TO INFORM THE POLICY .................................................................................. 31
CURRENT COUNCIL ROLE ............................................................................................... 31
CONCLUSIONS ................................................................................................................ 32
POLICY OBJECTIVES AND ACTIONS ................................................................................. 32
DELIVERING ON OUR CULTURAL DIVERSITY OBJECTIVES ................................................. 33
A TIMELINE FOR IMPLEMENTATION............................................................................ 34
EVALUATING OUR ACHEIVEMENTS ............................................................................ 34
APPENDIX ONE ............................................................................................................... 35
APPENDIX TWO .............................................................................................................. 47
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EXECUTIVE SUMMARY
The South Taranaki District Council had a Cultural and Arts Policy, the principles of
which were very relevant to the maintenance of the cultural well-being of the community.
However, given the number of new issues that have come forward through the
community development consultation process, it was felt that it was time to re-visit
Council’s role in this very important sector. With this review came opportunities to
increase our communities’ sense of identity, protect our heritage and also to take
advantage of some economic development opportunities in the cultural tourism
sector. For this reason, it was decided that the existing policy should be reviewed and
expanded.
This policy makes recommendations as to how the Council can best meet the identified
needs of its communities in the areas of arts, culture and heritage. As these options for
delivery have been developed, consideration has been given to possible sources of
funding for cultural projects, the cost-effective use of existing facilities, opportunities for
involvement of communities of interest, meeting the identified needs of the community
and meeting community outcomes.
To deliver heritage services in the district, the Council will enter into a partnership with
the South Taranaki District Museum. For the arts, the Council will work with STAGE Inc
to set up an art space in Hawera and also employ a Creative Activities Coordinator. This
policy also cements the Council as a role model for the community through its continued
support for projects that encourage community discussion and celebrate cultural
diversity.
VISION
All the communities of South Taranaki are able to enjoy the freedom
to retain, interpret and express their arts, history, heritage and
traditions.
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A DEFINITION OF CULTURE
Culture is one of the most difficult terms to define and, like culture itself, it is constantly
changing. Here is a fairly recent definition constructed by UNESCO that gives portent of
the wide-ranging influence and breadth of impact that culture has on many aspects of
our lives.
Culture should be regarded as the set of distinctive spiritual, material, intellectual
and emotional features of a society or a social group, and it encompasses, in
addition to art and literature, lifestyles, ways of living together, value systems,
traditions and beliefs.1
Most importantly our culture determines:
• How we enjoy ourselves
• How we express ourselves
• How we define ourselves
• What makes us come alive
• How we connect with one another.
A DEFINITION OF CULTURAL WELL-BEING
The Local Government Act (2002) asks that local government considers four well-beings
in its strategic planning: social, cultural, economic and social. Although none of these
well-beings are defined within the Act, the Ministry for Culture and Heritage has
developed a definition that is a great starting point.
Cultural well-being is the vitality that communities and individuals enjoy through
participation in recreation, creative and cultural activities and the freedom to
retain interpret and express their arts, history, heritage and traditions2.
According to Creative New Zealand ‘when it comes to cultural well-being, communities
are best placed to define what’s important and what’s not.’3 This sentiment is also in line
with the requirements of the Local Government Act (2002). The Ministry for Culture and
Heritage has undertaken a broad survey of cultural activity throughout New Zealand and
has discovered that Taranaki punches below the New Zealand average when it comes
to participation in cultural activities4. Although the sample size of this study was too small
to be accurate at a district level, it can be assumed that in South Taranaki, as we have
1
UNESCO (2001). Universal Declaration on Cultural Diversity.
Ministry for Culture and Heritage (2004). Cultural Well-being. What is it?. Wellington: Ministry for
Culture and Heritage.
3
Creative New Zealand (2003). Understanding ‘Cultural Wellbeing. Local Government
Conference: Queenstown.
4
Ministry for Culture & Heritage (2004). A Cultural Profile of the Taranaki Region. Wellington:
Ministry for Culture & Heritage.
2
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little in the way of formal cultural activities available to the population, there will be an
even greater level of deprivation.
COMMUNITY OUTCOMES
In South Taranaki our community outcomes were developed as a response to the issues
and needs that were raised during the community development consultation process that
began in 2002 and is still on-going. These outcomes will be reviewed in 2008 for
inclusion in the 2009 LTCCP.
Our Cultural Community Outcomes
Following are our district’s current Cultural Community Outcomes.
•
We have well-resourced and capable clubs and organisations.
•
We have clean, well-maintained, functional facilities which meet our changing
needs in the areas of sport, recreation, art, culture and heritage.
•
The diversity, stories and heritage of all our people are preserved and respected,
and the uniqueness of our individual communities is retained.
Cultural well-being, however, does not sit in isolation and must be considered alongside
all the well-beings.
For example…
• Participating in leisure and recreation activities can contribute to a feeling of
connectedness with our community, which in turn affects our social well-being.
• Cultural activities can contribute to economic well-being through cultural tourism.
• A culturally-rich area will find it easier to retain its population and attract new
residents.
• Elements of our environment such as rivers, lakes and other waterways have
cultural significance.
This means that cultural well-being could have an impact on any of the Council’s
community outcomes. Following is a table with all the Community Outcomes for South
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Taranaki. Those that have a close relationship with or could be affected by the
community’s cultural well-being are shaded.
ECONOMIC OUTCOMES
Existing large industries are retained and responsive to the needs and aspirations of the
community.
Our economic environment encourages diversification and development of small,
environmentally-sustainable and locally-owned businesses that enhance the lifestyle of
the community.
Our economy portrays innovation, sustainability and excellence and projects an image
that appeals to business markets, residents and visitors.
Education and training are accessible and everyone has the opportunity to participate in
our economic growth.
SOCIAL OUTCOMES
All residents are able to access the health services, education and information they
want.
Our district contains growing, thriving communities that have retained their essential
character and community spirit.
Our volunteers and groups are valued, supported and empowered to meet and advocate
for the needs of all our communities.
Our residents feel safe in their homes and in their communities.
There is regular, reliable, affordable public transport that is responsive to the needs of all
communities.
ENVIRONMENTAL OUTCOMES
Our natural environmental is continually enhanced through programmes that reflect our
community’s sense of kaitiakitanga (caring and protection).
The need for economic development is balanced with environmental sustainability.
There are close connections between the natural, rural and urban environments and the
special places that make South Taranaki unique and are accessible for all to enjoy.
As the above table shows, our culture determines and is intertwined with many aspects
of our well-being.
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SCOPE OF THIS POLICY
As we have seen in the previous definitions, culture and cultural well-being include a
very wide range of activities and structures. Many aspects of cultural well-being are
already covered in existing policies of the Council and do not need to be considered in
this policy. In recognition of this, this policy does not cover:
• Sport and recreation, which will be addressed in the Council’s Sport and Leisure
Strategy.
•
Those functions of the Council pertaining to the protection of the district’s built
heritage, wāhi tapu, significant natural areas and notable trees that are included
within the Council’s District Plan.
•
The management and policies for the district’s libraries.
This policy discusses the ways that the South Taranaki District Council can respond to
the issues of cultural well-being that have been brought to its attention through the
community development consultation process. It will also discuss how the Council can
support all its communities to express, experience and enjoy diversity of values, beliefs
and aspirations.
The aspects of culture that will be covered within this policy are:
• The arts, creative and cultural activities
•
History and heritage
•
Ethnic and cultural diversity
•
Public facilities.
The policy is presented in three distinct sections: heritage, arts and cultural diversity.
OUR FIRST CULTURAL AND ARTS POLICY
The first Cultural and Arts Policy was developed in 1993 by a working party led by Mary
Bourke. Its goal was:
To enhance the values and lifestyles of individual citizens and communities in the
district, by providing amenities and services that promote and support cultural
and arts activities.
In this policy the Council’s role was defined as:
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•
Provider of Facilities/Amenities: The Council will continue to provide facilities
and amenities for cultural and arts activities5, in consultation with its citizens and
ratepayers.
•
Provider of Funding: The Council will continue to ensure that cultural and arts
groups and organisations have access to a source of funding to assist in
promoting or improving their activities6.
•
Facilitator of Activities: The Council will continue to assist the implementation
of cultural and arts activities by acting as a facilitator to ensure that ideas or
proposals receive appropriate consideration.
•
Communicator of Information: The Council will continue to encourage cultural
and arts activities by providing resources to make information available to the
general public.
•
Advocator: The Council will act as an advocate for its communities by making
submissions to Central government or other agencies as required, on cultural or
arts-related issues.
•
Acknowledger of Different Cultures: The Council will recognise the right of its
citizens to retain traditional cultural and art customs.
When this policy was written it took a big step towards taking responsibility for some
aspects of community life that contribute to the cultural well-being of the community –
and many of these functions and roles are now well integrated into Council operations.
However, during the latest rounds of community consultation a number of new areas of
cultural need and desire emerged and it was decided to review the Council’s approach
to arts, culture and heritage.
METHODOLOGY
The first step in the development of this policy was to collate all the issues and
comments relating to arts, culture and heritage that were raised in the community
development consultation and planning process that began in 2002 and is still ongoing.
These are gathered together into Appendix One.
Further research was necessary to build up a clearer picture of the current situation
within the cultural sector of the district. To get an emic or insider view of the issues and
strengths within the heritage sector, interviews were undertaken with twelve collection
owners, museum operators and heritage organisations within the district. The arts
community was also surveyed to explore what it saw as the issues and opportunities for
the arts within the district. Respondents were also asked to comment on two specific
5
This refers to performing arts facilities. The South Taranaki District Council does not currently
provide facilities for visual arts activities.
6
The Ministry for Culture and Heritage Creative Communities Scheme, which provides funds for
cultural and arts activities, is administered by the South Taranaki District Council.
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initiatives that had been put forward by members of the community: developing an art
space in Hawera and initiating an artist-in-residence scheme.
When the four local Iwi were asked how they would like to be involved in the
development of the policy, Ngaa Rauru asked that their Guiding Principles be taken into
consideration when drawing it up. These are attached as Appendix Two. Two hui were
held with an independent group of three Māori artists. While there has been no specific
consultation with Taranaki, Ngā Ruahine or Ngāti Ruanui Iwi, the draft policy was
presented to the Iwi Liaison Committee on 1 February 2006 for feedback.
As major stakeholders in heritage sector the major museums in the area were also
consulted. To this end, meetings were held with senior staff of the Whanganui Regional
Museum and Puke Ariki as well as the South Taranaki District Museum Trust. The
latter’s annual plans and long-term strategic plan have also been accessed as part of
this research.
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OUR HERITAGE
Introduction
Protecting and interpreting our past, and linking it to who we are today and who we will
be in the future are important to a community’s cultural well-being. While there are
challenges for the Council in determining what its role might be in the sector, as ‘heritage
contributes to well-being and does not detract from it’7any investment into heritage will
be positive for our community. History never stays still and putting in place the
infrastructure and systems to preserve our heritage will pay dividends in terms of
community well-being, now and in the future.
Our heritage forms an important part of our identity as individuals and as a community. It
connects us to those who came before us and determines who we are. As a community
it binds us together and gives us a collective sense of identity. In a world of increasing
homogeneity and global media culture, our heritage helps to make us distinctive.
Heritage can also play an important part in the economic development of the district.
Heritage tourism initiatives all over the world have been successful in the development of
new employment opportunities, improved local living standards, diversification of the
economy and conservation of local heritage.8 The European Commission Study on
heritage tourism such ventures are likely to be successful if they are sustainable, use a
participatory approach, have support from throughout the whole community and focus on
coordination within the sector. These are valuable pointers for any such initiative in our
district. Closer to home, Wanganui, Oamaru and Northland have all revitalised
themselves through protecting and enhancing their heritage resources.
South Taranaki has a wondrous history and the events of the late nineteenth century
were pivotal to the development of our country as a whole. Tawhiti Museum is a
wonderful example of how the stories of our place can provide an economic as well as
educative benefit. Foregrounding our heritage across the district could allow us to link to
the many cultural tourism initiatives throughout Taranaki and Wanganui. The
appreciation that visitors show for our heritage can give us pride in our place and raise
our collective self-esteem.
Evidence to Inform the Policy
The purpose of this section is to present all the evidence that was gathered together to
inform the Council’s policy on heritage, which aims to deliver an improved service to the
community in the area of heritage protection and awareness.
7
eftec (2005). Valuation of the Historic Environment. London: eftec
Ecosystems Ltd (2002). Using Natural and Cultural Heritage to develop Sustainable Tourism in
Non-Traditional Tourist Destinations. London: European Commission.
8
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1. Community Development Consultation Process.
The Community Development consultation process gave the first indications that the
residents of the district expected a higher level of Council involvement in the protection
of heritage. All the issues raised during this process, from across the district, are
included in Appendix One. Following is a themed summary of those issues.
ACCESSIBILITY
Accessibility was an issue throughout the district with several residents raising issues of
access to historic sites such as the Kohi rock carvings, Rewi Alley’s house and the Oil
and Gas Museum in Eltham.
Others would like to see more access to our heritage in general and some have
suggested that the development of heritage trails and heritage plaques would help with
this.
SUPPORT AND ASSISTANCE
There is a feeling within the district that some parts of the sector, whether individuals or
organisations, need support to continue the roles they have in caring for our heritage.
The South Taranaki District Museum was one such organisation that was suggested as
being able to provide this type of support. It was also suggested that groups that are
responsible for heritage buildings should get more help and assistance. Individuals have
suggested that kaumātua that care for urupā need help with their maintenance.
PROMOTION AND AWARENESS
Both Patea and Eltham are very aware of their rich heritage and would like to see it
better promoted. However, the entire district has a wealth of heritage that could become
more accessible through better promotion. The Council already provides brochures that
display our heritage buildings and sites but it would be good to see the stories of the
district foregrounded as well.
PRESERVATION
The communities of South Taranaki articulated a strong desire to protect their heritage,
whether it was the built heritage that contributes to the character of our environment, or
sacred wāhi tapu sites or the stories of our place. Some particular sites of concern were
mentioned including:
• Kohi rock carvings
• Pa and urupa along the Patea River
• The original BNZ building in Patea
• The Hunter Shaw building in Patea
• Opunake courthouse
• Tutahi Church
• The heritage buildings in Hawera-Tangahoe
• The historical buildings of Eltham.
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2. Research within the Heritage Sector
Once issues about the care and protection of heritage were raised by the community
through the community development consultation process, the Council undertook to
review its current Arts and Cultural Policy. As a means to inform this review, and to gain
a more accurate view of the heritage sector, interviews were undertaken with the
majority of the heritage groups and collection owners within the district. Following is a
themed summary of the responses of these interviewees.
A PROFILE OF THE SECTOR
Most of the heritage groups that were interviewed have formed out of personal interest
and tend to rely only on themselves, their volunteers and their own personal knowledge.
Self-funding is a feature of these groups and those that own their buildings maintain their
premises by themselves, generally using voluntary labour.
There are a variety of legal structures amongst these heritage organisations including
incorporated societies and trusts, both charitable and family. Some organisations have
as many as 80 members, although many of the groups find themselves reliant on a small
group of active volunteers.
THE COLLECTIONS
All the collections held by these heritage organisations and collectors had stories to tell.
These are generally local in nature, and cover specific geographic areas, although the
Woolshed, which is located in Waverley, has a lot of artefacts and objects relating to the
Otakeho area, which is 80 kilometres north. Those organisations that are primarily
concerned with genealogy generally have a wider coverage.
Storage of these collections is generally not of an acceptable standard and in addition,
there is no purpose-built, atmosphere-controlled archive facility in the district apart from
the Council’s own facility. Some organisations, such as the Eltham Historical Society,
have put considerable effort into doing the best possible job they can to preserve their
collection. They have invested in metal shelves, dehumidifiers and acid-free envelopes
and their building is also made of very stable materials. It needs to be noted here that
not all the organisations interviewed needed to provide archival storage, because they
are not in the business of heritage protection. However, many of the privately-owned
collections in the South Taranaki District are kept in what can only be described as substandard conditions, without climate control of even the most rudimentary kind, usually
without smoke or burglar alarms and showing evidence of poor practice.
Given that most heritage organisations are voluntary in nature and self-funded, it is
understandable that there is not the time or money to invest in training and conservation
measures. In addition, while many of the organisations network to some small extent in a
bid to find support and information, it appears that there is currently little available
expertise within the district to provide support and information to collectors. A key issue
for the sector is to find the means to preserve history by avoiding damage and
deterioration of the collections, and to keep them safe from vandalism, theft and fire. The
community does not currently have access to safe storage for heritage items unless they
are taken out of the district.
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PROMOTION AND AWARENESS
Some organisations felt that their local community was not aware of their collections. In
general, their attractions were not obvious to the local community and so did not attract
community involvement. Some groups were of the opinion that the South Taranaki
District Museum did not promote the heritage of South Taranaki District in any adequate
way.
OTHER ISSUES
The issues facing heritage organisations are similar to those faced by many community
groups in this district including difficulty sustaining membership, especially younger
members who can form a line of succession for the organisation. Funding a raft of
operational costs such as building maintenance, rates, research costs and, in some
cases, staff wages is also a major challenge. In addition, the current environment has
more building and OSH compliance requirements than when many of the groups were
first set up and these create an extra stress.
3. Consultation with Iwi
HERITAGE PROTECTION
Many taonga that belong to the hapū of the district are held at Puke Ariki, which is the
only available safe storage in the region. Once taonga are deposited at Puke Ariki the
hapū can borrow them back but there are procedures including:
• the payment of koha (donation)
• the setting of times for the collection and return of taonga
• forms to be signed.
It was felt that Puke Ariki had met the desires of most people. The comment ‘better the
devil you know’ was made regarding the suggestion of providing a good storehouse for
taonga in South Taranaki
Centralising the storage of taonga is not an acceptable solution to hapū because there
are issues of kaitiakitanga and re-classification. It was suggested that instead there
needs to be someone to support hapū keeping taonga at their marae, which is a big
responsibility. Access to a curator or archivist who can help hapū make good decisions
would be helpful. This would support people to look after their own taonga.
The subject of Turuturu mokai arose. There is concern that the willows that have been
planted there in the past are interfering with the paru (mud from the stream that has
been a traditional source of black dye), which is diminishing. Ngāti tupaia hapū would
like some help from Council to put things right. It was suggested that local hapū need
support to look after their archaeological sites although there was awareness that the
Historic Places Trust offered help and support in the management of such sites.
TELLING OUR STORIES
There should be opportunities for hapū to have input into how the stories of our district
are told so that they are acceptable to all parties. How things are reported is important.
The example was given of Normanby, where the streets are named after soldiers that
some of the locals describe as murderers and rapists. On the other hand, in Manaia,
there is only one street named after a European. The memorial cairns around the district
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also talk about rebellion, naming local Maori as rebels. It was pointed out that: ‘He who
names the world, owns it’.
Despite the different interpretations of two distinct cultures, there is a history that can be
shared. The story of Titokawaru is one such story. It was suggested that the story of
South Taranaki could be celebrated every year as a type of festival or pageant
BILINGUAL PLACE NAMES
From this discussion came the suggestion that there should be bilingual names for all
the towns in South Taranaki. It was suggested that the Council could undertake this
project. Ruakere Hond, an educationalist and trustee of the Maori Language
Commission, has already completed some work on local place names.
For Ngaa Rauru, it is important that their guiding principles are considered in the
development of this strategy. These are included as Appendix Three.
4. South Taranaki District Museum
Situated on Egmont Street, Patea, opposite Turi’s Canoe, is the South Taranaki District
Museum. The Museum contains a large collection of artefacts, including taonga and
archives specifically related to South Taranaki. There is no door charge to the Museum,
which, under its policy of access for all, asks only for a donation. There are permanent
displays relating the history of the Patea port and meat works, European settlement and
military history. The Māori Court displays art, carving, tukutuku weaving, clothing and
weapons. The Museum also contains a replica of the ancient Māori rock carvings at
Kohi, north of Waverley. As a registered collector, the Museum holds in trust for the
community many land and military records from the area, books, files on local
personalities and 10,000 photographs.
GOVERNANCE
Originally built by the Patea Historic Society, the Museum was handed over to the South
Taranaki District Museum Trust in 1998. Governance has proven to be an issue for the
Museum. The original Trust Deed had provision for representation from the wider district
which was not forthcoming. Then, in August 2004, the Museum changed its Trust Deed
so that its governance system became bicultural, although this has yet to be realised in
any practical way. In deference to the founding role that the Patea Historical Society
played in this institution, the Society can appoint two members to the Trust as of right,
although one of these should be Maori. The strong ownership of the organisation felt by
those members of the Patea Historical Society sitting on the Trust has often led to
conflict about changes in the operation of the Museum. A solution to this situation needs
to be found before the organisation has any possibility of functioning as a professional
museum that can attract and retain professional staff. The recent increase in the number
of Trustees has already led to positive changes in the organisational culture of the Trust.
FUNDING
The Museum is currently funded by the Council, which contributes $50,000.00 from
general rates, and the Patea Historical Society, which contributes $3,000.00. Other
16
essential funding is obtained from Lotteries, philanthropic trusts and bequests. Funding
is needed to complete archiving and to provide the correct storage conditions for the
collection.
OPERATIONS
Volunteers and three paid workers operate the Museum: a part-time director, a part-time
trainee archivist and a part-time museum worker. The Trust has been working to bring
the Museum up to New Zealand Museum standards. The previous Director was assisted
by visiting experts to complete a New Zealand Museums Scheme Audit. An Archives
Procedural Manual has also been developed and the Museum is establishing systems to
meet an increasing number of research enquiries.
FACILITIES
The previous director of the Museum reported that its building requires significant
upgrading including structural repairs, weatherproofing and insulation, achieving
electrical and building compliance, meeting current OSH compliance and a
reconstruction of the visitor flow and access through the facility9. A recent assessment of
the building by architect, John Verstappen, recommends that a new and simpler roof
should be built over the existing one before the building could be considered as suitable
to store and display artefacts. He considers that this is the most serious fault with the
building but one that is rectifiable.
On a more positive note, the previous director developed a Strategic Plan that identifies
a way forward for the Museum as an effective provider of heritage services to the district.
This plan has been adopted by the South Taranaki District Museum Trust.
5. Regional Museums
PUKE ARIKI
Puke Ariki is the old Taranaki Museum and is administered by the New Plymouth District
Council on behalf of South Taranaki District Council and Stratford District Council. When
the Taranaki Regional Museum became Puke Ariki a regional working group should
have been set up but this has not eventuated. This means that both Stratford and South
Taranaki currently have no input into Puke Ariki’s operation.
Puke Ariki does have many enquiries from South Taranaki residents, usually regarding
history, heritage sites and archaeological sites. It does not currently offer any formal
services to South Taranaki District but would consider doing so if requested. To date,
however, there have been no requests to increase such service levels.
Senior staff at Puke Ariki have expressed an interest in developing a partnership with the
South Taranaki District Council but do not want this to be a drain on their own resources.
They can offer education, mentoring/internship, an outreach programme and travelling
exhibitions, although the latter can only be displayed in secure, climate-controlled
9
Wellwood, B. (2004) South Taranaki District Museum Strategic Plan 2005-2010. Patea: South
Taranaki District Museum Trust.
17
conditions. Puke Ariki cannot provide archival storage for the South Taranaki District as
it is currently facing storage issues of its own, particularly for large items.
WHANGANUI REGIONAL MUSEUM
The Whanganui Regional Museum has long expressed support for the South Taranaki
District Museum and its Director has written to express an interest in becoming more
involved with the management of the District Museum. This is partly because Ngaa
Rauru, who are part of the Joint Council of Trustees for the Whanganui Regional
Museum would like the whole of the Ngaa Rauru rohe covered by one institution. This
scenario could extend to the possibility that the Whanganui Regional Museum would be
responsible for employing a key worker for the South Taranaki District Museum, and
providing professional support for that worker. Recently, however, extensive changes
have been mooted for the operations of the Whanganui Regional Museum, which has
also had cuts to its operational grant from Wanganui District Council. It is unlikely that
the offer made by Whanganui Regional Museum is still feasible.
Current Council Role
The South Taranaki District Council protects heritage buildings and sites in the district by
both regulatory and non-regulatory means. Heritage buildings and objects are a physical
resource in terms of the Resource Management Act 1991. The Council must protect the
significant heritage buildings of the district to comply with the Act’s requirement to
‘promote the sustainable management of natural and physical resources’. In line with
this, the District Plan for South Taranaki, which is the key mechanism through which
heritage protection is undertaken, includes the following relevant objectives:
• The appropriate management of land and the protection, maintenance and
enhancement of the natural environment on behalf of the community for the
benefit of future generations.
• Understanding Maori cultural and spiritual values and developing working
partnerships with Tangata Whenua, as kaitiaki.
• Recognising and protecting heritage and significant natural areas of our district.
The Heritage Protection section of the South Taranaki District Plan lists items of
historical significance including buildings, notable trees and significant natural areas.
The Council must have regard to the Historic Places Trust Register, Rarangi Taonga,
when it compiles this section of its District Plan. The majority of building registered by the
trust are included in the District Plan, along with a number of other buildings and sites
which the Council has considered as being worthy of protection. Being included in the
District Plan allows the Council to have input into how these buildings may be altered
and managed so that their integrity is not damaged. The Council works closely with the
Historic Places Trust, especially when buildings are being altered. The Council operates
a rolling District Plan Change Programme, looking at suggested changes as the need
arises.
The Council has just developed an Earthquake-prone Building Policy; which considers
the special needs and characteristics of heritage buildings s.
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The Council is currently working in partnership with the New Zealand Archaeological
Association (NZAA) to gather accurate information about all of the 700 recorded
archaeological sites in the District. In October 2005, letters were sent to nearly 500
South Taranaki landowners seeking consent for NZAA field crew to visit their properties
to check the accuracy of location details and descriptions of known sites. The sites
include 363 storage pits, 325 pa, ten flour mills, 24 redoubts, three shipwrecks and four
flax mills. Until this project began, sites were only located within a 200 metre radius and
the inaccuracy of this information could unnecessarily affect property development for
subdivision or building and the Council’s consent processes. This project is
complementary to the Council’s Wāhi Tapu Project, which supports Iwi to work in
partnership with the Council to identify and protect wāhi tapu in their rohe.
As part of its role to educate and inform the community about the importance of heritage,
the South Taranaki District Council through the Environment and Information Services
Group has developed a Heritage Inventory for every town, which showcases their
heritage resource. The Inventories contain photographs, specifications and some of the
stories associated with the district’s most significant historic buildings, objects, and sites.
They are updated every five years but the public can suggest items for inclusion in the
Heritage Inventories, at any time, by contacting the Council. While the inventories are a
wonderful way to raise public awareness about heritage, there seems to be some
confusion in the public mind as to whether the buildings featured are protected or not. In
fact, not all the items featured in the Heritage Inventories are protected by the District
Plan. The Council has also developed heritage trail brochures for every town of the
district that feature the most remarkable of our heritage assets. These are updated each
five years.
The Environment and Information Services Group provides advice and information to the
owners of heritage properties including free professional advice from building control
officers and planning officers prior to lodging a consent application. The Group can make
available the services of a Conservation Architect in certain circumstances to provide
advice to developers considering altering heritage buildings. The Small and Medium
Enterprise Business Package provides some financial incentives for owners of
commercial buildings to maintain their properties in certain cases. There are no Council
sources of funding for the protection of privately-owned heritage buildings and it would
be highly beneficial if the support package offered by the Council could be extended to
include a wider range of mechanisms to protect the built heritage of the district.
The Council also supports heritage protection through its annual funding of the South
Taranaki District Museum. Each year the Museum is contracted to develop and care for
a collection that reflects the history, social development and multicultural nature of South
Taranaki. As part of this contract Museum staff develop exhibitions and work towards
creating a user-friendly educational environment. The Museum also provides research
services from which it generates a small income.
The Hawera Library does provide some services to genealogists and has amassed a
considerable number of resources including locally produced periodicals, microfiche of
the births, deaths and marriages files from local newspapers.
19
Conclusions
Currently there is a real disjuncture between services needed and services provided
within the district, although there is some congruency between community needs and
sector desire to provide the infrastructure and services that could meet those needs –
whether in the area of providing storage or gathering together the stories of our district.
This is not a new situation and has come about in part because the district, a relatively
new entity in itself, has never had a professional museum and also because many of the
community organisations that have developed to ‘fill the breach’ so to speak have been
self-funded and, consequently, self-directed. The lack of a well-resourced and supported
lead organisation within the heritage sector has left it fragmented and uncoordinated, in
many ways.
Following is a themed analysis of unmet needs within the community in the area of
heritage protection and awareness that were identified by this research:
EXPERTISE
The most pressing need is for expert support and assistance from a trained museum
professional to support those in the community who are interested in caring for and
preserving historic buildings and sites, stories, taonga and the archives that they hold.
ACCESS
There is a need for heritage to be made more accessible, in many ways. The District is
home to a number of historic sites that carry with them some unique and remarkable
stories. While these sites and stories are sometimes well-known in the immediate locale,
they not readily accessible throughout the wider community nor to visitors. Several
communities and some organisations in the district have expressed a desire to record
their local stories for posterity and would like expert support and assistance to undertake
these oral history projects. Once these are collected they can then become available to
all.
ARCHIVAL STORAGE FOR OUR TAONGA
While the Council provides climate-controlled storage for its own archives, this facility is
too small to accommodate archives from any community source. Some people have
suggested that they would like to be able to store their taonga within the district while
others are happy to keep such items in the care of the larger regional museums. It is
apparent, however, that some organisations are not able to store their archives safely. In
addition, as the members of the many heritage organisations of the district are ageing, it
is likely that, in time, caring for the archives they have collected together is likely to
become a pressing issue.
PROMOTION AND AWARENESS
The fascinating history of this District, which has been described as ‘the birthplace of the
nation’ is not generally well-known nor is it promoted in any coordinated or effective way.
In addition the heritage sector is fragmented and rarely works together.
As the community had signalled a number of areas of unmet need in terms of heritage
services in the South Taranaki District, one of the key tasks for the Council was to
20
consider whether it should increase its commitment to heritage protection and
awareness by taking on that role.
Policy Objectives and Actions
To meet the needs of the community the Council will support its communities to increase
their cultural well-being by valuing, protecting and promoting heritage. To achieve this
end the Council will:
1. Act as a role model in the protection of heritage in the district.
2. Provide access to archival storage for the taonga of the district.
o Consider the need for archival storage now and in the future and support
initiatives that can provide for that need.
3. Support communities to protect and maintain their heritage.
o Continue to provide advice to owners of heritage buildings and sites.
o Support the provision of training collection owners so they can properly
care for their collections.
o Continue to work with each iwi of the district to protect wāhi tapu sites.
o Support the gathering and recording of oral histories.
o Investigate the feasibility of providing grants to preserve heritage
buildings and sites.
4. Support the heritage sector to work together.
o Facilitate sector network meetings that will develop relationships between
these organisations and foster collaboration and cooperation.
5. Support initiatives that make history and heritage accessible.
o Ensure that heritage sites are accessible.
o Ensure that all our communities have access to our stories.
6. Increase community awareness of the heritage of the district.
o Support the development of heritage trails and installation of heritage
plaques.
o Acknowledge Maori history and the Maori ‘side of the story’ in any
narratives about the history of the district.
7. Support communities to promote their heritage.
o Support community events or initiatives that highlight the history of the
district.
o Support the creation of brochures and other media that promote the
history of the district.
8. Support the development of cultural tourism projects if and when they arise.
21
Delivering on our Heritage Objectives
To achieve these policy objectives for the heritage sector, the Council will continue to
provide all its existing heritage services and will also work with the South Taranaki
District Museum Trust to provide additional services to the district. These new services
will be delivered from the South Taranaki District Museum building in Patea from
2007/08 after the first stage of the building upgrade has been completed.
In this partnership the Council and the Museum will have clear cut areas of responsibility
but will meet regularly to map out their annual business plan and evaluate their progress
towards these goals. All responsibility for staff will be undertaken by the Community
Services and Development Group of the Council. As well as the usual curatorial and
archival duties, the staff will work across the district, providing expert advice on the
preservation and storage of taonga, assistance with the collection of oral histories and
support for the development of heritage trails. They will work with the heritage
community to form a District Heritage Network and also coordinate the development of a
brand that can be used to promote the district’s heritage.
The South Taranaki District Museum Trust will continue to provide governance and
advice for the Museum. It will also take responsibility for the restoration and
redevelopment of the Museum building in Patea. The key priorities in this area are:
o
Fundraising to complete the redevelopment of the building.
o
Re-aligning and re-cladding of the roof to remove the internal gutters.
o
Construction of a climate-controlled archive within the building.
o
Construction of collection storage facilities.
o
Upgrading the interior and internal flow of the building.
The Council has indicated that it will be willing to provide a one-off grant of $200,000 to
the Trust, from the Community Projects Reserve, to facilitate the upgrading of the
Museum building, as recommended by architect, John Verstappen. This will enable the
building to house much-needed archives and collection storage, and to host visiting
exhibitions. The Trust will continue to own and care for its collection, including the
photographs and archives. It will also undertake independent projects where these do
not interfere with the core activities of the staff.
Working Together
The success of this proposal is dependent on the development of a partnership
agreement. The Council has clear guidelines regarding partnerships with the private
sector, which are outlined on pages 216-218 of the LTTCP.
22
ART
Introduction
Art is a form of communication and creative expression that is as old as humankind. As
with all communications media, art has adapted over time to embrace new technologies
so that it now can be considered to include performance and visual arts, from film and
video to writing, oral history and storytelling. Its creative outcomes may be everything
from public art to festivals, theatre and dance performances, exhibitions, publications
and seminars. One of the great things about art is that it can be challenging as well as
entertaining because it often includes an element of criticality or social comment. In this
way it allows an exploration of ideas and experiences that can expand our sense of what
is possible.
When we look at the function of art in a community such as South Taranaki there are a
number of roles it can and, in some cases, already does fulfil – at a personal, community
and district level. Cultural development is generally a collaborative and empowering
process and for this reason can play a strong part in the well-being of communities. At a
personal level, individuals can build their self-esteem and social lives as they connect
with like-minded creatives10. Many find the process of making art or performing both
therapeutic and pleasurable. Art has also been shown to be a highly successful means
to engage young people and increase their social skills.
Art projects can be a means to support and empower marginalised and isolated groups
and individuals, involving them in their communities and, through this, building their
confidence. The Arts Access initiatives around New Zealand are testament to how
disabled and marginalised people can become connected to their communities through
the universal language of art11.
Art can contribute to economic and urban development. Cultural tourism is a growing
business. More and more people visit art galleries, and purchase original art works than
ever before. It is now recognised by New Zealand Trade and Enterprise that the creative
industries have the potential to develop into a major income stream for our innovative
country. In Australia, art projects have been used to revitalise rural areas that have
suffered depopulation as a result of changes in the agricultural sector. Some
communities have developed positive programmes of cultural development built on the
base of local arts activity and events that have led to community redevelopment. Urban
areas can be enhanced with public art works that confirm our identity and boost civic
pride.
Many local authorities in New Zealand have found that supporting the arts is a costeffective means to build community cohesion and self-esteem. As the following evidence
shows, the desire for an art space has become pressing in the eyes of many people.
10
11
Mills, D. & Brown, P. (2004). Art and Wellbeing. Sydney: Australia Council for the Arts: p107
Eames, P. (1997). Arts Solutions. Wellington: Arts Access Aotearoa.
23
Such an initiative would provide a venue for us to express ourselves as a district and
celebrate our creativity.
Evidence to Inform the Policy
1. Community Development Consultation Process.
VISIBILITY
Although there are many arts organisations and artists within the district, the arts are not
generally visible. One exception is the town of Opunake, which has a large number of
murals that the local community would like to promote with a mural trail brochure. Other
towns would like to follow Opunake’s example and have more murals around their town.
This would help to liven up the urban environment and provide visibility for our artists.
An art space could provide exhibition space, making the work of local artists visible and
accessible.
PARTICIPATION
It was suggested that an environment that encourages young people to become involved
in cultural activities would be helpful to youth development. In some towns, however,
though young people expressed a wish to be involved in cultural activities, there was no
opportunity to do so.
SUPPORT
The community approved of the support that the Council gives arts events and would like
this to continue. It would also like the Council to support performing arts initiatives in
Manaia and an art space in Patea.
PROMOTION
It was suggested that all arts activities and events would benefit from better promotion
and that the Council should support this.
2. Findings from Survey of Stakeholders in the Arts Sector
In December 2004 a survey was sent out to 203 groups and individuals in the South
Taranaki creative community to ascertain the opportunities and issues within the arts
sector and also whether they would support the development of an art space. The
survey included all those who were involved in visual arts, literature, performing arts and
music. Out of the 62 surveys returned and recorded, 41 were individuals and 21 were
groups.
KEY ISSUES FOR THE CREATIVE COMMUNITY IN SOUTH TARANAKI
As part of the survey, stakeholders were asked to identify the issues within the sector.
Many themes emerged within the responses and there was strong support for the
24
creation of an Art Space. The following table outlines the main issues which arose and
the frequency these occurred in the returned surveys.
MAIN ISSUES
NUMBER OF RESPONDENTS
Need for an Exhibition Space or Art Space
26
Need for more promotion of the arts
15
Project funding and assistance
9
Support
9
Difficulty attracting new members and
6
volunteers
Visibility of art in the community
5
Establish a lead, district-focussed arts
4
organisation.
Lack of Educational Opportunities
3
SUGGESTED SOLUTIONS TO THESE ISSUES
Respondents were asked if they had any great ideas for strengthening the arts in South
Taranaki. There was a good response to this question with some dominant themes
emerging as the table below shows.
SOLUTIONS
NUMBER OF RESPONDENTS
Art Space in Hawera.
21
More Publicity and Exposure
11
Arts Coordinator/Director
3
Artist in Residence
2
Festivals/Concerts/Competitions/Events.
4
Strengthen Art already in place
1
Set up Creative Community in Hawera
2
Funded Art Groups
5
The survey also asked targeted questions relating to two possible arts initiatives
that had already been identified: an art space in Hawera and an artist-in-residence
scheme.
ART SPACE
The community development consultation and annual plan submissions had already
shown that the arts community, particularly in Hawera, is very keen to see the
25
establishment of an art space. Recognising that, to be successful, any such facility would
require a high level of voluntary input, the survey aimed to establish the level of support
within the arts community.
Respondents were asked to indicate whether or not they would be willing to exhibit work
in a gallery within the Art Space.
• 48 respondents stated that ‘yes’ they would be interested in exhibiting work
• 5 stated that they would not be willing to exhibit work
• Other respondents pointed out that it would depend on the space provided, and
the quality of the work being displayed in the gallery.
Respondents were also asked to specify how often they would be able to exhibit in the
space. The majority of respondents estimated that they would like to exhibit once a year,
while some thought they would like to exhibit up to four times a year. In addition, 28
respondents indicated that they would be willing to participate in both solo and group
exhibitions, while 13 were only interested in group exhibitions and four were only
interested in solo exhibitions
As the Council needs to consider the sustainability of the art space, we asked artists how
they could contribute to its upkeep in terms of paying gallery fees and/or commission, or
volunteering time to mind the gallery. While the majority of respondents indicated that
they were happy to pay gallery fees, some suggested that these should be kept at a
‘reasonable level’ and nineteen of the respondents stated that they would be unwilling to
pay gallery fees. In contrast, commission on sales of work was a more acceptable way of
paying for gallery or retail space with 42 respondents giving a positive response and only
four that were not prepared to pay commission. Again there were concerns about the
possible rate of commission. Twenty-eight artists said they would sell their work in a
separate retail space within the art space, and nine said they would be unwilling to do
so. Again the majority (30) of respondents indicated that they would be happy to pay
commission on sales.
When it came to volunteering their time, 33 respondents offered to look after the art
space, while 15 were unwilling to contribute. Some respondents asked why the artists
were expected to volunteer to look after the space although they were in the lower
income bracket and still needed to produce works of art. Thirty-two respondents were
happy to volunteer time to set up an art space, while 18 were not prepared to be
involved in this way. Only 17 respondents were willing to volunteer time to sit on a
governing body.
We also asked for feedback about the opening hours for the art space and found that the
majority of respondents (23) thought that it should be open seven days a week and 17
thought that it should be open five days a week. Some people commented that the
opening hours should definitely include weekends.
There was a very positive response to the suggestion that a workshop/studio would be
available for professional development with 41 respondents stating that they would use
this facility if it was provided. Some noted that they would possibly use the space and
others made reference to other galleries that already had a similar space and said they
would only make use of the workshop if it was in a specific location.
26
ARTIST-IN-RESIDENCE SCHEME
The concept of the developing an artist-in-residence scheme was floated within the
survey and respondents were asked to give their views on this idea. The response to the
idea was varied, with 10 saying that it was a good idea and would help to build a sense
of pride in art in the community and encourage people to get involved in the arts. Some
respondents said they would like to see an artist-in-residence in the King Edward Park
cottage and involved with arts activities at Hawera High School. Others thought that such
a scheme would stimulate new talent and interest younger people.
Eleven respondents thought the idea was good but held reservations as to whether the
scheme would work in such a small district with limited funds. These respondents were
unsure how much support the scheme would have from local artists and pointed out that
many artists had moved to centres such as Auckland and Wellington to make a living.
Some felt that the Scheme would need wider involvement from other groups and
international artists as well.
Finally, ten respondents suggested that the Artist-in-Residence Scheme was a bad idea
because it did not sound feasible to them and they believed that not all artists would be
suitable or willing to share. One respondent described the concept as “fuzzy”. Some
respondents thought that an artist-in-residence scheme should not even be considered
until an art space is set up and strategies put in place to promote the arts in South
Taranaki. Again the cost of the project was highlighted and the amount of support and
effort that would be needed to maintain the Scheme.
SUMMARY OF SURVEY FINDINGS
The results of the survey indicated that there was a specific need, and strong support for
the creation of an art space in Hawera. The space needs to be multi-functional with a
workshop, permanent gallery or exhibition space, a studio for working artists, a meeting
room and café. There was a general feeling that the space should be centrally located
and easily accessible to the public. Many respondents recommended specific locations
and existing buildings such as the ex-Deka building or the ex-Warehouse building. They
suggested that setting up on the main street of Hawera would help to create a more
attractive vibrant central city.
The findings of the survey suggest the need to appoint an arts coordinator for the district,
who would have a good understanding of art and could manage the art space. They
could also be responsible for organising events, competitions and exhibitions as well as
creating artist’s profiles for each issue of the Hawera Star. Promotion of the arts sector
could also include the creation of a website, directory of artists and brochures for
circulation.
The Artist-in-Residence Scheme had mixed support but it was clearly indicated that the
Scheme should only be considered once an art space is set up in Hawera. The costs
associated with this scheme do not seem feasible in such a small district. It was
suggested that if an arts coordinator was appointed they could further investigate the
feasibility of setting up such a scheme.
27
3. Iwi Consultation
Two hui were held with an independent group of three interested Māori artists. They
supported the development of an art space in Hawera, although it was also suggested
that hapū need to be able to access arts in their own place. For this reason, the group
involved in this hui had developed a travelling exhibition of art, which can be taken
around all the marae when wānanga (learning) are taking place. The group said that
they take wānanga out to the marae as a way of ‘giving back to the people’. This group
needed some more support to develop robust frames and boxes so that the art can be
kept safe when it is travelling.
Ngaa Rauru asked that their Guiding Principles be taken into consideration when
drawing up the policy (Appendix Two).
Current Council Role
Currently the Council supports the arts in the South Taranaki District through its annual
Arts Lease programme and administration of Creative New Zealand’s Creative
Communities Scheme. It also provides purpose-built performance venues in Eltham and
Hawera.
The Council also supports a number of arts events through its funding of the Taranaki
Community Events Trust. These funds contribute to the running of Paepae in the Park,
Arts in the Park, the Eltham Community Festival, Parihaka Peace Festival and four
shows held in the Eltham Town Hall and the Hawera Memorial Theatre. Some funding is
also provided for the Taranaki Art Review and the Taranaki Arts Festival.
While the current arts policy allows for a range of arts activities to be supported and
developed, the Council does not currently take a leading role in supporting the arts. It
was clear, however, that the community would like to see the Council support a greater
level and range of arts activity in the district.
Conclusions
While it is generally known that South Taranaki has a strong performing arts community,
it has been interesting to discover that the district has a large number of people and
organisations involved in the visual arts. It was also significant that a number of
professional artists have recently relocated to the district, attracted by low property
prices and the heritage values of the small towns throughout the district. It could be
surmised that a contributing factor is that South Taranaki is strategically placed between
two areas of high activity in the arts: Wanganui and New Plymouth are both nationally
recognised as arts centres. New Plymouth is known for the Govett-Brewster Gallery and
the Len Lye collection, while Wanganui’s large community of working artists and
Sarjeant Gallery are strengths in that town. Between both areas there is a wealth and
diversity of arts activity and for this reason many art lovers travel from Wellington up to
New Plymouth.
28
The strong desire for an art space in Hawera was matched by an equally strong level of
support from the stakeholder communities, who are offering to volunteer their labour
towards both governance and day-to-day running of the project. There are also
significant numbers of artists who are prepared to exhibit and sell their art work in the
space, which suggests that it could be a viable enterprise. Given that an integral part of
creativity is sharing your ideas and work with other people, this is not a surprising
finding.
The need for expert support and assistance to oversee the running of the art space, as
well as promote the arts is a key factor in making the arts more visible to the community.
This person could provide support to individual artists as well as the performing arts and
literary communities. It seems that the community would also like to see more cultural
events initiated and promoted with the Council taking a lead or coordinating role in these
initiatives.
Less important to the community was the idea of establishing an artist-in-residence
scheme, which could provide additional stimulus and expertise for the community. This,
however, did not seem to be a priority for the district at this time.
Policy Objectives and Actions
The Council will continue its current activities to support the arts in the district as follows:
1. Support arts events and festivals.
2. Support local artists with the annual Arts Lease programme.
3. Provide facilities and amenities for cultural and arts activities.
4. Provide administrative support for the Creative Communities Scheme.
5. Act as an advocate for its communities by making submissions to Central
Government on arts-related issues.
In addition the following four strategies will enhance the Council’s contribution to the art
sector and better reflect the Community Outcomes:
6. Support the development of an art space in Hawera that can provide exhibition,
workshop and retail space.
7. Promote arts activities that support the arts to become more visible throughout
the district.
8. Support arts projects that actively seek to bring people together to explore their
creativity and have fun.
29
Delivering on our Arts Objectives
The Council will work with STAGE Inc to develop an art space in Hawera. STAGE is a
fledgling but capable group that has recently formed. Its objectives are:
• Establish a high profile gallery with attached studio/workshop facilities for public
use.
• Facilitate economic development opportunities for the arts.
• Provide opportunities for interaction between artists and the community.
• Attract tourism and visitors to South Taranaki.
• Increase access to expertise and education in the field of the arts.
• Increase opportunities for creative expression and artistic celebration.
• Support the initiatives of other arts groups within the district.
This group intends to fundraise to purchase a building in the CBD of Hawera that can
house an art space as well as provide an area for workshops and studios. If this project
comes to fruition the Council has indicated that it will be willing to contribute a grant of
$50,000 to $100,000 for the purchase of a suitable building. This one-off grant for the art
space building will come from the Community Partnerships Reserve.
To support the achievement of its policy objectives for the arts, the Council will employ a
Creative Activities Facilitator, who will undertake the following role:
• Coordinate and promote a programme of exhibitions that engage the community.
• Develop a programme of workshops that includes a range of low-cost or free
classes.
• Work to establish a range of materials to promote the arts in the district, including
a website, brochures, signage and an arts directory.
• Develop a signature cultural event that will attract visitors to the district.
30
CULTURAL DIVERSITY
Introduction
Barriers to social inclusion can be based on gender, ethnicity, race, sexual orientation,
socio-economic status, mental health or disability. Healthy, inclusive communities,
however, are characterised by a high level of discussion between members of the
community, strong relationships and strong communication patterns. Other
characteristics are acceptance and valuing of different points of view within the
community, or acceptance of controversy. Acceptance of controversy means that people
can disagree but still respect each other.
Supporting community discussion of issues, in a safe and informative environment,
encourages understanding as well as tolerance and respect. In communities that accept
controversy:
There is a depersonalisation of politics. Ordinary citizens are more likely to run
for office, and feel able to implement countermeasures to resolve community
issues without being crucified.12
By taking care to include all our communities in public decision-making processes
everyone’s voices will be heard and their perspectives taken into consideration. This is a
role that the South Taranaki District Council can play in its community.
Evidence to Inform the Policy
Only a very few issues were raised regarding social inclusion. They are as follows:
APPRECIATION
It was suggested that involving as many cultures as possible in community groups and
initiatives will help to raise awareness and value of these groups within the wider
community. Cultural awareness workshops can also assist in developing an appreciation
of the uniqueness of other cultures.
RESPECT
Several respondents suggested that they would like to see Maori history acknowledged
throughout the district. This can be achieved is by telling both sides of the historical
story.
Current Council Role
The Local Government Act (2002) requires Councils to include all their communities in
decision-making and this is a principle generally embraced by the South Taranaki District
Council. The original Arts and Cultural Policy defines the Council’s role as an
12
Flora cited in Mills, D. & Brown, P. (2004). Art and Wellbeing. Sydney: Australia Council for the
Arts: p99
31
‘Acknowledger of Different Cultures’ that will ‘recognise the right of its citizens to retain
traditional cultural and art customs’13
The Council’s Iwi Liaison Committee is a forum where many projects and policies that
the Council is involved in are presented to representatives of the four iwi of the district for
their comments and concerns. It is a place where a Maori worldview can be espoused
and considered. One of its key responsibilities is to ensure that the Council carries out its
role in a manner that is consistent with the rights and obligations contained in the Treaty
of Waitangi.
The Council provides cultural awareness training for its staff but, unlike many public
institutions, it is not compulsory for staff to attend treaty training workshops. In 2004, the
Human Rights Commission approached the South Taranaki District Council and asked
to facilitate a series of community discussions about the Treaty of Waitangi. The Council
was unequivocal in its support of this initiative by the Human Rights Commission and, in
April 2005, a highly successful community discussion took place with around 200
members of the community attending. Further community discussions are planned to
take place.
Conclusions
The Council has a key role to play in this area as a role model to its many communities.
While, as a rule, it is currently is supportive of promoting cultural diversity, open
communication and robust discussion, cementing these principles into place as policy
will make the Council’s position clear to both internal and external stakeholders.
Policy Objectives and Actions
The Council will encourage the social inclusion of all its communities by:
1. Providing Council leadership in embracing, valuing and respecting diversity.
2. Supporting projects that encourage community discussion and celebrate cultural
diversity.
o Each year the Council will support its communities to celebrate MultiCultural Day by providing a day of learning, sharing and entertainment.
o The Council will support events and projects that celebrate and support
cultural diversity and tolerance.
3. Supporting projects that encourage the development of cross-cultural links.
4. Working to include all its communities in public decision-making processes.
5. Actively working to remove barriers to social inclusion that are identified by the
communities of the district.
13
South Taranaki District Council (1993). Arts and Cultural Policy. South Taranaki: South
Taranaki District Council: 5
32
6. Actively encouraging all staff to undertake cultural awareness training.
Delivering on our Cultural Diversity Objectives
The Council will act as a role model for all its communities in the celebration of cultural
diversity, a role that it has already embraced through its first Arts and Cultural Policy and
also through its actions. At the core will be the annual celebration of Multi-Cultural Day
as well as any other relevant events.
33
A TIMELINE FOR IMPLEMENTATION
2006/07
HERITAGE
Annual
Grant
to
Museum Trust
Annual operating costs
One-off grant Museum
Building
TOTAL
ARTS
Annual Costs**
One off grant
Art Space
2007/08
2008/09
2009/10
$125,000.00
$125,000.00
$125,000.00
$125,000.00
$50,000.00*
$200,000.00
$50,000.00
$325,000.00
$125,000.00
$20,000.00**
$40,000.00
$40,000.00
$50,000
$100,000
$90
140,000.00
TOTAL
$20,000.00
$40,000.00
CULTURAL
PROJECTS
$5,000.00
$5,000.00
$40,000.00
–
$5,000.00
$40,000.00
$5,000.00
* In 2006/07 the Museum will receive its usual grant of $50,000.00 because the Council
needs to give 12 months notice of any change to the existing contract between the two
organisations.
**During the first year of operation it is envisaged that a proportion of the year will be
spent setting up the art space and there will not be the need for a full-time arts
coordinator.
EVALUATING OUR ACHEIVEMENTS
Each year, the Council’s progress towards attaining the policy objectives of the Arts,
Culture and Heritage Policy will be evaluated through the Council’s annual plan process.
As many of these policy objectives relate directly to achieving some of the District’s
Community Outcomes, the three-yearly assessment of the Council’s progress towards
achieving these Outcomes will also provide further means of evaluating the success of
this Policy.
In recognition that community needs change, it is recommended that the Policy is
reviewed each five years.
34
APPENDIX ONE
ISSUES FROM COMMUNITY DEVELOPMENT PLANS
AND REVIEWS (2004)
AREA
Manaia
and
Waimate
Plains
Manaia
and
Waimate
Plains
Manaia
and
Waimate
Plains
Manaia
and
Waimate
Plains
Waverley/
Waitotara
Waverley/
Waitotara
ISSUE
PROJECT
The Manaia youth said that they are 4. Support the development of
very interested in cultural and youth activities, especially cultural
performing arts opportunities.
and performing arts programmes.
You said you wanted to see more
events such as the recent Manaia 5. Support the development of
Cultural Festival happen in the area events that encourage community
and you considered that such events involvement and participation.
were good for the community.
There have been several complaints
about the condition of the redoubt over
the past two years but the problem has
been addressed through more regular
monitoring of the maintenance contract
by the Council.
In both 2001 and 2004 you identified
the following as key ingredients in any
tourism strategy:
• Country Hall of Fame
• Kaupokonui
Beach
and
Campground
• Unique local history,
1. Support actively-led and
supervised holiday, after school
and
weekend
activity
programmes. The young people
In 2000, at a community workshop, the of the town have suggested:
provision of a nurturing environment,
• Designing and painting
encouraging aspiration and cultural
street art murals on the
development of the town’s young
skate park.
people, was identified as an element of
• Bringing in a guest skater
a collective vision for Waverley.
• Training young people to
be lifeguards
• Developing a community
garden.
After the floods in February 2004 the
three Marae located in the Waitotara 16. Support the Marae located in
River valley were devastated. Their the Waitotara River Valley with
Marae committees are all considering their post-flood recovery projects.
their options for recovery.
35
Waverley/
Waitotara
Waverley/
Waitotara
Waverley/
Waitotara
Waverley/
Waitotara
Waverley/
Waitotara
Patea
Patea
36
Tutahi Church is recognized as being
of regional importance to Maori and 17. Support and assist in the
has many visitors. Unfortunately it has development of the Tutahi Church
no toilets on site and visitors must use wharepaku.
the neighbouring Marae’s toilets.
23. Research and present the
history and stories of the area in a
way that residents and visitors
You thought the local stories are can actively enjoy by:
great… Kiwi, Rewi Alley, Kohi,
• Finding out how other
Moturoa, Town Clock, Colours of the
communities
tell
their
Wairoa Lighthorse Brigade, Churches
stories
like St Hilda’s, St Mark’s, Dr Harvey –
• Investigating the feasibility
the story (not necessarily the house).
of having a historian in
However, in general, you did not think
residence
the stories were told very well and you
• Developing and promoting
did not want to see these just collected
a Waverley cemetery walk
and archived away.
• Researching the potential
to enhance the Habin
sister city connection.
At a workshop with the Ngamatapouri
community
in
2001
it
was
acknowledged
that
history
and
24. Support a historical research
knowledge is disappearing as people
project
focusing
on
pass away. You thought it was
Ngamatapouri.
important to gather stories and make
them available for public listening and
viewing.
The Kohi Rock Carvings have
25. Support the research and
deteriorated and the caves are difficult
replication of the Kohi Rock
to access for any viewing of what does
Carvings in an appropriate
remain. It has been suggested that a
location.
replica be made.
Rewi
Alley’s
but
is
currently
inaccessible and access to the Kohi 36. Update the promotional
rock carvings is actively discouraged. material for Rewi Alley’s hut and
The promotional material, including Kohi rock carvings ensuring that
brochures
and
signage,
needs protected sites are appropriately
updating with a stronger message described.
about access.
Rangatahi development needs to be
supported in the best possible way but 45. Support the education of
before this can happen, teachers and teachers and students to become
students need to become more more culturally aware.
culturally aware.
The Patea Youth Trust have prioritised 46.
Support
appropriate
four areas of focus for the coming year: Rangatahi development including
They plan to
the provision of leadership
• Provide
a
venue
for workshops and programmes and
and
creative
skateboarders
and
their personal
activities
Develop a series of youth
development
initiatives
in
fitness and health, arts and
crafts,
music
and
the
performing arts.
However,
finding locally based and skilled
tutors for workshops is proving
more challenging than first
anticipated,
• Provide
a
reliable
and
consistent service in youth work
in Patea
• Minimise the risks, to the youth
worker, who works with youth in
isolation, without peer support.
Kaumatua have asked for assistance
with maintaining urupa.
This
suggestion has also been mooted at
the Council’s Iwi Liaison Board
meetings.
After the success of the Market Day
held after the Patea Christmas Parade
2002, it has been suggested that the
Memorial Gardens be developed as an
outdoor venue for community events
and performances.
Consideration
could be given to building a groundlevel outdoor stage area, the provision
of three-phase power and the
installation of additional rubbish bins.
You believed there should be a focus
on the Memorial Gardens, they are
central to the town and already draw
many visitors. Although you thought
that permanent power supply to the
gardens was a good idea, there was
concern as to the amount of use it
would get considering that the main
function held there was Pae Pae in the
Park and that had outgrown the venue.
Applications for funding to the Council
support Te Puni Kokiri’s findings and
indicate that committees are working
towards developing their Marae as
community focal points but they need:
• Access to clean drinking water
• Safe sewerage systems
• Adequate ablution facilities
• Dust-free, drivable access
•
Patea
Patea
Patea
development.
48. Secure long-term funding for a
youth worker/coordinator and
develop
networks
for
their
ongoing support and training, with
other
youth
workers
and
organisations
throughout
Taranaki.
10. Investigate the options for
assisting with the care and
maintenance of urupa.
11. Investigate the feasibility of
developing the Memorial Gardens
as an outdoor space for
community meetings, events and
performances.
15.
Support
committees to
Marae.
local
Marae
develop their
37
•
Patea
To re-establish Maori art forms
on wharenui
According to the Patea Reserves
Management Plan the river was once
lined with pa and urupa and although a
number of these are still visible, many
have been either partially or completely
modified through natural and human
impact. While no suggestions have
been made from the community, it may
be appropriate to identify these sites
and develop guidelines for their
protection in conjunction with the
preparation of the Beach Management
Plan.
There is considerable interest in the
preservation and promotion of Patea’s
heritage for both educational reasons
and tourism opportunities. The Patea
Community Development Programme
identified local history as community
strength and a number of groups and
organisations in Patea are currently
pursuing heritage initiatives.
The South Taranaki Museum staff and
trustees are currently working on a
number of projects of significance for
both preservation and promotion of our
heritage.
Patea
Archiving the collection is a priority but
with the current level of resourcing, the
work will take the better part of decade.
The museum also needs archiving
software for this project.
The entrance-way needs to be more
inviting with a ‘stronger façade’ and
open to visitors so that they can see in.
The existing staff, although passionate,
feels they need to develop their skills
and qualifications.
As the only registered collector within
the District, there are a considerable
number of services that the Museum
can offer to the wider South Taranaki
District, but few people know about
what is available.
38
Investigate options for ensuring
the preservation of the remaining
pa and urupa adjacent to the river
and beach: refer to Project 22
(Beach Management Plan).
26. Support the South Taranaki
District Museum to achieve the
following aims and objectives:
• Obtain
a
long-term
commitment from Council
to
provide
additional
funding for operational
expenses
• Employ
a
full-time
qualified
archivist
to
continue the archiving
programme
• Upgrade the entrance and
street front area
• Employ a qualified curator
or train existing staff in this
field
• Network
with
other
museums to develop the
professional skills of the
staff
• Promote the value of the
Museum as a registered
collector to the local,
district
and
regional
communities
• Develop a business arm
for
museum
research
services
• Network
with
other
heritage interest groups in
the district and region
• Investigate the feasibility
of
renovating
and
extending or replacing the
The building is old and leaks and so
cannot provide ideal storage conditions
for the collection.
Patea
Patea
Patea
The Museum Trustees are aware of
the need to develop a higher profile to
attract more visitors through the doors.
You believed that there was not
enough support for the South Taranaki
District Museum and believed that
more support was needed in the
following ways:
• Larger contribution from STDC
for maintaining and improving
museum
• Believe STDC should hold
heritage in high regard
• More funding so that museum
can do its job properly
• More of a contribution from
Patea Community Development
Trust and locals to get things
done
• Support for the development of
the Maori Court.
The Patea Historical Society is
currently working to complete the
restoration of the Patea Freezing
Works machinery, which has been resited in the old ANZ Bank. When
complete this is will be another visitor
attraction in town.
It has been suggested that heritage
plaques be situated at sites of
significance.
You thought it would be beneficial to
also have plaques on all the significant
sites in the Patea area and that the
signs would need a lot of research and
consultation especially with the Patea
Historical Society and STD Museum.
You also suggested Heritage Trail
brochures by developed in conjunction
with the plaques.
The old BNZ building on Bedford Street
needs to be protected and restored.
You said that removal of this or any
other historic building was a lack of
foresight, and it was supported that the
•
existing building to provide
much needed storage and
climate control
Involve the Museum in a
coordinated promotional
programme fro the whole
town
27. Support the Patea Historical
Society
to
complete
the
restoration of the freezing works
machinery.
28. Install heritage plaques at
sites of historical significance
29. Support the protection and
restoration of the old BNZ Bank
building.
39
Patea
Patea
HaweraTangahoe
40
Council should buy it to ensure its
survival. It was also hoped that the
STDC would provide support for the
new owner to protect and maintain the
building.
It would be an advantage to determine
the impact of major regional events
such as the Rhododendron Festival,
Taranaki Arts Festival, and WOMAD
etc on potential visitor numbers to
Patea.
It was stated that you don’t like to see
large amounts spent on this project as
the benefit was not obvious.
The range of historical, cultural and
environmental images which reflect the
nature of Patea, along with the large
number of emerging tourism initiatives
create
both
opportunities
and
challenges for our future. The Patea
Community Development Trust has
identified the need for a coordinated
promotion and marketing strategy to
raise the perceptions of Patea and
support the various tourism initiatives
in progress.
You
thought
local
input
was
paramount, and supported the use of
local talent and skills. It was also
believed that the project was another
example of spending money on reports
which are just filed and forgotten. It
was also believed there were many
aspects which should be considered
with regards to promoting Patea such
as:
• Clearing the Patea Freezing
Works
• Finishing and planting the
green waste headland
• Encourage property owners to
remove vehicles
• Tidy up and paint commercial
buildings
• Propose future underground
power for Bedford Street to
avoid
cutting
Pohutukawa
Trees.
A number of respondents were
concerned at the lack of an arts
33. Facilitate local traffic counts to
coincide with major regional
events.
39. Research local and visitor
perceptions of Patea to support
the development of a marketing
strategy.
Then, develop a coordinated
promotion and marketing strategy
for Patea to raise the profile of the
community and support local
tourism initiatives including:
• Logo and Design
• By lines
• Entrance Signage
• Talking Poles Concept
Arts space
project 34.
development:
see
HaweraTangahoe
HaweraTangahoe
exhibition space. They believe there is
a need to support local artists. An
exhibition space would be an asset to
the town and, if centrally located, could
attract visitors to Hawera. A combined
clubroom venue for art groups could be
included.
You generally thought this was a good
beneficial idea and suggested that
Council purchase the old DEKA
building and include a café. However it
was highlighted that the idea is no
longer unique, that it had proven
unsuccessful in other communities and
ongoing funding could be a problem.
You also believed that it needed to look
at other aspects such as hobbies to
give it a wider scope.
From the Star survey it was suggested
conservation plans be prepared to help
maintain the special character of local
buildings and their uses. Assistance
for groups who are responsible for
local heritage buildings and who
struggle with large maintenance bills
was also suggested. These buildings
are the wooden and concrete visuals of
our culture and should be valued.
You recognised that there are some
wonderful buildings and hoped that
they could be kept. However it was
pointed out that this is the owner’s
responsibility. It was suggested that a
low interest loan may be an
encouragement.
Participants in the 2001 Economic
Development Workshops requested
that the Council continue to take a
leadership role in organising a series of
flagship events, with the primary
audience being the local community.
Two of these events, Arts in the Park
and Concerts on the Lake are now
recognised as worthy of being
expanded and promoted to a much
wider audience.
The workshop
participants also said the Council
should provide local leadership in
regional
events
such
as
the
Rhododendron Festival.
You thought this was positive
26. Develop a policy for
supporting the preservation of
heritage buildings.
28. Consider the development of
a Summer Events Programme
incorporating a variety of sporting
and social activities.
41
HaweraTangahoe
HaweraTangahoe
HaweraTangahoe
42
especially as there are great events
which people are unaware of. It was
pointed out that some events may
need revamping or forgetting for
awhile.
Respondents to Progress Hawera’s
Retail Leakage Study identified the
Dairy Festival, retail promotions, a
Heritage week, and sports as events,
which should be actively developed to
attract visitors.
Participants in the Economic and
Tourism Survey conducted by The Star
also supported the development of
event tourism and suggested the
following worthy of investigation:
• Sporting
events
including
marathons
and
triathlons
catering for all fitness levels.
• The development of a specialist
Equestrian Centre, maximizing
use of the existing facilities at
the A&P Showground’s which
are considered one of the best
in the North Island.
• Unique sporting events such as
Gaelic Football.
• Cow Cocky Olympics
• Heritage Tours
• Weekly Markets in the Square
• Maori Cultural Events
• Local Trade Expo
• Hosting more Taranaki Arts
Festival events
• Regional promotion of the
Concerts in the Park.
You wondered if this could be linked
with the Art Space and Multi Sport
Facility.
The development of an arts and craft
gallery or art space has been raised
from several quarters. The retail
leakage study, the Star surveys and
personal
approaches
from
representatives of the art community.
Some participants suggested a gallery
and retail space to showcase local
artists to attract visitors. Others would
like a space for local groups to show
work and possibly house clubrooms
29. Support the development of
new events to attract visitors and
showcase
the
District’s
established tourist attractions.
29. Support the development of
new events to attract visitors and
showcase
the
District’s
established tourist attractions
34.
Investigate
the
most
appropriate type of Art Space to
meet the needs of the Hawera
Community and establish a
working party to consider funding
options and possible sites.
Opunake
& Coast
Opunake
& Coast
Opunake
& Coast
and space for workshops.
Applications for funding to the Council
support research undertaken by Te
Puni Kokiri, which indicates that while
many Marae committees are working
toward development as community
focal points, they need:
12.
Support
• Access to clean drinking water
committees to
• Safe sewerage systems
Marae.
• Adequate ablution facilities
• Dust-free, drivable access
• Car parking
• To re-establish Maori art forms
on wharenui.
You would like to see more effort made
by Council towards ensuring that wahi
tapu are respected and protected.
Some residents would like to see the
area remain authentic to its past with
metal roads and narrow bridges
remaining, in contrast to others who
would like to see roads improved and
bridges widened.
You thought this would provide long
term return for the community.
Several residents have expressed
concern at the condition of the old
Opunake Courthouse. This building
has been ‘land-banked’ with the Office
of Treaty Settlements. With no owner
or occupier, the building has been the
target of vandalism and there is a risk it
may be damaged beyond repair.
There was a strong belief that this
historical building was a deteriorating
eyesore which should never have been
sold to the Office of Treaty
Settlements. You also believed that is
was a fire risk and was not worth
restoring as it had ‘had its day’.
You said that it needed a permanent
plan and that people needed to look
after it better, and should include a
definitive answer as to whether it would
be demolished or upgraded. It was
also suggested that much emphasis is
placed on culture when making
decisions rather than on the benefit to
the community.
local
Marae
develop their
33. Liaise with local Iwi to discuss
the options for the protection of
wahi tapu sites.
34. Investigate the options for the
use of the Opunake Courthouse.
43
Opunake
& Coast
Opunake
& Coast
Eltham
Eltham
Eltham
Eltham
44
The Coast is rich in Maori and Pakeha
history, which you suggested could
become a draw card for tourists if a
map of historic places was available or
a historic trail was developed. A bus
tour could also be developed.
All of these things are necessary for
progress and need to be professionally
handled.
Opunake has 23 murals around the
town. It has been suggested that a
mural trail could be developed and a
brochure made, so visitors can view
them all in a scenic walk.
All of these things are necessary for
progress and need to be professionally
handled.
You believe a sense of pride in the
town would be increased if Maori
history was acknowledged more in the
area,
through
murals
or
the
acknowledgement of High Street as the
historical Whakaahurangi Track (to
leap skyward).
Many were unsure of the history of
Maori in Eltham and believed that there
was little due to the legend that Mount
Taranaki might move again. You also
believed the information should only be
factual and non confrontational.
You would like to see more Maori
resources in the library.
The Oil and Gas Museum can only be
glimpsed through the barred door and
there is no contact number provided so
interested people can get in to view the
display.
You wondered how the Museum could
generate enough income to have it
manned. There was a general feeling
that the museum is of inferior quality
and should not be on public display. It
was pointed out that there is already a
building so the project would be more
wasted money.
Some of the historical buildings are run
down and shabby. There are too many
empty shops.
You said that anything to keep the
image of Eltham would help and that
44. Develop a local tourism
network to co-ordinate marketing
and
promotion
of
coastal
attractions.
44. Develop a local tourism
network to co-ordinate marketing
and
promotion
of
coastal
attractions.
17.
Investigate
ways
to
emphasise Maori history in the
area.
42. Increase the Maori resources
at the library.
35. Investigate the options for
moving the Oil and Gas Museum
to permanent site.
Development of Bridge Street:
refer to Image and Branding
Project 16.
Eltham
Eltham
Eltham
Eltham
Eltham
by upgrading the buildings in the CBD
would encourage businesses in shops
to not have people live in them.
You would like to see more murals in
the town.
29. Identify suitable sites for
You thought this was a good idea, and
murals and investigate design,
could possibly involve the youth.
artist and funding options.
However, it need to pertain to the area
and could be subject to vandalism.
Liaise with industry and the
You want to promote the Eltham
community to design appropriate
district’s
natural
and
historical
signage and themes: refer to
attractions.
Projects 20, 21, 22.
You want to make Eltham visually
appealing to encourage visitors to stop
in the town and admire the historic
buildings.
You think that Eltham’s
stock of old buildings could ideally
become a cluster of interesting shops.
You believed the project was not
completed as there was still a lot to do. 21. Seek advice from tourism
It was pointed out that you did not marketing professionals before
know why anyone would want to stop committing to a logo or theme for
in Eltham as it had a lot of run down the Eltham Ward.
buildings which served no purpose. It
was also suggested that a strong
marketing promotion which focused on
closeness to outdoors, good sporting
activities and an affordable lifestyle
with clean country air would bring in
more people.
33. Develop and produce a
You would like to see the historical
professional brochure promoting
background acknowledged in rural
the lakes and attractions of the
areas.
eastern hill country.
There has been some community 18. Support owners of historic
to
upgrade
shop
discussion on whether cheese or buildings
historic buildings are appropriate as a frontages by promoting Council’s
central theme. In an economic survey Painting Incentive Scheme and
of businesses, completed in 2002, coordinating access to other
there was 70% support given to funding sources.
promoting Eltham as the “Cheese
Capital of New Zealand”. Although it is 19. Investigate installation of
popular with locals is does have historic displays in empty Bridge
inherent risks as a marketing strategy. Street shop fronts.
Mainland Products Ltd does not
actively support the promotion and has 36. Register Eltham with New
Heritage
Trails
confirmed that the company will be Zealand
continuing the successful marketing Foundation.
campaign that links their product to the
45
20. Research and install signage
in historically significant rural
You said that the Heritage Trail east of areas, for example ‘Doctor’s Dip’
Eltham needs to get underway.
near Mangatoki.
It was believed there should only be
displays if they are of a high quality,
and were not left to fade and look
untidy.
You also stated that there should be a
limited number of signs for historical
areas as too many become confusing.
South Island.
46
APPENDIX TWO
Guiding Principles of Te Kaahui o Rauru
The Marae Delegates will, in conducting the business and the administration of Te
Kaahui o Rauru and the Te Kaahui o Rauru Fund, be guided by:
Kia rangatira te tuu a Te Kaahui o Rauru hei roopuu whakatiinana i ngaa rau wawata
o te iwi Maaori, o te motu hoki
HE KUPU WHAKATAUKII
Te Kaahui o Rauru is born of the dreams and aspirations of Ngaa Rauru Kiitahi to
achieve self-determination for all whaanau, hapuu and iwi who descend from Rauru the
man; to speak with a strong, independent and united voice; and to live according to
kaupapa handed down by their take tupuna.
The vision for Te Kaahui o Rauru will be based on these aspirations, for they speak to us
of whaanau whose wairua is strong and vibrant; who have fully developed their spiritual,
intellectual, emotional and physical well-being; and who are confident, secure and proactive in all aspects of the social, cultural, economic and political life of Ngaa Rauru
Kiitahi.
Maatauranga Maaori will inform and guide the Marae Delegates in their policy
development and decision-making.
TE WAIHANGA I TE KAUPAPA
Maatauranga Maaori is informed by puuraakau, karakia, mooteatea, whakataukii,
whakapapa and many other puna korero. Ngaa Raurutanga is the foundation of Ngaa
Rauru Kiitahi culture and is derived from this Maaori world view. The tikanga are the
policies, practices and organisational structures that underpin Te Kaahui o Rauru.
NGAA KAUPAPA O TE KAHUI O RAURU
The following kaupapa and tikanga, help us define and maintain the focus and structure
of Te Kaahui o Rauru. These kaupapa form the objectives of the organisation, with
various tikanga covering policies, operations and organisational structures emanating
from these kaupapa.
1. Manaakitanga
Manaakitanga acknowledges the mana of others through the expression of aroha,
hospitality, generosity and mutual respect.
1.1
Tikanga of Te Kaahui o Rauru derived from Manaakitanga
(a) that The Marae Delegates manaaki the aspirations of Ngaa Rauru Kiitahi whaanau,
hapuu and others;
(b) to promote a fair and just society, to work for the elimination of poverty and injustice,
and to create an environment where the care and welfare of one’s neighbour is still
important;
47
(c) to ensure that Ngaa Rauru Kiitahi agree to work together, treat each other with
respect and act with integrity in their Te Kaahui o Rauru work; and
(d) to involve all peoples in the process of rebuilding our nation based on mutual respect
and harmonious relationships.
2. Rangatiratanga
Rangatiratanga is the expression of the attributes of a rangatira including humility,
leadership by example, generosity, altruism, diplomacy and knowledge of benefit to the
people. As an organisation, the importance of walking the talk, following through on
commitments made, integrity and honesty is to be demonstrated. As a people,
rangatiratanga is reflected in the promotion of self-determination for Ngaa Rauru Kiitahi
and an expression of the rights defined by mana atua, mana tupuna and mana whenua.
2.1. Tikanga of Te Kaahui o Rauru derived from Rangatiratanga:
(a) to recognise and acknowledge the authority of whaanau, hapuu in their respective
rohe;
(b) to enhance the partnership between kaawanatanga and tino rangatiratanga as
provided for in Te Tiriti o Waitangi;
(c) to promote Ngaa Rauru Kiitahi self-determination through the establishment of a
forum to provide a Ngaa Rauru Kiitahi viewpoint and guide and advise the paepae
rangatira;
(d) to acknowledge, nurture, support and reflect rangatiratanga within Te Kaahui o
Rauru; and
(e) to ensure that the conduct and activities of Te Kaahui o Rauru paepae, leaders and
the organisation as a whole are reflective of the attributes of rangatira.
3. Whaanaungatanga
Whaanaungatanga underpins the social organisation of whaanau, hapuu and iwi and
includes rights and reciprocal obligations consistent with being part of a collective. It is
the principle that binds individuals to the wider group and affirms the values of the
collective. Inter-dependence with each other and recognition that the people are our
wealth are hallmarks.
3.1. Tikanga of Te Kaahui o Rauru derived from Whaanaungatanga:
(a) to promote and contribute to the survival of Ngaa Rauru Kiitahi as a people;
(b) to promote respect for all cultures and ensure all New Zealanders have an
understanding of, and respect for, the status of Ngaa Rauru Kiitahi;
(c) to encourage relationships between whaanau, hapuu, iwi and other Maaori
organisations that reflect inter-dependence; and
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(d) to promote whaanaungatanga as the model for good collective arrangements.
4. Kotahitanga
Kotahitanga is the principle of unity of purpose and direction. It is demonstrated through
the achievement of harmony and moving as one. All are encouraged to make their
contribution, to have their say and then together a consensus can be reached. As a
nation, the Marae Delegates will promote harmonious relationships between all people.
4.1. Tikanga of Te Kaahui o Rauru derived from Kotahitanga:
a) to work for unity among Uki;
b) to avoid taking decisions and approaches that lead to division and disharmony
within the organisation;
c) to establish a kaahui paepae that can work together and are committed to
speaking with a single voice on behalf of Ngaa Rauru Kiitahi;
d) to promote harmonious relationships amongst all New Zealanders; and
e) to promote a Ngaa Rauru Kiitahi nationhood based upon knowledge of a shared
New Zealand heritage and an understanding and celebration of cultural
distinctiveness.
5. Wairuatanga
This is reflected in the belief that there is a spiritual existence alongside the physical. It is
expressed through the intimate connection of the people to their maunga, awa, moana
and Marae, and to tuupuna and atua. These connections are affirmed through
knowledge and understanding of atua Maaori and must be maintained and nourished
towards the achievement of wellness. It is central to the everyday lives of Ngaa Rauru
Kiitahi people and is integral to the Ngaa Rauru Kiitahi world view.
5.1.Tikanga of Te Kaahui o Rauru derived from Wairuatanga:
a) to encourage, maintain and promote spiritual identity and connection with the
land, sea and air;
b) to break down secular and non-secular divisions and promote a unified and
holistic approach to life;
c) to develop a wairua nourishing and nurturing environment within the organisation;
and
d) to promote the importance of oranga wairua for Ngaa Rauru Kiitahi well-being.
6. Mana Whenua
Mana Whenua is the principle that defines Maaori by the land occupied by right of
ancestral claim. It defines turangawaewae and uukaipoo, the places where you belong,
where you count, where you are important and where you can contribute and is essential
for Maaori well-being. The places Maaori find themselves, their strength, their energy are
where Maaori have mana whenua. Once grounded to the land and home, Maaori are
able to participate in society in general in a positive, productive manner.
6.1. Tikanga of Te Kaahui o Rauru derived from Mana Whenua:
a) to ensure that Te Kaahui o Rauru is representative of the Uki;
b) to assist Uki to establish and maintain their connections to their own land, sea
and air;
c) to develop arrangements that foster a sense of uukaipoo, of importance,
belonging and contribution within the organisation;
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d) to develop a paepae team that will take their advice and guidance from Ngaa
Rauru Kiitahi whaanau and hapuu in the first instance; and
e) to promote mana whenua, mana moana and mana irirangi as the basis for land,
sea and air management policies.
7. Kaitiakitanga
Kaitiakitanga embraces the spiritual and cultural guardianship of Te Ao Maarama, a
responsibility derived from whakapapa. Kaitiakitanga entails an active exercise of
responsibility in a sustainable manner beneficial to resources and the welfare of the
people. It promotes the growth and development of the Maaori people in all spheres of
livelihood so that Maaori can participate in a future of living in good health and in
reasonable prosperity. Preserving and maintaining Ngaa Rauru Kiitahi so we can
continue to fulfil our functions and duties is implicit within this kaupapa.
7.1 Tikanga of Te Kaahui o Rauru derived from Kaitiakitanga:
a) to encourage an extensive recording programme to collect and archive
maatauranga Maaori with kaumaatua and other repositories;
b) to promote the achievement of wellness and well-being for whaanau and hapuu
of Ngaa Rauru Kiitahi;
c) to foster and promote sustainable management and growth of the economy so as
to provide a stable and secure environment for future generations;
d) to create a clean, safe and healthy environment by promoting the protection and
restoration of our natural environment.
8. Mana Tupuna / Whakapapa
Mana tupuna defines who we are as people. It is the bridge that links us to our
ancestors, defines our heritage and gives us the stories that define our place in the
world. Mana tupuna helps us know who we are, from whom we descend, and what our
obligations are to those who come after us. This is achieved through the recital of
whakapapa, tracing the descent from Te Kore, to Te Poo and eventually through to Te
Ao Marama. Whakapapa is also a tool utilised in analysing and synthesising information
and knowledge.
8.1. Tikanga of Te Kaahui o Rauru derived from Whakapapa:
a) to encourage the view that all Ngaa Rauru Kiitahi are related towards developing
co-operation and unity;
b) to support endeavours by Uki to establish their iwi connections, find their place in
the world and become positive contributors to wider Ngaa Rauru Kiitahi society;
and
c) to promote whakapapa as an analysis and synthesis tool within the research
activity of Ngaa Rauru Kiitahi.
9. Te Reo
Ki te kore taatou e koorero Maaori, ka ngaro te reo,
Ka ngaro te reo, ka ngaro ngaa tikanga.
Ka ngaro ngaa tikanga, ka ngaro taatou ki te Ao.
Ko te reo te kaipupuri i te Maaoritanga.
Te reo Maaori is the cornerstone of all that is Maaori. Accelerating the revival of te reo
Maaori is a central focus of Te Kaahui o Rauru. Te reo Maaori is the medium through
which Maaori explain the world. The survival of the people as Maaori and the
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uniqueness of Ngaa Rauru Kiitahi as a race will be enhanced through the revival and
maintenance of te reo Maaori.
9.1. Tikanga of Te Kaahui o Rauru derived from Te Reo:
a) to ensure the revitalisation of te reo Maaori;
b) to promote wider recognition of te reo as the preferred language of Ngaa Rauru
Kiitahi;
c) to promote the development and growth of te reo Maaori both as the indigenous
language of New Zealand, but also as the appropriate language to carry Ngaa
Rauru Kiitahi knowledge and contemporary customs;
d) to promote maatauranga Maaori pathways that are of benefit to the people and
lead to their advancement;
e) to provide for research and development that leads to the advancement of
maatauranga Maaori and ensures the survival of the people of Ngaa Rauru
Kiitahi; and
f) to provide opportunities to encourage bi-literacy for Ngaa Rauru Kiitahi.
10. Maatauranga
Maatauranga is the way in which we are able to understand the explanations and ideas
of the development of the world as seen and experienced by our ancestors.
Maatauranga is seen as an integral component of the muka that make up Ngaa
Raurutanga, helping the continual revival, retention and maintenance of Ngaa Rauru
Kiitahi as a vibrant people.
10.1 Tikanga of Te Kaahui o Rauru derived from Maatauranga:
a) to ensure the revival, retention and maintenance of Ngaa Raurutanga;
b) to assist the enhancement and development of the values of Ngaa Rauru Kiitahi;
c) to provide a platform of understanding of the Ngaa Rauru Kiitahi values and
principles;
d) to create a sense of belonging through the paradigm of living as Ngaa Rauru
Kiitahi and citizens of the world with an above average standard of living.
In addition, the Marae Delegates will, in conducting the business and the administration
of Te Kaahui o Rauru, be guided by Ngaa Rauru Kiitahi’s vision, mission and values.
11. The Vision
Ngaa Rauru Kiitahi:
•
•
•
whakatipua Ngaa Rauru Kiitahitanga;
live as Ngaa Rauru Kiitahi and be citizens of the world; and
enjoy good health and a quality lifestyle.
12. The Mission
To enhance Ngaa Rauru Kiitahitanga, the Marae Delegates will:
• provide political and strategic leadership;
• initiate and assist development that delivers sustainable benefits to our marae,
whaanau, hapuu and iwi; and
• foster unity and enable our people to embrace Ngaa Rauru Kiitahitanga.
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13. The Values
These set the boundaries within which we will work:
• Tika – treating one another with dignity and generosity of spirit;
• Pono – honouring the memories of our Tipuna and the futures of our Mokopuna
above all else;
• Maaramatanga – creating and seizing opportunities to achieve our objectives.
Continuously learning, sharing and improving; and
• Kotahitanga – speaking with one voice, acting with one mind.
Our values will not be compromised for financial gain or short-term expediency.
“Ko te wawata, hiahia, tumanako o Te Kaahui o Rauru, he rapu he pupuki
whakapuumau a he whakamana hoki I nga aahuatanga katoa e pa ana ki e iwi o Ngaa
Rauru Kiitahi mai i te kopu hohoanga tangata tae noa ki te kopu o Papatuanuku oti atu.
Kia whakahokia ano a Ngaa Rauru Kiitahi Iwi Whanaui ki tona tuuranga hirahira o mau
me na ma roto atu i te whakaapopototanga o nga aahuatanga katoa”.
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