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Living Biculturalism in Te Papa

By Bjoern Spreitzer

A place for the unique historical heritage of New Zealand

Few people will deny that Te Papa Tongarewa - The Museum of New Zealand is not a special place. Situated at the waterfront in Wellington overlooking the harbour it has become a centre of cultural activity and national representation over the past few years.

The Te Papa museum project was started in 1991 when the government decided to re-design the old national museum and establish a museum, with new ideas and goals. The new Museum of New Zealand should become a place fit for the new millennium, a place fit for a country full of cultural contrasts.

The new Te Papa opened its gates on February 14, 1998 and had a visitors record of more than 95,000 people within its first week. Lovingly called 'Our Place' by the New Zealanders Te Papa today is more than just a museum. It tries to reflect the unique history and culture of New Zealand and it more and more becomes the focal point of cultural history for all the people of New Zealand.

The museum follows a very modern and distinctive way to bring its historical message across to its visitors. It is a museum of stories, of stories that invite people to take part and be part of a living, unique history.

Conception and idea of Biculturalism in New Zealand

Te Papa tells the story of two civilizations. Both came from different places and now share Aotearoa, the Land of the Long White Cloud. The idea of Biculturalism stands in the centre of New Zealand society today and it is important that a national museum reflects and presents this integral part of society. 'Aotearoa New Zealand is a nation founded on a relationship between two principal cultures , and museums must reflect that relationship.'(Te Papa 8) The term Biculturalism in New Zealand is strongly associated with the idea of a marriage between the two dominant cultures.

Maori (indigenous people) and Pakeha (European settlers) both contribute to society and Biculturalism should be seen as something more than just the sum of Maori culture and Pakeha culture. Biculturalism 'has the potential to be a third culture that is born from the interaction of the two distinct cultures. This third culture […] could provide a new and unique vision, one that offers the museum sector a range of opportunities and advantages not seen before.'(Te Papa 8)

This idea of cultural development in New Zealand is both a challenge and chance for the layout of Te Papa Tongarewa. The notion of Biculturalism can be noticed throughout the museum and it helps the visitors to understand the complexity of modern New Zealand society.

Adaptation of Biculturalism in Te Papa

Architectural features
Right from the start the museum was intended to be a bicultural institution. Main parts of the architectural design focus on the 'bicultural nature of the country, recognising the mana and significance of each of the two mainstreams of tradition and cultural heritage.'(Bossley 2) Interestingly the building itself is orientated towards the representation of those two factors and refers to the different settlement patterns of Maori and Pakeha. The architecture expresses two different ways how Maori and Pakeha relate to the land. The Maori exhibition area is oriented overlooking the sea towards the rising sun, which respects the settlement tradition frequently followed by iwis (tribes) throughout New Zealand.

The Pakeha sections are housed in a part of the building that shows the grid like pattern of city streets. This pattern is typical for how Europeans settled new colonies and it shows the strong European influence in New Zealand today. The galleries which sit traditionally within the European museum tradition (History, Art, Natural Environment) are located in this section to express the importance of European culture in New Zealand. As a meeting place in between those two sections the museum offers a concourse. This concourse both gives "the galleries their separate identities whilst also offering a sense of meeting space between." The concourse is a first obvious step to bring two completely different cultures together and create a place to meet. It is an invitation to the visitors to open themselves to the concept of Biculturalism and the architectural features form the ground for the presentation of Maori and Pakeha culture and tradition.

The Treaty of Waitangi as a source of national identity
The Treaty of Waitangi is often considered the founding document of modern society in New Zealand. Some people jokingly also call it the 'Kiwi Magna Charta'. The Treaty of Waitangi might not be as old as the Magna Charta but its impact on life and society in New Zealand surely justifies this bold comparison. The treaty today is 'recognised by many New Zealanders as the source of the idea that Biculturalism should be the fundamental basis for Aotearoa New Zealand society'(O'Reagan 18) . The Treaty forms the centrepiece of society today and therefore gains an important position in Te Papa as well. Designers of Te Papa point out that the whole museum was designed around the exhibition of the Treaty and it is only understandable that the 'Signs of a Nation - The Treaty of Waitangi'-Exhibition inhabits "the commanding space in the centre of the building" . The exhibition is situated at the head of the concourse and acts as a linking piece that unites the Maori and Pakeha exhibitions. The arrange of the display in Te Papa though can only be fully appreciated with some knowledge about the historical background and evolution of the Treaty.

Brief historical background of the Treaty
The Treaty of Waitangi was signed on 6 February 1840 as an agreement between Maori chiefs and European settlers. The signing of the Treaty expresses the establishment of a formal relationship between New Zealand and the British Empire. The British Government decided it was imperative to secure Maori acceptance and co-operation in establishing New Zealand as a British colony.

The Treaty was signed by more than 500 chiefs from all over Aotearoa and secured a widespread acceptance of the document for the years following. One problem during the signing was, of course, the language barrier. Maori language did not know a written form and so the Maori version of the Treaty was set up in a version resembling the spoken language. In general the Treaty recognised that in exchange for settlement rights to European settlers the Maori people would keep their natural rights as original occupants and their traditions would be respected and upheld. For the European settlers, the Treaty allowed them to emigrate peacefully to New Zealand and purchase land on certain terms.

By 1877 the recognition of the Treaty amongst European settlers had declined and it wasn't regarded as a valid legal document until 1975. Only in 1985 a tribunal was founded to examine certain purchases of land by settlers and various Maori claims still are in progress today. The Treaty today exists in three versions, original English, original Maori and a revised Maori version translated into English. There are several flaws in the two original documents that still need interpretation today. Nevertheless the Treaty of Waitangi is the founding document of New Zealand and marks a modern independent state that is not based on colonial conquest or invasion of settlers. New Zealand is founded on partnership between Maori and Pakeha - the foundation of Biculturalism.

Signs of a Nation - The role in Te Papa
To underline the negotiating role of the Treaty, the exhibition Signs of a Nation is located right in the middle between the Maori and Pakeha exhibitions. The set up 'allows mediation between the two cultures'(Bossley 20) and encourages an exchange between the two sections of the museum. The display of the Treaty in the museum is very monumental and expressive and implies awe and recognition for the importance of the document.

The exhibition's entrance is dominated by three pole clusters of steel columns. Each part of the clusters gives information on the three most important issues of the Treaty: Land, Governance, and Citizens' Rights. As the visitor's walk through the steel columns they are confronted with several audiovisual effects. You can hear people describing the impact the Treat had on their lives, how they dealt with changes or what they expect of the Treaty today. The view of the visitors then focuses on three monumental replicas of the Treaty. On the side walls written on large stone panels are the words of the Treaty in English and Maori. Both documents face each other and underline the differences in both documents. In between the documents is space for visitors to sit down and contemplate on the words and meanings of the Treaty. In the middle of the display, on a kind of neutral ground, is a 7m x 5m glass display of a replica of the original signed Treaty of Waitangi. It has got the original signatures of chiefs and European settlers. The display is intended to be a 'contemporary, living commentary on the Treaty of Waitangi and its central importance to New Zealand'(The Evening Post 3). The exhibition creates and redraws the conflict between the two versions and gives the visitors the chance to make up their own mind without being pushed towards one side or the other.

In the background of the display there are several interactive computers and information materials that provide more detailed information. The information is provided through fun yet thought-provoking computer games and video displays. One of the computer games asks you to be part of a tribunal making decisions about Maori and Pakeha issues related to the Treaty. You are in the position of the New Zealand Prime Minister and you have to solve several tricky Treaty issues. The game nicely reflects the difficult position of New Zealand politics since there are not only law issues to take into consideration but also public opinion and economic factors. The games are fun and open up a way to learn something new about the Treaty - a Treaty that has got the potential to split or unite a nation.

Visitors' reactions and opinions about the display
The impact of the exhibition Signs of a Nation can be best expressed through comments some of the visitors gave in interviews. The opinions were very widespread but certain issues could be detected. Surprisingly there seemed to be a split in the group of visitors in dealing with the treaty. No doubt most of the visitors appreciated the visual presentation in Te Papa and the artistic style but the approach to the topic itself revealed a controversial perception between Pakeha and Maori. Most Pakeha seemed to have a more defensive approach towards the Treaty. Some even felt that the current issues related around the Treaty like Maori claiming land back from Pakeha put the Treaty in a very bad light with Pakeha. Some even mentioned concern about the future of New Zealand if the document was used the way it is at the moment.

Maori seemed to have a more optimistic approach towards the Treaty. Some actually felt that the Treaty finally gave the Maori back what 'originally belonged to them anyway'. In many Maori eyes the Treaty presented in Te Papa is a first attempt to visualize the conflicts that are existing in New Zealand society. It is very interesting for a neutral visitor to experience the different opinions about the treaty in the museum. The display is a very good attempt to raise interest about the Treaty and encourage people to deal with the problems involved. Of course, a display in a museum can only initiate action but it is also a statement of society - an expression of positive Biculturalism. Te Papa aims to accept the notion of a bicultural New Zealand, as preferred by the Maori, instead of insisting on a mono-cultural society. The museum can only be an initiator to enhance this new understanding of New Zealand culture, but displays like the Treaty of Waitangi help to visualize and realize the structure of the modern country.

Focus on Maori history and tradition in Te Papa

Brief introduction in key factors of Maori civilization
Without any doubt the focus in Te Papa still remains on Maori Culture and this expresses the importance the museum puts onto this part of New Zealand society. The origins and traditions of the New Zealand Maori, like every culture and every people, are very far flung and not easily described in few sentences. The ancestors of the Maori arrived in Aotearoa New Zealand about a thousand years ago. They came as explorers and fishermen from the Pacific Islands, from the cultures and languages that are known today as Polynesian. The different climate and geographic shape of New Zealand soon changed the settling habits and traditions of the Maori and over the centuries a unique culture though rich in Polynesian tradition was created. The early explorers reached New Zealand mainly from the Cook Islands and the Society Islands. "The traditions of the Cooks and the Societies are fairly well known, and in some instances there are close parallels with the Maori ones" but nevertheless the Maori culture grew into its own distinctive way. To understand the representation of Maori culture in the National Museum of New Zealand it is important to explain a few keywords and ideas of Maori myth and legend. Only then it is possible to understand the displays in the museum. With some knowledge the artefacts and museum objects become alive and the visitor gains a completely new perspective.

Basic principles of Maori culture and tradition

The acceptance of tradition
Maori culture has got a completely different approach towards tradition, belief and history than the European way. Maori beliefs are an enormous collection of narratives, songs, and customs, and again - more than that. A basic principle that is especially hard to grasp for the European or Western way of thinking is to literally accept what has been told rather than interpreting and rationalising it. This principle of Maori culture is hard to describe and can be best expressed by an example. In the late 19th century the Polynesian scholar, politician and poet Edward Tregear described a conversation with a Maori friend which throws some light on this founding principle of Maori culture:

"[…]Many years ago, I was walking with a Maori on the bank of the Waikato River, near the village of Te Whetu. The native chief said to me, 'I will show you something that no white man has ever yet seen. I will show you our ancestor, Raukawa.' This Maori belonged to the Tribe of Ngati-raukawa. We left the riverside and and proceeded up a narrow valley. Turning a sharp angle in it, we came upon a huge conical stone. It was about 30 ft. in height, if my memory serves me. About 20 ft. up was a bright patch of red ochre. The Maori said, 'Do you see the kura (red mark)?' I answered, 'Yes, what is it?' He replied, 'That is the blood that flowed from the wound when he was killed. That is my ancestor, Raukawa. He was a giant; he leapt across the Waikato River at the place where Cambridge now stands.' I said, 'I should like to understand exactly what you mean. Do you want me to know that this stone was set up in memory of your ancestor, and made sacred for him.' He answered, 'No, this is my ancestor himself.' I then said, 'You must know that you are talking nonsense. A stone cannot give life to a race of men, nor could it leap across the Waikato. You mean that the stone has been named for Raukawa, or else, perhaps, that your giant forefather was turned into stone by the gods and the petrified hero stands in this spot.' 'No,' he replied doggedly, 'that is Raukawa, and the red mark is the place where he was mortally wounded.' I shook my head in despair. I could not follow this thought, but I feel that he believed in some queer idea of personality in the stone."

Of course this perception of nature and culture has changed within the Maori since the arrival of European settlers, but today this strong belief in nature and land has gained some importance again. Those beliefs have a strong influence on the Museum of New Zealand as will be shown later.

The importance and meaning of 'mana'
Another centrepieces of Maori belief and culture are the associations with the expression mana. The meanings of the word are very diverse but it "can usually be defined in its traditional use, as 'authority, influence, prestige, power, psychic force'." Both people individually and collectively possess mana and it can be increased or decreased by certain actions and in certain circumstances.

The mana of leaders, for example, will grow if they are wise, successful and take good care of their tribes. It would decrease if they lost wars or didn't obey the ancestral laws and tapu (traditions) of their tribe. People together possess mana as well and again this can be won or lost for example in war or in other ways. But mana doesn't only involve people but also stretches towards objects and sacred landmarks. 'Any resource or important article, in fact, possessed its own mana.'(Orbell 95) Mana is present in all fields of Maori life and it is crucial for people from other cultures to understand this difference and importance of the term. Only then Maori culture can be understood and their history can be fully appreciated.

The adaptation of Maori culture in Te Papa

Taonga can be best described as treasures of material and spiritual value to the Maori people. The perspective of the exhibition is from the tribes' point of view and is not based on the exclusive right of museum personnel to decide. In the exhibition there are taonga symbolic of Maori mana and status. Ancient and Nationally significant taonga have been dedicated to Te Papa from iwis from all over New Zealand and form an extraordinarily selection of Maori culture and art. The exhibition boasts Teremoe, a richly carved and restored war canoe, a highly ornate early 19th century storehouse, and one of the oldest and most significant carved meeting houses in existence, Te Hau Ki Turanga. Such a meeting house forms the most important part in a Maori community and therefore also gains a commanding position in this exhibition. The carvings inside and outside the meeting house are a magnificent example of Maori culture and art. They also tell the story of a tribe and through displays the visitors can experience the tradition.

The meeting house is equipped with a sound and light presentation so visitors can listen to voices telling the stories depicted in the meeting house's carvings. The show makes the meeting house come to life again and visitors are taken back in time and are able to re-live the history of the carvings. Other important exhibits include a beautiful ancient kakahu (decorative feather cloak), some traditional pounamu (greenstone weapons) and a richly carved rakau whakapapa (genealogical stick). All those taonga reflect the importance of mana and this importance is enhanced by the display of the objects. The museum manages to keep plenty of space in between the different pieces. Every single one holds an important position and stands for its unique part of Maori heritage. But Mana Whenua is not only rich in ancient taonga, it also celebrates living Maori culture. Changing, temporary exhibitions put together by different iwis tell stories of various Maori tribes in New Zealand. Iwis share their experiences and heritage using either traditional or contemporary art forms. Te Papa really is a museum that doesn't only represent history and past but manages to create that important link to the present. In experiencing Mana Whenua, visitors are able to discover the journey of the Maoris from distant homelands, the rich and diverse tribal traditions and how the Maori settlers made Aotearoa their homeland.

It is impressive to walk through the exhibition and lots of facts of Maori culture become clear through the displays. Mana Whenua lets Maori culture become alive inside a museum and makes it accessible to people from other cultures. It surely does its part in underlining the fact that Maori culture is a strong part of New Zealand culture. It helps to understand the principles of Biculturalism by making Maori culture more understandable for the Pakeha population of New Zealand. It truly is a place for all the people.

The adaptation of Pacific culture in Te Papa
The strong link of New Zealand with the Pacific is expressed in Te Papa in the individual exhibition Mana Pasifika. It is an exhibition that tries to get away from the mere collection of items from the Pacific and it focuses on Pacific Island culture as it exists in New Zealand. The exhibition pays respect to the fact that in Auckland New Zealand has one of the largest Pacific Island communities in the world. Mana Pasifika mainly tells stories and underlines those stories with carefully selected exhibits. The personal stories told in Mana Pasifika range from Pacific Island high-born fashion designer to a New Zealand-born Samoan who served with the New Zealand Army in Bosnia. The story of well known Pacific Island New Zealanders such as singer Annie Crummer or writer Albert Wendt are on display. The challenges of moving to New Zealand are covered in an area of the exhibition which resembles a lounge of a Pacific Island home in New Zealand. Family photos are displayed together with stories of personal family experiences of coming to New Zealand and adapting to a new way of life. The cultures of the various Pacific Islands are shown through objects such as traditional costumes, weapons, musical instruments and jewellery. Other Pacific Island culture can be also discovered in the contemporary art exhibition where artists both from New Zealand and the Pacific Islands get the opportunity to display their work such as artist Michael Tuffery's life-size cattle sculpture made out of corned-beef cans. The exhibition Mana Pasifika completes the view of the nation of New Zealand. Pacific Islanders and their descendants form a big and important part of the country's population. It gives visitors the opportunity to get insight into those different cultures as well and to realize the influence of Pacific Island culture within New Zealand. The exhibition provides the opportunity for the Pacific Island people in New Zealand to tell their own story in New Zealand. This definitely will help the understanding amongst the different cultural groups in New Zealand.

A view on culture from overseas
As a visitor from overseas I found it both interesting and entertaining to learn more about the rich and diverse heritage of New Zealand. Te Papa manages to provide information in a very entertaining but also educative way. The museum gives New Zealand the chance to present its culture to people from all over the world and get a better understanding of the society in New Zealand. Visitors become aware of the fact what being a New Zealander actually means. It doesn't come down to the fact of whether being Maori or Pakeha but the truth is somewhere in between those two extremes. The exhibitions helps to create a first understanding and guide to a better understanding of Aotearoa New Zealand.

The heart of Te Papa - Te Marae

Undeniable the most unique part of the museum is the national Te Marae of New Zealand. A marae is the heart of the Maori world. It is where the Maori meet to welcome visitors and celebrate the living, mourn and farewell the dead and to learn their roots and history. Te Marae is also a place to learn about the future and to debate the ideas and status quo of the Maori people in New Zealand. Te Papa - The National Museum of New Zealand boasts an actual marae for all the people of New Zealand. Here iwis and pakehas alike have the chance to host each other and actually live Biculturalism in New Zealand. Te Marae in Te Papa wants to be a marae for all the people of New Zealand.

Brief introduction into the meaning of a marae
The idea and concept of a marae is not easily described and a quick introduction can only provide a glance at the importance of a marae in Maori culture. In general the term marae describes a meeting place in the centre of a Maori community. For Maori, a marae is a focal point for groups who share kinship. A marae is a forum where people can meet to discuss and debate, to celebrate, or to welcome people and to remember their dead. Each marae consists of certain pieces and components that can be found in maraes all over New Zealand.

The most meaningful parts are the entrance way, a ceremonial door and of course the central meeting house wharenui. The carved meeting house stands in the centre of each marae and is the focal point of Maori culture. Each meeting house represents the history and legends of a specific iwi and can generally be understood as a stylised shape of a human being. The parts of the house represent different parts of an ancestor's body. So when a person enters the house, not only do they enter the home of their ancestors, but they enter the body of the person who started the community. Each meeting house is individually representing each individual tribe but certain main elements and ideas can be found in each of them. Tahuhu is the ridge pole, the long pole that runs along the centre of the roof. The tahuhu is the backbone of the ancestor. Heke are the framework of the roof that come down from the ridge pole. The heke rest on carved posts that run along the side walls of the house. The heke are the ribs of the ancestor. Koruru is a carved face that is found at the front of the house at the highest point of the roof.

The koruru is the head of the ancestor. Poutokomanawa is the pole that stands in the middle of the house, and holds up the ridge pole. This is the heart of the ancestor. And Maihi are the carved boards that lie flat against the sloping outside edges of the roof. They are the outstretched arms of the ancestor. The whole meeting house together with the whole Marae contains whakapapa (genealogy) and stories told through carvings. The adaptation of a true Marae into the National Museum of New Zealand probably has been one of the greatest challenges establishing the museum and it is interesting how Te Papa provides a Marae for all the people of New Zealand - both Maori and Pakeha.

Te Papa's Te Marae - an expression of Biculturalism

The main goal of Te Marae in Te Papa was to establish a site that reflects modern society in New Zealand. A new approach was taken and today Te Marae in Te Papa is seen as a gift from the Maori people to all the people of New Zealand . It is quite interesting how the set-up visualizes the idea of Biculturalism and makes Te Marae "a place where all the peoples of New Zealand have a right to stand" . When visitors come to the marae their approach begins whether through Te Ara a Hine, the internal staircase, or Te Ara a Tane, the external staircase. The internal staircase, the female entrance, consists of six installations and acknowledges six female Atua (gods) in Maori creation history. The external staircase, the male entrance, follows through an area of native plants that represent all the different parts of New Zealand. It also acknowledges male Atua in Maori mythology. Both staircases eventually ascend to the waharoa, the gateway to the internal parts of Te Marae. The gateway is richly carved and represents those who voyaged to Aotearoa New Zealand. The idea of Biculturalism strongly shows in the layout and design of the whole gate. Of course it depicts Kupe, the great Maori explorer but it also shows Captain Cook or Dutch explorer Abel Tasman. Truly the whole history of New Zealand becomes evident and it isn't only seen from one side.

The next step for visitors is entering the central meeting place through the stained glass door or Ranginui. The glass door and its material itself give strong symbolic meanings to the whole marae. Stained glass is one of the most widely used materials to depict stories from the bible and therefore has got a strong link to European culture. In the glass door stained glass now is used to tell the Maori story of creation.

The Maori story of creation is a story of separation, the separation from the sky father Ranginui and the earth mother Papatuanuku. Both were forced apart by their children to create space for the living. This separation is well symbolised in the stained glass door. The dominant colour in the door is blue, reflecting the sky, but earth colours can be found as well as flecks of red blood from the separation. The entire door is about separation - especially in the mechanism that opens the door. The door opens upwards and folds up in three sections. Ranginui, the sky father is literally pushed upward, while Papatuanuku, the earth mother remains on the floor, as represented in the tiled floor pattern. Prepared by the dramatic display the visitors finally enter the central meeting place. In its centre stands Te Hono ki Hawaiki - the meeting house. Intentionally breaking with tradition the meeting house is not carved from totara wood but from custom wood. Also its external colours are not the strong regular brownish, earthy tones. Instead it boasts various bright colours and sends a message to the visitor: "New Zealand - Welcome to a dynamic culture!" But Te Hono ki Hawaiki is not a breaking with tradition, it seems to be more like a new interpretation of tradition to fit the new idea of Biculturalism in New Zealand. Like all meeting houses it also contains whakapapa and stories told through carvings. But only in Te Papa the meeting house Te Hono ki Hawaiki tells stories of the origins of both Maori and Pakeha.

To ensure that the meeting house has got the potential to belong to everyone all the symbolic carvings have been kept neutral. Especially the Maori poupou, the ancestral figures along the walls, weren´t specific to any iwi until they were claimed by iwi themselves. While a number of poupou have been claimed, others are still able to be identified by other iwi as having a history relevant to them. For non-Maori there are Pakeha poupou on the back wall of the house. Six poupou with 3 figures on each are there to represent the arrivals of other cultures to New Zealand and they show the contributions they have made to New Zealand society. Those Pakeha poupou include ancestral links like missionaries, farmers or carpenters, typical professions of early European settlers. As a nice gesture visitors can actually express there own whakapapa on a piece of paper by copying poupou and describing their origin. (cf. Appendix No. 3) At the back of the building scenes from Maori and Pakeha history can be found.

Carved panels represent the conflicts between both peoples. Starting with the conflicts in the mid 1800s between Maori and Pakeha over land two other panels show both parties coming together in attempt to overcome conflict by signing the Treaty of Waitangi. Other panels then show Maori and Pakeha fighting together towards a common cause during the two world wars. Once again the idea of Biculturalism shows clearly and the meeting house plays an important position in showing these ideas. The meeting house in Te Papa is a very neutral place in between the two dominant cultures in New Zealand. Of course it plays only a symbolic role in bringing the idea of Biculturalism to life but it once again establishes the understanding needed in New Zealand.

Te Marae - a place people keep alive
Besides its symbolic role Te Marae also plays a very practical role in bringing New Zealand society closer together. Following the spirit of Te Papa of being an interactive museum, Te Marae is open for people to use for ceremonies, presentations or conventions. Following certain guidelines like for example following a certain welcoming ceremony, people can actively use the marae. Over the past years there has been extensive use of the marae. Events hosted include cultural performances, New Zealand commercial product presentations or traditional meetings between iwis and visitors. It is the use of the marae that makes it something special and distinguishes Te Papa once again from the typical stereotypes that surround museums. Te Papa is truly Our Place for New Zealanders - a place where people come back and celebrate their culture.

Expressing Biculturalism in other parts of Te Papa

The importance of staff members
The people who work in Te Papa play another important role in expressing this idea of Biculturalism and keeping the place alive. The idea of the normal museum guard once again doesn't translate well into Te Papa reality. Te Papa staff are called Hosts and they are actually welcoming visitors to the museum. They offer information and personal experience and help the visitors to fully appreciate the ideas of Te Papa. It is this personal touch that makes Te Papa an even more special place. All the museum staff received a compulsory three weeks training in New Zealand culture and speak some basic Maori. There are also several courses year round that enhance the knowledge of the hosts. Te Papa hosts are far more than just museum guards, and are a "nice approach to make the visit to Te Papa a personal one to one experience" . I personally found this one to one approach a very relaxing idea when visiting the museum. Te Papa does not offer too many written guidebooks but focuses more on the dialog between visitor and museum staff. It is this communication that helps to thoroughly understand the ideas behind Te Papa and makes sure that first time visitors gain a good understanding of Biculturalism.

Educational fun for children
Te Papa also offers education in history and culture for its young visitors in the so called Discovery Centres. This points out the focus that Te Papa puts on presenting its ideas of Biculturalism. Young people can get in touch with their New Zealand history as soon as possible and the Discovery Centres provide this opportunity. They offer all sort of information and provide games to learn more about Biculturalism and Maori history. Activities include for example "traditional Maori art - in kids form […] - like weaving colourful paper in traditional forms" . The educational focus in the discovery centres and in parts of the museum is laid on Maori society and according to museum staff this is very intentional. The emphasis on Maori culture "counterbalances the Pakeha culture that surrounds New Zealanders everyday. Te Papa has to focus on Maori culture to keep it alive. In a country where European culture is so dominant it is good to notice that in Te Papa Maori culture and Biculturalism are […] strengthened". The Discovery Centres are a place where people can get in touch with their very special culture and it is a great educational way to bring New Zealand to a new understanding of Biculturalism.

Te Papa - Our Place of life
Te Papa definitely is a very special place. It not only expresses the idea of Biculturalism but also creates an awareness for the unique cultural position New Zealand is in. Te Papa brings past and present together and creates a vision for the future. The interactivity of the museum ensures that visitors symbolically take part in the history. Biculturalism itself is understood throughout the museum. Visiting Te Papa is less having a look at things but more a learning process of what New Zealand society consists of. Since its opening in 1998 Te Papa had more than 5 million visitors - an incredible number for a country with a population of a mere 3 million. The numbers express in a very convincing manner that the concept of Te Papa seems to be working. It is a step away from the old concepts of museums and a big step ahead towards the method of 'infotainment' or the newly developed concept of 'living history'. But Te Papa again is more than only information and entertainment. It is a place in New Zealand that actually expresses the ideals written down in the Treaty of Waitangi. Te Papa wants to be a "forum for the nation" and surely is. It is the statement of a nation that Biculturalism is not a theoretic construct but actual reality. It is a place for all the people and "the mana of the taonga, the power of the treasures, held in Te Papa Tongarewa, give all the people the right to stand here" .

So let people talk and discuss the theory of Biculturalism and the future of Maori culture in New Zealand, the message sent out by Te Papa is clear: 'Come to Our Place and live our culture of New Zealand. Don't just talk about it'. Te Papa Tongarewa - The National Museum of New Zealand invites people to listen to its stories and exciting narratives. And I am sure there will be lots of people who will come and listen.