Heritage Quarterly, Raumati Summer 2022

The heritage secret in the heart of the Horowhenua

Few travellers heading through Horowhenua know about one of New Zealand’s largest and earliest engineering achievements located to the east of Shannon.

The Mangahao Hydroelectric Power Station, Category 2 heritage listed, was the New Zealand Government’s first North Island power station. It was constructed as part of a national initiative providing a steady supply of electricity throughout the country, and was one of the last initiatives of Prime Minister William Massey who died shortly after its completion in November 1924.

The power station and its penstocks are the most visually accessible extant components of the Mangahao scheme, which was an important precedent for what ultimately became the national power grid.

Most New Zealand hydro stations are built on rivers or supplied by natural lakes. The Mangahao makes use of small and

remote rivers in the bush-clad Tararua Ranges. The Mangahao River, which flowed eastward into the Wairarapa, was dammed and its flow diverted via a tunnel into a reservoir which was formed by a dam on the westward flowing Tokomaru Stream. From there via another tunnel, the flow passed into a surge chamber and down a hill into dual penstocks to the power station located on the Mangore Stream.

WORDS: David Watt IMAGES: Heritage New Zealand Pouhere Taonga and National Archives

Mangahao Power Station, exterior view of penstocks, 1924. Photograph by Albert Percy Godber. Ref APG-1738-1/2-G. Alexander Turnbull Library.

The tunnels and pipelines total 4.8 kilometres. Water storage in two reservoirs was an essential part of the scheme, necessitated by the variability of the Mangahao River flow.

Noted mechanical engineer Frederick Templeton Manheim Kissel (1881-1962) oversaw the realisation of the Mangahao hydroelectric power scheme and was involved with the key early governmentsponsored projects for power generation.

Survey work for the Mangahao hydroelectric power scheme started in

1915, but the realisation of Kissel’s plan would not begin until after the end of WWI. In April 1921, over 200 men were working in shifts tunnelling for the project.

Two years later this number had increased to almost 900 men working eight-hour shifts over 24 hours a day.

On 3 November 1924, when Prime Minister William Massey officially opened the power station, the day-long celebration was attended by numerous national and local officials.

An essential part of the national supply concept was the provision of a countrywide electric power transmission system, and Mangahao was to become the point of supply not only for Wellington, but also for Horowhenua, Taranaki, Hawkes Bay and the Wairarapa. The 110 kilovolt (KV) transmission lines from Mangahao to these areas were to prove to be the forerunner of New Zealand’s extensive transmission grid.

The imposing concrete powerhouse is 84 metres long, by 25 metres wide, and over 16 metres high. The exterior style was typical for industrial architecture of the

age with its largely utilitarian character and classical elements.

The powerhouse and its tailrace remain today largely intact to their period of original construction, which included the straightening of a bend in the Mangaore Stream in the vicinity of the powerhouse.

There have been several seismic upgrades, including the replacement of a portion of the roof parapet and the 2015 construction of two transverse sheer walls.

Today the power station is jointly owned and operated by Todd Energy and King Country Energy.

Visitors heading north through Horowhenua can turn right off State Highway 1 to view the exterior of the power station from Mangahao Road east of Shannon. n

Mangahao Power Station.

Heritage

Zealand Pouhere Taonga

Travel through time this summer

There are many ways to understand history. We are very pleased to be able to offer opportunities to experience and learn about the history and heritage of Aotearoa New Zealand. This edition of Heritage Quarterly is set to entice you and others to many of these stories and places of heritage in the ‘near’ future – please make time to visit, read and learn about our heritage.

WORDS: Andrew Coleman

As the proud owner of 45 heritage properties, of which 25 are ‘visitor ready’, we at Heritage New Zealand Pouhere Taonga claim that a visit to a heritage place and the guided tours, where available, are a fantastic way of experiencing heritage and listening or reading about the history of place. You’ll discover that these places are first about people, and their rich stories build connections across time.

In this edition of Heritage Quarterly we can read about where Pompallier established himself in Russell. This place, and the important role that the French missionaries played, informed a part of our history. If you want to know about the ingenuity of printing and publishing, the book binding of bibles written in te reo Māori, then Pompallier Mission and Printery is certainly the place worthy of a visit. Visitors are guided through this rich history of place and people by fantastic heritage visitor hosts. The tours are ‘brilliant’ according to visitor feedback, with the coffee and croissants a ‘must try’.

We could offer 44 other stories of places and people – but the place of an editorial

is to entice you. From the south to the north, the east to the west, there are opportunities to visit a heritage place, either near or far from your home. For those who are are members of Heritage New Zealand Pouhere Taonga please take your member card with you this summer for free entry, and for others please think about joining up as members – there are newsletters, discounts and adventures on offer.

To bring our places alive and entice visitation, we invest in a number of promotional endeavours. Tohu Whenua is a nationwide visitor programme connecting people to heritage places that tell the journey of our nationhood. Many of the places cared for by Heritage New Zealand Pouhere Taonga are also recognised as Tohu Whenua, and you may see them promoted as part of their beautiful advertising.

Having recently launched our own springsummer promotional campaign, you may find yourself rubbing shoulders with first-time visitors to our places, who have been invited to ‘Become Time Travellers’ This time-spanning campaign hints at the

fascinating stories and people waiting to be discovered at our places around the country. Following quieter years during the Covid-19 pandemic, we know New Zealanders and visitors are eager to get out and about again, and parents and grandparents are looking for high quality experiences for children. Will you become a time traveller with us?

This edition of Heritage Quarterly also has an industrial theme to it – a hidden hydro dam, a factory specialising in old glass, and one of New Zealand’s original marketing campaigns on the side of wool bales. There is a lot to learn about each of these themes and again the importance of place and people is emphasised.

Of course, we would like you to visit a heritage place, but you don’t have to be at the place, you can also read about it. Heritage Quarterly itself is a publication, along with the Heritage New Zealand magazine, that brings heritage directly to your place. Subscribing to our monthly email updates, and finding us on social media, is also encouraged. We hope you enjoy this edition of both publications – we enjoy bringing them to you. n

Andrew Coleman Chief Executive

Māngungu, Northland. Photo: Mark Russell

A place of significant cultural heritage

Kura Tawhiti is a site of such high cultural significance that it has statutory acknowledgement within the Ngāi Tahu Claims Settlement Act 1998.

For centuries people have travelled here and admired the magnificence of this place. At almost 800 metres above sea level, beneath a vast and often moody sky, there are superb views of the mountains and giant limestone rocks carved over millennia by an ancient long receded inland sea.

In 1998 the Kura Tawhiti Conservation Area was designated as Tōpuni, a concept which comes from the Ngāi Tahu tradition of rangatira (chiefs) extending their mana over areas or people by placing their cloaks over them. The Tōpuni on this area acknowledges Ngāi Tahu values, confirms a commitment to kaitakitanga (guardianship) and ensures an active management role for Ngāi Tahu.

A particular taonga of Kura Tawhiti are the ancient art remnants found on the rocky outcrops.

The 2022 upgrade of this historic site was the result of a four-year Treaty partner collaboration between the local hapū Te Ngāi Tūāhuriri and Te Papa Atawhai Department of Conservation. It was also supported with significant archaeological advice from Senior Archaeologist Frank van der Heijden and cultural advice from Southern Pouārahi Nigel Harris, both from the Heritage New Zealand Pouhere Taonga Canterbury West Coast team.

The new pou whenua, designs for the shelter and information panels at Kura Tawhiti were created by master carvers Fayne Robinson (Ngāi Tahu) and Riki Manuel (Ngāti Porou). The upgrade also includes beautifully carved kōhatu (stone), a new walking track and extensive plantings.

The three pou all represent ancestors connected to the area and are kaitiaki for

this historic site. Rangatiratanga of Kura Tawhiti was claimed by the ancestors Tūrākautahi and Tane Tiki, sons of celebrated chief Tūāhuriri. They are represented by two of the three new pou whenua.

Joseph Hullen (Ngāti Tūāhuriri) says that “the pou enable us to have a visual presence on the land” and he hopes that visitors will recognise that “this is a significant area and will come up here to enjoy the special place that it is.”

The third pou whenua represents Tawhitinui, who departed from Itaitewhenua (beyond Hawaiki) on the ancient waka Ārai Te Uru. As it travelled down the coast from Kaikōura to Moeraki, many of the passengers slipped overboard and swam ashore, among them Tawhitinui, Waimakariri and Tawera.

WORDS: Niki Partsch and Nigel Harris IMAGES: Heritage New Zealand Pouhere Taonga

Kaumātua Tiraroa Reuben (Te Ngāi Tūāhuriri) and Nigel Harris, Heritage New Zealand Pouhere Taonga Canterbury West Coast.

This area has previously suffered damage due to the vast numbers of visitors over the decades and some have been disrespectful, with behaviours like inappropriate toileting and defacing the rocks with graffiti. In some years upward of 100,000 visitors have been recorded at this site.

The intention is that with this shared knowledge visitors will then help to protect the special features and fragile ecosystem at Kura Tawhiti. n

Tawhitinui became Kura Tawhiti while Waimakariri changed into a river, and Tawera became Puketeraki Mt Torless.

Recorded in Ngāi Tahu manuscripts and by early European historians, the histories shared on the new information panels come from Ngāi Tahu tīpuna who were alive in the late 1800s.

The name Kura Tawhiti literally means 'the treasure from a distant land'.

The information panels are designed to inform visitors about significant historical and cultural heritage and the conservation values of this beautiful place. They will help guide visitors on tikanga (correct protocols and practices) at the site. The new paths will guide their footsteps and help preserve the rare plant life and ancient rock art that remains.

Limestone carved out over millennia by an ancient inland sea.

Dignitaries and others involved with the project are on-site for the opening.

Fiona Wykes Heritage New Zealand Pouhere Taonga Canterbury West Coast

A window into the world of heritage glass

WORDS: Rosemary Baird IMAGES: Heritage New Zealand Pouhere Taonga

When you walk past a heritage building your eyes are likely drawn to the architectural features such as pillars, balustrades, window frames and rooflines. Not so for heritage glass expert Dorothy Ratcliff.

When she walks by a heritage building the first thing she notices is the glass inside the windows. Is it pressed, flashed, drawn, or rolled? Is it flat, or are there ripples and bubbles inside the glass?

Recently, several Heritage New Zealand Pouhere Taonga staff were introduced to the world of heritage glass by Director of The Glass Room, Richard Wiki, and his colleague, heritage glass expert, Dorothy Ratcliff.

The Glass Room won the ‘Commercial under $100k’ category of the 2022 New Zealand Window and Glass Awards for

Dorothy’s work in restoring the windows and clock face of Christchurch’s Cathedral Square Post Office building. The company is a noted supplier of coloured and patterned glass for use in New Zealand’s older home and public buildings.

Dorothy has worked in heritage glass for 30 years, including time at the London Museum and Victoria and Albert Museum. A lot of her work involves reforming or producing glass to match older heritage glass.

“The older ‘drawn glass’ was made in a roller and is slightly distorted with air bubbles, or waves that give the glass

surfaces a rippling effect,” Dorothy explains. “People might not notice it at first but if I walk past an old building and there is modern glass next to original glass it stands out to me. The whole building looks wrong.”

The Glass Room uses all kinds of techniques to match heritage glass. They import heritage glass (newly produced but made in the old-fashioned way). They can then colour this glass by sandwiching layers of colour in between the heritage glass, thus producing modern safety glass which is permanently laminated together. They have their own rollers and kilns,

Dorothy explains the method of adding colour to this piece of heritage-style pressed ‘sparkle glass’.

A small sample of the library of etched glass screens.

where they can refire and soften glass to get an aged look. And they have special techniques to retrofit double glazed heritage glass and triple glazed stained glass.

Another prize-winning project was reproducing some of the glass windows at Beath’s Building, which were shattered in the Canterbury Earthquakes of 2010–12. The original windows were drawn glass, but this glass production technique has now been abandoned. After months of testing, Dorothy produced ‘post-circa 1940 heat treated clear window glass’ that replicated the inaccuracies of the old glass but conformed to modern glazing standards.

The Glass Room also does repairs and matches for tram windows, curved cabinet glass, villa doors and more. “We are the only company in New Zealand and Australia that has this level of commitment to producing these types of heritage glass,” says Richard.

Dorothy and Richard’s passion for the history and craft of heritage glass is evident. Richard has for years been buying old glass screen prints from companies who have abandoned these old techniques. These are used to reproduce frosted designs on glass, where acid is applied to a screen over glass, and eats away at the glass leaving a permanent frosted pattern.

“I’ve bought them from around the country as old glass companies sell up,” says Richard. “It’s a bit like a library of designs. We do etched glass for people all over New Zealand, to match existing patterns. If we don’t have a pattern in stock, we can also print directly on glass which gives a similar result.”

Dorothy has been salvaging heritage glass for 30 years. “I’ve saved and stored a lot of glass over the years. We’ve reused quite a lot of it since the earthquakes, and I like to keep a big stock of it so we can put the genuine thing back in. I don’t throw anything out because it’s somebody’s artwork,” she says.

For Heritage New Zealand Pouhere Taonga staff it is important to know and understand how various heritage construction professionals work. Fiona Wykes, Area Manager for Canterbury/

West Coast says, “while we cannot recommend individual tradespeople, we do have a list of approved suppliers. More importantly, knowing what is possible helps us give advice on restoration to heritage owners.”

Richard agrees that education is essential. “Often people find us too late. They go to a general glazier, who will not have the opportunity to access these types of heritage glass. We are keen to educate the community who support the retention of New Zealand’s historical buildings, so that they understand there are modern solutions to retrofitting and matching heritage glass.” n

Some of the salvaged heritage glass.

Hakikino listed as a Wāhi Tapu Area

WORDS: Niki Partsch and Annemarie Gillies

IMAGES: Heritage New Zealand Pouhere Taonga and Ike Wallace (Waimārama Māori Tourism)

Inland from the golden sands of the Waimārama coastline in the Hawke’s Bay area is Hakikino, a newly listed Wāhi Tapu Area with a rich early Māori settlement history.

According to Professor Annemarie Gillies, Pouārahi Rārangi Kōrero for Heritage New Zealand Pouhere Taonga, Hakikino is a significant historic fighting pā. It was listed as a Wāhi Tapu Area in April 2021, at number 9846 on The New Zealand Heritage List Rārangi Kōrero.

A Wāhi Tapu is a place sacred to Māori in the traditional, spiritual, religious, ritual, or mythological sense. A Wāhi Tapu Area is where there is one or more Wāhi Tapu.

To the naked eye, the hilltop site of Hakikino Pā looks no different to others nearby; the grass grows wildly alongside disused stock tracks and patches of pale bumpy rocks. But look more closely and you will see the evidence of historical Māori habitations.

The immediate area around the hilltop was a papakāinga (home base), with māra kai areas (food gardens). It was surrounded by native bush, richly abundant in wildlife, and with freshwater ponds that sustained tuna (eels) and kōura (freshwater crayfish).

The names Waimārama and Hakikino are both associated with ancient Māori explorers and well-known Ngāti Kahungunu ancestors who traversed these abundant lands and waterways centuries ago.

While the site of Hakikino has hundreds of years of history, it is located within the ancestral dwelling area of Ngāti Kahungunu hapū, Ngāti Kurukuru, Ngāti Whakaiti, Ngāti Urakiterangi and Ngāti Hikatoa. Hakikino is of importance to

Waimārama whānau and hapū as well as to wider Ngāti Kahungunu and Rangitāne iwi.

For a time, this area came under Te Whatiuapiti who at one time was paramount chief of Ngāti Kahungunu. Descendants of Waimārama and other hapū still reference their allegiance to Te Whatuiapiti. Later chiefs of Waimārama include Tiakitai who refused to leave the Heretaunga and Waimārama region during the Waikato and Raukawa invasions into the area. His brother Harawira remained as well to protect the people of Waimārama and Kairakau.

The land on which Hakikino stood was eventually given over for farming in the late 1800s to early 1900s. Some of it was balloted to servicemen who had returned from WWI.

Hakikino viewed from the road. Photo: Heritage New Zealand Pouhere Taonga

Although the physical connection to this wāhi tapu was lost for a time, its importance to the descendants of the original inhabitants was of such significance, that in the 1980s the land where Hakikino stands was purchased by whānau who belong to the Ngāti Kurukuru hapū. Professor Gilles speaks of her uncle John Gillies and others who were instrumental in the re-aquisition of this land.

“My cousin Robert MacDonald told me that we are so lucky to have this rich history and heritage here on our whenua. I want every member of our whānau and hapū to connect with this place because we are direct descendants of the people who lived and died here. This is ours.”

While there is still some farming and forestry activity on the wider property, Hakikino is now part of a joint conservation project with Ngā Whenua

There is another Hakikino Pā site located in the Masterton area where many of the survivors of the Kahungunu migration fled. It is believed that this pā was set up by the same people who lived at Hakikino in Waimārama. To this day there are strong connections to the Wairarapa, Wellington and Te Tauihu regions.

Rāhui, which supports the protection of indigenous biodiversity, and an ecocultural tourism venture.

Waimārama Māori Tourism operates its venture on-site and has made many culturally uplifting improvements including Te Matai Whetū, a star gazing platform and maramataka (calendar). They also support a pond of indigenous eels and utilise cultural sites of significance for traditional story-telling. n

The New Zealand Heritage List Rārangi Kōrero is the national collection of Aotearoa New Zealand’s treasured heritage places. Anyone can apply to have a place or area considered for entry on The List.

To find out more about The New Zealand Heritage List Rārangi Kōrero, visit ‘About the List’ at www.heritage.org.nz/the-list

"I want every member of our whānau and hapū to connect with this place because we are direct descendants of the people who lived and died here. This is ours.”

Waharoa and Pou are examples of culturally uplifting improvements. Photo: Ike Wallace (Waimārama Māori Tourism)

Hakikino viewed from the east. Photo: Heritage New Zealand Pouhere Taonga

Ōtepoti Dunedin office creates tukutuku panel

WORDS: Rosemary Baird IMAGES: Heritage New Zealand Pouhere Taonga

Designing and creating an office tukutuku panel led the Ōtepoti Dunedin Heritage New Zealand Pouhere Taonga staff into an emotional and immersive experience.

Several years ago, the Ōtepoti team began to discuss creating a tukutuku panel for their new office space as a team building exercise and to engage with Mātauranga Māori. “Initially we were concerned with cultural appropriation as none of us are tangata whenua,” says acting Area Manager Sarah Gallagher. “But with the encouragement of our pouārahi/Māori heritage advisors, Huia Pacey and Nigel Harris, we began to brainstorm ideas about what we wanted to represent in our panel.”

Tukutuku panels are a traditional Māori art form; decorative wall panels used as wall partitions and linings inside meeting

houses. They are made by creating a latticework of vertically and horizontally placed dried kākaho stalks (the flower stalks of toetoe grass), or rimu/totara slats. The panels are then lashed or stitched together by people working in pairs, one on either side, using pīngao, kiekie or harakeke fibres.

Nigel’s cousin, Tui Falwasser, an experienced Ngāi Tūāhuriri weaver, was engaged to mentor the team in an intensive week-long workshop.

The Heritage New Zealand Pouhere Taonga team, together with Tui and Nigel, created a design that incorporated the

elements that were important to them.

The sky shows the purapura whetū (Milky Way), with a yellow star for each team member pictured. The long descending rectangles are the tears of the albatross which symbolise overcoming adversity.

The green pyramid is a poutama design referencing a staircase of knowledge. The bottom pattern represents the whenua. Carved pounamu depicts the Southern Cross and Puaka (a bright blue supergiant star, also known as Rigel, that signals Māori new year to Ngāi Tahu in Te Waipounamu).

“Tui dyed everything for us and provided the resources, which was incredible,” says

The Ōtepoti team work together on the tukutuku panel.

Sarah. “She uses contemporary colours using traditional stitches and forms, which worked well for us. We used kiekie, dyed harakeke, pīngao and neinei on rimu rods.”

The first day Tui and the team drew up a pattern grid. “You have to be very careful when you design the pattern that it’s all planned out in terms of stitch placement, colour and materials,” says Nigel. If you don’t get it spot on, it gets out of sequence.” The team also discussed the tikanga and techniques that are part of the process.

Weaving the tukutuku panel was a big effort, taking four-and-a-half days. Every member of the Dunedin office took part. Two pairs could work on it at a time: the front person oversaw the design and fed through the fibre, and the back person tied off the fibre and kept it tidy.

The team found it a rewarding but challenging experience. They worked eight-hour days Tuesday-Thursday, and on Friday put in a mammoth 16-hour effort. “All the women in our office have some crafting experience in knitting, cross-stitch, tapestry or embroidery, so we were able to use some of those skills,”

says Sarah. “It was quite an extraordinary experience as you actually felt like you were right inside the piece of art.”

From Nigel’s perspective, the outcome is so much more than a piece of art: “The tukutuku panel is magnificent, but the process was just as important. The interaction between us all and the whakawhanaungatanga that was created from everyone working together was special. The manaaki in the room was so cool. By the end, it was quite an emotional experience for us all.” n

Poutama – stepped pattern of tukutuku panels symbolising genealogies and various levels of learning and intellectual achievement

Whenua – land

Pounamu – greenstone

Kiekie – thick native vine with long leaves used for weaving

Harakeke – New Zealand flax

Neinei – grass tree, known as Māori plastic, traditionally used to weave waterproof items

Whakawhanaungatanga – the process of establishing relationships

Manaakitanga – showing support, generosity, respect and care for others

Toi Māori – Traditional Māori art

The dyed fibres provided by Tui.

The framed tukutuku panel.

Ōtepoti staff polish the greenstone elements for the tukutuku panel.

Pompallier Mission and Printery an ongoing inspiration for artist

WORDS: John O’Hare IMAGES: Heritage New Zealand Pouhere Taonga

For Auckland-based artist Peter Atkinson, Pompallier Mission and Printery in Russell/Kororāreka has got under his skin – in a powerfully positive way.

The painter has found a source of inspiration in the historic building and site cared for by Heritage New Zealand Pouhere Taonga that has resulted in a series of artistic pilgrimages that continue to kindle his creativity.

“My wife and I visited Pompallier Mission about 10 years ago, shortly after I had taken up art after a long period of not painting,” he says.

“We did the tour, but what really impacted me was the interior of the printery building and the objects associated with

printing and bookbinding that were on display. The objects were sitting there bathed in half light and looking like something out of a painting by Vermeer or Chardin.”

During a visit of the Bookbindery he took some pictures which sat on his computer for a year or two – until one day he decided to paint them as still life.

“I was offered the opportunity to set up my gear in a corner in the printery building and begin building the collection of photographic resources from which the

paintings emerged – all while tours and other aspects of life at Pompallier Mission were taking place around me.”

The result was Teatro – a collection of stunning still life works that capture the objects associated with the mission printery in the place where they are used by guides to tell the stories of the people and events that happened in the 1840s. It was here that Bishop Pompallier and his French Marist priests produced almost 40,000 religious books in te reo Māori –an extraordinary achievement.

Peter Atkinson at Pompallier Mission.

“The paintings in Teatro focus largely on the objects – which are story-bearers that tell the narratives of what went on here. They then become part of the ongoing history of this place,” he says.

“You become very conscious of the fact that this is where stories and narratives through time are shared, and experiences are passed on from one person to another – mainly through the guides who work here, many of whom have whakapapa ties to this place, again reinforcing that continuity of place and history.”

The name Teatro is based on the Greek root word for ‘theatre’, and literally means a place to view.

“There is a sense of seeing beyond the present to connect with the past as these stories weave together – the bookbinding and printing aspect of the place have become a kind of metaphor for the actual compiling and sharing of these stories.

“Pompallier Mission and Printery has captured my imagination – its spaces, rooms and walls. The French philosopher Gaston Bachelard famously said – ‘Every corner is haunted if not inhabited.’ This resonates with me, and many visitors to Pompallier Mission and Printery who are impacted by the special kind of atmosphere of serenity that they experience here.”

For Peter, painting at Pompallier Mission and Printery has become an important part of a personal journey of healing after experiencing parental bereavement.

“I had started a fine arts degree in my 20s and left it to get a ‘real’ job – as you did in those days. One day, one of my sons –Andrew – sat down with me and asked me whether I was doing what I really wanted to be doing,” he remembers.

“Not long afterwards he died in an accident. Although he suffered from Crohn’s disease, Andrew was full of life and enthusiasm. I found his last Father’s Day card to me and in it was a $100 gift voucher for art supplies, and a little note saying: ‘Do your art Dad’.

“I realised that at that time in my life I probably had more time left than Andrew had had alive, and that it was important to do what’s in me to do for as long as I’m able.”

Peter, who has a degree in Theology and Pastoral Counselling, was familiar with parental bereavement and had worked as a therapist and counsellor with people who had experienced this particular form of grief.

“Parental bereavement strikes a blow at your own identity and sense of narrative as life going forward completely changes from what people expected it to be. They are suddenly forced to find a way through a territory where there is no narrative to get them through,” he says.

“Everyone has to find their own way – others can describe the terrain all bereaved parents face, in one way or another, but not give you a route map. In my case I had to deal with a number of questions – where is Andrew, and how are we still connected? And how can I carry him forward?”

For Peter, art has provided answers to these questions.

“Art can be all about the artist. But what I’ve wanted to do is paint in a way that speaks to people’s souls. Andrew would be all into that,” he says.

A recent conversation with Pompallier Mission and Printery Property Lead, Delphine Moise-Elise, re-energised Peter’s abiding connection with the historic building.

“We talked about how we could carry this project forward. In Teatro I was largely focused on physical things – the hard inanimate objects that pass through time, if you like. In this next series of paintings, I am exploring the interplay of these with Pompallier Mission and Printery’s garden,” he says.

“Flowers started appearing in the artworks. These are at the opposite end of the spectrum from the objects that I had focused on because flowers don’t last; they absorb light and transform it but then die. Objects can only reflect and refract light. Part of this next series of paintings will be an attempt to explore this ‘tension’ while presenting them both as story-bearers,” he says.

“Perhaps light then becomes a metaphor for the way that stories travel through time, taonga passed from one generation to another, to help illuminate the common human terrain every generation must face and by which we chart our own courses.”

This familiar theme of stories and their continuity throughout generations keeps recurring, according to Peter.

“The botanicals are also story-bearers in their own right. There are different varieties of apples and pears in the garden, for example – some English and some French – all of which track back to previous generations of people who have worked and lived here. It’s amazing to see some of these plants in different parts of the Bay,” he says.

The constant cycle of the seasons, balanced against the constant cycle of tours – together with the sharing of different layers of stories, cultures and traditions – span time and connect the past with the present, and both with the future. All are part of what makes this place special with a timelessness that overflows into Peter’s work.

“People respond to these artworks even if they’re not always conscious of why these paintings speak to them,” says Peter.

“That’s why I paint.” n

A recent still life painted by Peter Atkinson drawing inspiration from a dauber – an inking tool used at Pompallier Mission – and a flower from the Mission garden. Credit: Peter Atkinson

Pompallier, 20 years ‘home’ in Aotearoa

WORDS: Niki Partsch IMAGES: Heritage New Zealand Pouhere Taonga

A look back at the return of Pompallier and the Hīkoi Tapu (Holy Journey) that preceded his third and final interment.

Buried first in a pauper’s grave, later transferred to the tomb of a wealthy family, Pompallier’s remains were eventually returned to Aotearoa following a request initiated by Māori Catholics.

Jean Baptiste Francois Pompallier was born on 11 December 1801 in Lyon, France. Growing up he probably never imagined the amazing voyages he would make or that he would travel by flying machine almost 130 years later to his final resting place.

Pompallier was ordained as a priest in 1829, then as vicar apostolic, and just six months before leaving France in 1836 as a bishop. He travelled first to the Pacific Islands and later to Aotearoa where he landed in 1838.

Recognised for having a more enlightened view towards Māori culture than others of the time, he quickly became a fluent speaker of te reo Māori, learned as much as he could about the people and made

himself known to them. From Te Tai Tokerau (Northland) he made extensive travels in and around the islands of Aotearoa.

Vividly present at Waitangi on the morning of 6 February 1840, Pompallier pressed Lieutenant-Governor Hobson to include a statement on religious tolerance within the Treaty to protect the Catholic faith. This is sometimes referred to as the unwritten "fourth article" of the Treaty, a statement in which the governor promises to protect and recognise certain named western religions and Māori customs. Once this was agreed, Pompallier left the gathering, a move designed to emphasise that his mission wasn't political, but religious.

He returned to Europe three times but spent a significant time in Aotearoa New Zealand, eventually establishing 15 Mission Stations around the North Island, including one in Hokianga and another in the South Island at Akaroa.

His work is foundational to the Catholic faith in Aotearoa, and particularly so in Te Tai Tokerau. The deep and enduring relationship, developed over multiple years and generations with northern Māori iwi, continues today and can be seen in the way that Catholicism has become entwined with Māori culture to the extent that it is present for many in daily life.

Pompallier returned to France just three years before his passing on 21 December 1871. From the time of hearing of his death, there was a desire to have him returned to Aotearoa. It was not until the 1970s that plans by Māori Catholics were formed for his return and in 1998 a delegation visited his burial site in Lyon. This visit followed one made a year earlier by a delegation led by Bishop Dunn and Bishop Mariu.

These visits ignited the pursuit of a seemingly impossible goal, to acquire the support of Pompallier’s family, the permission of the French government and the blessing of the Pope.

Emma Davis stands in contemplation at the front of Hata Maria (St Mary’s Church)

In 2001 after much work, effort and perhaps divine intervention, a group of 37 led by Bishop Dunn, Pā Henare Tate and Marist Fr. Brian Prendeville began their Hīkoi Tapu (Holy Journey) to Rome where they would have an audience with Pope John Paul II. This visit was to acknowledge the fact that it was Pope Gregory XVI, the Pope’s tupuna (ancestor) in the faith who had sent Bishop Pompallier and the Marist Priests and Brothers to establish the Catholic faith in the western region of the Pacific Ocean.

Emma Davis who was part of the group says of the experience “It was absolutely mīharo (wonderful). The faith, the story of Pompallier, everything just came together all the way through our journey.”

A few days later the group travelled to France to make their preparations for the disinterment of Pompallier. A special ceremony took place in the cemetery of Puteaux at dawn on 9 January 2001 as the living, including the bishop’s living relatives and those who had been his companions in death for over a hundred years, were acknowledged and addressed

by Pā Henare Tate. The remains were transferred and sealed by the French authorities, before being placed in a travelling casket.

A service was held at Notre Dame Cathedral in Paris before the group continued their pilgrimage via air back to Aotearoa. “The French and Italian people were absolutely fantastic; we could not have done all we did without them,” says Emma.

On 13 January 2002 Pompallier arrived back in Auckland and the sealed casket was transferred to a beautiful coffin carved from kauri. This special casket, which would carry Pompallier home to Hokianga, had been crafted by master carver George Dixon who described his work as telling 'the total story of the man'.

In Auckland they spent time first at Whaiora Marae in Otara, then Ōrākei Marae, and later St Patrick’s Cathedral before travelling all over the country. His return drew much more attention than anticipated, and so the hīkoi was extended to allow for visits to more places.

The Hīkoi Tapu (Holy Journey) travelled all over Aotearoa New Zealand with Pompallier’s beautifully carved coffin.

Sister Magdalen Sheahan (Daughters of Our Lady of Compassion) who was also part of the hīkoi says, “It was humbling yet joyous to be part of this hīkoi to bring Pīhopa Pomapārie home, considering all those who had gone before us who had longed for his return, and held his memory in their hearts: in naming children, in karanga to visiting bishops in the north, who were, and are still today welcomed in the footsteps of Bishop Pompallier. We were conscious of Wiki Hotere and the group who had tried to bring this about in 1977.”

Finally on 18 April Pīhopa Pomapārie (Bishop Pompallier) reached his final resting place in Motutī. He was interred at Hata Maria (St Mary’s) where he lies near those who loved him. He is home, where he will continue to be remembered and revered. n

Stained glass window Hata Maria (St Mary’s Church).

Final resting place of Bishop Pompallier.

Preserving archaeology one tree at a time

WORDS: John O'Hare IMAGES: Heritage New Zealand Pouhere Taonga and Terence Brocx

A major long-term rescue plan to save the Tapahuarau Pā site near Ōhaeawai from being eroded away has begun.

Heritage New Zealand Pouhere Taonga has joined with landowners Terence and Suzanne Brocx, Northland Regional Council, hapū representatives, Ko Waitangi Te Awa Trust and Waitangi Catchment Group members to address a serious case of erosion which is threatening to destroy Tapahuarau Pā. This site was recorded by Rev. Samuel Marsden in the early 1800s.

According to Heritage New Zealand Pouhere Taonga Northland Manager, Bill Edwards, the group of stakeholders – after considering all the options put forward in a geo-technical report – identified a neatly elegant solution that was as simple as planting trees.

“Kerikeri engineers Vision Consulting were funded to assess the causes and

issues around the eroding hill and pā site and develop a geotechnical report with options to address the most active slip, currently,” he says.

“Basically the three options were to do nothing; undertake some expensive and quite invasive earthworks and install drainage; or address the erosion with planting. The option to stabilise the soil by planting native trees and plants worked out to be extremely cost-effective, and brought a range of other benefits as well.”

A meeting with key stakeholders in March 2020 determined the direction of the project.

“The group decided that planting to stabilise the hillsides could provide a long-term solution that would also work

out cheaper than drainage while being less intrusive, which from a heritage perspective is really important,” says Bill.

“The decision was made to plant native trees, which would have multiple longterm benefits, inlcuding stabilising the soil with their root structure and encouraging biodiversity.”

Further up the hill and closer to the actual pā site, the group decided to plant smaller species so that view shafts from the State Highway were not compromised. “The objective was to shore up the land that was prone to erosion on the lower slopes, thereby preserving the archaeological features higher up. The actual archaeological pā site itself was left untouched,” he says.

“By putting in place the planting plan

The planting day involved many volunteers. Photo: Terence Brocx

developed by the group we’ve taken an important first step towards stabilising the lower slopes and protecting the pā site nearer the top of the hill, while at the same time restoring some of the natural environment through planting with all the positive flow-on effects associated with that.”

As the root systems of the plants grow and develop over the next few years we’re hopeful that they will have a significant

impact on reducing the threat of continued erosion.

Besides environmental positives the project had additional economic spin-offs for the community.

A team of forestry workers, who would otherwise have been out of work during the off-season, carried out planting with seedlings supplied by Ko Waitangi Te Awa Trust. The plants were funded by

Northland Regional Council, who also provided technical advice on planting methodology, and Heritage New Zealand Pouhere Taonga. “The project enabled people to be employed at a time when they wouldn’t otherwise be working. It also supported the work of the Trust,” says Bill.

Additional trees were donated by the families of Tauwhara Marae to add more diversity to the planting, and to achieve a higher density of one plant per square metre – an outcome that wouldn’t have happened without the donated trees.

By working as a rōpū/collective, Heritage New Zealand Pouhere Taonga ensured that archaeological features were not damaged during the planting process by identifying them clearly and marking them off so they could be avoided.

“The project was a great example of a landowner, hapū, Northland Regional Council and ourselves working together to develop what we hope will be a positive multigenerational outcome,” he says.

“It has also assisted with sediment control into the Waitangi catchment. We’re hopeful that we will be able to extend this planting plan in the near future.”

Bill believes this approach could be applied anywhere in the country. “The stakeholders deserve to be acknowledged for being prepared to think outside the square and consider a new approach to a very common problem which I believe is highly transferrable. The approach taken was simple, grounded in common-sense and cost-effective because it tackles both environmental and heritage issues as well as having positive social and economic benefits.”

Landowner Terence Brocx believes this project was made possible because of the relationships that had been created through the Waitangi Catchment Group. He is proud and humbled by the community support given in helping protect such an important historical site. “Not only are we trying to preserve something, we are creating some great friendships,” he says. “The people were also prepared to roll up their sleeves and do the mahi.” n

Christopher Walters-Court (left) and Paul Witehira who worked as part of the planting team on the slopes of the Tapahuarau Pā site. Photo: Heritage New Zealand Pouhere Taonga

Pouārahi Māori Built Heritage Jasmine Hemi

(Ngāti Kuia, Rangitāne o Wairau, Ngāti Apa ki te Ra To)

How did you come to be working at Heritage New Zealand Pouhere Taonga?

Over a year ago, while studying for my Master of Architecture (Professional) and Heritage Conservation at the University of Auckland I met Ambrosia Crum, Pouārahi Māori Built Heritage. She showed me the world of Māori built heritage conservation. I did not know then that there were career paths to care for our taonga Māori in the living world. I had become accustomed to seeing our taonga cared for in museums and thought that ‘heritage conservation’ was typically centred around colonial buildings.

Many conversations inspired me to seek a career in Māori built heritage. I decided to

focus my thesis, Taonga o te Whenua, on the research of customary Māori building resources and techniques, and how their use could be transferred and translated within modern-day architecture. This material and technological research provided me with a solid foundation for this mahi, and shortly after finishing my studies, I was asked if I would be interested in joining the team. Of course, I said yes, and the same week, I was taken to Rotorua to meet them. I started working part-time in May 2021 and then became a full-time member of staff in July 2022.

What does your role involve?

I work with Māori communities, iwi, hapū and whānau groups, providing conservation advice and delivering training programmes that support and promote the preservation of Māori built heritage. I feel very fortunate to be able to travel all over Aotearoa and see such unique and significant places.

What does heritage mean to you?

Heritage is a marker of time and prompts questions – Who? What? When? How? Through questioning and understanding the past, I can understand the present and the environment around me.

Jasmine washes her tāmoko in Te Hoiere. Photo: Dane Hemi-Smith

WORDS: Niki Partsch IMAGES: Heritage New Zealand Pouhere Taonga and Dane Hemi-Smith

So, whether physical or through whakapapa (genealogy), heritage helps me develop a sense of self and my grounding within the world.

What are the best parts of your work?

Besides working with amazing communities and breath-taking taonga, one of the best parts of this mahi is working within a highly knowledgeable and friendly team. I feel very privileged to work with well-regarded Māori built heritage experts, such as Jim Schuster, Ellen Andersen and Dean Whiting. When working with the team, I always come home with a kete full of knowledge and admiration – I couldn’t ask for better mentors.

What is a favourite heritage place to you?

One of my favourite historic places is my awa, Te Hoiere, the Pelorus River in the Marlborough Sounds. It is the place where I feel at home and most connected to my iwi, Ngāti Kuia.

My people are deeply connected to our awa, as it was carved by our kaitiaki (guardian), Kaikaiawaro and is a resource that continues to provide us with necessities such as kai, fresh water, transport and materials. Significantly, Te Hoiere is abundant in ngā kōhatu taonga (precious stones) such as pounamu (greenstone) and pakohe (argillite). Pakohe, in particular, was favoured by people for its enormous strength – a stone often likened to steel. It was used to create tools, weapons and adornments. Our rohe and Te Hoiere are located within the largest mineral belt of argillite in Aotearoa, making pakohe one of our highly traded resources. Our stone has been found far and wide across the two

motu (North and South Island) in many archaeological sites. For these reasons, pakohe continues to be a treasured resource to my people and is why we are known as ‘Te Iwi Pakohe’, the tribe of pakohe.

What story does your tāmoko (tattooing) tell?

My tāmoko represents the journey of my architectural studies and the people that helped me along the way. The tāniko diamond acknowledges my whakapapa - my tīpuna (ancestors), who guided me spiritually on my path. Each koru represents important people in my life, who have helped and supported me over these hard but successful years. These koru come together to create mangōpare, the hammerhead shark, symbolising strength and resilience. These are located along my arm as a path - my journey through architecture. Lastly, the use of the shark is seen in the many niho (teeth) that adorn my tāmoko, reiterating the characteristics of the mangōpare and my determination to complete my studies.

What is your hope for heritage in the future?

I hope that Māori heritage continues to be recognised and understood in a context broader than just the heritage and architectural world – that everyone values the indigenous heritage of Aotearoa regardless of their background or culture.

I also hope that institutions, such as universities, provide more resources and support for the inclusion of Māori heritage in the curriculum, and that Māori students who are studying heritage conservation courses recognise that there are career pathways connected to their cultural background. n

Kaikaiawaro/Pelorus Jack

Our kōrero tuku iho (oral traditions) state that founding ancestor Matua Houtere used the oral maps of his tīpuna, Kupe, to cross Te Moana o Raukawakawa (Cook Strait) to find Whakatū (Nelson). Upon these travels, he found our taniwha and kaitiaki (guardian), Kaikaiawaro, a white dolphin. Kaikaiawaro would swim against waka between the rhythms of the crew’s paddles and ahead, directing the expedition. When he reached the flat plains of the Sounds Matua Houtere wanted to climb the tallest maunga (maungatapu) and use it as a vantage point from which to locate Whakatū. Kaikaiawaro assisted Matua Houtere by carving out a river with his nose – as it was quicker to travel by waka than on foot. The struggle of Kaikaiawaro’s great feat is shown through the river's many windy bends and several rua (caves). Matua Houtere followed the newly shaped river and named this awa "Te Hoiere" after his waka.

The guardianship of our kaitiaki Kaikaiawaro extended into more recent times when later settlers also had their boats and ships safely escorted through the Marlborough Sounds by a dolphin. Following these new and friendly interactions with settlers, our taniwha gained another name, the famous ‘Pelorus Jack’.

The beautiful Pelorus River/Te Hoiere. Photo: Supplied

Jasmine working. Photo: Heritage New Zealand Pouhere Taonga

Jasmine sits in a carved chair from Matangireia. Photo: Heritage New Zealand Pouhere Taonga

Wool bale stencil exhibition impresses

The Secret Lives of Stencils, an exhibition celebrating a 150-year history of the New Zealand wool bale stencil, is generating excitement in urban and rural areas around the country.

Dr Annette O’Sullivan, of Massey University School of Design, who did the research, design and photography for the wool bale stencil project – an extension of her PhD on the history of wool bale stencils – is delighted by the responses from people visiting the exhibition. Being able to talk to people and getting their endorsement

to preserve the memory of a significant aspect of our pastoral heritage that is fast disappearing was important.

“This has been a great project and I am so delighted to have the support of the board, management and staff of Heritage New Zealand Pouhere Taonga to take this exhibition to places I hadn’t thought of

when it was first launched back at Totara Estate in the South Island in November 2020. Much has happened since then, not least being interrupted by Covid-19, but we are back on track to get to some key places in New Zealand where I would like to show the exhibition,” says Dr O’Sullivan.

WORDS: David Watt IMAGES: Annette O’Sullivan and Heritage New Zealand Pouhere Taonga

Secret Lives of Stencils exhibition. Photo: Annette O'Sullivan

It was very appropriate for the exhibition to have its beginnings at Totara Estate. In 1860, wool made up 90 percent of New Zealand’s export earnings. Within six years Totara Estate, one of the places cared for by Heritage New Zealand Pouhere Taonga, had an impressive 17,654 sheep, a significant contribution to the region’s wool clip. It seems ironic that it took a downturn in wool processing, combined with an excess of sheep meat, that led William Davidson to send the first-ever shipment of frozen mutton from Totara Estate on a three-month journey from New Zealand to England in 1882. In the process he launched an industry that generated prosperity and strengthened the place of sheep farming in the New Zealand economy.

This exhibition has been to Highwic, and in early spring it was brought down to Greytown to Cobblestones, which features early agricultural practices and equipment in New Zealand and has a woolshed featuring many varieties of wool stencils used in the Wairarapa farming community.

Speaking at the opening of the exhibition last September at Cobblestones, Heritage New Zealand Pouhere Taonga Board Chair, Hon. Marian Hobbs, praised the local heritage organisation, Heritage Wairarapa, in conjunction with Heritage New Zealand Pouhere Taonga staff and local farming identities, for bringing this impressive exhibition to the attention of local residents and visitors to the Wairarapa.

“By joining forces in this way, it is a perfect fit for our Vision: ‘Tairangahia a tua whakarere; Tātakihia nga reanga o amuri ake nei, Honouring the past, Inspiring the Future," said Marian to a packed reception.

Heritage New Zealand Pouhere Taonga Chief Executive Andrew Coleman echoed those thoughts and drew on his own years growing up in the farming community of Taihape, commenting that the exhibition allows visitors to experience our worldrenowned Kiwi farming ingenuity; an early example of the New Zealand brand going worldwide. He said this was a story path all New Zealanders should know.

From Cobblestones, this exhibition made tracks to Taranaki to be a feature piece in the programme of the inaugural Taranaki Heritage Month in October 2022.

Dr O’Sullivan is working with Heritage New Zealand Pouhere Taonga to take the popular exhibition to the Hawke’s Bay and to Tairāwhiti in early 2023. She is keen to feature it at historic woolsheds in these areas, which will also be the subject of an upcoming book that she is working on.

“The story of woolsheds is not just an exploration of the buildings and histories told through their contents. It is also a celebration of the contribution of farm workers to the success of the wool trade. Their story is told through the places where they worked and lived and the objects they made and used. Many of their names and dates are inscribed on walls in sheds and huts in a social history of shearers and musterers who worked and travelled across the country,” says Dr O’Sullivan.

She says this previously untold history of the wool industry is pieced together through physical evidence, archival and historical information and personal recollections. The memories of shearers , wool pressers, wool handlers and rouse-abouts add a human voice to the narrative.

Greytown exhibition opening; from left Joseph Gillard, chair, Heritage Wairarapa; Dr Annette O’Sullivan; Hon Marian Hobbs Board chair and CE Andrew Coleman

Former South Taranaki Mayor, Ross Dunlop, who farms west of Hawera, displayed the exhibition in his wool shed to visitors over Labour Weekend as part of Heritage Month. It then departed to Aotea Utanganui, the Museum of South Taranaki at Patea, where it has attracted further attention.

“The inspiration for this book, which I hope to get to market in 2024, came from my PhD research on Wool Bale Stencils – A Design History of New Zealand Branding and Visual identity 1850-2019.”

According to Dr O’Sullivan, “Public interest in the Secret Lives of Stencils exhibition and repeated requests that I have received for the publication of a book has convinced me that there is an audience for this subject. Taking this exhibition around the country with the support of my friends in Heritage New Zealand Pouhere Taonga, makes this challenge all the more exciting.” n

An historic wool bale stencil. Photo: Annette O'Sullivan

Totara Estate. Photo: Heritage New Zealand Pouhere Taonga

Plenty of history education at Tohu Whenua

Tohu Whenua landmarks tell some of our nation’s defining stories, which makes them ideal for students learning our history.

From 2023, the national school curriculum (which includes The New Zealand Curriculum and Te Marautanga o Aotearoa) will feature Aotearoa New Zealand’s histories and Te Takanga o Te Wā. This update to our national curriculum ensures that all ākonga (students) will leave school or kura with an understanding of our histories and how they have shaped our nation.

But are teachers aware of the education opportunities at Tohu Whenua places?

The Tohu Whenua team is undertaking a project determining how we can get the word out to schools.

The first step was to get a detailed snapshot of what organised education opportunities are available to schools and kura across all our Tohu Whenua. The variety of support for teachers really impressed us.

We found that each Tohu Whenua region has at least one Ministry of Education

funded centre offering programmes at and about Tohu Whenua places. These centres have dedicated educators who offer many different heritage programmes fully linked to the curriculum.

One such example is Lakes District Museum located in Arrowtown, a Tohu Whenua place with rich Māori, European and Chinese heritage. Amanda Viana and her education team at the museum offer ELC (enriching the curriculum) courses across all year levels. Teachers

History where it happened - Tohu Whenua landmarks are great for hands-on and interactive learning in an authentic environment. Photo: Clare Toia-Bailey

WORDS: Caroline Toplis IMAGES: Tohu Whenua

can choose from online lessons, have an educator come to their school, or be immersed in heritage at the museum and around Arrowtown. Programme options are activity based and designed to suit all styles and stages of learning, and are well supported by pre- and post-visit material.

Waitangi Treaty Grounds in Te Tai Tokerau Northland and Marsden Valley Education Centre located at Shantytown on Te Tai Poutini West Coast are the other hubs that run in a similar manner, with the latter hosting school groups across the entire region, including several different Tohu Whenua such as Brunner Mine, Waiuta and Denniston.

Also providing curriculum linked opportunities is the Otago Central Rail Trail Trust. The trust is currently developing six online enquiry plans for teachers who want to take their students on an actual or virtual trip along our country’s first Great Ride through historic farming and gold mining communities.

Not surprisingly many Tohu Whenua places that offer guided tours or commentaries to visitors also often host school groups. These include Tohu Whenua that are cared for by Heritage New Zealand Pouhere Taonga. Tours are usually very active and hands-on, and some can be tailored to what the class is studying. Olveston supplements tailored tours with a smorgasbord of

curriculum-linked education programmes that explore the Edwardian era, and Larnach Castle provides a comprehensive teacher's guide to supplement their school tours.

Two other very special opportunities we need to mention here - Reefton i-site can arrange heritage school tours with a knowledgeable local, and the Otago Goldfields Heritage Trust offer free heritage tours of Bannockburn Sluicings (and gold panning on request) to school groups.

If you’re a teacher and reading this, it’s important to know that whether or not a

Tohu Whenua has resources specifically developed for school groups, all Tohu Whenua have nationally significant stories to tell, are readily accessible and have plenty of on-site interpretation.

Our next step is to work out how Tohu Whenua can develop promotions to ensure teachers are aware that these opportunities exist. This will likely be in the form of an education hub for schools on our website (tohuwhenua.nz), with easy-to-follow links to education providers, as well as complementing the promotion that’s already happening for each Tohu Whenua. n

TOHU WHENUA

Lakes District Museum education programme manager Amanda Viana with a school group in historic Arrowtown. Photo: Lakes District Museum

Inspiring the next generation to care for our heritage places. Photo: Clare Toia-Bailey