MAORI Their treasures have a soul

Garden Gallery

10/04/11 – 01/22/12

Curatorship : Museum of New Zealand Te Papa Tongarewa

This exhibition was created and presented by the Museum of New Zealand Te Papa Tongarewa.

This exhibition was made possible thanks to the support of the New Zealand Government.

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* SUMMARY

* Editorial by Stéphane Martin, Président of the musée du quai Branly……….…….3

* Maori : Their treasures have a Soul - visiting the exhibition ....................................4

* Glossary and curatorship of the exhibition………………..………...….…………… 11

* Oceanic collections and exhibitions at the musée du quai Branly…………...…... 11

* Catalogue, DVD, Special issue................................................................................13

* Around the exhibition ............................................................................................13

* International symposium on cultural self-presentation…………………………… 16

* Practical information: www.quaibranly.fr ..............................................................17

* Exhibition of the partners ......................................................................................18

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* EDITORIAL BY STÉPHANE MARTIN, PRÉSIDENT OF THE MUSÉE DU QUAI BRANLY

In the world of the Maori it is said that Rangi, the sky, is the father and Papa, the mother, is the earth, and that they were only separated to allow light to enter the world and to make space for living beings. They have never really broken away from one another.

Fiona Kidman With the title E Tu Ake, Standing Strong, from April 9th to June 26th, 2011, the New Zealand Museum, Te Papa Tongarewa displayed an exhibition designed and created by the Maori. This underlined the identity of a people for whom the word sovereignty rhymes with freedom, after centuries of dispossession and colonial conflicts. Since it opened, the musée du quai Branly has been interested in contemporary Maori art and its relationship with a secular tradition. Works bearing witness to the very same desire for memory have been put on display, by artists such as Greg Semu, Anne Noble, Fiona Pardington and Michael Parekowhai. This

approach reveals a vocation: to show the permanence of a culture in its uniqueness, as in the plurality of its expressions. The Maori adhere to a powerful genealogical system, a driving force behind knowledge and transmission, explaining this consistency between past and present. Still today, art, in all its manifestations, is the paper on which history is endlessly rewritten, and haunted by the memory of the Polynesian gods of years gone by. In this exhibition, most notably in echoes of the taonga, ancestral treasures that are extremely refined thanks to the exuberance of their subjects and the inventiveness of their forms are intertwined with contemporary jewellery where this energy, this vital intensity inherent in the material of the objects beyond the creative act, can be detected.

The liking for materials is indeed inherent in the Maori who live in deep communion with nature. Wood, stone and shell are all handled with a detail that aroused the admiration of the Europeans at the time of initial contact, who saw for the first time these fascinating pieces relating to the sea, to the notion of power and metamorphosis. The magnificent prows of carved canoes, the emblematic meeting house panels, and in another genre, elegant jade pendants with a transparency that is both a mirage of wealth and beauty, have nourished the dreams of entire generations.

One of the themes of the exhibition sums up the mood and the mode of existence of the Maori: "the past is in front of us, the future is behind". The Maori keep the immutable word of their ancestors deep within them. What's more, according to the old saying "we can deal with a spear but not with a lick".

I would obviously also like to pay tribute to the Museum of New Zealand Te Papa Tongarewa; Michael Houlihan, its Chief Executive Officer; Michelle Hippolite; Kaihautu, Maori leader; Rhonda Paku, Senior Curator, taonga Maori; Megan Tamati-Quennell, Curator of Contemporary Art; as well as to Liz Hay, responsible for the loaning of this exhibition, made possible with the support of the New Zealand government. Thank you to them all for this magnificent homage to Maori culture.

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The Life mask of Wiremu Te Manewha

* MAORI: THEIR TREASURES HAVE A SOUL : VISITING THE EXHIBITION The musee du quai Branly presents MAORI: Their treasures have a soul, featuring Maori culture through 250 pieces from the collections of the Museum of New Zealand Te Papa Tongarewa. This exhibition, never shown before outside New Zealand, is a testimony to a strong and living culture. It affirms a people’s will to master their own future by emphasising tino rangatiratanga: Maori self-determination and control over things Maori. The exhibition presents a great range of artwork, including sculpture, adornment, daily and sacred objects, architectural elements, photographs, audiovisual documents, and so on. It highlights the links between taonga (ancestral Maori treasures) and contemporary art, shedding light on important issues and debates for Maori today. The exhibition presents Maori culture as seen by Maori, free from Western views and biases. The heart of the exhibition features art that addresses the political, spiritual, and aesthetic developments that have shaped Maori culture.

*Introduction The introductory area orientates visitors to the Maori world by presenting a major underlying concept of the exhibition. * Tino rangatiratanga is a phrase synonymous today with the struggle of Maori for greater control over their own destiny and resources. The core word is ‘rangatira’, or ‘chief’ – someone acknowledged as a leader, holding authority over their tribe and geographical dominion. Tino rangatiratanga embodies the ideas of sovereignty and self-determination – the will of Maori to regain control over their culture, identity, and resources, and to participate and contribute to global issues, such as environmental protection. * In the 1835 Declaration of Independence, Maori clearly asserted their desire to maintain their sovereignty. They reiterated this desire with their later signing of Te Tiriti o Waitangi (the Treaty of Waitangi) in 1840. The signing of these documents would, they understood, guarantee the recognition of their authority over their land, forests, fisheries, and so on.

Part 1 - Whakapapa : Ties that bind

In the Maori world view, all things are related. This interconnectedness between people, the natural environment, and inanimate objects is whakapapa. Whakapapa is expressed through genealogies, rituals, and stories. Together these form a foundation of knowledge which allows people to define who they are and how they are related to others and the world around them. Tribal experts are responsible for the preservation and correct use of this knowledge. Within Maori society, whakapapa describes the interlinking of the whanau (family) to their hapu (sub-tribe) and to their iwi (tribe). Whakapapa also connects a person to their waka (ancestral canoe) and whare tupuna (ancestral meeting house). These connections are sometimes described in customary and contemporary Maori art, and in ta moko (skin marking).

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Tauihu (canoe prow) Te Aitanga-a-Hauiti

* Theme 1 / Waka nunui - Great vessels

Exceptionally skilled builders and sailors of large waka hourua (double-hulled sailing canoes), Maori navigated across the vast Pacific Ocean to settle in Aotearoa New Zealand. They founded many of the iwi (tribes) that still form the structure of Maori society. The first canoes brought not only people, stores, and taonga

(treasures), but also the whakapapa (genealogy) connecting Maori to their ancestral homeland Hawaiki, in Eastern Polynesia. Today, when Maori formally introduce themselves, they often name the waka in which their ancestors arrived. The new land had a wealth of trees suitable for building single-hulled waka. The largest and most ornately carved were the waka taua (war canoes), more than 30 metres long. Paddled by up to 100 warriors, they were invested with the prestige and spirit of the tribe’s leaders and people. In 1990, 21 ceremonial waka taua were commissioned to mark 150 years of Aotearoa New Zealand nationhood. Ancient skills were revived and, once more, waka became powerful symbols of tribal pride and identity.

* Theme 2 / Whare Tupuna - Ancestral meeting house

The whare tupuna (ancestral meeting house) is the most powerful and enduring symbol of Maori identity, culture and history. To step inside is to enter the embrace of the many people and stories that make up the whakapapa (genealogy) of the iwi (tribe). The meeting house symbolically represents an ancestor. The tahuhu (ridge pole) is the backbone and the heke (roof supports) the ribs. The koruru (gable carving) represents the head, and the maihi (bargeboards) stretch out like welcoming arms. Inside is the place of Rongo-ma-Tane, deity of peace and reconciliation. Outside is the place of Tu-mata-uenga, deity of war – a zone of challenge and confrontation. The pare and whakawae (door lintel and doorposts), and the paepae (threshhold beam) mark the boundary between these inside and outside realms. Wharenui (meeting houses) are the focal point of marae (tribal communal centres) throughout Aotearoa New Zealand – including in educational institutions and government agencies. Ranging from the elaborately carved to the unadorned, the wharenui remains a space where whakapapa guides and informs contemporary Maori life. ���� Historical Focus - He whenua Maori a Takaparawhau : Bastion point is Maori land

The wharenui (meeting house) has played an important role in modern Maori activism, providing both shelter and a focal point for resistance. In 1977–1978, a large meeting house called Arohanui (‘all-encompassing love’) became part of a landmark protest against land losses. Takaparawhau, or Bastion Point, in Auckland was part of the ancestral land earmarked for a housing development by the Government. In protest, Joe Hawke of Ngati Whatua led an occupation

of the headland. Arohanui was built on the site as a powerful symbol of tino rangatiratanga (self-determination). Although modest in appearance, Arohanui was a place where people could stand strong together and prepare for the challenges that lay ahead. The peaceful occupation lasted 506 days, and ended when the Government sent in the police and army. The protestors were evicted, 222 were arrested, and their buildings, including Arohanui, were torn down. In 1985, the Government apologized to Ngati Whatua and returned lands with monetary compensation.

Tene Waitere, Tamoko

panel, 1896

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Nguru (flute)

4 tactile interpretations of Maori artifacts

1. Neck pendant 2. Flute 3. feeding funnel 4. Statue

* Theme 3 / Ta Moko - A marker of identity

Ta moko (skin marking) is the art of cutting the skin, then staining it with dark pigment. Eastern Pacific peoples patterned the skin by puncturing it. Maori adapted this technique, making a grooved channel in the skin similar to woodcarving. Ta moko patterning reveals the identity of the wearer by describing their whakapapa (genealogy), life experiences, and standing in the iwi (tribe). Many chiefs who supported the Treaty of Waitangi copied their ta moko onto the document, in place of a written signature. The recent revival of moko, using both customary and contemporary techniques, shows Maori reclaiming this ancient art as an expression of identity and pride. The origins of ta moko lie in the story of Mataora (whose name means ‘living face’). He mistreated his wife Niwareka and when she fled to her parents in the underworld, he pursued her. Her father, an expert in ta moko, looked with disdain on Mataora’s unmarked skin and forcibly patterned his face. When Mataora returned to this world, he brought the art of ta moko with him.

Part 2 - Mana : Empowerment and leadership

Mana is a spiritual force or quality which resides in people, animals, and inanimate objects. It is inherited through whakapapa (genealogy) and one’s own accumulated achievements. By asserting their own tino rangatiratanga (self-determination), those with mana are also able to empower others. Personal treasures, cloaks, and musical instruments can be outward symbols of mana and identity. These objects gain their own mana, from their creator, their tribal links, their symbolic meaning and the momentous events in which they have been involved. The exhibition MAORI, Their treasures have a soul

explores the influence of mana in both tangible and intangible forms of taonga, in people’s relationships with those taonga, and in people’s relationships with each other, their tupuna (ancestors) and future generations. Mana reo is the mana associated with the Maori language. By the 1970’s, it was confirmed that te reo Maori (Maori language) would disappear unless drastic measures were taken. Since then, Maori have used all the tools of legal challenges and political activism and engagement to ensure the restoration of mana reo and its future as living language.

A sensory area designed with the sponsorship of Alain Mikli International enables blind and partially-sighted visitors to discover interpretations in relief of Maori artifacts belonging to the collections of the musée du quai Branly with their finger tips. Each reproduction comes with a presentation text and an audio comment in order to make the tactile discovery of the artifact easier and replace it in its context. To improve access to this area in total independence, a podotactile path guides visitors with disabilities from the entrance of the museum.

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Toki poutangata (ceremonial adze)

* Theme 4 / He Taonga Rakai - Personal treasures Taonga tawhito (treasures from early times) are some of the most prized possessions of Maori. Dating from 1100-1300, the earliest period of settlement in Aotearoa New Zealand, these rare taonga are alive with spiritual power. Some are tools, such as toki (adze blades), and others are items of personal adornment. Maori continued to make taonga rakai (personal adornments) that reflected great skill and beauty. These included pendants and cloaks which are still worn by Maori leaders today. These treasures give mana (prestige and authority) to the wearers, and, in turn, derive mana from them.

These days, some Maori artists combine customary designs and . techniques with new materials and technology. The works express the whakapapa (genealogy) of the artists, their relationships to the natural world, and their pride in being Maori

* Theme 5 / Te reo maori - Language of the people

Te reo Maori (Maori language) has its own inherent mana (prestige and authority). It carries the values and ethos of a culture, and lies at the heart of identity and social well-being. Only in Aotearoa New Zealand is te reo Maori spoken as the indigenous language. It is a unique taonga (treasure) that requires protection and nourishment. For much of the 20

th century, te reo

Maori was in serious decline, hastened by Government policies which included banning the Maori language in schools. By the 1970’s, research confirmed that the language would soon disappear unless comprehensive measures were urgently undertaken.

Wakahuia

In the activism of the 1970’s, many Maori reasserted their political rights and their identity as Maori. The restoration of te reo Maori was a vital part of that assertion. Today, learning and speaking te reo Maori is an act of tino rangatiratanga – Maori control over all things Maori – and expresses identity, pride, and support for the language.

* Theme 6 / Wahine whai mana - Strong voices

The female strength apparent in the stories of the Maori world view of creation and the cosmos was reflected in the daily lives of the whanau (family), hapu (sub-tribe) and iwi (tribe). As valued members of their communities and the bearers of future generations, women were affirmed and supported throughout their lives. The sharing of work amongst the whanau enabled women of child bearing years to develop their expertise in a range of areas and to fulfill leadership roles. With colonisation and Christianity came different philosophies based on a patriarchal view of women. The voice of wahine Maori (Maori women) became increasingly silenced as women and their whanau were forced into new ways of being. While it remains a challenge to reassert and discover customary philosophies, Maori women strive to continue a tradition of leadership. For every woman who has become a national figure there are countless others who are considered leaders at the iwi or hapu level. To restore the balance and fulfill the dreams of the Maori people, the contributions and mana (prestige and authority) of those wahine toa (women of strength) who have gone before, and those who stand strong today must be recognized and celebrated.

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* Theme 7 / Taonga puoro - Music of the gods

“It was in the night that the gods sang the world into existence.”

Traditional Maori music has its own creation story. From Ranginui (the sky father) came melody, while from the heartbeats of Papatuanuku (the earth mother) came rhythm. From their descendants came taonga puoro (customary musical instruments), which join rhythm and melody. Flutes, trumpets, percussion instruments, and spinning blades capture the sounds of the natural environment – of birds, insects, and the wind. Maori express many moods and emotions through the playing of instruments and singing. There are sounds and music for mourning, for celebrating birth, for insulting an enemy, for fishing, for recalling history and genealogy – for all aspects of life. With a revival of interest in taonga puoro, there is now a growing number of makers and players, and through their efforts, the mana (prestige and authority) of these instruments has been restored.

���� Historical focus - Horekau tetahi eka ano : « Not one more acre »

In 1975, many Maori participated in the Maori Land March to protest against the continued loss of Maori land. The first goal was to claim back lands taken from Maori and to prevent further alienation of their land.

The catch-cry of the marchers, ‘Not one more acre!’ said it all.

Maori were taking direct action over historical and continuing loss of their land.

The Land March was organised by a coalition called Te Roopu o te Matakite (Those with Foresight) and led by charismatic Maori kuia (female elder), 79-year-old Whina Cooper. The march travelled 1,126 kilometres, from the Far North settlement of Te Hapua to Parliament in Wellington. In all, 30,000 to 40,000 people, Maori and Pakeha (people here by right of the Treaty), participated.

At Parliament, more than 5,000 marchers and supporters presented a Memorial of Right to Prime Minister Bill Rowling. The memorial, seeking control and retention of Maori land into the future, was signed by over 200 rangatira (leaders) en route. They represented every iwi (tribe) in the country.

Part 3 - Kaitiakitanga : Caring and protecting

In the Maori world view, all things – living or inanimate – come from Papatuanuku (the earth mother) and Ranginui (the sky father). Human beings are both part of this natural order and its guardians, a relationship expressed through kaitiakitanga (care and guardianship).

Kaitiakitanga requires Maori people to protect and manage the resources in their own tribal areas. By ensuring that these resources are used wisely and sustainably, manaakitanga (care and hospitality) towards each other and to guests can continue to be expressed. In the 21

st century, Maori increasingly seek to exercise kaitiakitanga over their resources, however,

in 2004 an act was passed giving the Crown ownership over the foreshore and seabed. Without tino rangatiratanga (authority) over their tribal areas, Maori aspirations became seriously challenged. Kaitiakitanga also includes the nurturing and protection of intangible taonga (treasures) such as te reo Maori (Maori language), culture and values. The role of the kaitiaki is crucial in ensuring that all things treasured by Maori can continue to contribute to tribal well-being.

* Theme 8 / No te whenua - Created from the earth

‘What is given by the land, should return to the land.’

Whenua is the name given to both land and to the placenta. After the birth of a child it is customary Maori practice to bury the whenua (placenta) on ancestral land.

Putorino (bugle flute)

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Underpinning this ritual is the belief that the first human was created from the body of Papatuanuku (mother earth). The burying of the placenta not only anchors a child to their land and whakapapa (genealogy), but is also a way of returning to the earth what has been taken. For Maori, land and identity are closely linked. A person will often introduce themselves by referencing particular places, such as a mountain, a river and other important sites that make up the lands their iwi (tribe) has occupied for generations. Deforestation, pollution, and the widespread loss of land have meant the loss of foundation and stability, and of the centring nurturing principle of Papatuanuku. Without land, the fundamental values of kaitiakitanga (guardianship and care) manaakitanga (respect and hospitality), whakapapa (genealogy), and tino rangatiratanga become difficult to maintain. However, recent conservation initiatives, such as the one established by Ngati Whare in the Whirinaki Forest Park, have seen iwi reclaim the role of kaitiaki (guardians) in their tribal lands. This has effected a rebalancing of relationships between people and whenua (land). For Maori, the land is the mother of all worldly things. In order for her to continue to provide the physical, spiritual, emotional and intellectual nourishment to humankind, she must also be respected and nurtured.

* Theme 9 / Te hi ika - Fishing, essential kaitiakitanga

For Maori, Aotearoa New Zealand’s extensive coastline, lakes, and resources. Fishing was not only essential to Maori survival, it was also anchored in spiritual beliefs and strong values. Kaitiakitanga (care and guardianship) required fisheries to be sustainably managed. Maori fished by their own lunar calendar, understanding the seasonal cycles of fish and the local environment. Different species of fish required specialised equipment – various hooks, nets, lines, and traps. They were not only functional but also beautifully crafted and elaborately decorated, demonstrating respect for Tangaroa, deity of the sea. Fish and other seafood remain essential food sources for Maori. Providing food for guests, particularly at important events, remains a way of showing manaakitanga (respect and hospitality) today.

���� Historical Focus - Tahuri ana te taiurning the tide : Turning the tide

In 2003, a storm of controversy erupted over ownership of Aotearoa New Zealand’s foreshore and seabed. The Government presumed it owned all coastlines, relying mainly on old court rulings. But many Maori groups also claimed customary ownership, based on ancestral and historical possession and on Treaty of Waitangi guarantees. The issue was widely misunderstood. Many believed their right to ‘a day at the beach’ was under threat. But for Maori, this was not about denying access to the foreshore: it was about being able to prove legally their claim to use and manage coastline resources. Fundamentally, this was an issue about the Maori right to exercise both tino rangatiratanga (self-determination and authority) and kaitiakitanga (care and guardianship). When the New Zealand Court of Appeal decided in 2003 that Mā ori were indeed entitled to have their ownership claims heard in the Maori Land Court, the Government responded by passing the Foreshore and Seabed Act 2004. The Act gave ownership of the newly-named ‘public foreshore and seabed’ to the Crown (Government). In protest, Maori tribes, non-Maori supporters, lawyers, and many others converged on Parliament in one of the largest gatherings of people ever seen there.

Foreshore and Seabed Hikoi. March 2004

Matau (fish hook) – 1500-1800

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Reuben Paterson, Nemesis

diamond dust and glitter dust on canvas

Fiona Pardington, Heitiki

₪ The exhibition concludes with the video Uncle Tasman: The Trembling Current that Scars the

Earth, by artist Natalie Robertson. This work explores the degradation of a waterway in the Bay of Plenty, where the artist was raised, due to the activities of a paper mill.

* Contemporary Maori art

Art from many Maori artists appears throughout the exhibition to support the ideas explored.

The artworks explore Maori culture (photographs of tiki by Fiona Pardington), Maori iconography (Reuben Paterson), land (Natalie Robertson), and the current struggles of Maori (Brett Graham).

Also featured: the art of Ngati Koroki – sculpture; Darryn George – painting; Shane Cotton – painting; Robyn Kahukiwa – painting; Laurence Aberhart – photography; Natalie Robertson –

video

* Reuben Paterson – Digital art and mixed media Reuben Paterson combines Maori motifs with modern techniques, such as digital animation. He is inspired by the pop movement of the 1970s. Reuben’s work was presented at Sydney’s 2010 Photography Biennial.

* Fiona Pardington – Photography Like Ruben Paterson, Fiona Pardington joined the New Zealand collective at Sydney’s 2010 Photography Biennial. Fiona is known for her mastery of darkroom work, ranging from hand printing to toning. She uses light to give her photographs of traditional Maori objects a carnal aspect, and to reveal the material, social, and religious

significance of taonga (Maori cultural treasures).

* Brett Graham – Sculpture

Brett Graham is a highly acclaimed New Zealand sculptor. He has participated in major international art events, including the Biennial of Sydney in 2006. Brett is known for his ability to interpret complex cultural and historical concepts in strong and monumental sculptures. His work offers a dialogue between Maori and European histories and involves modern aesthetics and materials. His work Foreshore defender explores the Maori controversy on coastal ownership. *The garden and hall of the museum also presents three installations by artist Michael Parekowhai.

In the garden, from 11/07 to 04/01/12 : Peak in Darien and Chapman’s Home In the hall of the museum, from 02/13 to 04/01/12 : He Korero Purakau mo te Awanui o Te Motu Story of a New Zealand River

The work of this New Zealand artist has become a reference point for artistic excellence. Michael’s work has appeared in major international events, such as the Sydney Biennial (2002) and the Asia Pacific Triennial (2006-07). Pieces in the musée du quai Branly - Chapman’s Homer, A peak in Darien, and Story of a New Zealand river – were all included in the project On first looking into Chapman’s Homer, presented this year at the Venice Biennial. In this work, Michael explores beauty and terror, territory and migration, and the roots of Maori culture.

Michael Parekowhai, Chapman’s Homer

2011

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The permanent collections.Oceania

* GLOSSARY - He taonga rakai: Personal treasures

- Kaitiakitanga: Safeguarding and care of natural resources

- I mua i muri: ‘The past is ahead, the future is behind’ – the concept of ‘interconnected’ time

- Mana: A strength or quality present in all living and inanimate things; includes mana tangata (power of beings), mana whenua (power of land), and mana atua (power of the link with spiritual forces)

- Mana wahine: Influence and prestige of women

- Mauri: Vital force that binds everything that exists

- Moko: Maori tattoos symbolizing the ancestry of the wearer

- Taonga: Ancestral treasures

- Taonga puoro: Customary musical instruments

- Ta moko: Tattooing art

- Te reo Maori: Maori language

- Tino rangatiratanga: Maori control over things Maori

- Waka or waka hourua: Canoe used by ancestors to sail to New Zealand

- Whare tupuna or wharenui: Ancestral house symbolizing the body of an ancestor

* CURATORSHIP * Museum of New Zealand Te Papa Tongarewa This exhibition was created and presented by the Museum of New Zealand Te Papa Tongarewa.

* Scientific advisor : Magali Mélandri, curator for Pacific Arts collection * Scenographic adaptation : Massimo Quendolo

Massimo Quendolo created the spatial design of the exhibition presented in the Garden Gallery, following the original design of the Museum of New Zealand Te Papa Tongarewa.

* OCEANIC COLLECTIONS OF THE MUSÉE DU QUAI BRANLY Philippe Peltier, head curator in charge of the musée du quai Branly’s Oceania Magali Mélandri, curator for Pacific Arts collection Constance de Monbrison, curator for Insulinde collections

The musée du quai Branly decided to present Oceanian art on a geographic path branching out to a number of themes related to the featured Pacific regions. Visitors discover objects from Melanesia, Polynesia, Australia and Insulindia that were obtained through historical collections by travellers in the 19

th

Century, ethnographic missions and an acquisition policy focused on enriching major works collections.

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Melanesia The area dedicated to Melanesia opens on spectacular works of the large island of New Guinea. These objects have been linked to the « men’s house » or ceremonial house. A more enclosed space displays objects used exclusively for initiations and connecting with ancestors. The path is marked by war, headhunting and funerary rituals from New Guinea to the Salomon Islands. Coins and ornaments used for trading and rituals illustrate the central role of prestige in these societies, just like the grade hierarchy emblems of the Vanuatu and the Kanak chiefdoms of New Caledonia.

Polynesia Between Melanesia and Polynesia ---- like a bridge ----, the « human crossroads » is an exceptional installation that presents the history of this vast « sea of islands » through archaeology, Oceanian settlement and navigation techniques. Throughout the Polynesian path, visitors will discover the relationships between people and their gods. They will also discover body arts through objects made of feathers, scale and nacre, sacred materials that signal high rank. In this region, the diversity of styles is expressed by the elegant design of kava (ceremonial beverage) plates and headrests as well as in the mastery of the landscape sculpted in Maori art of New Zealand.

Australia Aboriginal art of northern Australia and of the central desert holds an important place in the museography of the Oceanic path. The «Bark Chamber » displays about fifty paintings on eucalyptus bark collected by Karel Kupka in Arnhem Land in the 60s. A multimedia display features production sites, artists and the myths of «Temps du rêve ». The space dedicated to Australia also features shields and paddles with motifs still transcribed by the local Aboriginals. Finally, contemporary acrylic paintings inspired by aboriginal traditions attests of their cultural richness.

Insulindia The Insulindia (insular Southeast Asia) collections highlight the cultural and ethnic diversity of this region that sits between continental Southeast Asia and Oceania. They showcase sumptuous ornaments that reflect the importance of individual prestige, matrimonial exchanges and family treasures. Form and matter reflect the myths and rituals as well as the ongoing trade that helped the diffusion of motifs. With the Bataks of the Sumatra, in Nias and in Sumba, a unique ensemble of lithic commemorative sculptures shows individual or clan prestige. Very common in the insulindian archipelago, ancestor cult is uniquely expressed in the southern Maluku Islands with shrines combining abstract forms and abundant spiral decor. The daily concern of protecting oneself from evil spirits and forgotten defuncts is everywhere. Everyday objects featuring fantastic protective animals: aso (Borneo), singa (Sumatra), lasara (Nias) ---- from early mythological eras are also displayed.

2.35 tons of volcanic rock make for an exceptional piece The Moai ancestor head, from the Easter Island, is installed in the main hall of the musée du quai Branly. Made of volcanic tuff, it is 1,85 m high and weighs 2,35 tons. It was collected and shipped to France in 1872 under the watchful eye of Pierre Loti, marine officer, novelist and keen observer of socalled « exotic » lands. It was exposed in the musée de l’Homme during the 30s and was transferred to museum’s workshops where two specialists have restored it for three weeks. Precious and fragile, its installation required infinite precautions. Restored thanks to the support of the société des Amis, the Moaï ancestor head is displayed in the main hall thanks to patronage of the EDF Diversiterre Foundation.

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* EXHIBITIONS ON OCEANIA IN THE MUSEE DU QUAI BRANLY NEW IRELAND (04/02/07 ---- 07/08/07) Curators : Philippe Peltier and Mickael Gunn

To the North of the Sumatra: the BATAK (02/19/08 ---- 05/11/08) Curator : Pieter Ter Keurs KWOMA RED, Mythical paintings from New Guinea (10/14/08 ---- 01/04/09) Curators: Magali Mélandri and Maxime Rovere

MANGAREVA : The Pantheon of Polynesia (02/03/09 - 05/10/09) Curators : Philippe Peltier and Tara Hiquily Art and Divinity in POLYNESIA (06/17/08 ---- 09/14/08) Curator : Steven Hooper

LAPITA, oceanic ancestors (11/09/10 – 01/09/2011) Curators : Christophe Sand and Stuart Bedford

Next exhibition on Oceania : PAPUNYA (10/09/12 – 01/20/13) ---- Curator: Judith Rya

* CATALOGUE / DVD / SPECIAL ISSUE * Catalogue : The musée du quai Branly offers a French version of the original catalogue titled E tu Ake : Maori Standing Strong (198 pages).

Format 21,5 x 24,5 cm - 192 pages - 155 illustrations – 29,50 € * DVD: MAORI, a documentary created by Michel Viotte and broadcast on France 5, available on DVD released by France Télévisions Distribution. This first volume introduces the new series "Dialogues with the World - the quai Branly collection".

The DVD includes the 52 min documentary and almost 20 mins of previously unseen footage coming face to face with the Maori of today. Released for direct sales and for preview at the musée du quai Branly on October 5th, 2011 - National release November 9th, 2011 * Special exhibition publication: On the occasion of the exhibition, Beaux Arts magazine monthly is publishing a special 44 page publication including around 80 illustrations, 9 €

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* AROUND THE EXHIBITION *Day trip to New Zealand Visitors are invited to explore New Zealand without leaving Paris! Set off one afternoon with a guide to visit the MAORI, their treasures have soul exhibition, followed by a cultural and artistic discovery session about tattoos.

November 12th and January 14th from 3.30pm to 6pm Rate: 30€ / 20€ (reduced). Accessible for those with reduced mobility Maori exhibition visit (1h) followed by artistic and cultural discovery workshop (1h30)

* Maori storytelling visit Exhibition visits with a storyteller setting off on the trail of the Maori warriors at the origins of the haka.

November 16th, 13th and 27th, December 11th and January 15th at 11.30am October 31st at 2pm and November 2nd at 2pm. (Length : 1h) Families with children; Accessible for those with reduced mobility, the blind or hearing impaired, and the mentally disabled.

*Awareness visit for social field liaisons who have already attended a discovery awareness visit

Thursdays October 13th and November 17th from 6pm to 7.30pm Accessible for those with reduced mobility or the hard of hearing (magnetic induction hearing loop)

*Individual visits for impaired visitors In addition to the guided visits aimed at the general public, visits for handicapped visitors are offered during the entire duration of the exhibition:

Deaf and hearing impaired: 2 pm Saturday October 29th (lip-reading), LSF sign language

2 pm Saturday December 24th

Mentally disabled: 2 pm Saturday 21

th January

Blind and visually impaired: 2 pm Saturday 26 November

A video introduction in LSF sign language is offered at the start of the exhibition. These visits are available for groups on reservation. Duration: 1 hour 30 minutes

Magnetic induction loops are available for hearing-impaired visitors. The multimedia programs are adapted to these devices.

A sensory area built inside the exhibition and designed with the sponsorship of Alain Mikli International enables blind and partially-sighted visitors to discover 4 tactile interpretations of Maori artifacts belonging to the collections of the musée du quai Branly

with their finger tips. Each reproduction comes with a presentation text and an audio comment in order to make the tactile discovery of the artifact easier and replace it in its context. To improve access to this area in total independence, a podotactile path guides visitors with disabilities from the entrance of the museum.

Children / Mentally disabled / Visually impaired / Hearing impairedf / Physically

disabled/ Sign language

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Anei he kaupapa, Ngäti Toarangatira Haka Photographe : Alayna Rendle © Te Runanga o Toarangatira

*All-Saints Day holidays in New Zealand from Saturday 10/22/11 to Sunday 10/30/11 In connection with the exhibition, the museum leads visitors into Maori territory, to discover the wealth of this ancestral culture and its contemporary guises. Scheduled: Haka dance, storytelling visits, Maori tales, tattoo workshop and discovering contemporary artists.

* Maori storytelling visit Exhibition visits with the storyteller Céline Ripoll setting off on the trail of the Maori warriors at the origins of the haka.

Every day at 2pm and also at 11.30am on October 30th (length: 1h) From aged 6 and upwards Accessible for those with reduced mobility, the blind or hearing impaired, and the mentally disabled.

*Maori storytelling show - Theatre foyer Maori stories and legends show with the storyteller Céline Ripoll accompanied by a musician.

October 23rd, 25th, 27th and 29th at 3.30pm (length: 1h) Open to all

*Discover Tiki Drawing and graphic workshop on the theme of Tiki in the exhibition, hosted by the illustrator Ianna Andréadis, a Tiki specialist and the author of books sparked off by pieces in the collection of the musée du quai Branly.

Every other day during the week at 3.30pm (length: 1h) Open to all

* Ta moko Globe Trotter tattoo workshop Children learn about tattooing tools, listen to the story of Tiki, and give themselves a temporary tattoo. The workshop is led by the visual artist George Nuku on Sunday October 30th.

Every day at 4.30pm (length: 1h) Between ages 6 and 8 - Accessible for the mentally and physically disabled.

* Tattoos and contemporary art

- Meet the Maori artist George Nuku who is keeping alive the thousands of years of tradition of his culture in his art, working with a variety of materials and practising performance art. He took part in the Venice Biennale in 2009. Jacques Kerchache reading room

Saturday October 29th at 3pm and 5pm Free access subject to availability

- The Mau Moko or Maori tattoos

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Lecture by the Maori visual artist George Nuku and Sébastien Galliot, an anthropologist from the University of Provence, Aix-Marseille Jacques Kerchache reading room

Saturday, October 29th at 4.30pm Free access subject to availability

*Haka dance workshop

The haka is a dance well-known to connoisseurs of rugby the world over. Over the years it has become the trademark of the most prestigious national rugby team, the All Blacks, the New Zealand team. On the occasion of the rugby world cup, the workshop aims to start from a well-known fact, the practice of the haka by the New Zealand rugby players at the start of every international match, in order to help the public discover a cultural heritage shared by the majority of the peoples of Oceania. Because the haka, far from being an element of folklore in world rugby, is a ritual dance with its roots deep in the cultures of Oceania.

Learning the gestures of the haka and their meaning, will allow visitors to understand the wealth of these cultures, to see what brings them together and the ways in which they differ from one another. A spectacular dance with legendary origins, the haka is one of the elements making up the identity of the peoples of Oceania. During this workshop, everyone will have a chance to be initiated into the dance and to discover its many variations following the locations in which it is practised (predominantly New Zealand, the Marquesas Islands, Samoa and the islands of Fiji). The workshops on October 22nd and 23rd are led by the Maori dancers Bruce Simpson and Tayla Wallace.

Every day at 3pm (Length: 2h) Open to all (from aged 7 and upwards) *Cinema and Maori culture Museum cinema room from Sunday 10/23/2011 to Sunday 10/30/11 Free access sessions, subject to availability. During the All-Saints Day holidays, a series of screenings is dedicated to an overview of fiction and

documentary films about Maori culture and depictions of the Maori on film. Fifteen sessions invite you to immerse yourself in the images at the heart of depictions of contemporary Maori society, culture and history, with fictional films such as Paï (Whale Rider) from director Niki Caro, a New Zealand film that received success from the public and the critics and was adapted from a novel by the Maori writer Witi Ihimaera; or Once Were Warriors by Lee Tamahori, a director of Maori origin now working in Hollywood who created a seminal film with the actor Temeura Morrison, who has now gone on to an international career.

This series offers a chance to discover films by Maori directors such as Barry Barclay, who has spent his life defending the right of the Maori community to represent itself and to tell its own history through documentaries and fiction films, such as Te Rua and Ngati; and also Taika Waititi, an actor and director who films, both short and feature length such as Two Cars, One Night, Eagle vs Shark, and Boy, have been praised by numerous awards.

* INTERNATIONAL SYMPOSIUM ON CULTURAL SELF-PRESENTATION 29/11/ 11 – 30/11/11

In conjunction with the musée du quai Branly’s current exhibition, ‘‘MAORI: Their Treasures Have a Soul’’ which originated at the Te Papa Museum of New Zealand, the musée du quai Branly’s research department organises an international symposium on the challenges of presenting in a museum exhibition the cultural identity of a group as seen by its own representatives. Entitled ‘‘Exhibiting One’s Culture in a Museum’’ this public debate will explore the goals, methods and limitations when a culture presents its own identity and the tradition it belongs to in a museum setting.

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In addition to the example of Te Papa, the symposium will deal with other museums in the Pacific, the Americas and Africa, as well as in Europe, including Spain, Germany and France.

* THE QUAI BRANLY MUSEUM STORE AND BOOKSHOP The quai Branly museum store and bookshop, at 222 rue de l’Université, Paris 7, is a 170 m² single-level building located between the museum and the garden. Its selection of books and objects reflects major exhibitions at the museum and is regularly renewed to open up new perspectives and explore different cultures. It is a modern, recreational environment which, in just five years, has become the reference bookshop for amateurs and professionals in the field of extra-European arts and a store appreciated for its often unusual objects and original approach. The store-bookshop sells catalogues and books about the museum and guides, DVD films and documentaries for all audiences, children's books, audio CDs and multimedia offering an introduction to other cultures and civilisations through stories, games, albums, colouring books, music … The store takes an ethical commercial approach, including items made in Madagascar, South Africa and neighbouring countries in a drive to develop employment and training among disadvantaged groups.

* PRACTICAL INFORMATION: WWW.QUAIBRANLY.FR

►The exhibition offers accompanying texts in French, English and Maori.

OPENING HOURS: Tuesday, Wednesday, Sunday: from 11.00 to 7 pm - Thursday, Friday, Saturday: from 11.00 to 9 pm - Groups: from 9.30 to 11.00, every day except Sunday. Weekly closure Monday, except during the school holidays (all zones) ACCESS: Entrance to the museum is at 206 and 218 rue de l'Université or 27 or 37 quai Branly, Paris

75007. Handicapped visitor access is at 222 rue de l'Université.

The audio guide for the exhibition can be downloaded at www.quaibranly.fr, at a price of 5€. There is a Maori expression that tells: “The past is ahead, the future is behind”… The audio guide course invites to discover a selection of masterpieces of the museum T Te Papa Tongarewa of New Zealand. A musical and poetic stroll accompanied by the storyteller Céline Ripoll.

The iPhone guide is available in french and english on the App StoreThe iPhone guide is available in french and english on the App StoreThe iPhone guide is available in french and english on the App StoreThe iPhone guide is available in french and english on the App Store. Downloading fee: 2,99 € . The soundtrack of the audio-guide is available royalty free for the press on request Photo credits © Museum of New Zealand Te Papa Tongarewa Images for the press: http://ymago.quaibranly.fr.

Monthly press password available upon request.

This exhibition was made possible thanks to the support of the New Zealand Government.

Media contact: musée du quai Branly contacts:

PIERRE LAPORTE COMMUNICATION NATHALIE MERCIER MAGALIE VERNET Ph: 33 (0)1 45 23 14 14 Communications Director Manager of medias relations info@pierre-laporte.com Ph: 33 (0)1 56 61 70 20 Ph: 33 (0)1 56 61 52 87 nathalie.mercier@quaibranly.fr magalie.vernet@quaibranly.fr

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* PARTNERS OF THE EXHIBITION