History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Museums and Museum Studies in New
Zealand: A Survey of Historical Developments
Conal McCarthy*
Victoria University of Wellington
and
Joanna Cobley
University of Canterbury
Abstract
What relationship has the university subject of museum studies had with the
museum sector? It is often claimed that there is an oversupply of graduates in
museum studies ill-equipped to work in museums, an issue that reveals tensions
between understandings of academic study and practical experience. This article
addresses these tensions between museums and museum studies through a survey
of the historical development of museums and the closely related development of
training, professional development and university degrees. The generalist role of
the museum worker in the embryonic museums of colonial New Zealand did
not require formal academic training. The 1930s witnessed a turning point
with grants for professional development from the Carnegie Corporation. The
Second World War disrupted the museum sector but from the 1950s museums
experienced rapid growth in type and number, developments requiring larger
numbers of specialised staff. At the same time the International Council of
Museums (ICOM) and the museum branch of UNESCO were formed, along
with a national professional body The Art gallery and Museums Association of
New Zealand (AGMANZ), which provided an international and local voice and
focus for the museum sector. Finally, in the 1960s, only 100 years after the first
museum was opened, we see the birth of museum-centred training programmes
first administered by the museum sector and in the late 1980s by the university.
The article concludes that the increasingly complex and specialised museum
profession and the increasingly sophisticated academic analysis of museums
emerged at the same time and are inevitably and necessarily intertwined.
Introduction
What is the relationship of museum studies to the museum sector? Does
museum studies provide the kind of qualification that museums require
and how might the academic subject develop in future so that it maintains
a vital relationship to the museum profession? In mid 2006 a debate about
museum studies and museums erupted in the normally polite pages of the
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396 Museums and Museum Studies in New Zealand
Museums Journal. Research in the UK by the Museums Association
claimed that there was an oversupply of graduates in museum studies, and
that Masters degrees were not necessarily essential or relevant to the
industry.1 The implication was that profitable university programmes
churned out too many people for too few jobs without preparing them
for the realities of the workplace.2 Subsequently, the journal published
letters from graduates who could not get jobs.3
These issues are echoed in New Zealand where a small museum sector
and even smaller number of tertiary providers are attempting to match
their needs, roles and expectations. Research based on interviews with
mid-career museum professionals suggests that staff already held advanced
qualifications, and did not really need further postgraduate study. In
addition, the new generation of museum staff sought different sets of
skills – such as project management, marketing, strategic management
and financial planning – which were not necessarily included on
museum studies courses or provided through museum-based training
or mentoring.4 In 2006 one of the authors of this article informally
investigated the feasibility of a proposed new museum studies programme.
This prompted the question: did New Zealand need yet another museum
studies qualification? Would a postgraduate programme that focused on
museum history, philosophy and theory actually prepare a graduate for
museum practice?
It is important at this point to distinguish ‘museum studies’ from what
museum historians, such as Wittlin, refer to as ‘museology’. Museology
encompasses training in all aspects of museum practice, including the
various techniques and processes to do with collections, exhibitions,
conservation, education and other practices. These skills were most
likely to have been taught via intensive short courses and supported by
industry-based training manuals, internships and fellowships.5 While some
of these practices continue today, especially in science museums, all forms
of museum training provided by the sector up until the 1960s can be
referred to as museology.
In contrast, museum studies can be described as ‘the academic analysis
of museum history, theory and practice, a critical examination of diverse
aspects of museums within their social context’.6 Museum studies is
broader than museology, and draws from related disciplines such as art
history, history, sociology and anthropology as well as newer fields including
cultural studies, gender studies, leisure studies and so on. This ‘expanded
field’ of museum studies7 has the virtue of drawing on a wider and more
sophisticated range of theories and methods, but has to maintain a balance
between the analysis of internal processes and external contexts so as to
avoid becoming over-theorised and divorced from everyday practice in
museums.
In order to understand this related set of questions about the field of
museum studies and the industry to which it is inextricably linked, this
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Museum and Museums Studies in New Zealand
397
article traces the historical development of museums and museum studies
in New Zealand. We believe that the situation today – the tensions
between notions of theory and practice, skills and training, and education
and experience – can be clarified by analysing how museums developed
over the last 100 years and what role the academic analysis of museums
has played. This historical survey of museums and museum studies is
organised into three periods. First, we touch on the early colonial
museums, from the 1860s to the 1920s, primarily to highlight the lack
of professional specialisation common in these embryonic museums. The
second period, from the 1930s to the 1950s, traces the birth of the museum
profession. Despite the Great Depression and the Second World War,
museums in New Zealand and Australia were enriched by grants from the
American Carnegie Corporation. The postwar period witnessed a rapid
growth in the type and number of museums all requiring specialised
museum staff. At the same time the International Council of Museums
(ICOM) and the museum branch of UNESCO were formed, providing
an international voice for museums, and a New Zealand museums
association AGMANZ provided support on a local level including the first
training courses. The third period from the 1960s traces the development
of university-based museum studies in the last twenty years.
Embryonic Museums
It is hard not to over-romanticise images of early colonial museums in
New Zealand, judging by present day responses to historical photographs.
An exhibition at the Canterbury Museum in Christchurch reconstructs
the museum in its earliest days: the old wooden display cases are jammed
full of an extraordinary range of objects, including sea shells from around
the Pacific, specimens of New Zealand rocks, flora and fauna, and ancient
Greek and Roman coins. Roped-off in one corner are the larger objects,
each with a hand-written label: a replica of the Rosetta stone lies next to
a stuffed crocodile, both are overseen by a skeleton of the extinct Irish
elk. However, the founding director Julius von Haast corresponded with
Darwin and traded specimens with foreign museums for moa bones
found in a local swamp in his campaign to establish the institution as a
professional body, and, naturally, to consolidate his personal reputation.8
These images of cluttered displays and chaotic collecting by amateur
naturalists are somewhat misleading, as the first museums in this young
settler colony were firmly established on European lines and reproduced
in modest form the emerging professional shape of the new public
museum in Britain in the mid-late Victorian period. The Nelson museum
was founded on route to New Zealand before the settlers had even
arrived, and this was only one year after the birth of the nation marked
by the signing of the Treaty of Waitangi in 1840.9 Public museums were
gradually established in the four main centres from the 1850s to the 1870s.10
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398 Museums and Museum Studies in New Zealand
Art galleries had a slightly different genealogy, and were established from
the 1880s often in close association with art schools and art societies.11
Museums mostly collected geology and natural history specimens as an
integral part of the process of exploration, colonisation and economic
development but were also part of the professionalisation of science.12 In
the capital city Wellington in 1865, government scientist James Hector
established the Colonial Museum along with the Geological Survey and
other bodies.13 Here the New Zealand Institute met and gentlemen
scholars read learned papers published in their journal the Transactions
and Proceedings of the New Zealand Institure.14 Around the country, other
private societies and their museums sprang up where local elites amassed
collections and discussed the intellectual affairs of the day.15
Little is known about the education and qualifications of these early
museum professionals in New Zealand, but it is reasonable to assume that
as in other countries in the new world such as Australia, Canada and the
United States they did not lag too far behind the Old World.16 At the
Colonial Museum, Hector’s staff worked with him on geological surveys
and scientific field work and ‘they needed little training in their work’.17
Early museum workers were forced to be generalists who had to systematise
collections, organise displays and undertake research across a range of
subjects. Most museums had a small number of staff with a curator or
keeper doing the scientific research and collecting, and an assistant who
was responsible for the displays or administrative duties. Education was
unheard of and public programmes took place mostly via lectures and
exhibitions. While most museums operated within a legal constitution it
is unlikely the museum staff would have been affiliated with the (British)
Museums Association.
Did those in far-flung colonial museums feel the desire or need to
follow a particular code of practice or learn about the latest display
methods? Perhaps such connections would have been useful for networking
and specimen trading rather than professional development. It would be
a mistake however to assume that museums in late 19th-century New
Zealand were a quiet backwater, and the evidence suggests that most
people were very much in touch with developments in Britain, Europe
and North America.18 A survey of colonial museums by the British
Museums Association in 1894 approved of most metropolitan museums,
although the Colonial Museum was criticised for being behind the
times.19 By the First World War, despite the consolidation of some
institutions and the expansion of their collections in ethnology and art,
and the continuing energy of hardworking staff, there were signs of
stagnation. At the Colonial and later Dominion Museum (which later still
became the National Museum and now Te Papa) the director Augustus
Hamilton kept in touch with new ideas through publications and contact
with colleagues overseas but complained of lack of space, money and
resources to implement much needed changes.20 The next director, J. A.
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Museum and Museums Studies in New Zealand
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Thomson was a scientist and Rhodes Scholar who was certainly familiar
with the international literature on museums and the new emphasis on
public display and education. Quoting the Museums Journal, he wrote that
visitors may find old museums ‘uninteresting’, but ‘modern methods of
installation’ would make them more attractive.21
Local Growth and Foreign Money
The birth of the modern public museum was accompanied not long
after by courses in museology, and the Louvre School was established as
early as the 1880s. By the early twentieth century, training for museum
professionals was available from a variety of providers: the American
Association of Museums established a formal training programme for
museum staff in 1908, and soon after John Cotton Dana set up classes at
the Newark Museum.22 The first museum studies programme at tertiary
level was offered by Harvard University in 1920, and the Diploma of the
(British) Museums Association was first established in 1930.23
What makes an ideal curator? According to the Report on the Public
Museums of the British Isles, published by the Carnegie United Kingdom
Trust in 1928,
a curator, in addition to a good general education and administrative ability,
must have some technical knowledge of at least one, and preferably more than
one, of the subjects covered by the museum; an instinct for scientific and
artistic exhibition; a zeal for, and acquaintance with, educational work and
research; and he should be able to and willing to act as a teacher. . . . It should
also be noted that the specialist knowledge required is often that of a university
degree.24
For staff working in British museums, the days of the untrained amateur
were over, but what was happening in the South Pacific? There was some
development in the 1920s and early 1930s, such as major new museum
buildings in Auckland and Wellington and new regional art galleries in
Whanganui, Christchurch, and Dunedin.25 A handful of published reports
and unpublished documents from the time comment on these developments. W. R. B. Oliver promoted education in his report on New Zealand museums for the London-based Museums Association in 1933. The
following year the Governor General Lord Bledisloe expanded on the
theme of education in his speech at the laying of the foundation stone for
the new National Art Gallery and Dominion Museum. He said that the
new institutions should become ‘not a storehouse of fusty and ill-assorted
curios and a farrago of artistic mediocrity, but a source of intellectual and
aesthetic enlightenment which will vitalise every sphere of educational
effort’.26 Apart from texts like the above, periodic critic’s reviews, and
scientific journals which were published regularly by the Dominion
Museum from 1906, Canterbury Museum from 1907, and Auckland
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400 Museums and Museum Studies in New Zealand
Museum from 1930, generally there is a dearth of literature that hampers
the present-day analysis of museum history.27
Progress was fitful, and overall museums in New Zealand and Australia
were experiencing serious problems – their popularity was waning in
competition with cinema and other popular culture attractions and
there was little money for operational budgets let alone staff. Lofty ideas
of the importance of education could not be implemented. However,
help was at hand in the form of the Carnegie Corporation from New York,
the world’s largest philanthropic trust, whose Napoleonic programmes
reached all corners of the globe.28 The Corporation’s mandate was to
transmit an appreciation of traditionally elite culture by enlightening
public taste. This was done directly via education programmes in
schools and providing resources to high-culture agencies such as museums,
art galleries and libraries.29 In the early 1930s it turned its attention to
New Zealand museums, and funded a major report to assess the state of
the museum sector and to identify professional development for staff.30 As a
consequence of the report’s recommendations a number of museum
staff received further Carnegie funds to travel overseas, primarily to
the USA, to see good examples of museum practice and attend training
workshops.
Two proposals in the Carnegie Report were very influential in the
shaping of the New Zealand museum sector. First, the museum staff
needed to see examples of good practice: ‘[T]he museum movement in
New Zealand would gain tremendously if selected curators and assistants,
including taxidermists etc., could be given the opportunity of visiting the
best museums in American and Europe’.31 Travel grants were set up and
over the next few years a handful of museum staff from New Zealand and
Australia visited the USA for six- to twelve-month periods.32 Second, it
was recommended that a professional organisation should be set up so that
museum staff from New Zealand and Australia could meet annually and
share ideas. Consequently, the Art Galleries and Museums Association
of Australia and New Zealand (AGMA) was founded in 1937. It was
recommended that the association address such issues as ensuring that
museums benefited from regular government funding, and sharing of
information between staff via exchanges, meetings and conferences etc.33
The Report also noted that it was ‘on the educational side that many
New Zealand museums like Australian museums are at their weakest’.34
So in 1935 the President of the Carnegie Corporation, Frederick Keppel,
visited New Zealand to ‘hold discussions on possible assistance to
museums and art galleries for educational work’.35 A year later a separate
Carnegie grant of US$50,000 was given to the New Zealand Council of
Educational Research for the improvement of museum education.
Museum education officer positions (employing trained teachers) were
established in the four metropolitan centres. The Carnegie-funded
museum education experimental plan was documented in H. C. McQueen’s
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report, Education in New Zealand Museums.36 McQueen wrote that ‘prior
to 1938 unaccompanied children were often turned away from museums,
yet after that date leisure-time visits were actively encouraged by the
provision of special exhibits, museum trails, games and so on’.37
Innovative education programmes did not suddenly arrive in 1938:
there are examples peppered throughout New Zealand museum history,
such as Elsdon Best’s lectures on MAori art at the Dominion Museum
from 1917, and Lucy Cranwell-Smith’s popular ‘botany trots’, in 1933–34.38
However, it must be acknowledged that of all the Carnegie proposals
the education initiative had the most lasting impact on New Zealand
museums which can be seen in a stronger notion of professional
development for staff, the establishment of a schools service, and modern
ideas in design and display which started to be disseminated around the
country’s museums from 1936 to 1941. Interestingly, museums weren’t the
only cultural institution to benefit from the Carnegie initiatives, as 15
much-needed libraries were set up around New Zealand by the Carnegie
Foundation. In addition a training course for librarians was established
because ‘without good and qualified staff, the selection and organization
of the book collection would suffer, and good buildings could not be
planned’.39
Emerging Professionalism
The Second World War disrupted the work of New Zealand’s museum
workers – many staff were seconded to support the war effort, and in
some instances museums closed down completely, while others cut back
on their programmes and opening hours.40 In 1944 Walter Oliver
followed up on his 1933 report with another survey of the state of
museums: New Zealand Museums: Present Establishment and Future Policy.
Oliver noted that there was still an urgent need for training and that it
was the responsibility of the museum to ‘improve the knowledge and
experience of staff ’.41 Once more, Oliver noted that staff would benefit
from visiting or working in other museums.
The AGMA was the forum for museum staff to keep up to date with
their colleagues across the Tasman. Examining a 1950 issue of AGMA’s
News Bulletin reveals the types of professional issues facing people who
worked in museums: collecting, doing research, and running education
programmes, juxtaposed with practical tips on how to build display cases.
The editorial urged museum staff to undertake the Diploma of the
Museums Association, London.42 The regional roundups of each of the
states in Australia and the main museums in New Zealand itemised
significant acquisitions to museum collections, field trips undertaken
by museum staff, special exhibitions or education programmes, and
staff appointments. Some of the summaries included workshops and
conferences held or attended.
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402 Museums and Museum Studies in New Zealand
In the postwar period there was a rapid increase around the world in
the number of museums, which were becoming increasingly specialised.
These decades saw the rise of children’s museums, history museums,
museums of modern art, science museums, outdoor museums, heritage
parks and historic house museums.43 Each type of museum required
specialised museum staff. While museums in the USA and Canada were
undergoing great expansion, and European museums struggled with
recovery from the war, the moment had come for the establishment of the
International Council of Museums (ICOM). ICOM was formed in 1946
and administered from its Paris office. Its mission was to promote natural
and cultural heritage worldwide and its goals were as follows: professional
cooperation and exchange; raising public awareness of museums;
professional development for staff; advancement of professional standards
in museums; dissemination of a code of ethics for museum staff; and
promoting the preservation of cultural heritage and preventing illicit
cultural trade.44 Also in 1946 ICOM created formal relations with
UNESCO and established a museum information centre. Even under
ICOM, training for museum staff was still organised and controlled from
within the museum profession.
New Zealand professionals were closely involved in the AGMA,45 but
it was not long before they set up their own professional organisation in
an effort to improve the training and pay of staff. In 1947 the Art Gallery
and Museum Association of New Zealand (AGMANZ) was formed.46 In
April 1948 AGMANZ’s first objectives for museum staff were established,
they were to:
provide a means for improving the status and qualifications of curators and staff
and ensure they receive adequate remuneration, and arrange and hold courses
on administrative and technical matters and issue appropriate diplomas and
certificates.47
A newsletter and later journal, fellowships, and regular meetings and
conferences all helped create the sense of a national museum sector across
the country. The pages of the AGMANZ Journal in the 1960s and 1970s
were full of new ideas, debate and tremendous energy. AGMANZ was
a professional forum which facilitated the rise of a new generation of
museum professionals who had undertaken postgraduate university
degrees in subjects like history, anthropology and art history.48 These
young people were engaged in the new social movements of the time
which were transforming New Zealand society in a period of domestic
decolonisation, and they were determined to change the way museums
did things to reflect this new thinking.49
In a major postwar period of redevelopment, museums in New Zealand
caught up with international museum practices in most areas but also
began to focus on the country’s own cultural heritage and national
identity. International visitors were generally positive about the state of
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local museology.50 There was an expansion in buildings and staff, advances
in professionalisation, rising standards in display, and a broadening of
collecting to include different branches of science, social history, decorative arts, and photography.51 The 1960s and 1970s saw major growth
in regional art galleries which championed social issues and contemporary
New Zealand art.52 Research in physical sciences and anthropology
increasingly shifted to universities, so the object/specimen-based
epistomology governing museum collections was increasingly out of date
with the result that natural history and ethnographic exhibition were
often criticised as being static, old fashioned and ethnocentric. In the
1980s, the famous ‘Te Maori’ exhibition brought about wide reaching
changes in the management and display of MAori collections which
were reclaimed by MAori communities in a dramatic reversal of colonial
dispossession. Lagging behind Europe and North America for much of its
history, New Zealand museums now led the way in terms of postcolonial
collaboration with indigenous peoples.53
The New Museology and Its Aftermath
Why did museum training gradually shift from the profession to the
academy? Growth was one contributing factor: the number of museums,
the size of museums, the types of museums and the requirements for
specialised museum staff. Museum roles were no longer confined to that
of curator/keeper and assistant curator/secretary, and needed specialists
such as conservators, designers, teachers, collection managers (or
registrars), as well as a range of management and front of house roles.
Such growth and specialisation indicated that the profession had come of
age; this was certainly supported by ICOM’s code of ethics for museum
staff and the demand for international museum-based conferences. By the
1960s museums had simply become too big and diversified to administer
all aspects of museum training. It was possible for the sector to run
short professional development courses but the time had come for the
education of museum workers to be transferred to the university.54
In 1966 the University of Leicester instituted the first university
department dedicated to training people who wished to work in
museums. These early museum studies programmes were designed to
‘train entrants into the museum profession’.55 Programmes were usually
taught at postgraduate level as students already had a degree in a
museum-related subject. Students were enculturated into all aspects of
the museum world, from the history and philosophy of museums to
various museum practices. The theory was balanced with a placement
or internship in order to give the students a taste of real museum work.
University programmes appeared in the US in the 1960s, and in
Australia a UNESCO seminar in 1973 led to the establishment of a
university course in Sydney and a Melbourne-based course at the
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404 Museums and Museum Studies in New Zealand
Prahran College of Advanced Education which later shifted to Deakin
University.
University-based museum studies programmes in New Zealand are
quite recent. The first programme was offered through Massey University
in 1989, followed by Victoria University of Wellington in 2000 and
Auckland University soon after. Prior to 1989 museum staff could study
towards an industry-based qualification that was administered by
AGMANZ. From 1967 to 1990 the AGMANZ Diploma was taught by
people from within the museum profession and, when required, by key
people outside the sector. In 1950 the News bulletin of the AGMA
drew attention to ‘personnel of the Australian Museums’ that they could
‘qualify for the Diploma of the Museums Association, London’.56 Presumably
this also included museum staff from New Zealand.
In New Zealand today three universities offer postgraduate degrees in
museum studies (Auckland, Victoria and Massey).57 The British model
combining taught courses and museum-based practicums has been
adopted, while in other aspects the programmes have been adapted to
local conditions where there is a very close relationship between academic
staff and local museums and art galleries. Underneath this level of tertiary
provision lies complex layers of support from within the museum sector:
professional representation is provided by the members association
Museums Aotearoa; training and resources are coordinated by National
Services Te Paerangi; short courses are run by various providers including
the ATTTO (Aviation Tourism and Travel Training Organisation); a
manual of best practice is provided by the New Zealand Museum
Standards Scheme; and a host of ICOM subcommittees regularly run
conferences. As far as the professional literature is concerned, there has
certainly been growth in the last two decades, as well as an increase in
statistics, survey data and visitor research.58 What started life in the
1950s as the AGMANZ Newsletter and later Journal, then the New Zealand
Museums Journal, is now an online publication called Te Ara available from
the Museums Aotearoa Web site.59 There has been a lot of writing on
topics related to New Zealand museums from a range of scholars. Notable
are the doctoral theses,60 the first edited collection on South Pacific
museums, 61 and new monographs from an international publisher
Berg whose whose museum studies list has a distinctly Antipodean flavour.62
The introduction of museum studies programmes also paralleled new
developments in the university. Academic disciplines, particularly in
the arts and social sciences, had become more self consciously critical;
questions were asked about the ways in which power and knowledge were
constructed to maintain the dominance of social groups. Museums were
deeply affected by this ‘democratisation’ movement; attention was drawn
to improving public access and included increasing the museum’s
popularity and serving under-represented audiences. The debate about
social exclusion was a response to criticism that museums were ‘ivory
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towers’ which served only the elite few.63 This movement in museum
theory and practice was influenced by certain currents of postmodernism
and postcolonialism, which sought to undermine western master
narratives and replace the idea of ‘truth’ spoken by the authoritative
museum voice with multiple voices and divergent perspectives.64 In New
Zealand, particular attention was paid to the changing relationship
between museums and Maori people which resulted in ‘bicultural’
museum practices.
The impact of the new museology on museum practice is widely
debated,65 but what was important for this discussion is the new theory/
practice nexus which looked beyond museum practices in isolation to the
ways in which they shaped and were shaped by wider social processes.
This dismantled the separation of theory and practice, dissolving the
stereotype of pragmatic professionals and impractical academics and instead
seeing them as ‘two sides of the same coin’.66 Indeed, some argue that
museum studies is really a reflective practice due to its active interrelationship between academia and its associated field – in this way the museum
is a ‘laboratory’ for experimentation and testing out ideas.67 MacLeod
provides a useful formulation of museum studies as follows:
A recognition of museum studies as training and education, research and
practice, and as an area of enquiry made meaningful through participation and
collaboration, enables us to recognise museum studies as an integral aspect of
the current museum scene, and one which can make a valuable contribution
to the shaping and placing of the museum in contemporary society.68
Drawing on many related disciplines, museum studies quickly developed
a diverse and wide-ranging corpus of work that established its credentials
as an academic field in its own right within the university and went some
way towards exploring a hitherto undertheorised terrain.69 However,
although the turn towards theory was necessary to ‘beef up’ a new subject
it did arguably uncouple much research and writing from the daily realities
of current museum practice. Furthermore, some academics from other
disciplines enthusiastically interrogated museums without ever having
worked in one, leading to rather too many abstract, overtheorised studies
of museums that bore little relationship to professional issues. It is little
wonder then that many critics complain that museum studies has become
theory-heavy, too concerned with external social relations rather than
what happens inside museums.70 Having said this, there is still scope for
museum studies programmes in New Zealand to grow and refine the
analysis of museums in our distinctive local situation. There is growing
interest in several new areas of research and teaching – for example MAori
heritage, environmental heritage and digital heritage – which will require new
sets of skills and new methods of thinking about and doing museum work.
Clearly, museum studies is no longer vocational training preparing
students for entry into museum work. Rather, it is a two-pronged
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406 Museums and Museum Studies in New Zealand
academic programme that attracts students who wish to work in or know
more about museums, and encourages museum professionals to think
critically about their practice as well. As Rhiannon Mason has suggested,
a closer relationship between universities and museums might produce a
more holistic ‘theoretical museology’.71 Certainly there are welcome signs
of a more integrated approach to the study of museums through both
discursive and materialist approaches, and a better balance of history,
theory and practice. Where is museum studies headed in future? Now an
established field, museum studies should not revert to museology, the
quasi-scientific study of museum techniques, but it does perhaps need to
consolidate. If museum studies is going to provide a critical engagement
with museums, then it needs to focus on the museum itself without losing
sight of the society around it.72
Now to return to the questions raised in the introduction. Is there an
oversupply of graduates in museum studies and are these qualifications
relevant to the museum sector? Anecdotal evidence suggests that museums
are supportive of museum studies programmes, yet usually hire people
with specialised skills or qualifications that are not museum-based:
marketing, project management, financial accounting etc. This survey of
the historical development of museums in New Zealand shows that the
study of museums is intertwined with the nature of museum work, and
that museum studies has developed the way it has because of the increasing
complexity and sophistication of the museum profession.
New Zealand is in a somewhat different situation to the UK and US.
It is a small sector with a handful of large institutions which have relatively
short histories characterised by change – New Zealand museums are
diverse, informal, flexible and porous organisations (MA Sector survey).
The anecdotal evidence from universities suggests that there are a relatively
small number of graduates who readily get entry level positions in the
sector. It is not currently known what the replacement rate is for the
aproximately 3000 professionals working in this industry, and with
the economic recession there is definitely a need for the tertiary sector to
work in partnership with sector organisations to set realistic goals for
student numbers (rather than having targets set by ‘the market’). There is
no doubt that museums will continue to hire people with degrees in a
range of other subjects – this is surely a good thing for museums because
it brings in fresh talent and stops the profession from becoming ossified
through narrow credentialism.
Conclusion
The more important question which arises from this article then is ‘what
is museum studies and what is its relationship to museums?’ To the
authors, it seems that that museum studies is ideally a judicious balance of
history, theory and practice which has developed alongside museums
© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd
Museum and Museums Studies in New Zealand
407
themselves and reflects their increasing complexity and sophistication.
Against some conservative attempts to question the political and theoretical
nature of the field today, we would argue that this critical and creative
thinking is vital for a healthy profession, while acknowledging that it does
need to refocus on the internal workings of museums. Museum studies
programmes can prepare students for museum work to a degree, but are
certainly no guarantee that they are ‘industry ready’. Students certainly
require specialist knowledge in a core body of literature, as well as practical
museum-based experience, but they also need a set of transferable skills
that can be taken from one field of museum work to another. Museum
studies programmes can also help experienced museum staff reflect on
their practice, to think about what they do and why, and find new ways
for undertaking their work – this perhaps is most pertinent for those
whose work involves working with the community, particularly curators,
interpreters and educators.
Perhaps it is best to look at museum studies programmes as a useful
intellectual resource for students and museum professionals to utilise when
needed, rather than an entry qualification per se or as a guarantee for
promotion. In that sense it is important to distinguish between the
purpose, value and demands of university museum studies courses on the
one hand, and museum-based short courses which provide practical skills
on the other, not to mention the provision of accreditation, training and
continuous professional development. Museum studies can certainly
expand to incorporate new topics and needs, and it will always maintain
a vital relationship between theory and practice, but it cannot and should
not replicate sub-degree skills-based courses – it seems to us that
postgraduate courses will always be better suited to the critical exploration
of historical and philosophical frameworks than teaching students how to
handle a painting or do a condition report. The criticism of university
courses being impractical should be leavened with some acknowledgement
of the value to professionals of advanced academic study, reading the
literature and undertaking original research and writing – not least to
equip them with the ideas and intellectual framework to make sense of
constant change, challenges and new technologies. While museum studies
cannot do without museums, on the other hand, without museum studies
museums themselves could turn inward and become overconcerned
with technocratic matters at the expense of the analysis of broader
social and political issues. To do so would deny the history outlined here,
which shows the close mutual relationship between universities and
museums, professionals and academics, and theory and practice.
Short Biographies
Joanna Cobley has a Ph.D. from the University of Canterbury and was one
of the first graduates from the Massey University museum studies programme.
© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd
408 Museums and Museum Studies in New Zealand
Joanna podcasts about museums at http://www.museumdetective.com. In
February 2007 she was shortlisted for the New Zealand Radio Awards
and in July she gave up her day job to focus on her work as a podcaster
and guest lecturer.
Dr Conal McCarthy is Director of the Museum & Heritage Studies
programme at Victoria University of Wellington. Conal has worked as
a teacher, museum educator and interpreter, curator and lecturer. His
research interests include museum history and theory, visitor research,
MAori art and contemporary heritage issues. His first book, a study of
colonial architecture in North Otago, was published in 2002, and his
second book Exhibiting Mâori was published in 2007. Conal is currently
conducting research for his next book which will deal with museums and
biculturalism.
Notes
* Correspondence address: P.O. Box 600, Victoria University of Wellington. Email:
conal.mccarthy@vuw.ac.nz.
1
M. Davies, ‘Comment and Analysis: Just the Job’, Museums Journal, May 2006, 11.
J. Holt, ‘News Analysis: Survey Says Museum Studies Course Content Must Change’,
Museums Journal, October 2006,15.
3
‘Letters: Are Masters Degrees a Waste of Time’, Museums Journal, July 2006, 16. See also the
response from Prof Simon Knell, Museum studies department, University of Leicester. ‘Letters:
Museum Studies Sets Us on Track’, Museums Journal, July 2006, 14.
4
J. Cobley, ‘The Museum Profession in New Zealand: A Case Study in Economic
Restructuring and Investigating the Movement Towards Feminisation’, Ph.D. diss. (University
of Canterbury, 2002).
5
A. Wittlin, Museums: In Search of a Useable Future (Cambridge, MA/London: MIT Press,
1970).
6
B. Labrum and C. McCarthy, ‘Museum Studies and Museums: Bringing Together Theory
and Practice’, Te Ara: Special Issue – Museum Studies in New Zealand, 30/2 (November 2005): 5.
7
S. Macdonald, ‘Expanding Museum Studies: An Introduction’, in S. Macdonald (ed.), A
Companion to Museum Studies (Malden, MA: Blackwell Publishing, 2006), 1–16.
8
H. F. von Haast, The Life and Times of Sir Julius Von Haast: Explorer, Geologist, Museum Builder
(Wellington: Avery Press, 1948).
9
R. Falla, ‘Museums’, in Laura Salt and John Pascoe (eds), Oxford New Zealand Encyclopedia:
Companion Volume to the Oxford Junior Encyclopedia (London: Oxford University Press, 1965),
255–57.
10
R. K. Dell, ‘Museums’, in A. H. McLintok (ed.), An Encyclopedia of New Zealand (Wellington:
Government printer, 1966), 602.
11
S. MacLennan, ‘Art in New Zealand’, in McLintock (ed.), Encyclopedia of New Zealand, 92– 9.
12
R. Galbreath, ‘Colonisation, Science and Conservation: The Development of Colonial
Attitudes towards the Native Life of New Zealand with Particular Reference to the Career of
the Colonial Scientist Walter Lawry Buller (1838–1906)’, Ph.D diss. (University of Waikato,
1989); Galbreath, Scholars and Gentlemen Both: G. M. & Alan Thomson in New Zealand Science
and Education (Wellington: Royal Society, 2002).
13
C. McCarthy, ‘Displaying Natural History: Colonial Museum’, in S. Nathan and M. Varnham
(eds), The Amazing World of James Hector (Wellington: Te Awa Press, 2008), 49 – 61.
14
F. L. Reid, ‘Promoting Science: New Zealand Institute’, in S. Nathan and M. Varnham (eds),
The Amazing World of James Hector (Wellington: Te Awa Press, 2008), 63 –72.
15
K. Astwood, ‘Reframing Colonial Collecting: A Study of 19th Century Collectors and
Collecting at the Hawkes Bay Philosophical Institute’, Masters diss. (Victoria University, 2008).
2
© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd
Museum and Museums Studies in New Zealand
409
16
J. Orosz, Curators and Culture: The Museum Movement in America, 1740–1870 (Tuscaloosa,
Alabama: The University of Alabama Press, 1990).
17
R. K. Dell, Dominion Museum 1865–1965 (Wellington: Dominion Museum, 1965), 4.
18
A. Henare, Museums, Anthropology and Imperial Exchange (Cambridge: Cambridge University
Press, 2005).
19
F. A. Bather, Some Colonial Museums (London: Museums Association, 1894).
20
A. Hamilton, ‘Notes for the Information of Members of Both Houses of Parliament, in the
Matter of the National Maori Museum Proposed to Be Erected in Wellington to Carry out
the Provisions of the Maori Antiquities Act of 1901, and to Be a Permanent Memorial to the
Past History of the Maori People’ (Dunedin: Fergusson and Mitchell, 1902); Colonial Museum
Bulletin, No. 1, 1905 (Wellington: Government Printer, 1906).
21
J. A. Thomson, ‘Special Reports: Some Principles of Museum Administration Affecting the
Future Development of the Dominion Museum’, Appendices to the Journals of the House of
Representatives (Wellington: Government Printer, 1915), 9 –19.
22
P. D. Speiss, ‘Museum Studies: Are They Doing Their Job?’, Museum News, November/
December 1996, 32– 40.
23
Labrum and McCarthy, ‘Museum Studies and Museums’, 6.
24
S. F. Markham and H. C. Richards, Australian Report: A Report on the Museums and Art
Galleries of Australia and New Zealand to the Carnegie Corporation of New York (London: Museums
Association, 1933), 25.
25
K. Thomson, Art Galleries and Museums of New Zealand (Wellington: Reed, 1981).
26
C. B. Bledisloe, The Proper Function and Scope of a National Art Gallery and Museum. An Address
Given When Laying the Foundation-Stone of the National Art Gallery and Dominion Museum at
Wellington, April 14, 1934 (Auckland: Wilson & Horton, 1934), 2.
27
B. Gill, ‘Records of the Auckland Museum – 75 Years of publication, 1930–2005’, Te Ara,
30/2 (November 2005): 37– 8.
28
See Carnegie Corporation Web site, http://www.carnegie.org/.
29
L. Ryan, ‘Forging Diplomacy: The Carnegie Corporation and the “Art of Australia” Exhibition’,
Australian Association for Educational Research Conference, 2002, http://www.aare.edu.au/02pap/
rya02390.htm, accessed 12 September 2007.
30
S. F. Markham and W. R. B. Oliver, New Zealand Report: A Report on the Museums and Art
Galleries of Australia and New Zealand to the Carnegie Corporation of New York (London: Museums
Association, 1933).
31
Ibid., 84.
32
H. C. Richards, ‘Third Presidential Report of the Art Galleries and Museums Association of
Australia and New Zealand for the period 30th June 1940 to 31st December 1942’ (Wellington:
Te Papa Archives, 1942), 14–18.
33
Markham and Oliver, New Zealand Report.
34
C. Hall, Grandma’s Attic or Aladdin’s Cave: Museum Education Services for Children (Wellington:
New Zealand Council for Educational Research, 1981), 14.
35
Ibid., 15.
36
H. C. McQueen, Education in New Zealand Museums: An Account of Experiments Assisted by
the Carnegie Corporation of New York (Wellington: NZCER, 1942).
37
C. Hall, Grandma’s Attic or Aladdin’s Cave, 16.
38
W. K. Cameron, ‘Obituary: Lucy May Cranwell, MA, DSc, DSFLS(Lond.), FRSNZ, 1907–
2000’, New Zealand Journal of Botany, 38 (2000): 531.
39
M. K. Rochester, The Revolution in New Zealand Librarianship: American Influence as Facilitation
by the Carnegie Corporation of New York in the 1930s (Halifax, Novia Scotia: Dalhousie University,
School of Library and Information Studies, 1990), iv.
40
Dell, Dominion Museum, 19.
41
W. R. B. Oliver, New Zealand Museums: Present Establishment and Future Policy (Wellington:
Dominion Museum, 1944), 22.
42
AGMA: News Bulletin of the Art Galleries and Museums Association of Australia and New Zealand,
no. 4, August (1950): 1.
43
Wittlin, Museums; K. Hudson, ‘The Museum Refuses to Stand Still’, in B. M. Carbonell
(ed.), Museum Studies: An Anthology of Contexts (Malden, MA: Blackwell, 2004).
© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd
410 Museums and Museum Studies in New Zealand
44
ICOM Web site, http://icom.museum/mission.html, accessed 14 September 2007.
D. Monz, ‘Implications of the Development of Museums in Australia for the Early History
of New Zealand 1915–45’, Te Ara, 28/1 (May 2005): 48.
46
Dell, ‘Museums’, 604.
47
National Register of Archives and Manuscripts, http://www.nzram.org.nz, accessed 1 February
2007.
48
K. Gorbey, Unpublished interview by Conal McCarthy, 14 October 2008.
49
J. Belich, Paradise Reforged: A History of the New Zealanders from the 1880s to the Year 2000
(Auckland: Allen Lane and Penguin, 2001), 392, 425, 463 –5.
50
A. Alpers, ‘High Praise for Our Museums’, Home and Building, 18/11 (1956): 21; O. Royston,
‘A Visit to New Zealand’, The Museums Journal, 57/10 (1958): 231. For a local series of articles
on New Zealand museums, see E. Phillips, ‘The Museums of New Zealand’, New Zealand
Journal of Agriculture, 79 (1949): 407–12. See also: vols. 80, 81 (1950); vol. 82 (1951).
51
Dell, Dominion Museum, 20–1; Thomson, Art Galleries and Museums, 3 –15.
52
A. McCredie, ‘Going Public: New Zealand Art Museums in the 1970s’, MA diss. (Massey
University, 1999).
53
H. M. Mead, Magnificent Te Maori: Te Maori Whakahirahira (Auckland: Heinemann, 1986).
54
P. Boylan, ‘The Museum Profession’, in S. Macdonald (ed.), A Companion to Museum Studies
(Malden MA: Blackwell, 2006), 415–30.
55
Wittlin, Museums, 169.
56
AGMA, 1.
57
For more information on these programmes, see Labrum and McCarthy, ‘Museum Studies
and Museums’.
58
J. Legget, ‘Making Museums Count’, Te Ara, 32/1–2 (2007), http://www.museums-aotearoa.
org.nz/Site/publications/Te_Ara_On-line/Default.aspx, accessed 15 October 2008.
59
Te Ara: Journal of Museums Aotearoa, 32/1 (December 2007), http://www.museums-aotearoa.
org.nz/Site/publications/Te_Ara_On-line/Default.aspx, accessed 15 October 2008.
60
J. Legget, ‘Recent Doctoral Theses Relating to New Zealand Museums and Collections’, Te
Ara, 30/2 (November 2005): 39 – 41.
61
C. Healy and A. Witcomb (eds), South Pacific Museums: Experiments in Culture (Melbourne:
Monash University ePress, 2006).
62
K. Message, New Museums and the Making of Culture (Oxford/New York, NY: Berg, 2006);
C. McCarthy, Exhibiting Maori: A History of Colonial Cultures of Display (Oxford/New York,
NY: Berg, 2007); P. Williams, Memorial Museums: The Global Rush to Commemorate Atrocities
(Oxford and New York: Blackwell, 2007).
63
S. MacDonald (ed.), The Politics of Display: Museums, Science, Culture (London/New York,
NY: Routledge, 1998).
64
P. Vergo (ed.), The New Museology (London: Reaktion Books, 1989).
65
Deidre C. Stam, ‘The Informed Muse: The Implications of “the New Museology” for
Museum Practice’, in G. Corsane (ed.), Heritage, Museums and Galleries: An Introductory Reader
(Oxford/New York, NY: Routledge, 2005), 54–70.
66
Labrum and McCarthy, ‘Museum Studies and Museums’, 4.
67
J. L. Teather, ‘Museum Studies: Reflecting on Reflective Practice’, Museum Management
and Curatorship, 10/4 (1991): 403–17; S. MacLeod, ‘Making Museum Meanings: Training,
Education, Research and Practice’, Museum Management and Curatorship, 19/1 (2001): 51– 62.
68
MacLeod, ‘Making Museum Meanings’, 58.
69
S. Macdonald, ‘Theorising Museums: An Introduction’, in S. Macdonald and G. Fyfe (eds),
Theorising Museums: Representing Identity and Diversity in a Changing World (Oxford: Blackwell
Publishers/The Sociological Review, 1996), 1–18.
70
C. Saumarez-Smith, ‘Book Review: Grasping the World: The Idea of the Museum’, Apollo,
159/510 (2004): 76.
71
R. Mason, ‘Cultural Theory and Museum Studies’, in S. Macdonald (ed.), A Companion to
Museum Studies (Oxford: Blackwell, 2006), 17–32.
72
C. McCarthy, ‘Review Article: Museum Factions – the Transformation of Museum Studies’,
Museum and Society, 5/3 (2007), http://www.le.ac.uk/ms/museumsociety.html, accessed 17
November 2008.
45
© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd
Museum and Museums Studies in New Zealand
411
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Theorising Museums: Representing Identity and Diversity in a Changing World (Oxford: Blackwell
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© 2009 The Authors
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Journal Compilation © 2009 Blackwell Publishing Ltd
Museum and Museums Studies in New Zealand
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© 2009 The Authors
History Compass 7/2 (2009): 395–413, 10.1111/j.1478-0542.2008.00587.x
Journal Compilation © 2009 Blackwell Publishing Ltd