Interview: Ka Mua Ka Muri - Walking Backwards into the Future
Shaun Higgins, Curator Pictorial at Tāmaki Paenga Hira Auckland War Memorial Museum shared with QWB Lab Senior Consultant Linda Gilbert how he became interested in working at a museum, his role at the Museum and how he thinks the Museum is creating value and contributing to society.
The Museum, founded in 1852, is one of Aotearoa New Zealand’s first museums. It tells the story of Auckland, its place in the Pacific and its people. Since 1929 it has also been a war memorial for the region. It has pre-eminent Māori and Pacific collections, significant natural history resources and major social and military history collections, as well as decorative arts and pictorial collections. The neoclassical building with its limestone colonnades is considered one of New Zealand's finest heritage buildings and takes pride of place on a hill known by Māori as Pukekawa. To this day, it is a touchstone of remembrance for families and returned service personnel who wish to honour their loved ones and fallen comrades.
Linda Gilbert (LG): Can you tell me how you became interested in the Auckland Museum, your role and how long you have worked there?
Shaun Higgins (SH): My curiosity about culture began early. Like many children I found the imposing and beautiful building on the hill a place of magic and mystery. One of the reasons for going to university was a desire to work at the Museum. I studied archaeology, anthropology, art history and photography, gaining a Master of Arts. This was followed up with a Post Graduate Diploma in Museums and Cultural Heritage.
I have held a variety of roles at the Museum that have utilised my interests and skillsets. Currently I am Curator Pictorial which includes researching, caring for and exhibiting photographs, paintings and drawings relevant to the Auckland area.
The Māori whakataukī (proverb) ‘Ka Mua Ka Muri - Walking backwards into the future’ sums up the raison d’être for the institution. It is a place to understand our past and inform our future. Coming to the Museum as a child ignited my dream to work here.
LG: In what ways would you say is the Museum creating value and contributing to society?
SH: The Museum is a memory institution that holds objects and stories for generations past and for those to come. But it also plays a crucial role in asking whose memories are held and whose stories are told? An important aspect of my job is to take a broad view and consider ‘the unasked question’ about an image or object – beyond what I might ask. This enables gaps to be filled through exhibition programming. It is essential not just to house the objects but to create the conditions where these questions can be asked by visitors. In this way the Museum becomes a place of conversation because histories vary, and other perspectives need to be considered.
For example, the photography exhibition called ‘A Different Light’ is a collaborative exhibition between the Auckland Museum, the Alexander Turnbull Library and Hocken Collections about early photography in New Zealand. As I was working on this, I asked myself questions that would open conversations beyond the obvious. For example, did Māori know that when they sat for a portrait their image would be sold later by the photographer?
I believe that the Museum should be a place for all to be welcomed and feel they have the right to be there. A place to discuss these sometimes hard conversations about our past.
LG: In what ways does the Museum make people from all walks of life feel welcome to visit?
SH: An important aspect is that we consider the physical environment of the building itself. Many whānau and families visit together and spend hours at a time here. So, we provide changing facilities for babies, two cafes at differing price points and people are welcome to bring their own kai (food) to eat while they are here. Because families often spend so long here in a single visit the physical environment needs to be welcoming and comfortable - for people from all cultures and economic situations.
The Museum is mindful of the changing demographics in Auckland. One way they encourage diversity is to provide a community focused programme where the many different cultures living in Auckland can hold exhibitions and showcase the countries they come from.
Another initiative we run is called ‘Twilight Tuesdays’ where the Museum is open until 8.30pm. This enables people to come after work, enjoy the collections and have a meal if they want to.
Apart from the physical environment and accessible hours, our programming is key to ensuring we take an inclusive and diverse approach.
LG: Is there a project that comes to mind illustrating how the Museum works with Tāngata whenua (the indigenous Māori people of the local area) to unlock cultural wellbeing?
SH: In these times of decolonisation, the Museum is very aware it can be seen as a ‘Temple on the Hill’, where underlying tensions around authorship, ownership and institutional racism bubble. The Museum is actively addressing these hard but important questions being asked. The exhibition ‘Taku Tāmaki Auckland Stories from the South’ went out to the people of South Auckland (who are predominantly Māori and Pacific Peoples), telling their stories - at their place. Taking the exhibition to the people was an important step beyond the walls and was well received.
Another example where the Museum sought to break down colonial stereotypes is around the ‘Not One More Acre’ exhibition by Ngati Whātua Ōrākei, the iwi (tribe) who occupied their land after it had been unlawfully taken. They were handed the exhibition hall together with curatorial freedom to tell their story about the controversial Takaparawhau /Bastion Point Land Occupation in the 1970s. They did this in their own way, with curatorial support from the Museum.
LG: Do you have any examples of the way the Museum is staying relevant to younger generations?
SH: One recent collecting project was based on crowd sourcing selfies. We put the call out to Aucklanders, and they sent us over 1,000 selfies. These were added to the Museum’s permanent photography collection which holds more than 3 million photographs, dating back to the early days of photography. Part of my role is to ensure our collection continues to reflect trends. The selfie is a present-day photographic phenomenon that can’t be overlooked. Taking this social and egalitarian lens on everyday life - not just collecting the exceptional is often more interesting. Sometimes these other perspectives around changing values in society are not forthcoming. So, then I might turn to art because artists are not afraid to call out and critique social constructs. Art offers up different perspectives which can be included in exhibitions to tell other sides of the same story and ensure the Museum stays relevant.
LG: Thank you for your time and all the best with your mission of future proofing the collections so those wider questions can be addressed.
Interview: Ka Mua Ka Muri - Walking Backwards into the Future
Shaun Higgins, Curator Pictorial at Tāmaki Paenga Hira Auckland War Memorial Museum shared with QWB Lab Senior Consultant Linda Gilbert how he became interested in working at a museum, his role at the Museum and how he thinks the Museum is creating value and contributing to society.
The Museum, founded in 1852, is one of Aotearoa New Zealand’s first museums. It tells the story of Auckland, its place in the Pacific and its people. Since 1929 it has also been a war memorial for the region. It has pre-eminent Māori and Pacific collections, significant natural history resources and major social and military history collections, as well as decorative arts and pictorial collections. The neoclassical building with its limestone colonnades is considered one of New Zealand's finest heritage buildings and takes pride of place on a hill known by Māori as Pukekawa. To this day, it is a touchstone of remembrance for families and returned service personnel who wish to honour their loved ones and fallen comrades.
Linda Gilbert (LG): Can you tell me how you became interested in the Auckland Museum, your role and how long you have worked there?
Shaun Higgins (SH): My curiosity about culture began early. Like many children I found the imposing and beautiful building on the hill a place of magic and mystery. One of the reasons for going to university was a desire to work at the Museum. I studied archaeology, anthropology, art history and photography, gaining a Master of Arts. This was followed up with a Post Graduate Diploma in Museums and Cultural Heritage.
I have held a variety of roles at the Museum that have utilised my interests and skillsets. Currently I am Curator Pictorial which includes researching, caring for and exhibiting photographs, paintings and drawings relevant to the Auckland area.
The Māori whakataukī (proverb) ‘Ka Mua Ka Muri - Walking backwards into the future’ sums up the raison d’être for the institution. It is a place to understand our past and inform our future. Coming to the Museum as a child ignited my dream to work here.
LG: In what ways would you say is the Museum creating value and contributing to society?
SH: The Museum is a memory institution that holds objects and stories for generations past and for those to come. But it also plays a crucial role in asking whose memories are held and whose stories are told? An important aspect of my job is to take a broad view and consider ‘the unasked question’ about an image or object – beyond what I might ask. This enables gaps to be filled through exhibition programming. It is essential not just to house the objects but to create the conditions where these questions can be asked by visitors. In this way the Museum becomes a place of conversation because histories vary, and other perspectives need to be considered.
For example, the photography exhibition called ‘A Different Light’ is a collaborative exhibition between the Auckland Museum, the Alexander Turnbull Library and Hocken Collections about early photography in New Zealand. As I was working on this, I asked myself questions that would open conversations beyond the obvious. For example, did Māori know that when they sat for a portrait their image would be sold later by the photographer?
I believe that the Museum should be a place for all to be welcomed and feel they have the right to be there. A place to discuss these sometimes hard conversations about our past.
LG: In what ways does the Museum make people from all walks of life feel welcome to visit?
SH: An important aspect is that we consider the physical environment of the building itself. Many whānau and families visit together and spend hours at a time here. So, we provide changing facilities for babies, two cafes at differing price points and people are welcome to bring their own kai (food) to eat while they are here. Because families often spend so long here in a single visit the physical environment needs to be welcoming and comfortable - for people from all cultures and economic situations.
The Museum is mindful of the changing demographics in Auckland. One way they encourage diversity is to provide a community focused programme where the many different cultures living in Auckland can hold exhibitions and showcase the countries they come from.
Another initiative we run is called ‘Twilight Tuesdays’ where the Museum is open until 8.30pm. This enables people to come after work, enjoy the collections and have a meal if they want to.
Apart from the physical environment and accessible hours, our programming is key to ensuring we take an inclusive and diverse approach.
LG: Is there a project that comes to mind illustrating how the Museum works with Tāngata whenua (the indigenous Māori people of the local area) to unlock cultural wellbeing?
SH: In these times of decolonisation, the Museum is very aware it can be seen as a ‘Temple on the Hill’, where underlying tensions around authorship, ownership and institutional racism bubble. The Museum is actively addressing these hard but important questions being asked. The exhibition ‘Taku Tāmaki Auckland Stories from the South’ went out to the people of South Auckland (who are predominantly Māori and Pacific Peoples), telling their stories - at their place. Taking the exhibition to the people was an important step beyond the walls and was well received.
Another example where the Museum sought to break down colonial stereotypes is around the ‘Not One More Acre’ exhibition by Ngati Whātua Ōrākei, the iwi (tribe) who occupied their land after it had been unlawfully taken. They were handed the exhibition hall together with curatorial freedom to tell their story about the controversial Takaparawhau /Bastion Point Land Occupation in the 1970s. They did this in their own way, with curatorial support from the Museum.
LG: Do you have any examples of the way the Museum is staying relevant to younger generations?
SH: One recent collecting project was based on crowd sourcing selfies. We put the call out to Aucklanders, and they sent us over 1,000 selfies. These were added to the Museum’s permanent photography collection which holds more than 3 million photographs, dating back to the early days of photography. Part of my role is to ensure our collection continues to reflect trends. The selfie is a present-day photographic phenomenon that can’t be overlooked. Taking this social and egalitarian lens on everyday life - not just collecting the exceptional is often more interesting. Sometimes these other perspectives around changing values in society are not forthcoming. So, then I might turn to art because artists are not afraid to call out and critique social constructs. Art offers up different perspectives which can be included in exhibitions to tell other sides of the same story and ensure the Museum stays relevant.
LG: Thank you for your time and all the best with your mission of future proofing the collections so those wider questions can be addressed.
Interview: Ka Mua Ka Muri - Walking Backwards into the Future
Shaun Higgins, Curator Pictorial at Tāmaki Paenga Hira Auckland War Memorial Museum shared with QWB Lab Senior Consultant Linda Gilbert how he became interested in working at a museum, his role at the Museum and how he thinks the Museum is creating value and contributing to society.
The Museum, founded in 1852, is one of Aotearoa New Zealand’s first museums. It tells the story of Auckland, its place in the Pacific and its people. Since 1929 it has also been a war memorial for the region. It has pre-eminent Māori and Pacific collections, significant natural history resources and major social and military history collections, as well as decorative arts and pictorial collections. The neoclassical building with its limestone colonnades is considered one of New Zealand's finest heritage buildings and takes pride of place on a hill known by Māori as Pukekawa. To this day, it is a touchstone of remembrance for families and returned service personnel who wish to honour their loved ones and fallen comrades.
Linda Gilbert (LG): Can you tell me how you became interested in the Auckland Museum, your role and how long you have worked there?
Shaun Higgins (SH): My curiosity about culture began early. Like many children I found the imposing and beautiful building on the hill a place of magic and mystery. One of the reasons for going to university was a desire to work at the Museum. I studied archaeology, anthropology, art history and photography, gaining a Master of Arts. This was followed up with a Post Graduate Diploma in Museums and Cultural Heritage.
I have held a variety of roles at the Museum that have utilised my interests and skillsets. Currently I am Curator Pictorial which includes researching, caring for and exhibiting photographs, paintings and drawings relevant to the Auckland area.
The Māori whakataukī (proverb) ‘Ka Mua Ka Muri - Walking backwards into the future’ sums up the raison d’être for the institution. It is a place to understand our past and inform our future. Coming to the Museum as a child ignited my dream to work here.
LG: In what ways would you say is the Museum creating value and contributing to society?
SH: The Museum is a memory institution that holds objects and stories for generations past and for those to come. But it also plays a crucial role in asking whose memories are held and whose stories are told? An important aspect of my job is to take a broad view and consider ‘the unasked question’ about an image or object – beyond what I might ask. This enables gaps to be filled through exhibition programming. It is essential not just to house the objects but to create the conditions where these questions can be asked by visitors. In this way the Museum becomes a place of conversation because histories vary, and other perspectives need to be considered.
For example, the photography exhibition called ‘A Different Light’ is a collaborative exhibition between the Auckland Museum, the Alexander Turnbull Library and Hocken Collections about early photography in New Zealand. As I was working on this, I asked myself questions that would open conversations beyond the obvious. For example, did Māori know that when they sat for a portrait their image would be sold later by the photographer?
I believe that the Museum should be a place for all to be welcomed and feel they have the right to be there. A place to discuss these sometimes hard conversations about our past.
LG: In what ways does the Museum make people from all walks of life feel welcome to visit?
SH: An important aspect is that we consider the physical environment of the building itself. Many whānau and families visit together and spend hours at a time here. So, we provide changing facilities for babies, two cafes at differing price points and people are welcome to bring their own kai (food) to eat while they are here. Because families often spend so long here in a single visit the physical environment needs to be welcoming and comfortable - for people from all cultures and economic situations.
The Museum is mindful of the changing demographics in Auckland. One way they encourage diversity is to provide a community focused programme where the many different cultures living in Auckland can hold exhibitions and showcase the countries they come from.
Another initiative we run is called ‘Twilight Tuesdays’ where the Museum is open until 8.30pm. This enables people to come after work, enjoy the collections and have a meal if they want to.
Apart from the physical environment and accessible hours, our programming is key to ensuring we take an inclusive and diverse approach.
LG: Is there a project that comes to mind illustrating how the Museum works with Tāngata whenua (the indigenous Māori people of the local area) to unlock cultural wellbeing?
SH: In these times of decolonisation, the Museum is very aware it can be seen as a ‘Temple on the Hill’, where underlying tensions around authorship, ownership and institutional racism bubble. The Museum is actively addressing these hard but important questions being asked. The exhibition ‘Taku Tāmaki Auckland Stories from the South’ went out to the people of South Auckland (who are predominantly Māori and Pacific Peoples), telling their stories - at their place. Taking the exhibition to the people was an important step beyond the walls and was well received.
Another example where the Museum sought to break down colonial stereotypes is around the ‘Not One More Acre’ exhibition by Ngati Whātua Ōrākei, the iwi (tribe) who occupied their land after it had been unlawfully taken. They were handed the exhibition hall together with curatorial freedom to tell their story about the controversial Takaparawhau /Bastion Point Land Occupation in the 1970s. They did this in their own way, with curatorial support from the Museum.
LG: Do you have any examples of the way the Museum is staying relevant to younger generations?
SH: One recent collecting project was based on crowd sourcing selfies. We put the call out to Aucklanders, and they sent us over 1,000 selfies. These were added to the Museum’s permanent photography collection which holds more than 3 million photographs, dating back to the early days of photography. Part of my role is to ensure our collection continues to reflect trends. The selfie is a present-day photographic phenomenon that can’t be overlooked. Taking this social and egalitarian lens on everyday life - not just collecting the exceptional is often more interesting. Sometimes these other perspectives around changing values in society are not forthcoming. So, then I might turn to art because artists are not afraid to call out and critique social constructs. Art offers up different perspectives which can be included in exhibitions to tell other sides of the same story and ensure the Museum stays relevant.
LG: Thank you for your time and all the best with your mission of future proofing the collections so those wider questions can be addressed.
