Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and the Pacific 2017 -Fiji, Papua New Guinea and Solomon Islands -Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and the Pacific 2017
-Fiji, Papua New Guinea and Solomon Islands-

A Study of Museology
10 October – 3 November 2017, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
National Institutes for Cultural Heritage
Tokyo National Museum
Kyoto National Museum
Nara National Research Institute for Cultural Properties

Training Reporton

Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and the Pacific 2017 -Fiji, Papua New Guinea and Solomon Islands 10 October – 3 November 2017, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan
National Institutes for Cultural Heritage
Tokyo National Museum
Kyoto National Museum
Nara National Research Institute for Cultural Properties

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefecture Nara Branch Office Ground Floor
757 Horen-cho, Nara 630-8113 Japan
Tel: +81-(0)742-20-5001
Fax: +81-(0)742-20-5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by MeishinsyaⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2018

On-site study at Kyoto National Museum

On-site study at KAWAI KANJIRO'S HOUSEMs Miyoshi Miho (centre) instructing classification of various sherds of potteries

Nai Racaca (Fiji) and Grinta Ale'eke (Solomon Islands) cleaning artefacts

Kenneth Miamba (PNG) and Jethro Stalen (PNG) marking notes on artefacts

Nikolau Tokainavatu (Fiji) and Nai Racaca (Fiji) marking notes on artefacts

Nikolau Tokainavatu photographing an earthenware

Left: Grinta Ale'eke (Solomon Islands) photographing an earthenware
Right: Mr Sugimoto Kazuki (centre) instructing shooting techniqueMs Miyoshi Miho (second right) instructing how to make register

Left: Kenneth Miamba (PNG) practicing ink rubbing
Right: Tour of the storage room at Nara City Archaeological Research Centre

Lecture from Mr Wakiya Soichiro (right)

Tour of the exhibition rooms at National Ethnology Museum by Mr Nishizawa Masaki (right)

Mr Senoo Yusuke (right) giving a lecture on outdoor exhibits at Lake Biwa Museum

Lecture from Mr Hayasaka Bunkichi (right) at the storage roomof Tenri University Sankokan Museum

Lecture from Mr Ishimura Tomo (left) at TNRICP

Tour of the conservation labs at Tokyo National Museum by Ms Tsuchiya Yuko (right)

Preface

The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara) was established in August 1999 with the purpose of serving as a domestic centre
for promoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to
its establishment, our office has been implementing a variety of programmes in close cooperation
with the Agency for Cultural Affairs, Japan (Bunkacho); National Institutes for Cultural Heritage,
National Research Institute for Cultural Properties, Tokyo and Nara; National Museums; Nara
Prefectural Government; Nara City Government; and other museums.
The Specific Theme Training Course, one of our training programmes for human resources
development on cultural heritage protection, has started since 2015. The advantage of this training
course is that several experts from a small number of countries facing similar challenges are able
to learn the topic specified according to their requests and needs.
The theme of this year was the “A study of Museology” and six museum officers from Fiji, Papua
New Guinea, and Solomon Islands participated in the course. The schedule was divided between
lectures, practical work session, and on-site lecture. Since the participants shared, in advance,
their challenges regarding management system of the objects in a museum collection, six days
were allocated for the practical work session on documentation and management of artefacts. For
on-site study, we selected some museums holding ethnological artefacts and folk materials basedon the characteristic of their museum collections.
The participants observed the museums in Japan with their own eyes and learned how themuseums and cultural properties were managed and utilised. We would like all of participants todevelop and apply the knowledge they acquired through the training course in accordance withthe situation of each country.
Finally, I would like to express my sincere gratitude to Agency for Cultural Affairs, Japan(Bunkacho), National Institutes for Cultural Heritage, and all those who supported us to make thistraining course successfully completed.

NISHIMURA Yasushi
Director
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)

Contents
I.

Introduction
1. General Information… ………………………………………………

3

2. Programme Schedule…………………………………………………

8

II.

Summary of Training Course… …………………………………… 11

III.

Country Reports by Paticipants…………………………………… 35

IV.

Final Reports by Participants… …………………………………… 77

V.

Appendix
1. List of Participants…………………………………………………… 111
2. List of Lecturers and Interpreter… ………………………………… 113
3. Organisers… ………………………………………………………… 115

Introduction

I.

Introduction
1. General Information
2. Programme Schedule

Nai Racaca (Fiji) and Sireli Saro (Fiji) at Kiyomizu-dera Temple

12

1. General Information
Training Course on Cultural Heritage Protectionin Asia and the Pacific 2017
A Study of Museology(10 October – 3 November 2017, Nara)
1. Organisers
The course is jointly organised by the Agency for Cultural Affairs, Japan (Bunkacho); Asia-Pacific
Cultural Centre for UNESCO (ACCU); and National Institutes for Cultural Heritage, Tokyo National
Museum, Kyoto National Museum and Nara National Research Institute for Cultural Properties, incooperation with the Japanese National Committee for International Council of Museums.
2. Background
Since its establishment in 1999, the Cultural Heritage Protection Cooperation Office, Asia-Pacific
Cultural Centre for UNESCO (ACCU Nara Office) has annually organised two types of training
courses, Group Training Course and Individual Training Course, aiming to develop human resources
for cultural heritage protection in the Asia-Pacific region.
Under Individual Training Course, two to three specialists from one country participate in the
programme with an original curriculum specifically designed to meet their own needs in theirnative language (via translation/interpretation) if they wish, while under Group Training Course, 16
specialists from different countries follow the common curriculum in English.
In 2015, ACCU Nara Office replaced Individual Training Course with Specific Theme Training
Course. The specific theme of 2015 and 2016 was “A Study of Museology: research, documentation,conservation and utilisation of cultural properties in museums”. Under this framework of the training
course, we invited six experts from three countries in South Asia: Maldives, Nepal, and Sri Lanka in
2015, and six experts from three countries in Southeast Asia: Cambodia, Lao PDR and Myanmar in2016.
In recent years, there is a growing need for the practical training on museology and we have received
many applications/requests from other countries in the Pacific region and West Asia. Last year,
ACCU Nara Office held International Conference on the theme of “Present Situation and Challenges

3Regarding Human Resource Development for Cultural Heritage Protection in the Asia-Pacific Region”.
On this occasion, a conference participant from Fiji also expressed high hopes for the training course
on museology targeting at the participants from the South Pacific region.
Based on collected information of current situation and in response to requests from relevant
countries in the Pacific region, ACCU Nara Office decided to invite specialists working at museums
in Fiji, Papua New Guinea, and Solomon Islands to the training course on the theme of “A Study ofMuseology: research, documentation, conservation and utilisation of cultural properties in museums.”
3. Dates and Venues
Dates: 10 October (Tuesday) – 3 November (Friday) 2017
Venues: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara Office); facilities and museums of cooperating organisations
4. Objective of the Training Course
This training course aims at providing participants with broad knowledge and practical techniques
concerning the rsearch, documentation, conservation and utilisation of cultural properties at institutions
including museums.
5. Training Curriculum
・Lectures-Presentations of country reports and discussions-Introduction to museums in Japan
・Work Sessions-Practical work session on documentation and management of artefacts-Practical work session on photography and data management
・On-site Studies-World Heritage site and museums in Nara
-Management of national museums in practice-Documentation and management of ethnological artefacts

46. Participants
The departments responsible for cultural heritage protection in Fiji, Papua New Guinea andSolomon Islands recommended suitable applicants for the programme. After close examination of
their respective applications, ACCU Nara Office then determined to invite these six applicants asparticipants.
Republic of Fiji
Nai N. Racaca (F)Administration Clerk
Administration and Finance Department,
Fiji Museum
Nikolau Tokainavatu (M)Field Research Officer
Archaeology Department,
Fiji Museum
Sireli Saro (M)Executive Field Officer
iTaukei Institute of Language and Culture,
Ministry of iTaukei Affairs

Independent State of Papua New Guinea
Jethro Tulupul Stalen (M)Principal Conservator
Conservation Department,
Papua New Guinea National Museum and Art Gallery
Kenneth Pari Miamba (M)Site Curator
Prehistory Department,
Papua New Guinea National Museum and Art Gallery

5Solomon Islands
Grinta Gay Ale’eke (F)Field Archaeologist
Archaeology Unit,
Solomon Islands National Museum,
Ministry of Culture and Tourism
7. Others (Previous Participants in Individual Training Course and Specific Theme Training
Course)This “Specific Theme Training Course” was held in 2015 for the first time and accepted twelve
participants from six countries for two years. The previous “Individual Training Course” accepted 57
participants from 19 countries from 2000 to 2014.
8. Certificate
The participant who submits a final report will be awarded a certificate upon completion of the course.
9. Language
English is the working language throughout the course.
10. Expenses
ACCU Nara Office will cover the expenses during the training course as follows:(1) Travel expenses:
Each participant shall be provided with an economy class return air ticket from the nearest
international airport to their residence to Kansai International Airport, and transportation fees between
Kansai International Airport and their hotel in Nara (Hotel Fujita Nara: 47-1 Shimosanjo-cho, Nara
City, Nara).
(2) Living expenses:
In principle, participants shall be provided with the basic living expenses incurred during their stay
in Nara, from 9 October to 4 or 5 November 2017 according to ACCU Nara Office’s regulations.
Arrangements for accommodation (a room for single occupancy) during the training course will bemade by ACCU Nara Office. In case a participant needs accommodation on the way to and/or fromJapan for any unavoidable reason (such as visa application or limited flight connections), ACCU Nara
Office will cover the accommodation expenses.

6(3) Others:
Participants shall be responsible for visa fees.
11. Course evaluation
Each participant submitted a course evaluation at the end of the course simultaneously with theoral evaluation meeting with the course organisers. The general feedback from six participants is asfollows:
1 = very poor; 2 = poor; 3 = adequate; 4 = good; 5 = very good
Course Satisfaction

good,
1

very
good,
5

Relevance to Work

good,
1

very
good,
5

Usefulness of Resource Materials

Applicability to Workadequate, 2

very
good,
4

Balance of Lectures, Work Sessions,and On-site Studies
adequate, 1

good, 1very
good, 6

too broad; just right; too narrow
Coverage of Theme

very
good, 490-100%; 70-80%; 50-60%; too difficult
Comprehension
7080%, 2

justright, 690100% ,4

12. Secretariat
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara Office)Nara Pref. Nara General Office, 757 Horen-cho, Nara 630-8113 JAPAN
Tel: +81-742-20-5001 Fax: +81-742-20-5701 e-mail: nara@accu.or.jp

7

2. Programme Schedule
Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and thePacific 2017
A Study of Museology(10 October – 3 November 2017, Nara)
Course ScheduleDate

09:30~12:30

13:30~16:30
Opening Ceremony
10 Tue.
Orientation to the Programme[Presentations and[Lectures] ① Cultural Heritage
11 Wed. Discussions] Country Reports Protection System in Japanby Participants② Museum System in Japan[Lectures] ③ Management of Museums ④ Risk Management
12 Thu.
of Museums ⑤ International Strategies of Museums

Venue

Lecturer

ACCU Nara

ACCU Nara

Kyoto National
MuseumKURIHARA Yuji

KAWAI
KANJIRO'S
13 Fri. [Lectures] Case Study at the Museum with a Distinctive Theme I
HOUSE, Kiyomizudera Temple
14 Sat.
15 Sun.
[Work Session] Documentation and Management of Artefacts I
16 Mon.
(Cleaning, Marking, Classification)
17 Tue.

[Work Session] Documentation and Management of Artefacts II(Restoration, Measured Drawing)

18 Wed.

[Work Session] Documentation and Management of Artefacts III(Measured Drawing, Rubbing)[Work Session] Documentation and Management of Artefacts IV(Photography)[Work Session]
Documentation and[Lecture] Cultural Heritage
20 Fri. Management of Artefacts V Protection and Community(Inventory, Collection
Cooperation
Management)
21 Sat.
22 Sun.
19 Thu.

MIYOSHI Miho
HARADA Kenjiro
MIYOSHI Miho

Nara City
ArchaeologicalResearch Centre

MIYOSHI Miho
MORISHITA Keisuke
SUGIMOTO Kazuki

October

MIYOSHI Miho
MORISHITA Keisuke

NAKAMURA Ichiro
SUGIMOTO Kazuki
YAMAGUCHI Hiroshi[Lecture] Management and [Lecture] Analysis and
NNRICP
24 Tue.
WAKIYA Soichiro
Utilisation of GPS/GIS Data Conservation Method of Artefacts[On-site Study] Conservation and Management of Ethnological National Museum
HIDAKA Shingo
25 Wed.
Artefactsof Ethnology
NISIZAWA Masaki
SENOO Yusuke[On-site Study] Case study at the Museum with a Distinctive
Lake Biwa Museum HAYASHI Ryoma
26 Thu.
Theme IIWATANABE Keiichi[On-site Study] Documentation and Management of
Tenri University HAYASAKA Bunkichi
27 Fri.
Ethnological Artefacts (Inventory and Storage System)
Sankokan Museum
FUJIWARA Ikuyo
28 Sat.
29 Sun.
30 Mon. [Lecture] Documentation of Intangible Cultural Heritage
TNRICP
ISHIMURA TomoTAZAWA Hiroshi
TAKENOUCHI
KatsunoriTokyo National
31 Tue. [On-site Study] Management of National Museums in Practice I
MuseumKUNIGO Hideaki
TSUCHIYA Yuko
TARASHIMA Satoshi[On-site Study]
Tokyo National
1 Wed.
Management of National Museums in Practice II
Museum
2 Thu. Submission of Final Report
ACCU Nara
ACCU Nara
3 Fri. Closing Ceremony
Hotel Fujita Nara
ACCU Nara
23 Mon. [Work Session] Photography and Data Management

Photography
Section, NNRICP

November

ACCU Nara: Cultural Heritage Cooperation Office, Asia-Pacific Cultural Centre for UNESCONNRICP: Nara National Research Institute for Cultural Properties
TNRICP: Tokyo National Research Institute for Cultural Properties

8

ACCU NaraSummary of
LecturesII. Summary of Training Course

At Tokyo National Museum

On-site study at Nijo Castle

9

10

Summary of Training Course
10 October (Tue.)■ Opening Ceremony/ Orientation to the Programme

The opening ceremony was held at ACCU Nara. Mr Nishimura Yasushi, Director of ACCU Nara,
welcomed six participants from Fiji, Papua New Guinea and Solomon Islands and made an opening
address. He introduced ACCU staff members to them and they made self-introductions. The ceremony
ended with taking a commemorative photography.
In the orientation session, the organiser briefed the course contents and rules to be observed during thetraining period.

Grinta Ale’eke and Nikolau Tokainavatu giving self introduction

Group photo at ACCU Nara Office11

11 October (Wed.)■ Country Reports Presentation by Participants■ Cultural Heritage Protection System in Japan■ Museum System in Japan
KURIHARA Yuji (Kyoto National Museum)The participants presented the county reports in the morning session and shared their challenges byexchanging information among the class and the lecturer. They discussed common difficulties andissues facing the museums in the Pacific region.

Nai Racaca and Sireli Saro giving their presentations

Then, the lecturer described the administration system which governed the museums in Japan andthe latest topic related to the museum. He also lectured on Japanese Museum Law, the problems of aqualification system for curators, and a designation system for cultural properties in Japan. Then theclass discussed each issue with the lecturer including the question and answer session.

Jethro Stalen (left) making a comment

12

Mr Kurihara Yuji

12 October (Thu.)■ Management of Museums■ Risk Management of Museums■ International Strategies of Museums
KURIHARA Yuji (Kyoto National Museum)

The morning session started with a lecture on the museum management. The lecturer explained
the merits and demerits of Designated Manager System, which was recently increasing in number;management efforts needed for the museums. He clearly illustrated various examples not only in Japanbut also in the case of different museums in the world. The participants seemed to be interested invarious management strategies and obtained some useful hints for their museums. In the afternoon,
they observed the exhibition, National Treasures of Japan, being held in Kyoto National Museum.
They were surprised with a long waiting line of visitors, but had a good time observing museum
collections for the first time in Japan.

Nikolau Tokainavatu making a comment, Sireli Saro, Jethro Stalen, and Kenneth Miamba

Group photo

Mr Kurihara Yuji (right) in front of Special Exhibition Hall

13

13 October (Fri.)■ Case Study at the Museum with a Distinctive Theme I
NAKAI Isao (ACCU Nara)

Many museums with distinctive features locate in Kyoto including Kyoto National Museum. Those
museums are rich in variety not only in the collection but also the owner/management body: privately
owned, owned by a temple or the educational institution. The participants visited selected two different
types of museums and several World Heritage sites to learn the management and utilisation of cultural
heritage. KAWAI KANJIRO’S HOUSE was the former residence with a studio of Mr Kawai Kanjiro,
the late ceramic artist, which is now open to the public as a museum. They display not only ceramic
works but also his living space itself and try to convey his view of the world. Nijo Castle Gallery isfamous for its epochal display method which enables visitors to observe the wall painting, a nationaltreasure, in the original location through the glass. After visiting two museums, the participants
observed the interior of Nijo Castle, one of “Unique Venues”. They also had an opportunity to learn
about maintenance of wooden heritage and the disaster prevention facility at Kiyomizu-dera Temple
where the main hall was under repair.

Tour of Kiyomizu-dera Temple

Group Photo at Nijo Castle

14

16 October (Mon.)■ Documentation and Management of Artefacts I (Cleaning, Marking, Classification)
MIYOSHI Miho/ HARADA Kenjiro (Nara City Archaeological Research Centre)

For five days from 16 to 20 October, the participants took practical training on “Documentationand Management of Artefacts” at Nara City Archaeological Research Centre. The purpose of the
programme was to provide them with practical knowledge of a workflow from receipt to storage ofcollections (mainly archaeological artefacts); how to prepare the artefact register that was basic tocollection management.
1. Cleaning and marking notes
At first, the lecturer overviewed the general workflow in organising artefacts at Nara City
Archaeological Research Centre: a series of cleaning, marking notes, classification, restoration,measured drawing and creating artefact registers. Then the practical training started with cleaning andmarking notes. The participants were provided with the eighth century artefacts (earthenware and roof
tiles) that were just unearthed at the Daian-ji Temple site and Nara Palace Site as teaching materials
and practiced cleaning and marking: they learned (1) the selection of cleaning tools and the methods
depending on the types and characteristics of artefacts and (2) the appropriate notes and places ofmarking with lecturer’s advice one by one.

Lecture from Mr Harada Kenjiro (right)

Nai Racaca cleaning artefacts

Kenneth Miamba cleaning artefacts

Sireli Saro and Grinta Ale’eke marking notes1517 October (Tue.)■ Documentation and Management of Artefacts II (Restoration, Measured Drawing)
MIYOSHI Miho (Nara City Archaeological Research Centre)

2. Classification and restoration
The participants were divided into three groups in two and classified various sherds of Sue ware
(unglazed stoneware), Haji ware (low fired brown pottery), porcelain and roof tiles into the same shapecategory as a next step. Then, they tried to join the sherds, if possible.

Nikolau Tokainavatu, Sireli Saro, Grinta Ale’eke and Nai Racaca classifying sherds of earthenware

3-1. Measured drawing of artefacts
They practiced three basic recording methods of artefacts in Japan: the measured drawing, ink
rubbing and photography. At first, the lecturer demonstrated how to create the measured drawingof earthenware and each of them measured tukimi (a bowl) of Sue ware with measuring tools. They
seemed to have a difficult time handling a pair of callipers to measure the thickness of earthenware.

Ms Miyoshi Miho (centre) teaching measured drawing
Top left: Sireli Saro drawing an earthenware
Bottom left: Nai Racaca measuring an earthenware

16

18 October (Wed.)■ Documentation and Management of Artefacts III (Measured Drawing, Rubbing)
MIYOSHI Miho/ MORISHITA Keisuke (Nara City Archaeological Research Centre)

The participants continued the previous day’s task on measured drawing. As the most unearthed
artefacts were sherds in their countries, they also learned measured drawing of sherds. They measured
a broken rim of Sue ware and learned how to draw the whole rim on the paper by restoring from thesherds.
3-2. Ink rubbing of artefacts
In the afternoon, each participant selected a roof tile, a coin and a mirror and practiced an ink rubbingthat was suitable for copying detailed designs on coins and sherds. After the practical training of ink
rubbing, they toured the storage facility of the institution and concluded the today’s lesson.

Concentrating the instruction from Ms Miyoshi Miho (right)

Nikolau Tokainavatu practicing
ink rubbing

Group photo with Ms Miyoshi Miho (left) and Mr Harada
Kenjiro (centre)
Top right: Jethro Stalen practicing ink rubbing
Top left: Looking at the centre’s registers

17

19 October (Thu.)■ Documentation and Management of Artefacts IV (Photography)
SUGIMOTO Kazuki (Saidaiji Photo Studio)

3-3. Recording of artefacts with photographs
The photographs of artefacts should be attached to the artefact card besides measured drawings. To
prepare the photographs, the participants learned photography of archaeological artefacts. Firstly,
the lecturer explained how to set the correct exposure of a one-lens reflection camera (the relation
between an aperture and a shutter speed) with some examples that the aperture affected the depth offield. He underlined the necessity to reduce the aperture to some extent for artefacts photographs.
Secondly, he demonstrated various skills to take good photographs: lighting techniques to light up therough surface of sculptural reliefs; the representation method of colour tones by placing a grey cardwith the subject when shooting and by adjusting colour on PC. After the lecture, they individually
took photographs of the roof tile and Sue ware that they had recorded last three days.

Mr Sugimoto Kazuki (centre) making photography table

Practical training on photography1820 October (Fri.)■ Documentation and Management of Artefacts V (Inventory, Collection Management)■ Cultural Heritage Protection and Community Cooperation
MIYOSHI Miho/ MORISHITA Keisuke (Nara City Archaeological Research Centre)

4. Preparation of artefacts registers/ Storage and management/ Education and dissemination
It was the last training session at Nara City ArchaeologicalResearch Centre. The participants practiced how to create theartefact register in a card format from the measured drawingthat they had made in the previous lessons. They also learned
the storage and management system of registers at the Centre
while touring the stack rooms for materials and the artefact
storage facilities. Then, they took a lecture on the educationand dissemination activities; an outline of Citizen Volunteers
supporting various events at the Centre including an opportunity
to meet representatives of the volunteers and to exchange
opinions and information. They finished the complete schedule
Mr Morishita Keisukeby taking commemorative photographs with the lecturers and allconcerned.

Tour of the storage facilities

Exchanging opinions with Citizens Volunteers

Group photo with lecturers
and Citizens Volunteers19

23 October (Mon.)■ Photography and Data Management
NAKAMURA Ichiro (NNRICP)/ SUGIMOTO Kazuki (Saidaiji Photo Studio)

Today’s lesson aimed at providing the participants with skills to process the photographed image
properly on PC, which was obtained from the previous training session on 19th October, and to printout pictures. To begin with, they toured the photo studios in NNRICP guided by the lecturer. Then,they reviewed the previous lessons: types of the lens appropriate for shooting artefacts; how to focus
correctly; proper lighting; and colour tone correction, and they took photographs of artefacts forthemselves in the well-equipped studio again. They also practiced how to represent the correct colour
tone by setting white balance in a camera and how to process image data on PC. As they did not haveenough time to print out the data by the end of the training session, the lecturer printed out pictures anddelivered their final works to them.

Practical training on photography

Bottom left: Lecture on digital data management from Mr Nakamura Ichiro20

24 October (Tue.)■ Management and Utilisation of GPS/GIS Data
YAMAGUCHI Hiroshi (NNRICP)As the site mapping with GPS/GIS was adopted in the participants’ homeland, they received thelecture on the data utilisation of the archaeological site. Mr Yamaguchi firstly introduced free software,
QGIS, and demonstrated the data preparation method. QGIS enables us to attach photographs anddrawings as well as the location of site and three-dimensional data. The lecturer introduced the system
of SfM (Structure from Motion) and MVS (Multi-view Stereo) that also enable us to generate threedimensional data from image data. The participants practiced how to create 3D data from image datawith free software, PHOTOCAN.

Lecture from Mr Yamaguchi Hiroshi (centre)■ Analysis and Conservation Method of Artefacts

WAKIYA Soichiro (NNRICP)The museums to which the participants belonged were usually bothered with moulds and deteriorationof artefacts due to high-temperature and high-humidity. To solve these problems, the lecturer explained
the appropriate environmental control in the museum: the cases that improvement of the environment
significantly could delay the deterioration speed of artefacts. He underlined that appropriate
environment control was considerably effective and should be tried before the active intervention(conservation treatments) and that especially high humidity would cause damage to many artefacts.
So, he recommended to measure temperature and humidity in the exhibition rooms and introduced theenvironment measurement devices/tools.

Lecture from Mr Wakiya Soichiro (left)

Lecture at the conservation lab

21

25 October (Wed.)■ Conservation and Management of Ethnological Artefacts
HIDAKA Shingo/ NISHIZAWA Masaki (National Ethnology Museum)In the morning, the participants toured the exhibition rooms and observed ethnological artefacts in theworld guided by Mr Nishizawa who explained various measures in display of ethnic materials suchas open display, lighting and sound devices, and the effects of them. He also introduced a list of daily
inspection in the exhibition rooms and the storage; precautions learned by past insect damage cases.

Tour of the exhibition rooms by Mr Nishizawa Masaki (second right)

Hands-on activity

In the afternoon, Mr Hidaka lectured on conservation efforts in the National Ethnology Museum; heintroduced examples of preventive conservation in the museum focusing on the environmental settings(temperature and humidity control) and Integrated Pest Management (IPM). The participants asked manyquestions on insect pest management and effective insecticides. The latter session turned to be a question
and answer period

Tour of the storage facilities by Mr Hidaka Shingo (left)

2226 October (Thu.)■ Case Study at the Museum with a Distinctive Theme IISENOO Yusuke/ HAYASHI Ryoma/ WATANABE Keiichi (Lake Biwa Museum)At first, the participants toured outdoor exhibits which were one of the distinctive features of Lake
Biwa Museum, and observed the restored ancient forest and paddy fields guided by Mr Senoo. Then,they moved to restored Folk House (seen around 1955-1964) and took a lecture on the overview ofLake Biwa Museum. Mr Hayashi underlined in what way the Museum was community-based andpresented various regional events for the local communities in detail. The participants seemed to be
impressed with close relationship with citizens and fired a lot of questions.
After enjoying original dishes devised by the staff with food ingredients of Lake Biwa at the museum
restaurant, they took a lecture on the storage management system of folk materials and research activities by Mr Watanabe. Then, they moved to the storage of archaeological and folk materials, and got a
detailed briefing on the devices of shelves and doors to safely store the materials; indoor environmental control; and classification tags. After a question and answer session, they observed various distinctive exhibits including the freshwater aquarium.

Lecture by Mr Sugimoto

Guided walk along the restored ancient forest

Grinta Ale’eke and Mr Watanabe Keiichi

Mr Hayashi Ryoma

Mr Senoo Yusuke

23

27 October (Fri.)■ Documentation and Management of Ethnological Artefacts(Inventory and Storage System)
HAYASAKA Bunkichi/ FUJIWARA Ikuyo (Tenri University Sankokan Museum)The participants were warmly welcomed by Mr HIRANO Tomoji, the vice director of Tenri University
Sankokan Museum, and he briefed on the museum. Then, they toured exhibition rooms, “Lifeand culture of the world” and “Antiquities of the world” while listening to the explanation of
exhibition methods and lighting devices in the museum. They also observed a cargo handlingfacility, workrooms, fumigation rooms and the storage along the carry-in passage and learned a series
of workflow: from receiving to storage of the materials. The museum included several storage rooms
with different temperature and humidity settings. They had an explanation on the indoor environmental
control in each room, and on the data management card of collections in the storage. In addition, theylearned about the database of collections by watching the display on PC. Their urgent issue was toestablish the database of museum collections, so they asked questions in keen interest, which seemed
to provide them with some clues.

Mr Hirano Tomoji

Tour of the exhibition rooms by Ms Fujiwara Ikuyo

Ms Fujiwara Ikuyo and Mr Hayakawa Bunkichi

24

At storage room

30 October (Mon.)■ Documentation of Intangible Cultural Heritage
ISHIMURA Tomo (TNRICP)The participants departed for Tokyo in the morning by Shinkansen (the bullet train). After their arrival,
they moved to Tokyo National Research Institute for Cultural Properties to take a lecture. The class wasdelivered in the photographic recording studio of yose (Japanese traditional storyteller’s hall) and they sat
in the seiza (sitting up straight) style on the floor cushion. The lecturer explained the protection system ofintangible cultural heritage in Japan and its history; how to recognize the holders or the maintenance bodiesof the selected preservation techniques (Living National Treasure); how to designate intangible folk-culturalproperties. Lastly, he introduced a video recording method and useful hints for recording by comparing two
documentary videos. Then, they exchanged information and opinions and concluded the lecture.

Lecture by Mr Ishimura Tomo (left)

At storage room

31 October (Tue.)■ Management of National Museums in Practice I
TAZAWA Hiroshi/ TAKENOUCHI Katsunori/ KUNIGO Hideaki/ TSUCHIYA Yuko/
TARASHIMA Satoshi (Tokyo National Museum)Firstly, Mr Tazawa warmly welcomed the participants and Mr Takenouchi outlined the general
information of Tokyo National Museum: a budget, display planning, the number of visitors, educationand dissemination activities, utilisation of archives of cultural properties and management efforts.
Secondly, Mr Kunigo lectured on the storage and management system of museum collections. The
participants questioned him on the donation system and the purchasing procedures. Thirdly, Ms
Tsuchiya lectured on the conservation treatment at Tokyo National Museum; they were working
under the principle of minimum intervention and preventive conservation; they adopted the minimum
repair instead of active conservation treatment by improving the conservation environment anddelaying the deterioration, same as National Ethnology Museum and NNRICP. After the lecture,
the participants visited the laboratory of the conservation division and learned various measures tosuppress deterioration of artefacts in storage or on display. Lastly, Mr Tarashima introduced the storage
management system and the digital museum on the internet.

25

Deep concentration during the lecture from Mr Takenouchi Katsunori (right)

Ms Tsuchiya Yuko (centre) showing a storage box

Mr Tazawa Hiroshi

Lecture by Mr Kunigo Hideaki (left) at storage facilities

26

Conservator (centre) showing
conservation report

Ms Fujita (left)

Mr Tarashima Satoshi presenting
storage management system

Educational activities in the exhibition room

Group Photo with Mr Inoue Yoichi, Vice Executive Director (centre)

1 November (Wed.)■ Management of National Museums in Practice II(Tokyo National Museum)The participants had a chance to observe the special
exhibition “UNKEI - The Great Master of Buddhist Sculpture”
being held in Tokyo National Museum and toured thepermanent exhibition rooms remembering the previous
day’s lectures. Then, they also visited the museum shop. To
examine the display facility of other museums except forhistory related museums, they visited either The National
Museum of Western Art or National Museum of Nature andScience according to their interests.

At Tokyo National Museum27

2 November (Thu.)■ Submission of Final Report
3 November (Fri.)■ Closing Ceremony
Closing ceremony took place at Hotel Fujita Nara. The participants received congratulatory addressand certificate for their completion of the programme from ACCU Nara. Then, they gave theirimpression on one-month training course one by one and wished for future cooperation and friendshipwith ACCU Nara. The ceremony ended with taking the last commemorative photograph of all themembers present.

Nai Racaca and Kenneth Miamba receiving certificatesSireli Saro and Grinta Ale’eke receiving certificates28Address from Mr Nishimura, Director of ACCU Nara
I congratulate on your successful completion of the training
course. I hope you will utilise new knowledge and experiencefor developing cultural heritage protection in your countries. I
also hope to keep in touch with you, so do not hesitate to contact
us when you need any support. We would like to act as a bridge
between you and Japanese lectures.
Nai Racaca (Fiji)
I experienced not only Japanese culture but also the greatnessof Japanese people through the training course. The attitude
and efforts of citizens to safeguard cultural heritage together as
one opened my eyes. I found the system for cultural heritage
protection in Fiji was capable of improvement and thought itnecessary to upload it. Meanwhile, I got confidence to apply
new knowledge and experience to my work when returning to
Fiji.
Nikolau Tokainavatu (Fiji)
I learned conservation and documentation of cultural heritagein addition to archaeology through this training course. Back in
my country, I would like to apply everything I learned in thiscourse as much as I can. I believe this is the beginning of ourrelationship. I hope for further prosperity of museums in Japanand Fiji.

Mr Nishimura Yasushi

Nai Racaca

Sireli Saro (Fiji)
I learned a lot during the course period, which became greattime in my life. It was a privilege to participate in this course
and to enhance my knowledge. International collaboration andinteraction are great opportunity for the Pacific Islands, so I
would like to send acknowledgement to all the lecturers.

Nikolau Tokainavatu

Sireli Saro29

Jethro Stalen (Papua New Guinea)
In this training course, I learned a lot; conservation/protection system of cultural properties, database,management of museum and so on. Every knowledge was new for me. As conservation of culturalproperties is urgent issue in Papua New Guinea, I would like to utilise the knowledge obtained throughlearning in Japan as soon as possible.
Kenneth Miamba (Papua New Guinea)
This intensive training course provided me with many key things about management of museum,involvement with local people, and conservation of ethnological artefacts. Besides, I appreciate having
good fellow participants. I learned many things from them too. I hope it is not end and look forward tofurther advice and guidance from Japanese experts.
Grinta Ale’eke (Solomon Islands)
It was my honour to participate in this training course. The practical training and lectures taught me how tomanage and preserve our museum collections. What I learned and observed at the museums in Japan gave
me some hints for better management of our museum. When I go back to my country, I will apply new
knowledge and improve my daily work.

Jethro Stalen

Kenneth Miamba

Grinta Ale'eke

Participants giving heartful gifts from their countries to ACCU staff members
Left: Jethro Stalen and Mr Nishimura Yasushi, Right: Grinta Ale'eke and Mr Nakai Isao

30

31

32

Country Reports
by Participants

III. Country Reports by ParticipantsGroup Photo at Todai-ji Temple

33

34

Fiji
Nai N. Racaca
Administration Clerk (Collections Assistant)Fiji Museum

Problems and Needs for Cultural Heritage Protection and Restoration in
the Museum: Reflecting on the Role of the Collections Department
at the Fiji Museum

INTRODUCTION
1.

The Fiji Museum is Fiji’s national museum, established to preserve, present and promote thecultural heritage of Fiji, in order to contribute to its nation building and cultural identity. The
Museum is a statutory body managed by a Board of Trustees and governed by two pieces oflegislation: the Fiji Museum Act and the POAPI Act. 1 Through its Board and management, theMuseum sets its own policies, structures and has its own financial dealings answerable only to
the Minister responsible for heritage and arts. While there is a governmental department called
the Department of Heritage & Arts, its role is to provide an annual financial grant for the Fiji
Museum, but does not meddle in the affairs of the Museum.

2.

As a space meant to enthral, and create interest and enthusiasm, the Museum uses its immense
collection to educate the general populace, and be a place to have fun and to enjoy. An exhibition
should teach visitors something that they did not previously know. This means that the Museum’s
exhibits need to be explained and this can be done in various ways, teaching people about history,
culture, science, and many other aspects of life.

3.

The Fiji Museum’s record of achievements owes its success to the enormous collections it has inits possession. About 1/3 of the contents of the Museum’s collections is exhibited while 2/3 is instorage. The Collections Department plays an important role in highlighting to the Conservationand Exhibitions Departments the need to showcase these “behind the scene” objects. The
collections at the Museum go beyond ordinary objects and artefacts to include photographs,
manuscripts, video, audio recordings, books, and visual art (paintings).

4.

The history of the national heritage collections at the Museum runs parallel to the history of
the establishment of the Museum; hence this paper will focus on the latter, and on the role and1

Preservation of Objects of Archaeological and Paleontological Interest Act

35

functions of the Collections Department, including the total number of items and objects in thecollections, as well as looking into the department’s challenges and needs.
HISTORY OF THE COLLECTIONS DEPARTMENT (FIJI MUSEUM)
5.

The establishment of a museum to preserve examples of Fijian craftsmanship and material culture
was first suggested in 1904. In that year Mr. (later Sir) William Allardyce presented to the Suva
Town Board his collection of Fijian materials, gathered during a distinguished term of service as
an administrative officer in the colonial government.

6.

These materials were displayed on the walls of a room at the Town Hall, which had been recently
built and is also known as Queen Victoria Hall. Then four years later (1908) a number of interested
citizens met to form the Fijian Society, which had among its aims the following:a. to promote and maintain interest in historical, literary, scientific and kindred matters in any
way related to Fiji; andb. to assist in the formation and operation of a museum.

7.

In 1910, an annual grant of 25 pounds was given by the government for the trustees to appoint a
caretaker. This was increased to 100 pounds the following year. The Fijian Society was directly
responsible for the formation and establishment of the Museum on a permanent basis in 1938.
Later a special grant of 200 pounds was given in order for the trustees to have funds in hand forthe acquisition of materials for its collections. In 1916 an official catalogue of the collections wasprinted.

8.

In 1919, a fire at the Town Hall caused considerable damage to the collections. Some exhibits werewholly or partly destroyed. It was therefore decided to move the Museum to a concrete building
in Draiba (Suva), the Veivueti House. Then in 1930, the entire upper floor on the Carnegie Library
was made available to the Museum at an annual rental of 100 pounds. The Fiji Museum remained
there for the next 24 years.

9.

Early in 1942, owing to the threat of air raids during World War II, some 1,588 items were packed
in 86 cases and then evacuated. Others materials were still left behind in the Carnegie Library.
The evacuated items were at first stored in a tunnel along Cakobau Road below the residenceof the British High Commissioner, and after about 12 months, when the tunnel was opened forinspection, the materials were found to be badly affected by mould and damp. These were thenremoved from the tunnel, aired, dried and repacked, and then transported to Vaileka in Ra, andstored in an inner room of the District Officer’s house at Vaileka. There they remained until March

36

1944 when the threat of air raids had passed and the Carnegie Library was no longer required formilitary purposes.
10. In 1955, the new museum building was officially opened by His Excellency the Governor
General of Fiji, Sir Ronald Garvey. Artefacts in the collections range from a large double canoe
and massive steering oars from voyaging canoes, through a wide range of fishing, agricultural,
domestic, ceremonial and religious items, and include an array of Fijian weapons and ornaments.
The historical collections date from the salvaged relics of the Bounty mutiny in 1789, through theviolent sandalwood and bêche-de-mer trading and whaling era, to the introduction of Christianity,
the Great Fijian Wars of the 1800s, British colonisation, settlement and indenture.
11. The library’s book collection continued to be enhanced by private collections from a former
government entomologist in Fiji, H.S. Simmonds, books that belonged to R.A. Derrick, as well as
copies of books, papers and contributions that he produced. An Australian volunteer librarian andthe University of the South Pacific library staff catalogued and classified the books. Some valuable
items include Mary Wallis’s 1851 publication. In June 1999, Sagale Buadromo, then the Registrar,
requested that the Pacific Manuscripts Bureau make microfilm copies for preservation of archives
and manuscripts held by the Museum. Among the manuscripts are the diaries of Rev. John Huntand Rev. David Cargill, two of the earliest missionaries in Fiji, journals and other papers of
Sir John Bates Thurston (for whom the Thurston Gardens are named) and Robert Swanston, in
addition to the Allardyce and Brewster collections.
12. In the research library, which was formerly located where the Indo-Fijian Gallery now resides,
there are approximately 12,000 rare books, more than 200 periodicals, and microfilm materials.
Transferring information to microfilm started in 1999 as a precaution against fire and natural
disasters. There are the more than 500 cassettes of oral history by indigenous Fijians, collectedfrom as far back as the 1970s. They are catalogued in a database by subjects such as Fijian
legends, folk tales, and migration. Some Indian oral history is in Hindi and is still in process of
being translated into English.
13. The Collections Department is one of the eight departments that encompass the Fiji Museum
administration.
THE ROLE AND FUNCTIONS OF THE COLLECTIONS DEPARTMENT
14. The Collections Department is responsible for the registration and accessioning of the collectionof artefacts, archival materials, and the photographic, natural history, and library collections. The

37

more than 10,000 cultural objects are mainly of the nineteenth and early twentieth centuries, butalso include archaeological material dating from as early 1590 BC.
15. The Collections Department works with the Conservation Department in the care and restorationof the collection of artefacts that predominately represent Melanesia, Micronesia, and Polynesia,
particularly the Solomon Islands, Tonga and Samoa. The majority is Fijian.
16. Cultural materials are donated to the Museum by interested parties, who sign a deed of beneficial
interest or a deed of absolute gift. The state of the artefact is checked, background information
is obtained, and the item(s) fumigated, classified and then stored. Materials in most cases arereceived as absolute gifts but some artefacts are left in the Museum’s care solely for security
and conservation purposes. This is the better option that suits indigenous Fijians, who believethat some artefacts have supernatural powers and are linked to their fortune in life; therefore,
they would like to still have access to the cultural objects. Depending on what is worshipped
traditionally, it is believed that some powers can reside in items such as the yaqona bowl, an
image of a human, a walking stick, or a whale’s tooth.
17. The Collections Department is also involved in the scanning and digitisation of all images sothat soft copies can be made and at the same time, so that original copies can be stored awaysafely in the archives. It is hoped that in the future, soft copies will be available online to allow
overseas researchers easy access. The photographs that are being digitised often originate fromearly European officials who came to work in Fiji during the nineteenth century. The photographs
typically feature Fijian people, such as the historic portrait of the Vunivalu Ratu Epenisa Seru
Cakobau, various Fiji scenes including one rare view of the Navua sugar mill in its early days,
Levuka and Suva in their early days, and shots and artefacts related to the early girmit (indentured
Indian labourers) years. In the collection there is also an album of prints with about 120 glassplate negatives.
PROBLEMS AND NEEDS FOR CULTURAL HERITAGE PROTECTION AND RESTORATION
18. Documentation of objects: An area that has to be addressed immediately is the documentationof objects. Currently the Museum has been collecting objects from donors without any standing
operating procedures in place for their documentation. The norm was to follow through with thework as it has been carried out in previous years, and this has continued. The Museum receives
objects/artefacts and most of these may be left over a period of time by the Collections officers
due to the lack of space and also of the chemical that is utilised for writing catalogue numberson the objects. At this juncture the accompanying contextual information may somehow be

38

misplaced, thus losing touch with the entire historical and cultural significance of the objects.
Another of the issues the Museum is currently facing is that objects’ accession numbers have often
faded and at some point in time new numbers were issued to them, thereby confusing or losing theconnections with their original cultural and historical contexts.
19. Care and handling of all collections: Utmost care should be a priority for all Museum
collections, thus its handling methods should be reviewed at all times. Most of the times that
objects are being transported, it is from within the Collections storage area to the Conservation
Laboratory, and thence to the galleries to be exhibited. Currently this transporting of objects isdone by the staff. Staff members who are not trained to handle objects will pay less attention
to them, and thus handle the objects carelessly. It would be appropriate to carry the objects
on trolleys or in boxes (Fiji Museum lacks both these) so as to minimise direct handling. Thisapplies also to other collections at the Museum, in that attention and care should be addressedto all Museum collections. Refresher courses for all of the staff in object handling should be
implemented by the Conservation Department on a quarterly basis so that utmost care is given to
the objects.
20. Disaster risk management: Natural disasters often come without warning, but there are also
smaller risks from poor maintenance that build up to significant levels as time passes on. Hence it
is necessary for all staff to be aware of tell-tale signs of developing threats such as dripping water,electrical faults, mould/chemical smells and dampness. These types of risks when ignored maylead to catastrophic outcomes. Areas of concern include the gutters on the roof, as when these areblocked during a heavy downpour the water can flood back into the Museum. This in turn will let
the water seep into the galleries and thus into the display cases, thereby affecting the objects thatare on display. If objects on display or in storage are affected by water this will leave moisture,and mould will appear which further damages the objects. Measures have been considered
but unfortunately management continues to turn a blind eye. In all areas of the galleries andstorerooms there should be disaster bins where all equipment for disaster preparation is kept.
These should not be removed unnecessarily but constantly maintained because of the importanceof their purpose.
21. Large-scale storage facility: The current storage space of the Fiji Museum is not sufficient tokeep all of the objects. A proper storage facility needs to be built to handle all of the collections
at the Fiji Museum. The current dilapidated structure is adding to the deteriorating status of thecollections.

39

22. Off-site storage facility: There is an urgent need to create “back-up” materials for all items in
the collections. This is to minimise the impact of disaster which can lead to the loss of culturalobjects. The storage for such materials should be situated away from the Museum and on higher
ground with maximum security.
23. State-of-the-art equipment: There is a variety of advanced equipment needed to facilitate a fullfledged storage system.
CONCLUSION
24. At the end of the training I hope to have greater understanding of the methods of surveying,recording, preservation and how best to conserve cultural assets and sites. Also, I hope to havebetter knowledge of the modern technology utilised in countries that are better funded for culturalproperties management programs. I hope to gain insights from the preservation and restoration
techniques that have been adopted by the host country of this training.
COLLECTIONS IMAGES

40

Fiji
Niko Tokainavatu
Field Research Officer
Fiji Museum

Problems and Needs for Cultural Heritage Protection and Restoration in
the Museum: Reflecting on the Role of the Archaeology Department
at the Fiji Museum

INTRODUCTION
1.

Culture and heritage belong to everyone and access to it in all its forms—tangible and intangible—
is a human right. Protection of culture and the natural world is a moral duty of individuals,
communities and governments, regional and national. Governments support heritage becauseof the benefits that it brings—for example, the economic dividend of cultural tourism, and thepotential for international relations and the projection of prestige or support for ideas of identity.

2.

The Fiji Museum, the repository and structure of which is a cultural heritage icon, is one of theoldest museums in the Pacific. The Museum possesses a record of both intangible (ritual, custom,oral traditions, knowledge, and skills and social practice) and tangible heritage (material culture)of Fiji and the Pacific Islands. The Fiji Museum throughout its history has played a significant partin safeguarding Fiji’s cultural heritage through collecting, conserving, processing, studying anddisplaying cultural objects related to the archaeology, history, ethnography and natural history ofFiji and its environs.

3.

In its efforts to become a well-established research institution, the Fiji Museum set up an
Archaeology Department to promote heritage management by liaising with Fiji landowners toassist in the identification, research and interpretation of sites, in order to protect valuable heritage
sites and generate revenue for landowners. This is enforced through the Preservation of Objects ofArchaeological and Paleontological Interest Act (POAPI Act).

4.

This paper will focus on the role of the Archaeology Department within the Fiji Museum, its
governing legislation, and the archaeological activities undertaken thus far, and will look into
the challenges and needs of the archaeology team of the Fiji Museum in order to efficiently andeffectively undertake its role and functions.

41

FIJI MUSEUM: A REPOSITORY OF ARCHAEOLOGICAL, ETHNOGRAPHIC AND
NATURAL HISTORY
5.

The establishment of a museum to preserve Fijian craftsmanship and material culture was firstsuggested in 1904. Mr. (later Sir) William Allardyce presented to the Suva Town Board hiscollection of Fijian artefacts. This collection was displayed on the walls of the Town Hall, known
as the Queen Victoria Hall.

6.

In 1908 the Fijian Society was formed to promote and maintain interest in historical, literary,
scientific and kindred matters related to Fiji, and to assist in the formation and operation of amuseum. In 1916 a catalogue was printed. The Fijian Society was directly responsible for theestablishment of a permanent museum in 1938. The collections remained in the Suva Town Hall,and during WWI, other collections were acquired over the years.

7.

A second location for the Museum was sought in 1919, when a fire at the Town Hall caused
considerable damage to the collections. Some exhibits were wholly or partly destroyed. It wastherefore moved to a concrete building in Draiba, the Veivueti House. A move was made to athird location, the Carnegie Library, in 1930. The Fiji Museum remained there for the next 24
years. In 1942, owing to the threat of air raids during World War II, some 1,588 artefacts were
evacuated and stored in a tunnel along Cakobau Road, below the residence of the British HighCommissioner. They were later removed from the tunnel and relocated to the District Officer’s
house at Vaileka Rakiraki. They remained there until March 1944, when the threats of air raids
had passed and the Carnegie Library was no longer required for military purposes.

8.

The Museum in its current setting was officially opened on the 20th of January 1955, in what is
now the Maritime Gallery section of the Museum.

9.

From a mere collection institution, the Fiji Museum has expanded its functions to include
exhibition, curation, conservation and preservation of objects, and one its most promising aspects
is how it has adapted itself to become a research institution with a colossal literature and volumeof data in its library and archives to assist visiting researchers and its staff. One such departmentin the Museum that implements this research function of the Museum is the Archaeology
Department.

GOVERNING LEGISLATION AND ROLE OF THE ARCHAEOLOGY DEPARTMENT
10. As a statutory institution that directly relates to the identification, research, and protection ofcultural heritage in Fiji, one of the principal pieces of legislation dealing with the Fiji Museum’s

42

archaeological work is the POAPI Act of 1946 [CAP 264]. The Act guides archaeologicaland paleontological operations with the aim of identification, demarcation of boundaries, andsubsequent protection of these cultural sites for current and future generations.
11. Under this legislation, the term “monument” is defined broadly as any object of archaeological andpaleontological interest, and any area of land on which such an object is believed to exist can bethus declared under Section 6 in the government Gazette to be a monument. Similarly, any person
or individual who discovers an object of archaeological or paleontological interest must informthe Board of Trustees of the Fiji Museum, who then either will or will not issue a permit for
research to be pursued. Similarly any object which any person wishes to remove from Fiji must be
authorised by the Board. Any persons failing to comply shall be guilty of an offence and will be
liable to a fine which is not substantial (a mere $200) and outdated, and needs to be reviewed.
12. There are other existing pieces of national legislation linked to archaeological work, which include
the National Trust of Fiji Act (and Amendment Act), Environmental Management Act (2005),
Mining Act (1978), Town Planning Act (1978), and iTaukei Lands Trust Act (amended 2006).
These are referenced and addressed by the Archaeology Department when making an assessment
and analysis in their work.
13. While the Museum is a colonial construct and is not part of the traditional way of life of theindigenous people, the latter for centuries have archived, transmitted and transformed their beliefs
and cultural expressions in oral form and also as embodied in material and visual forms in theircommunities. The role of the Fiji Museum in this day and age is purely to safeguard and maintain(as custodian) these material and intangible forms of cultural heritage on behalf of the indigenous
communities. The Archaeology Department of the Fiji Museum has been at the core of thisfunction of the Fiji Museum.
14. The role and function of the Archaeology Department became visible in 994 when there was justone archaeology Department, which later split into the Pre-Historical and Historical Archaeology
Departments in 1999. The archaeology team continues to be in high demand from the public(developers, organizations and communities alike). In the past, the strength of this department
relied on foreign researchers and their engagement of the Fiji Museum staff in fieldwork. Hereon,
the Department has evolved from that dependency and now plays a role in the community
engagement process through the collection of oral history at excavated sites. This reveals a shift
in focus from only tangible heritage to acknowledging the importance of intangible heritage in thefield.

43

15. Some features of the role of the Archaeology Department include(a) protecting and conserving sites deemed to be of archaeological and cultural heritage value;(b) promoting awareness and understanding of archaeology;(c) administering and implementing the POAPI Act;(d) demarcating sites through the use of GIS;(e) conducting excavations and surveys of sites through research and field visits;(f) developing partnerships with pertinent institutions such as the Lands Department, Environment
Department, Tourism Department, Mining & Mineral Resources Department, Indigenous Affairs
Ministry and many others.
16. Major achievements of the Archaeology Department are summarized as follows.
ACHIEVEMENTSTOTAL NOS.
No. of sites mapped since 1994
1,408
No. of archaeological excavations Approximately 45
conducted since 1994
No. of sites mapped and transformed 14
to tourism sites
17. A significant portion of work for the Archaeology Department involves making recommendations
to the Board on sites to be declared monuments by means of a notice in the Gazette. Although therole was spelled out in the POAPI Act, there was no functionality or mechanism established to
implement this legal mandate. And even though the Act has been in existence since 1940, up to theyear 1969 only one site, Wasavulu, was declared as a monument. For some time, the Fiji Museum
tried to have others declared in the Gazette but it was only in 2002 that another monument was
declared in Nasonini. Nasonini – where the Pacific Islands Forum Secretariat is now located –contains a WWII site used by the Fiji forces, New Zealand and US forces for the protection ofSuva.
18. One of the significant finds of the Archaeology Department includes the excavation and salvagingof the skeleton of a 50-year-old woman now known as “Mana,” who represents what researchers
believe to be a typical Pacific woman of 3,000 years ago.
PROBLEMS AND NEEDS
19. The Fiji Museum plays a pivotal role in the protection and restoration of Fijian cultural heritage, arole specifically carried out by the Archaeology Department through its assessment and mappingof heritage sites, some of which are rejuvenated or restored to retain their authentic feel and44

sense of place. However, in performing this important task the Department is challenged andits effectiveness is hampered by many needs to which the Museum in its current status cannot
adequately respond. While funding resources, qualified personnel and skills are important needsof the Fiji Museum, there are other prominent needs and challenges faced by the Archaeology
Department that should be addressed, as follows.
(a) Outdated legislation: The POAPI Act is very old and its provisions are not suited for thiscentury. The penalty for destruction to cultural sites is very weak and the definitions need
to be revised as well, as some are not applicable. The Fiji Museum is working towards
reviewing the POAPI Act at this point.
(b) Outdated standard operating procedures (SOP), processes and fees: The need to review
the archaeological SOP, permit system and fee structure is essential so that knowledge sharedby communities and the Museum is appropriately acknowledged and compensated. Similarly,
illicit trafficking of cultural objects is on the rise and therefore it is important that suitable
monitoring systems and processes be in place.
(c) Addressing underwater heritage/archaeological sites: Underwater sites are not covered in
the POAPI Act. This needs to be addressed as we have some shipwrecks, old burial sites, oldlight houses and beacons that fall under this category and need to be surveyed and protected.
(d) Declaration of sites as monuments: There have been only two sites declared as monuments
through publication in the government Gazette by the Fiji Museum. Many other sites havethe same potential and should also be declared monuments for the purpose of promoting
their heritage value to the nation, region and the world. The Fiji Museum is working towards
developing a Technical Nomination Committee to propose candidates for declaration asmonuments in the Gazette.
(e) Archaeological sites with tourism potential: The Archaeology Department has identified
and demarcated numerous sites of significance, but we fall short when it comes to advisingresource owners or landowners on how they can transform these sites into attractions thatcan generate income for the community. In the near future, an advisory committee on
this problem is planned to be established, consisting of persons with culture and tourism
backgrounds to give advice appropriately.
(f) Lack of space: With limited space available, congestion is obviously a major barrier to theproper storing of artefacts accumulated from field excavation and surface collection; thiswill also impact the recruitment of archaeology staff as there will be inadequate facilities tohandle their activities.
(g) Need for more capacity building: Developing and strengthening the abilities of staff
members is a major deficiency for the Museum. We cannot assume that broad involvement by45

itself in a variety of tasks on the part of the staff ensures their full ability and understandingof their various duties.
(h) Need for more advocacy, nationwide outreach (public awareness/consultation):
Awareness is greatly enhanced by sharing the significant value of cultural heritage as focus
for discussion amongst families, clans and in social settings. Hence, this will promote a great
increase in interest amongst individuals concerning the knowledge that portrays and depicts
the lifestyle and livelihood of our elders. Newer generations will also have no excuse forbeing left out due to lack of knowledge of their tradition and culture.
(i) Proper cataloguing system and e-storage for archaeology: A server to host allarchaeological digital data has been installed, however the department needs a properly
designed database system that will include monitoring and tracking.
THE WAY FORWARD
A review of the Archaeology Department is necessary, and this will start with the insertion ofarchaeological goals in the new Strategic Plan of the Fiji Museum which is currently being drafted.
The Department is considering the proposal of various income-generating initiatives so thatdepartmental finances are stable. Similarly, our Department Head is proposing the publication of manyof our research results to promote greater understanding of the work of the Department, and for use at
the local universities.

46

Village consultations in Sovusovu
Village in the Province of Ra

Awareness for schools during field work

The archaeology team taking part in aremote sensing class at the Universityof the South Pacific

Working with overseas researchers on
excavation research projects

FijiSireli Saro
Executive Officer
iTaukei Institute of Language and Culture

Addressing Problems and Needs for Cultural Heritage Protection and
Restoration Activities in Fiji’s Museum through Collaboration with the
iTaukei Institute of Language and Culture

1.0 INTRODUCTION
1.1 Culture is an important tool that promotes sustainable livelihood and fosters identity. Our
traditional knowledge, with its content of traditional skills and learning, includes such things
as traditional medicine making, conservation methods and navigation skills, and knowledge
associated with music composition, storytelling, names and symbols. These are fundamental tocultural continuity and a basis for the identity of a community or group of people such as theindigenous population of Fiji.
1.2 The culture sector in Fiji has been gaining strength and cultural heritage protection is at a peak forboth tangible and intangible culture. The Fiji Heritage Bill which is currently before parliament
covers the protection of nationally designated and World Heritage properties in the country.
Similarly, the Fiji Traditional Knowledge and Expressions of Culture (TKEC) draft bill willsoon go before parliament. The latter looks in particular at aspects of intangible culture and its
protection.
1.3 For a long time, the culture sector had been the lowest priority with meager funding; however
since 2014, this has changed tremendously and for the new financial year 2017-18, the budgetaryprovision for both the iTaukei 1 Institute of Language and Culture and the Fiji Museum surpassed
FJ$1 million.
1.4 This paper will address the “Cultural Mapping Program,” one of the core roles of the iTaukei
Institute of Language and Culture in its efforts to foster cultural heritage protection for theindigenous people of Fiji. Also, the paper will address functions carried out by the Institute thatare similar or complementary to the Fiji Museum, and look at how the Institute can and has been
assisting the Fiji Museum in the development and implementation of its activities.
1

iTaukei is a term used to distinguish indigenous people.

47

2.0 ROLE AND ACTIVITIES OF THE INSTITUTE OF ITAUKEI LANGUAGE AND
CULTURE
2.1 The iTaukei Institute of Language and Culture, a division of the Ministry of iTaukei Affairs,
conducts research, documents, and promotes all aspects of iTaukei language and culture. Since its
establishment the Institute has been engaging in activities promoting and safeguarding culture andthese have been undertaken in light of adopting good governance principles, while responding tocontemporary needs and aspirations of modern iTaukei and their communities, to help foster gooddecision making and sustainable development.
2.2 The Institute was initially established as the Fijian Dictionary Unit tasked to research andproduce a Monolingual Dictionary in the iTaukei language. It was later named the Institute of
iTaukei Language and Culture (TILC) in 1986 with the added responsibility of researching anddocumenting all aspects of iTaukei culture. To implement this task, the Institute engages in fieldwork and research, the collection of rare and archival research materials on indigenous culture,including the collection of photographs, and audio and video recordings of iTaukei culturalelements. With a colossal amount of information within its repository, it is involved also in
advocacy, promotion and development of iTaukei culture.
2.3 The Institute also provides the following services: Resource Centre on iTaukei literatures, books
and other printed matter, photographs, audio and visual tapes with detailed computerized indexes
in both iTaukei and English vernacular to ensure the material is easily accessible; the promotionof iTaukei vernacular through the Weekly Radio Program, Lialiaci Quarterly Publications andCommunity Workshops.
2.4 In 2004 the Institute was given the responsibility
for carrying out the Cultural Mapping Project
involving the documentation of the TKEC of
1,709 villages in the 14 Provinces of Fiji. This
involves visiting the villages and collecting
data on aspects of traditional knowledge andexpression of culture such as traditional crafts,
sites, forms of performing art, culinary art,
medicine, agriculture, ceremonies and practices,
and artefacts of importance. (Refer to ANNEX
1 for an in-depth explanation of cultural
mapping.)48© copyright TVTV, 2012
Figure 1: Presenting Sevusevu to the Vanua
before CMP commences

2.5 The Institute now employs 36 full-time staff who specialize in research, documentation andstorage (analogue and digital) of iTaukei intangible cultural heritage (ICH), and aspects of iTaukei
linguistics, anthropology and history.
3.0 DEMARCATING CHALLENGES AND NEEDS
3.1 There are cross-cutting challenges and needs currently faced by the Institute of Language andCulture which also run parallel to what the Fiji Museum is facing at present. These include
amongst others the availability of funding and human resources to carry out the task of culturalprotection. However, below are some specific needs and challenges faced by the Institute forsafeguarding cultural resources.
3.2 Space inadequacy: The availability of appropriate infrastructure for safekeeping materials
collected from the field is important. The Institute staff during the Cultural Mapping programin villages collects cultural objects and resources given by informants for safekeeping and to
substantiate collected information from the field. Currently the Institute office is running out of
space to keep these materials. There is no storage facility so the staff exhibits these on office walls,
in rooms and along the corridor of the Institute office.
3.3 Technical equipment: Until recently we received funds from the government for procuring
equipment, but we still lack major documentation equipment such a state-of-the-art video camera,a large-volume server to handle the input of data, MAC computers for video editing and otherequipment essential for good documentation of cultural activities and events. The need to replaceold, obsolete analogue equipment is critical for ensuring that efficient documentation can beundertaken.
3.4 Transcription of audio recordings: During the cultural mapping program, the Institute hascollected more than 1,000 hours of audio recording. Until early 2016, transcribers were recruitedto transcribe audio recordings for ease of reference by editors. There are still a large number ofrecordings to transcribe. Besides the scarcity of human resources, there is the wear and tear of theaudio recorder used for transcribing, hence meticulous care need to be undertaken.
3.5 Digitalization of resources: Moving with modern trends for safe documentation and the creationof back up through digitization or e-copies is important. The numerous analogue materials instorage at the Institute are similar to the Fiji Museum, and need to be digitized urgently. However
the availability of digitization equipment is limited and most critically needed.

49

3.6 Efficient cataloguing and e-storage (database system): Proper cataloguing is paramount whencreating storage. A proper database that is accessible should also be made available. The Institutefaces this challenge with its well-established database which is now currently being revamped toaddress technical problems.
3.7 Technical expertise: While the Institute has a many university graduates on its staff, most ofthem fall below the desired qualifications in cultural studies and anthropology. So the Ministry isboosting their skills through in-house, in-country and international short-term workshops, training
and symposiums to improve their level. Most have adapted well and have become experts in theirown fields of work.
4.0 COMPLEMENTING THE WORK OF THE FIJI MUSEUM
4.1 Research and documentation. As a research and documentation institution, the Institute has alibrary with immense resources including literature, audiovisual, audio and photographic materials
which the public can access when researching iTaukei culture and language. This complements
the role of the Fiji Museum as a repository of objects collected from the field. Objects tell a story
and often when these objects are gifted or donated to the museum, they do not have the necessary
information to tell their story. It is through existing literature and oral recordings from the fieldthat information can be found to assist in the written narrative describing these objects.
4.2 Identification of sites of heritage significance. Heritage sites contain intangible data (stories)
and archaeological evidence of early tribal activity. Through the Cultural Mapping activities, theInstitute is engaging with traditional communities in identifying their old village sites and at thesame time record stories and boundaries of identified heritage sites. At the moment our researchers
are capturing data by taking video and digital footage when possible by working closely withtraditional owners in identifying their long-forgotten village and fortification sites for preservation
purposes. The Institute has a heritage officer, who is now establishing a registry of all heritage
sites. In addition a proposal is to have the Fiji Museum access these data and research Global
Positioning System (GPS) coordinates for these sites, or for the Fiji Museum to organize training
in GPS work to assist our researchers in their identification work.
4.3 Living Human Treasures: Living Human Treasures are persons who possess to a high degree
the knowledge and skills required for performing or re-creating specific elements of the intangible
cultural heritage. The primary purpose of establishing a national Living Human Treasures system
is to preserve the knowledge and skills necessary for the enactment, performance or creation ofcultural expressions that are considered to have high historical, artistic or cultural value. One50

of the biggest threats to the viability of intangible cultural heritage (ICH) is posed by declining
numbers of practitioners of traditional craftsmanship, music, dance or theatre, and of those whoare in position to learn from them. Like the Institute, the Fiji Museum is need of such experts forstory telling purposes and also to create the museum atmosphere as a “living museum”.
4.4 Revitalization activities through the Special Revival Unit: The establishment of the Special
Revitalization Unit (SRU) is a flow-on effect of the Cultural Mapping Program (CMP) from 2004,
which serves the purpose of research, documentation and promotion of Traditional Knowledge andExpression of Culture and revitalization to ensure that endangered iTaukei traditional knowledge
and cultural expression become viable and sustain themselves in the centuries to come. For the
Fiji Museum this is an important undertaking as it fosters oral traditions and strengthens cultural
explanations of phenomena, objects, activities and events that occurred.

5.0 CONCLUSION
The cultural sector in Fiji is entering a new area where
there is renewed interest in traditional knowledge

Figure 3: Traditional weaving

and cultural expression. Awareness activities anddissemination of relevant information on opportunities
within this important sector have heightened
enthusiasm amongst traditional practitioners, custodians
and the iTaukei community in general. The Institute is
optimistic that this will bring about positive changes
in regards to policy development, implementation andenforcement that will ensure safeguarding iTaukei
ICH.

Figure 2: Traditional Fishing System: Qoli Kubu

51

ANNEX 1: CULTURAL MAPPING EXERCISEMETHODOLOGY
There are certain methods that are used in cultural research by the iTaukei Institute of Language andCulture research officers.
i.

Interview questionnaireii. Informal discussion with villagers
iii. Pre-cultural mapping research
iv. Tape recording machines – used to record the interview conducted by the officer and theinformant.
v.

Video camera – used to record videos of
the old village sites, monuments, traditional
dance (“meke ni vanua”) and other traditional
knowledge or expressive culture.

vi. Digital camera – used to capture imagesof informants and to be attached to theinformation given.
vii. Forms – there are 8 types of forms available for

Figure 1: CMP research activities

use when conducting the research.
CULTURAL MAPPING PROCESSES(A) Awareness program
Awareness program consists of workshops that precede visitation by our Cultural Mapping
research officers. The purpose is to enlighten local people about the need to carry out recording anddocumentation of Traditional Knowledge and Expressions of Culture (TKEC). This is usually carriedout by our researchers themselves and the Administration Officer responsible for the Cultural Mapping
program.
(B) Research and documentation
i. Researchers
Researchers of the iTaukei Institute of Language and Culture are solely responsible for research(data collection) and documentation of iTaukei TKEC. There are three teams of researchers and eachconsists of a male and a female.
They are responsible for the collection and recording of data, interviewing and consulting respective
leaders of a vanua and the compilation of fieldwork reports.

52

ii. Cultural Mapping research topics
Stated below are the research topics used by the Institute to conduct cultural research within aparticular village.
• Old village sites/ heritage sites (Koro makawa/yavu makawa)• Traditional ceremonies and customs (veiqaravi vakavanua: Cavuikelekele, iluva ni tawake,ivakasobu, qalowaqa, qaloqalovi, Vakamamaca, isevusevu, yaqona vakaturaga, wase ni yona
vakaturaga, draudrau ni vanua, vosa ni turaga, ulivi ni vosa, itatau, ivakatale, ibili ni mua, bulu
we ni yava)• Chief instalment (Veibuli/veivagunuvi- kena ivakarau se veiqaraqaravi)• Other traditional ceremonies (ivakarau vakavanua tale eso: Somate, kaumatanigone, cere,bulubulu, tama, Butudravu, vakacirisalusalu, vakawati/vakamau, isevu, matanigasau, isoro, iqusi
ni loaloa, vakasenuqanuqa, Carasala, bokavaua, tabisā, kerei vakavanua ni dua na ka mevaka na
meke/qaravi ni yaqona vakaturaga kei na so tale).
• iTaukei kinship system (Veiwekani vakavanua: veitauvutaki, veitabani, mataqali kei na veiwekani
vakavuvalemevaka na veitavaleni, veiganeni, veivugoniveikaruani kei na so tale)• Customs at birth/eldest child (ivakatagedegede kei na gone sucuvou (Vakatunudra, vakasili,
kevekeve, vicovico ni gone, roqoroqo, cola ba, kerei ni yaca, vakabogi va, vakatokayaca,
papitaiso, matai ni koti, matai ni qoli, matai ni cabuka, matai ni meke, kanaibure, Butudravu/
vakataletubu kei na so tale)• iTaukei traditional dance (meke ni vanua: vakamalolo, wesi, mekeiri & s)
• Traditional fishing system (Qoli)• Traditional food preparation (Kakana vakaviti)• Traditional medicine and healers (solisoli ni veivakabulai kei na wai vakaviti)• Traditional crafts and artefacts (cakacakaniliga)• Oral stories (myths and legends)• Vernaculars (vosa ni vanua)• Navigation skills for sailing (Veisokoyaki)• Other traditional knowledge

Figure 2: Traditional food preparation

Figure 3: Traditional mat weaving(C) Transcribing
Transcribing is process that involves transcription and typing of recorded data via audio recorders by
our research officers. The Institute currently employs four transcribers. The four transcribers are also
responsible for digitization of audio recordings and storage of documented and electronic versions of
data.
53

(D) Editing
Editing is the process that involves editing of transcribedscripts, videos and digitized audio recordings. The Institutecurrently employs two editors who are experts in iTaukei
linguistics and in technical analysis of various recorded
data. The two editors are responsible for• editing of transcribed information according to databasesetting and format,

Figure 4: Editing of videos documented• editing of audio recordings according to specified audio formats for database entry (corresponding
with audio log sheets) and the creation of back-up copies,• editing of digital image descriptions entered into the computer,• editing of video footage according to the database format,• editing and cross-checking of entered information into the database (evaluation), and• editing and cross-checking of entered information into the database.
(E) Database operators
This process involves input of data into the Traditional Knowledge and Expressions of Culture
database, and the Institute has two database operators who are responsible for• digitizing audio recordings and the creation of back-up copies of materials digitized,• entering descriptions of digital images and ensuring that the data are in keeping with the forms
used and the description format of the database,• entering information into the database (audio/video/digital images and transcribed information).
STANDARD OPERATING PROCEDURES ON CULTURAL MAPPING PROGRAM

54

SUMMARY OF CULTURAL MAPPING SINCE 2006
Since its inception in 2006, the Cultural Mapping has covered 13 out of a total of 14 provinces in Fiji.
These 13 are as follows.
PROVINCES
NamosiSerua
Rewa
Tailevu
Lomaiviti
Ra
Bua
Naitasiri
Macuata
Cakaudrove
KadavuLau
Nadroga/Navosa

TOTAL NUMBER OF VILLAGES
26
24
54
193
75
93
53
86
108
133
78
72
122

The program is now being conducted in Ba province which has a total of 107 villages. With its current
budgetary allocation, the Institute is hopeful of completing the province by the end of 2019.
CULTURAL MAPPING VERIFICATION
Since the Cultural Mapping Programme commenced in 2004, the verification process has justcommenced in 2012 with Namosi Province completed in that year, Serua province in 2014, Rewa
Province in 2015–16 and Tailevu Province in 2016–17.
The focus now is the completion of Tailevu province for which the logistics preparation is alreadyunderway. Some of the challenges faced by the verification team arei.

the information givers have either passed away or moved away;

ii. the information may be disputed, or the information is requested to be reviewed because thevillagers were not really aware of the importance of their initial contribution in 2004.
The verification of Tailevu province is expected to becompleted in 2018.

Figure 5: Verification process in the Tailevu Province

55

Papua New Guinea
Jethro Tulupul Stalen
Principal Conservator
Papua New Guinea National Museum and Art Gallery

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in the Papua New Guinea National Museum and Art Gallery

The Papua New Guinea National Museum and Art Gallery is Papua New Guinea’s prime institutionthat plays a vital role in the protection and preservation of its diverse material cultural heritage for
future generations. It is an institution that is established by law under the National Museum and Art
Gallery Act, 1992. As an institution relying heavily on the government in sustaining its operation,it has been constrained by enormous challenges to maintaining its functions in terms of funding,logistics, human resources, etc. However, this report will basically outline some of the problems/
challenges that are encountered by the PNG National Museum’s Conservation Department as well as
highlight of some of its needs.
Mould, mildew, dust and rust
Mould and mildew are common in areas with high levels of moisture. Constant outages of electricity to
the air conditioning system contribute to this problem. Since most items in our collections are organic,
and some were used by people before acquisition, there are possible food residues as well as otherorganic remains still attached to them. As a result, objects in the collections tend to develop mould or
mildew on the surface. Despite cleaning the collections at the initial stage of acquisition, all dirt cannot
be removed because in some cases the soiled condition is an important aspect of the item, telling thestory of that particular object’s social importance. Temperature and relative humidity play their part in
the buildup of these deteriorating agents.

Figure 1. Stone axe blade showing mould

56

Figure 2. Dust particles on a mud beating drumDust and musty air in exhibition areas cause the collections to deteriorate. Because the building isvery old, there is a buildup of dust particles in and around the storage and gallery areas. Due to poor
ventilation in the design of the building, the dust circulates within the building itself and piles up. As
a result, a number of items in the collections, and particularly those exposed in the gallery such asfeathered headdresses and certain costumes, tend to collect dust and have dust accumulations.
There are a good number of metal items particularly in the Modern History Department. In particular,
equipment used during World War II such as machine guns, mortars, planes and tanks are left in the
open without any roofing/canopy to shelter them from natural elements such as rain and direct sunlight.
While these items deteriorate at a very slow rate, the most notable deterioration is rust.

Figure 3. A WWII war plane showing signs of corrosion

There is greater need for technical expertise to combat the issues of mould, mildew, dust and rust.
These include technical equipment such as thermohygrometers, dust meters, etc. These are someof the very important tools needed for data recording and analysis. However, technical expertise inusing those tools is also vital as well for proper data analysis and interpretation. Though some metalcollections are sheltered, there is a high possibility of exposure to moisture. Metal conservation isvery important, and therefore having more knowledge about rust prevention, moisture-controlledenvironments, maintenance and repair work for metals, proper storage, and general knowledge ofmetal chemistry or behaviour will be helpful to the PNG National Museum and Art Gallery.
Heat stress, wood decay and building fumigation
Because most of our collections are organic in nature, they have the natural ability to expand
and contract. The air conditioning produces the right temperature for storage and as a result, thecollections can be maintained for a long period of time. However, over the last three years thecomplex air conditioning system was hit hard by frequent breakdowns, thus allowing fluctuations in
the temperature of the storage environment. That has allowed rises in temperature that bring a greater

57

chance of heat stress. In the process, the collections tend to expand and contract, thus resulting in
deterioration such as cracks, swelling, deformations, tears, ruptures, etc.

Figure 4. Funerary display object

Figure 5. Wood decay

At left, a funerary display object with white clay paint (Figure 4) on display showing signs of heatstress; at right, a wooden object (Figure 5) showing decay by moisture.
About 80% of the ethnographic collections are made of wood or have some form of wooden parts.
Wood decay usually occurs in collections that are affected by moisture or water vapor. Pests also
contribute to the decay of wooden materials. Even though collections go through a fumigation process
at the initial stage of acquisition, damage by pests has been noticed recently, although usually not fromdirect attack on the wooden objects due to the fumigation, but indirectly through their activities. For
example, termites can spoil the wood of objects in the collections through the buildup of their mud
tubes.
A regular routine of building fumigation is always carried out on a quarterly basis each year. However,recently there has been no proper routine fumigation due to the museum’s financial difficulties when
it came time to hire pest control companies to carry out the routine fumigation. As a result, thecollections are vulnerable and at high risk for pest attacks.
There is a greater need for constant temperature within the enclosure of the collections and thesurrounding environment, and for that to happen, the air conditioning system needs to be functioning
properly. Technical officers should have at least a fair idea of how the air conditioning system works
and its needs for maintenance. Proper understanding of how to ensure that the storage environment
can withstand heat stresses is very important for minimizing deterioration. Understanding the specifics
of wood conservation from the initial stages of acquisition, and knowing where to store the wooden
collections and under what type of environment, will help solve the problem. It is also important tohave more knowledge about the assessment of wooden artefacts and the repair and restoration of woodthat has suffered from decay, cracks and pests, etc. Since funding is always a challenge in trying to58

hire pest control companies, preparing and training the conservators so that they have the knowledgeof how to carry out pest control treatment is very important. That includes knowing the right pest
treatments for certain jobs, how to assess the problems and needs, what equipment to use, and when touse it, all of which will lessen the need for funds and enable conservators to do the tasks correctly andin timely fashion when the need arises.
Problems with storage facilities, exhibitions, prehistoric sites and proclaimed cultural properties
Lack of proper storage facilities is a big issue that we are facing at the moment. Having proper storage
facilities helps create more space for the collections. At the moment, about 20% of the ethnographic
collections are not stored properly and are piled on top of each other. This has put the collections athigh risk for suffering from damage such as tears, cracks, etc.

Figure 6. Collections on racks in storeroom No. 4

Most of the objects particularly around the Masterpiece Gallery are displayed openly without any formof enclosures such as glass showcases. This makes it much easier for the materials to be touched by
the visitors. Because most collections are organic materials, particularly including wooden parts andanimal fur decorations, it is very difficult to use clips and adhesives for secure mounting considering
the damage that such fastenings might cause to the items. The objects that are displayed are thus
exposed to high risk of theft and vandalism by the visitors.
There is a greater need for knowledge and understanding of how those collections can be stored withlimited storage facilities. It is also important to build more facilities to accommodate the growing
number of collections that are still coming in. Having more knowledge of how to manage storage,
handling and packing as well as packaging will help greatly when sorting out the collections into
the limited facilities we have such as drawers, racks, shelves, etc. It is essential also to understandthe methods involved in attaching objects to their mounts to prevent vandalism and theft. Due to thedifferent compositions of the materials involved, understanding the mounting process and in what typeof enclosure a particular object should be kept is also essential.

59Figure 7. Carved wood on display

Figure 8. Graffiti on the propeller of a warplane

At left, a clay head (Figure 7) mounted on a metal stand without any enclosure on top for protection;
at right, graffiti (Figure 8) as an indication of vandalism.
The PNG National Museum and Art Gallery also has registered approximately 38,000 prehistoric sites
and over a hundred proclaimed cultural properties. The proclaimed cultural properties are parts of
the PNG National Museum’s collections that remain at their original field locations. Most often they
are immovable heritage such as buildings or other structures, etc. The prehistoric sites are basicallyarchaeological sites uncovered through research surveys. They both have very important value in termsof research and education, protection of identity and even economic benefits from tourism.
The PNG National Museum is in dire need of technical expertise, logistics and funding to support its
function of protecting and preserving these registered sites and proclaimed properties. In the long run,conservation techniques for protecting these sites and properties are important to preserve them for
future generations to see.
Conclusion
The work of conservators at the PNG National Museum and Art Gallery spans from within themuseum building and its exterior perimeters where the collections are situated locally, and further
into the field where registered cultural sites and the proclaimed cultural properties are situated. There
are issues faced daily, compounded by the manpower shortage together with limited resources andinadequate funding. Satisfactory results are always a struggle. Most of the current conservators areamateurs in this area of work and therefore more conservation training is needed to fully equip theconservators with the right technical expertise in museum conservation work.

60

All photographs used in the report are taken within the PNG National Museum for the purpose of thereport.
Figure 1: Stone axe blade
Registration Number: 83.115.2.BQJ. 1
Details: From Tauwena Village, Trobriand Islands, Milne Bay Province, Papua New Guinea.
Figure 2: Mud beating drum
Registration Number: E7301
Details: From Palimbei Village, Middle Sepik area, Iatmul Speakers, East Sepik Province, Papua New
GuineaFigure 3: A WWII American fighter plane BELL P-39 Aira Cobra
Details: Landed in Bulldog Area of Gulf Province, Papua New Guinea during WWII, in the 1980s it
was salvaged and moved to Port Moresby.
Figure 4: Funerary Display Object locally known as Vavara
Registration Number: E4586
Details: From Panapoi Village, Northern New Ireland, Tigak Speakers, New Ireland Province, Papua
New Guinea.
Figure 5: A decayed wooden figure
Registration Number: Unknown
Details: Sepik region?
Figure 6: Rack 1 in store room number 4.
Figure 7: Clay head
Registration Number: 16182
Details: Washkuk Hill, Ambunti District, Kwoma Speakers, East Sepik Province, Papua New Guinea.
Figure 8: A WWII American fighter plane BELL P-39 Aira Cobra
Details: Landed in Bulldog Area of Gulf Province, Papua New Guinea during WWII, in the 1980s it
was salvaged and moved to Port Moresby.

61

Papua New Guinea
Kenneth Miamba
Sites Curator
Papua New Guinea National Museum and Art Gallery

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in Papua New Guinea

This paper looks at issues surrounding the management of collections at the Papua New Guinea
National Museum and Art Gallery (NMAG) and the protection of cultural heritage property in general
in Papua New Guinea.
The following section briefly describes the management of the collection itself—the collection
inventory, database registration and monitoring of stored collections. It then discusses the issues
surrounding collection management.
The next section then discusses current threats to the conservation and management of cultural heritage
sites at their various locations in the country. These include threats from extractive industries (logging,
agriculture, mining, oil and gas), urbanization and infrastructure development, and subsistence landuse (exacerbated by population growth).
The concluding section is a summary drawn from the two preceding sections.
A. COLLECTION MANAGEMENT
Inventory for managing the collections and storage
An inventory of the collections was lacking for over 41 years, from the time the museum wasestablished. Much of the work done by the museum staff is field-based research with other academics
and researchers, plus the acquisition of collections, cataloguing and registration of artefacts. The
main reasons for the lack of an inventory were understaffing and funding constraints. With limited
manpower and resources, little attention had been given to inventory activities.
Over the years, the collections were acquired, catalogued and registered without a proper inventory
in place and were poorly managed. Issues concerning the types of collections, their fragility andconservation were overlooked. Most objects in the collections are stored away in drawers or packing
boxes, and are not closely monitored until a problem is identified.

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Early this year the prehistory division of the NMAG began an inventory of its collection. The
following procedures were initially followed: reviewing extant information (numbers and descriptionsof collections), and cross-checking catalogue numbers in the registers against collection materials indrawers or on shelves. Problems identified in this process include the bulk cataloguing of artefacts,
misplaced and missing collections, general collections with no narratives, materials affected by dust
and mould, and the disintegration of organic materials of wood, fibre, dye, clay, locks of hair, etc.
However, relatively little progress has been made to date due to understaffing and funding constraints.
The museum has come up with plans for a student internship program next year to assist in this task,
once we have the skills to do it.
Process of accessioning through registration
The process of accessioning before storage and exhibition of artefacts consists of (1) acquisition of acollection, (2) fumigation of the collection, (3) registration, (4) cataloguing, and (5) manually plotting
GPS coordinates of site where collection is made on a topographic map.
We have registries of all artefacts and sites in the museum’s storerooms and gallery with designatedcodes denoting each provenance of accession, followed by an accession number in the sequence ofwhen it was acquired by the museum for registration and cataloguing before storage.
There are two registration and cataloguing reference systems in existence at the museum. Accessions
dating from before the establishment of museum begin with E- for early collections, and those after
establishment start with a year (e.g. 86 = 1986) denoting when the collection was made. Here is an
example as illustration: E5464.CAK.1-5, for an accession made at a particular site before the museum
was established, while an accession made at the same site after the establishment of museum is 86.109.
CAK.6-598.
However, the prehistory and natural history divisions of the NMAG have planned to merge these
into one cataloguing system due to the introduction of the Vernon Collection Management System
in 2016, as Vernon CMS cannot accept the separate catalogue numbers we have even though we
made an attempt with the Vernon licenser to make the program user friendly. Thus, in order to get ourcollections into an electronic database, we need to have a unified cataloguing system.
In addition to the collections, natural and cultural heritage sites in the field are GPS marked, recordedon site record forms with detailed descriptions including photographs, assigned a site code, registeredand kept in our database.

63

Problems in registration
We have been keeping site record forms (as paper documents) with attachments such as drawings,
photos, and sketch maps in the archive files for a long period of time. As the papers get old the writing
may fade and some documents come loose from the clips that fastened them together. Some site record
forms in our database are missing.
The museum’s prehistory department is also keeping topographic maps plotted with records ofsites where collections have been made. Many maps are old and faded or the edges are folded. The
museum is looking forward to purchasing Geographic Information System software once our serveris upgraded. This will help us to plot all cultural heritage sites on the program for our records, and forresearch and study purposes. Improved paper preservation and GIS skills are indeed needed by the
curators and technical staff of museum.
Photos, pictures, and drawings in the database
Not all materials in our data files have photos, drawings or pictures. Some locations of field sites
are identified with sketched maps, and some immovable objects in their natural settings having
only drawings attached with site recording forms for registration that are kept in our data files in thestorerooms.
With the introduction of the Vernon CMS electronic database, it is required that all items in thecollections be registered together with images. To achieve this will require photography skills andquality photos. Apart from this, skills in the conservation of photos, drawings and sketches are also
required.
Research on the collections and cultural properties
Research on objects in the collections and other cultural properties includes items in storage at themuseum and those located at other places of interest in the field. The objects in the store rooms orstorage areas include those made from various types of materials, including stone, clay, wood, fibre,
human and animal bones, metals, glass, plastic, rubber, plant and animal specimens, etc. Thus all of thestored ethnographic information and objects of the collections are subject to research.
Field research is also undertaken in collaboration with international researchers every year. We alsoloan our collections overseas for scientific analysis and for study purposes upon request. However, not
all loaned materials make it back to the museum on time, with some exceeding the loan period, or evengetting misplaced or destroyed while with the borrower. For instance, in 1997 about 90 priceless items

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from the PNG museum loaned out to Australian National University burned down in a building in
Canberra. The museum set up a collection management policy last year and the situation is improving.
B. PRESERVATION AND MANAGEMENT OF CULTURAL HERITAGE SITES
The training needs for cultural heritage protection and restoration in Papua New Guinea do not
revolve around only the museum’s collection but also involve all tangible and intangible, movable andimmovable, registered and unregistered cultural properties that are protected by numerous pieces of
PNG legislation: the National Cultural Property (Preservation) Act 1974, War Surplus Material Act
1952, National Museum and Art Gallery Act 1992, and the Environment Act 2000.
The management of cultural heritage sites has become a topic of much concern in recent years. Sites
have been managed in one way or the other since the moment they came to be considered “heritage.”
Some of the recent attention can be attributed to important changes that have occurred in theenvironment in which these sites are managed, and to the need to find ways of doing old tasks under
new conditions.
“Value” and “significance’’ are the terms used in site management. Value has been used to mean
positive characteristics attributed to heritage objects and places by legislation, governing authorities
and other stakeholders. These characteristics are what make a heritage site significant and are thereasons why authorities and stakeholders are interested in it.
In the last decade, economic activities have triggered an unprecedented rate of physical developmentthat encroaches on protected sites of traditional social structures, and archaeological and historicalsignificance. Activities such as logging, large-scale agriculture, mining, oil and gas extraction,
urbanization and infrastructure development, and subsistence land use exacerbated by population
growth have impacted many sites over the years.
For instance, the historical WWII bunkers at Paga Hill and the Motu Koita archaeological and burialsites at Ela Beach in downtown Port Moresby were destroyed in 2016 and 2017 for the developmentof infrastructure for the 2018 APEC Summit despite numerous efforts by the museum for protection,
salvaging and documentation.
Other examples of encroachments on sites include: Alia Sacred Rock in New Ireland Province by New
Crest Mine; deliberate removal of WWII relics at the site of the battle for the northern beachheads at
Buna, Oro Province, by New Britain Palm Oil; stripping of forest cover around the Peulangka Rockengravings in Pomio, ENB Province, by logging giant Rimbuanan Hijau (RH) Group. War relics inmany areas around the country are being looted by locals to sell to scrap metal buyers for quick cash.

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The above have occurred as a result of (1) negligence by the developers in following due processes,(2) the Conservation & Environment Protection Authority issuing environmental permits allowing
development to take place without consultation and advice from the NMAG as the sole custodianof cultural heritage, (3) the Museum’s lack of a Cultural Heritage Management Policy/Charter, (4)other central government agencies’ lack of respect for the importance of cultural heritage when
implementing economic and development projects.
Natural phenomena such as climate change have also contributed to our problem of conserving
archaeological and historical sites in their natural settings. Limestone cave and rock art sites are mostly
affected. Excess water vapor, sunlight, wind and temperature have caused prehistoric engravings toweather; paintings are also fading or being defaced by green algae and sand flow.
Sites have also lost their aesthetic value as a result of the changes in vegetation and landscape causedby fire, flooding episodes, erosion and landslides which may be due to the influence of climatic
variations, along with other consequences due to human actions.
C. CONCLUSION
The problems and issues discussed above can be summarized as follows.
• There is a lack of required skills on the part of technical officers and curators to effectively
manage collections in the museum’s storerooms and exhibition gallery.
• There is a lack of knowledge of the value and significance of sites requiring protection,
restoration and management. The questions of how to value and preserve cultural heritage sites
remain a big challenge for an ill-equipped staff, and the organizations and host society regarding
any particular development.

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Solomon Islands
Grinta Ale’eke
Field Archaeologist
Solomon Islands National Museum

Problems and Needs for Cultural Heritage Protection and Restoration
Activities in the Solomon Islands National Museum

Introduction
The Solomon Islands lie between latitudes 6° 35’ and 10°50’ S in a tropical warm climate zone. There
are six major islands in the form of a double chain extending northwest–southeast over 860 km of thesouthwest Pacific. The current population of the Solomon Islands is roughly 800,000 made up of four
racial groupings, namely, Melanesian, Polynesian, Micronesian and a small mix of Asian origin. But
the dominant grouping is Melanesian. Tok Pidgin is the common tongue, but English is the official
language.
The Solomon Islands as a nation gained its independence in 1978 from the status of British
Protectorate, and to date we are an independent nation. The Solomon Islands National Museum wasofficially established as a cultural institution on 6 June 1969, although its history and development
can be traced back to the early 1950s. It is one of the oldest government institutions in the Solomon
Islands. The origins of the museum collections were gifts from colonial officers serving in the British
Solomon Islands Protectorate (BSIP) administration. These gifts—mostly artefacts—were brought
together for public display at various times and locations. In early 1969, the new museum gallery was
opened. Since its establishment, it was mostly volunteers who committed their time and resources tothe museum and there was no funding from the national government.
Role of the Solomon Islands National Museum
In 1972 the museum was placed under the control of the central government. In 2006, since theestablishment of the Ministry of Culture and Tourism, it became one of the core divisions fundedby this government Ministry. It has played an important role in the growth and development of theculture sector in Solomon Islands. The Solomon Islands National Museum is a house with a passion
to collect, protect, preserve and exhibit the Solomon Islands’ diverse cultural and historical heritage, aplace where cultural groups, individuals, the public, organizations, educational institutes, researchers,international organizations and others can visit and conduct research. It is a non-profit, multiculturaland multilingual institution with eight units.

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VisionOur vision is that the diverse cultures, worthy customs and traditions of the people of the Solomon
Islands are cherished, preserved, protected and promoted through sustainable cultural development.
ValuesThe Solomon Islands National Museum is determined to ensure that its affairs are guided by soundprinciples and it supports the following values.
1. Protect and safeguard cultural, historical and natural heritage.
2. Respect and represent cultural diversity (intellectual and social diversity).
3. Maintain quality museum services (commitment to efficiency and effectiveness).
4. Promote tolerance, ethics and stewardship.
5. Provide accountable leadership, diligence and cultural cooperation and exchange (cross-cultural
human rights).
6. Advocate leadership, diligence and cultural cooperation and exchange (cross-cultural humanrights).
Organisation
The eight units in the Solomon Islands National Museum are illustrated in Figure 1 below.

Figure 1. Organisational structure, Solomon Islands National Museum

Figure 2-0. Culture and History Gallery, front view

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Figure 2-1. Culture and History Gallery entranceAll seven technical units are administered by the Administration unit of the Solomon Islands National
Museum, under the Director and Deputy Director with the Secretary. This unit is in charge ofcommunications, correspondence and the coordination of public relations linking to the Museum.
The seven technical units work together to collect, preserve, protect, promote and exhibit the cultural
heritage of the Solomon Islands. They work hard to achieve the vision and mission of the Solomon
Islands National Museum although it has faced many challenges in the past, but continue to ensure thatit remains viable and relevant as a national leading culture and heritage institution in the country. Each
unit has its own important role, described as follows.
Ethnography and Conservation unit. The ethnography function is to collect artefacts from theSolomon Islands public whether purchased or donated, and interview those who provide them. The
artefacts will then be labelled, catalogued and stored in the storage room. The conservation function
specialises in collection management, preventive conservation and environment analysis.
Figure 3 below shows the Ethnographic and Melanesian Collection storage room.

Figure 3-0.
Artefacts on the shelf

Figure 3-1.
Artefacts on shelf/floor

Figure 3-2. Artefacts ontable/floor/shelf

Audio/Visual Unit. This unit deals with the documentation of all activities relating to Solomon Islands
cultures and traditions and preserves them through audio/visual archiving. The staff supports other keyunits in the Museum, assisting students with audio/visual and graphic information.
Archaeology and World War II Unit. This unit is to protect, preserve, monitor and promote historicaland cultural heritage sites in the categories of Historical (WWII) and Archaeological Cultural Sites.
It monitors WWII materials, wrecks and relics. It also conducts the national site survey, mapping,recording and documenting historical and cultural heritage such as burial sites, grave sites, sacrificial
sites, shrines and old village settlement sites. The
rescue assessment of archaeological and historicalsites damaged by developers is also carriedout. This unit also collaborates with university
researchers, and regional and international institutes
in conducting archaeological fieldwork assistance.
Figure 4 shows the archaeological storage.
Figure 4.0. Archaeological storage

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Curator and Exhibition Gallery Unit. The Curator and Museum Attendant collaborate in the
exhibition of artefacts in the galleries, and the Museum Attendant cares for the main exhibition gallery.
They ensure that the visitors are safe and educate them about the displays in the gallery. They makesure that the displays are attractive and informative.

Figure 5-0. Display exhibition

Figure 5-1. Panel illustrating Figure 5-2. Wooden artefacts
wooden artefacts
and WWII items

Figure 5-3. Shell money
collections

Figure 5-4.
Figure 5-5. Archaeology
Prehistory&Archaeology
gallery

Auditorium and Library Unit. The Auditorium is a venue for performing cultural activities andevents. The Library is to assist students, local and foreign researchers in gaining more knowledge ofthe culture and history of Solomon Islands and the Pacific, and to help the Museum staff in their workthrough materials that contain records on the history and culture of the Solomon Islands.

Figure 6-0. Auditorium

Figure 6-1. LibraryMuseum Handicraft Shop. The shop’s function is to continue to encourage crafts people to preserve
the knowledge of making crafts. Also, for people who come to sell artefacts to the Museum, but are
met with delays by the government in providing payment, the shop provides assistance by purchasing
the artefacts.
National Art Gallery. The Solomon Islands National Art Gallery is a national practical institutionthat has been the overseer of the arts and the necessary components or art forms involved, for bothcontemporary and prehistoric art forms. Its main function is to deal with artisans and their products.

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Problems and Needs
The Ethnography and Conservation unit is running out of space to house artefacts. Some of theartefacts are on the dusty floor and in containers, and are not catalogued when purchased. There is alsoa lack of a proper cataloguing system. There is no proper or regular method available for the treatmentof artefacts to ensure that they are free of infection so as to be housed for a long period of time, sincemost of the artefacts are organic and are vulnerable to insect infestation. There is a lack of a properlaboratory for conservation work. Chemicals and conservation apparatus are expensive and are notavailable locally. Artefacts go through purchase and then straight to the storage room to be stored.
The Audio/Visual unit faces a lack of understanding from communities of the importance of having
audio/visual and graphic accounts of their cultures being stored in the museum. This is one of thecontributing factors for people refusing to have their activities recorded and stored away for future
generations. There is also a lack of equipment and storage rooms.
In the Archaeology and World War II unit there is a lack of awareness, and some misunderstanding,
about the importance of archaeological sites as cultural heritage and the functions of a museum
in rural communities. There is a lack of sufficient protection for historical and cultural sites bylandowners. Some of the excavated materials are stored in containers outside the museum compoundarea due to lack of space. Also due to a lack of space, some of the World War II items are stored in the
ethnographic and Melanesian storage rooms.
The Museum has collections in the ethnographic storage, Melanesian storage and archaeologicalstorage available for cultural exhibit and display. There are only two galleries here, namely Culture andHistory, and the Prehistory and Archaeology gallery. Some of the museum staff and the curator lackthe technical skill and the knowledge required to do the exhibiting. So museum training is needed. Oneof the problems is that all of the artefacts collected do not fully represent the culture of the country.
Some of the collections are more plentiful for certain provinces, while artefacts for other provinces
are few. There is a shortage of experience on the part of staff for carrying out the roles of the museum,and some staff have to do multiple tasks. There has been theft of an artefact in the Culture and History
Gallery due to a security problem. The Museum does not have a website.
The Auditorium and Library unit really needs a qualified librarian to fill this area of responsibility.
Protection of the cultural and historical books is insufficient. Some of the books in the library havebeen lost because of careless handling.

71The Museum Handicraft Shop does not have a full-time shop attendant to deal with customers andtourists.
The National Art Gallery it is not in full operation because of a shortage of staff and the lack of proper
facilities, such as computer software and hardware. However the Curator and Assistant Curator,
together with their Secretary and the Maintenance Officer, work hard to ensure that the visual art of thecountry is protected.
Restoration Activities in the Solomon Islands National Museum
Each unit must know its responsibilities and work together. The government must seriously support theEthnographic and Conservation unit financially to continue purchasing artefacts before the artefacts
will become and future generations will not able to see them.
An act of Parliament must be passed to put a law protecting artefacts in place. At the moment there
is no legislation. This is important so that when we tour the provinces we will have the right since
we have the law. The Museum Galleries must be open at the right time. The Museum Attendant andresponsible staff must be present, and food, drinks, and chewing gum must be strictly prohibited asthey attract insects that can spoil the artefacts. Gloves must be worn whenever handling artefacts in thegallery or storage rooms. The gallery exhibition rooms must be fumigated, but this has not been done
for quite a long time. Security has to be maintained and the galleries and storage rooms must be locked
and secure at all times. This is to protect the cultural heritage for future generations. The purchasingof artefacts must be maintained, lest all artefacts end up in private collectors. The temperature in the
ethnographic rooms and the gallery should be optimal for artefacts. The staff must go through museum
training, and understand and abide by museum ethics.
My Experience and Insight in Archaeological Work of the Museum
I have been working in the Museum as a Field Archaeologist for the last three years in the Archaeology
unit. My role is to conduct a range of archaeological work, surveys and projects including the National
Site Survey Project, and assist university researchers and international institutes in collaboration with
the Solomon Islands National Museum to carry out archaeological projects. We do excavation andpilot surveying of the identified archaeological sites.
The National Site Survey records that were compiled by the former Field Archaeologist are stored in
the Museum. To keep the records updated and to know which sites have been surveyed, I have beenentering all National Site Survey data into a computer. We do not have an appropriate cataloguing
database to document and record all the archaeological, historical and cultural heritage sites.

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We conduct rescue assessment at major archaeological sites which are damaged by developers. Major
sites include burials, sacrificial sites, abandoned villages, caves, old village sites, shrines and open
settlements. The developers who usually damage these sites are logging and mining companies.
The assessment team consist of two of us in the Archaeology unit with one staff from the Audio/Visual
unit. The assessment methodologies are based on photography, site mapping, GPS map relocations,
physical descriptions of the site and Google Earth plotting. We are also guided by the legal framework
when we do justification of the archaeological site.
When assisting university researchers and institutes in archaeological fieldwork, I travel with them tothe province to the archaeological site. In 2015, I went with a team from San Diego University making
an archaeological history of Simbo Island, Western Province. We mainly conducted an archaeologicalpilot survey. We surveyed caves and other cultural sites in each of the five villages on the island. We
took samples of shell and charcoal for radiocarbon dating at San Diego University. Some samples ofpottery were also taken to study its chronology. The research method we followed was to revisit sites
recorded by archaeologist Daniel Miller in the 1970s on that island, using that document as a guidefor identifying the sites. The equipment used in this archaeological survey were buckets, screen nets,
pans, trowels, tape measures, scale rulers and GPS. The archaeological sites identified were European
traders’ sites, cave, shrines and a house foundation in the volcano area. In the European traders’ sites
there was evidence of a storage area with a cement foundation, bottles, broken glass and pipes. In
the caves were shell money, other shells for eating, pottery sherds and ngali nut-processing stone. In
the shrines, there were human skull remains found with other shells. In the volcano area, pottery was
found between heaps of stones, along with a house foundation site.
In 2016, I accompanied a research team from the University of Otago, New Zealand, to a marine
conservation area, which consists of islands in Isabel Province. The cultural site is called Sikopo
Island. It was a revisit to that archaeological site previously reported by our archaeological team leader
Professor Richard Walter. The team was looking at early prehistoric settlement and exchange systems
in that province. The research method used was mapping of the sites and test pits at the cultural site.
There were three types of area identified, surface scatters of artefacts, rock shelters and shrines.
In 2017, we went again to that site mainly to conduct an excavation 3 m by 3 m and 90 cm deep. There
was a lot of Trochus shells remains, plus other kinds of shells. The artefact types were bird and fishbone, coral file, pottery and charcoal. It is an indication of the main diet of the people in the past. Someof the artefacts collected were taken to Otago University to be analysed.

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World War II (WWII)World War II was of great historical significance for the country, so all WWII sites and materials areto be protected, preserved, monitored and promoted as state properties. The Monitoring of WWII
materials involves the inspection of export scrap metal containers and WWII souvenirs. Only after
passing inspection are scrap metal permits and WWII souvenir permits issued.
Below are images of survey and excavation work conducted at archaeological sites.
Simbo Island, Western Province, 9–20 June 2015

Figure 7-0. European
traders' site

Figure 7-1. Shrine,with human skull

Figure 7-2. Cave, withpottery and shell

Figure 7-3. House
foundation, volcano
area

Arnavons Marine Conservation Area, Sikopo Island, Isabel Province, 18–22 July 2016

Figure 7-4. Surface
scatter of artefacts

Figure 7-5. Mapping
shrinesFigure 7-6. Test pits inarea of artefacts

Figure 7-7. Rockshelter

Arnavons Marine Conservation Area, Sikopo Island, Isabel Province, 23 Jan –12 Feb 2017

Figure 7-8. Area of excavation

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Figure 7-9. Excavation

Figure 7-10. Trocus shell
middens

Final Reports
by Participants

IV. Final Reports by Participants

Mr Hidaka Shingo (centre) looking at Mashi (bark cloth) from Fiji

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76

Fiji
Nai N. Racaca

TRAINING COURSE ON CULTURAL HERITAGE PROTECTION IN
ASIA-PACIFIC 2017: A STUDY OF MUSEOLOGY

Introduction
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara Office) has been implementing various international cooperation programmes including
the training course for human resource development in cooperation with international organisations
such as UNESCO and ICCROM (International Centre for the Study of the Preservation and
Restoration of Cultural Property). I thank the facilitators of this programme for making this training a
successful one to increase our knowledge in ways that can benefit our country. This report discusses
some of the factors that have enabled Japan to protect its culture and heritage. The factors listed will
not only help in my line of work but also protect the cultural heritage of the Fiji Islands. From all of
the interesting case studies, lectures and practical work, I am truly amazed at the importance of thework done by museums for the safekeeping of cultural objects. My report talks from the point of viewof administration personnel about what this one month of training has provided me. Not only has it
helped me learn about preservation methods relevant to archaeology, and about the conservation andcollection activities of museums, but it has broadened my knowledge of cultural heritage protection
and of ways we can revitalise culture in our county.
Course achievements
1. Better knowledge about museum management
This was one of the most interesting topics during our three-day trip to the Tokyo National Museum.
I believe Japan has implemented a very good management system that has flourished in terms ofcultural heritage conservation and preservation. This point is closely related to my field of workin terms of administration. Some of the points that were discussed are quite interesting and at thesame time challenging especially for a small country like the Fiji Islands. As we all know budget isa foremost factor for the delivery of services. As in Japan, there is insufficient budget to effectively
and efficiently operate the Fiji Museum with its mission of protecting culture and heritage. In addition
to the government grant, the Museum must find ways to generate revenue to accomplish its goals.
Some of the ways noted through lectures and observations are firstly to improve the exhibitions. It isquite true that exhibitions need to have a theme, especially at times when Fiji celebrates holidays that77

can coincide with themes. Looking at the special exhibition one can truly appreciate the amount ofplanning and teamwork that the Tokyo National Museum staff had to provide. To compare my beloved
country with this, one can say that we need to adopt the practice of having a planning committee
which plans an exhibition until it is implemented. The exhibits have to attract visitors. Planning thedisplay cases, the lighting and also the arrangement of objects and cases must be carried out in theplanning committee. A well displayed exhibition will attract more visitors, but it must make clear how
the objects will be safe and protected. I noted that in every gallery there are signs with clearly visible
instructions for the do’s and don’ts in the museum (Figure 1a). Provision of seats is also made in thegalleries so visitors can rest before continuing the gallery tour (Figure 1b). Secondly, the museum
should be a place for education. Programmes for children are held during holiday breaks and this is
the time children should avail themselves of the opportunity to participate in cultural programmes, torevitalise the culture and traditions starting with the younger generation.
As we are coming near the end of the year, when parents and teachers take their breaks, I believe thisis a time the Museum should organise some seminars or workshops for teachers where the Headsof all of the Departments take time to explain in detail the work they do in the Museum, and theimportance of that work. An initiative implemented at the Tokyo National Museum is the involvementof volunteers in the Museum. Volunteer work should include guiding visitors and holding gallery talks
when required.
Another feat achieved by the Tokyo National Museum that will help our Museum is increasing
the number of visitors. Some very good points came out of the discussions, the first of which is tointroduce a target. There should be an aim or target that the Museum must attain by the end of theyear. I believe the Fiji Museum should start introducing this and the only way to make this possible
is by some of the factors listed as follows. The first is to extend the opening hours from the normal
9:30 am to 4:30 pm to 9:30 am till 6:00 pm, especially on Fridays and weekends. This will enable
working people to enjoy the exhibits with their families after their working hours. While going throughthe galleries, I also noticed free Wi-Fi connection signs and people who visited also had time to sit
and check their email whenever they were in the galleries. This will enable visitors to enjoy exhibits
and at the same time stay connected with work or loved ones. One of the most extraordinary things
I saw in the exhibitions was the variety of languages used so that foreigners entering the gallery will
also be able to understand the information regarding the objects. The Fiji Museum has all of thecaptions in English, and my view is simply that an additional language must be added to the exhibits.
Not everyone can read English, so the suggestion of captions in iTaukei (Fijian language) must also
be introduced. Through a relationship with the Alliance Francaise, French volunteers can also starttranslation of captions from English to French. But an introduction of Fijian language to all exhibition78

captions must be prioritised, as only then will most of my fellow Fijians be able to visit the Fiji
Museum.
Increasing the number of visitors will mean an increase in revenue for the Museum.
2. Enhanced collection system
As we have learned, there are three ways of obtaining collections. These are through purchasing,
donations, and long-term loans. Setting up a committee is vital for the operation of the above.
Committee members should not only include curators or Museum experts but also researchers fromoverseas or institutions that will bring innovative ideas to the group. These members will analyse theobjects carefully (to determine whether the Museum should purchase or receive the donation, if thesize is reasonable for transporting, whether the purchase price is reasonable or not), and interview
the donor and make sure that all detailed information about the donor and the object is obtained.
Such a system is currently lacking in my country, as objects are received by one person only, andno background information regarding the objects is kept. Ideally, all information obtained should be
logged manually in a collection log book, and it must be ensured that data are entered when an object
is bought or donated, or even loaned to the Museum for a number of years. The collections committee
should ensure that a Memorandum of Understanding be signed between the two parties, and thatmeasures are taken to avoid the loss of or losing track of objects. Another way to improve the system
is by having templates. There should be templates for purchasing objects or obtaining them throughloans or donations. Before purchasing, or obtaining through loans or donations, arrangements should
be made six months in advance. This will give ample time for the objects to be brought from storagefor inspection by the committee. Japanese museums have really remarkable storage areas and databasesystems. One could only wish for such a large storage area for storing of all cultural objects (Figure2). When compared to our storage area there is a vast difference in size, and in the materials andarrangement of the objects (Figure 2). Like our storage rooms, artefacts are stored according to object
type. The only problem is that the Fiji Museum does not have a proper storage area for collections.
Photography is an important activity in the museum. With knowledge gained from this training, weare able to take photographs of objects ourselves instead of waiting for the photographer. With proper
control of aspects such as aperture and shutter speed, one is able to take quality photographs.
3. Better and safer conservation techniques
Some of the causes that shorten the life of cultural properties are bad environmental conditions(temperature and humidity), light (visible and non-visible), vibration and shock during transportation,
polluted air, inappropriate handling, excessive intervention, and natural disasters. Environmental
management is essential. We cannot depend on conservation treatment alone for preservation.

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Monitoring the environment of the object is also necessary. We must monitor the temperature andhumidity inside and outside the cases (Figure 3). One of the ways to improve these conditions are
the use of a dehumidifier (removes water) and a humidifier (adds water). Control of relative humidity
can be improved by the use of silica gel. Another important aspect is Integrated Pest Management(IPM) which reduces the use of chemical pesticides. One should be mindful when a pest is foundin the storage or galleries one should not be quick to fumigate, but rather move objects to a safer
environment and perform a general clean up in that area. A third point is Transport Management
Control, for avoiding damage to collections through transportation (vibration) and also by poor humanhandling of objects. One of the major problems that our museum is facing is the lack of equipment or
machinery to successfully implement what I have learned. There is a lack of materials that are needed
for conservation work. There is also a lack of knowledge in that particular field. Because of such lacks,
our conservators have simply carried on the work of previous curators and used past experience formaintaining the conservation department. So not only is there a lack of equipment or machinery but
also a lack of proper training for the staff.
In conclusion, this training has not only increased my knowledge of the work related to my own fieldof expertise, but it has also shown the importance of preserving one’s culture and heritage. I believe
my fellow colleague from Fiji will elaborate on the archaeology system in Fiji and its comparison withJapan. With all I have learned, I will take steps to implement these processes all for one purpose – toprotect and restore culture and heritage.

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Figure 1a Gallery signs

Figure 1b Provision of seats

Figure 2 Neat arrangement of artefacts in the gallery and object location in the storeroom.

Figure 3 Devices used to accurately control temperature and humidity

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Fiji
Nikolau Tokainavatu

Improving the Quality of Cultural Properties in Fiji:
Evaluation of the Conservation and Restoration of Cultural Properties in the Fiji Museum

Acronyms
ACCU Nara: Cultural Heritage Cooperation Office, Asia-Pacific Cultural Centre for UNESCONNRICP: Nara National Research Institute for Cultural Properties
TNRICP: Tokyo National Research Institute for Cultural Properties
NCARC: Nara City Archaeological Research Centre
FM: Fiji Museum
ICCROM: International Centre for the Study of the Preservation and Restoration of Cultural Property
UNESCO: United Nation Educational, Scientific and Cultural Organization
TNM: Tokyo National Museum
Executive Summary
Ever since the year 1999, ACCU Nara has been conducting cooperative programmes for promoting
cultural heritage protection in the Asia-Pacific region in collaboration with international agencies suchas ICCROM, UNESCO, etc. In doing so, this year’s theme is the study of Museology, commencing on
the 10th of October and continuing until the 3rd of November. Fortunate Pacific island countries such as
Papua New Guinea, Solomon and the Fiji Islands presented delegations from their respective national
museums and cultural centres to attend the training.
Introduction
This report highlights the collective knowledge and skills that were attained during the training
sponsored by ACCU Nara, Japan. The programme entails a wide range of procedures involved in thepreservation of cultural properties, both tangible and intangible.
ACCU Nara has become the leading centre for the Asia-Pacific region engaged in the promotion ofcultural heritage protection since 1999, with the cooperation of the Agency for Cultural Affairs, Japan,
and the Nara prefectural and municipal governments. Understanding the core deficiencies of cultural
heritage management in the Asia-Pacific region, ACCU Nara established such a programme to elevatethe standards of safeguarding cultural heritage properties.

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Generally, not only developing nations such as those from the Pacific region face such issues, but
in fact, poor management seems to be present in both developed and developing countries, and thisis truly brought about by a variety of reasons. For instance, in the case of Fiji Museum, archaic
legislation, lack of capacity building, little nationwide advocacy, limited space for storage andinsufficient monetary assistance are typical reasons behind the poor management of cultural properties
in Fiji.
Criteria
Table 1 Comparison of Museums Visited During the Training
MuseumConservation Methods
Documentation
Kyoto National- Control temperature and - AudiovisualMuseumhumidity in the rooms- Digitized- Storage room placed- Printed
underground- No food or drinks allowedon the premises
Kawai Kanjiro’s - Use of a kiln (kamado)- Mainly printed
House
articles- Digitized

Tenri University
Sankokan
Museum- Fumigation room
- Use of pencil in galleries- No flash when using
cameras- Audiovisual- Digitized- Printed

National Museum - Fumigation chamber- Digitizedof Ethnology- Carbon dioxide treatment - Audiovisual- Heating and freezing- Printed
chamber- Freezer
Lake Biwa
MuseumTokyo National
Museum- Folklore storeroom- Digitized- Double wall (prevents- Audiovisual
outside air from entering - Printed
the storeroom)- O2 gas tank room (in caseof fire breakout)- Double door on storeroom - Collection- Use of adhesive mats
database- Objects are insured- Proto-database- Application of high techsoftwaremachines such as CT- Paper-based
scanner and X-ray
database- Hand-made book covers
and painting fixing

Exhibitions- Special and permanent exhibits- Use of German glass in the cases- Artefacts arranged from oldest to
recent- Multilingual- Most objects are displayed in theopen- Only a few are stored in glass
cases- Displayed items normallyaccompanied by singulardescriptions and not all arethoroughly explained- Folk artefacts from around theglobe- Permanent exhibition feature
exhibitions- Original objects- Wide range of cultural artefact
collections from around theworld- Open air display- Hands-on objects- Handicapped corner- Theme based on humaninteraction with Lake Biwa
- 512,036 registered objects- Discovery room
- Outdoor exhibition- Aquarium- Divided into two categories:i) Regular exhibitionii) Special exhibitions- Multilingual explanations on thedisplays83

Table I presents the different ways the listed museums conduct conservation, documentation, andexhibitions. A few techniques used in these museums are also followed at our National Museum, suchas having a controlled environment in various display rooms, open air displays, exhibiting original
objects, having printed and digitalized documentation, a folklore storeroom, etc., but further effort isneeded to broaden our scope and aim to carry out our mission at all levels.
The Kyoto National Museum, Tokyo National Museum, Lake Biwa Museum, National Museum of
Ethnology, and Tenri University Sankokan Museum are all good examples of how major museums
should be in terms of conservation, documentation, and exhibition. Despite the fact that they receive
enormous budgets from sponsors such as the central government, these museums make extra efforts
in raising and generating funds to accommodate the restoration of the massive numbers of culturalproperties they have registered and stored. Additionally, community members and local school students
are engaged in the restoration and repair of artefacts, thus promoting widespread knowledge about therole these museums are playing, through a hands-on approach to traditional know-how supported bymodern methods and techniques for protecting cultural properties and heritage sites.
Evaluation Assessment

Figure 1. The cycle of mutual relationship between the three main elements of conservation,
documentation, and exhibition

After weeks of lectures and site visits to various research institutions such as NNRICP, TNRICP, andNCARC, it is extremely clear that if one of the elements depicted in Figure 1 is absent, then the entire
process and vision towards the protection of cultural properties may quite possibly not be achieved.
Mr Ikeda from NCARC states that “only photography alone is not sufficient for documenting an
object, therefore we employ two other ways for making a clear description, namely, scale drawing
and ink rubbing.” NNRICP conservation officer Mr Wakiya articulates that “if deterioration factors

84

of cultural properties are well dealt with, then this could give high chances of objects living longer
than expected.” Mr. Ishimura from TNRICP suggested “it’s vital to exhibit Living Human Treasures
as this is one of the intimate manners the public could become motivated and obtain knowledge, when
individuals are performing pieces of art and culture, such as a gagaku performance.”
Conclusion and Recommendation
To achieve optimal results, it is recommended that a detailed evaluation and adaptive management
process, incorporating review of the Fiji Museum’s pertinent legislation, is addressed as soon as
possible so that efforts proposed by staff members are taken into serious account. Capacity building
and flexibility are required to ensure that plans are developed at a pace which suits communities anddevelopers to help realize valuable secondary outcomes such as heritage protection.
Government, and related agencies such as cultural centres, tourism industries, community members
and local schools, should be consulted at all levels about the work and significant roles of all
departments at the Museum so that endorsement and awareness are included in their upcoming andfuture projects, to help augment the Fiji Museum’s budget.
Appendix

Ink-rubbing activity

Double wall at Lake Biwa Museum

Scale drawing

Kiln at Kawai Kanjiro’s House

National Museum of Ethnology

Oxygen gas chamber

85

Fiji
Sireli Saro

FINAL REPORT
Addressing problems and needs for cultural heritage protection and restoration activities in Fiji’s
National Museum through collaboration with the iTaukei Institute of Language and Culture

1.0 Introduction
The establishment of ACCU Nara Office in 1999 has contributed greatly to the protection of cultural
heritage and cultural properties in the Asia-Pacific region. A study of Museology, a training programmeorganised by the Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for
UNESCO (ACCU Nara Office) from 10 October to 3 November, was conducted in the setting of theunique and well known cultural heritage of Japan, and most of the sites visited are World Heritage
sites such as temples and primeval forest. There were six participants selected from three countries(Fiji, Papua New Guinea and the Solomon Islands) to attend this year’s training on cultural heritage
protection.
The course schedule was strategically planned by the facilitators to support Pacific island museums
and cultural institutions in combating the challenges and needs of cultural heritage protection.
2.0 Summary of the training
At the end of the one month of training, we have learned about the following various subjects inMuseology and the protection of cultural heritage.
2.1 Training facilitators, lecture topics, and lecturers
i. Kyoto National Museum – Management of Museums, Risk Management of Museums, andInternational Strategies for Museums, by Mr. Kurihara Yuji
ii. Nara City Archaeological Research Centre – Documentation and Management of Artefacts, by
Ms. Miyoshi and Mr. Omuraiii. Nara National Research Institute for Cultural Properties – Photography and Data Management,
by Mr. Sugimoto Kazuki and Mr. Nakamura Ichiro, Analysis and Conservation Method ofArtefacts, Mr. Wakiya Soichiro
iv. Tenri University Sankokan Museum – Documentation and Management of Ethnological
Artefacts (Inventory and Storage System), by Mr. Hayasaka Bunkichi

86v. Lake Biwa Museum – Case Study, Museum Themed on Lake Biwa (and its conservation
methods), by Mr. Senoo Yusuke, Mr. Hayashi Ryoma, and Mr. Watanabe Keiichi
vi. National Museum of Ethnology – Conservation and Management of Ethnological Artefacts(treatment and storage environment), by Mr. Hidaka Shingovii. Tokyo National Research Institute for Cultural Properties – Documentation of Intangible
Cultural Heritage, by Mr. Ishimura Tomoviii. Tokyo National Museum – Management of National Museums in Practice (role of the Tokyo
National Museum, collections management, clinical conservation/conservation activities,
digitalization of collections resources), Mr. Takenouchi Katsunori, Mr. Kunigo Hideaki, Mr.
Tsuchiya Yuko, and Mr. Tarashima Satoshi
2.2 Training participants
No. Name of participant
1 Nai Nukumoce Racaca
2 Nikolau Tokainavatu
3 Sireli Saro
4 Jethro Tulupul Stalen
5 Kenneth Pari Miamba
6 Grinta Gay Ale’eke

Country
Fiji
Fiji
Fiji
Papua New Guinea
Papua New Guinea
Solomon Islands

2.3 Variety of strategies used to deliver the sessions
i. Hand-outs of information
ii. Lecture notes/slides by professorsiii. Group discussion – Pacific museum issues and ways forward
iv. Interactive exercises
v. Visual exercises to highlight different interpretations and assumptions
vi. Practical exercises
vii. Field tours – Museums and research centres, etc.
3.0 Pacific island museum issues in cultural heritage protection
3.1 Summary
Each of the participants from the Pacific islands presented on museum issues affecting the protectionof cultural heritage and cultural properties. The four weeks of Museology training has enhanced ourknowledge and skills. Discussions of issues, after presentations and daily lectures/practical work
sessions, between participants and professionals from Japan’s well known museums, archaeologicalcentres, and research and training centres, has enabled us to gauge various ways that can be used toovercome these issues.

873.2 Main issues raised by the participantsi.

Lack of knowledge and skills in the following areas• Documentation of objects• Conservation of cultural artefacts/properties• Management and registration of artefacts• Cataloguing system• Storage of artefacts• Exhibition or display of artefacts

ii. Inadequate space in museums and other cultural institutions for storage purposes or exhibitions
iii. Disaster risk management
iv. Monitoring of collectionsv.

Uncontrolled environmental conditions, for example, broken windows in the artefact storage
rooms

vi. Lack of community awareness about the role of museums in the protection of their cultural
heritage and properties
vii. Lack of funds to support the conservation departmentviii. Lack of human resources
ix. Lack of technical expertise, for example, experts on metal and wood conservation methodsx.

Need for improvement of technical equipment

4.0 Opportunities for improving the management and conservation of national cultural heritagein Fiji (Fiji National Museum and iTaukei Institute of Language and Culture)
4.1 Summary
During the one-month training programme we visited renowned Japanese museums. Participantspresented on the issues currently faced by museums in their home countries and discussions were
undertaken on how some of these issues can be solved using the available resources and experts. The
lectures and discussions conducted by the lecturers with other professionals from the ACCU Nara
Office enlightened participants on the opportunities for improvement and the ways forward for Pacificisland museums.
4.2 Ways forward discussed during the training at the research centres and museums visited
4.2.1 Management of artefacts
A committee should be selected, to be responsible for the selection of artefacts or antiques to be stored
or exhibited in the particular institute or the relevant ministry as a whole. This committee will be
responsible for the following.
• Purchasing and collecting unique cultural artefacts. Members of the committee are to be from88

the institute who will be responsible for the selection of artefacts.
• Carefully plan the concepts of exhibitions or displays within the institution with the use ofavailable resources.
In order to provide substantial opportunities for the appreciation of Fiji’s traditional ethnologicalartefacts, the individual institution makes items available for a range of exhibitions. The Ministryof iTaukei affairs conducts roadshows in various areas over the year, and the institutes can exhibitor showcase these purchased ethnological artefacts. Each institute can organize special cultural
exhibitions for showcasing the ethnological artefacts donated or collected from villages along withthose purchased by the Ministry. These ethnological artefacts represent the everyday life of indigenous
Fijians.
4.2.2 Establishing an iTaukei Ethnological Centre
The Ministry of iTaukei Affairs should establish an iTaukei Ethnological Centre within the Ministrywhereby ethnological artefacts and art collected from the 14 provinces can be displayed in a particularplace. Artefacts exhibited in the centre should represent the daily life of iTaukei society. Purchased
cultural research materials and collections from tertiary institutions of art such as the Oceania Centre
at the University of the South Pacific or the Centre of Arts at Fiji National University, from local
communities, from the highlands and outer islands, will also be displayed in this ethnological centre.
Artefacts exhibited in the centre will be organized according to their traditional uses. Most of thearchaeological facilities we visited have small rooms for exhibition but are well created, organized andmanaged, making them livelier, meaningful and more interesting.
Figure 1 Improving exhibition ofartefacts: Way forward for theInstitute of Language and Culture

iTaukei Institute of Language
and Culture

Nara ArchaeologicalResearch Centre

National Museum of Ethnology

4.2.3 Institute products and marketing
Improvements should be made to the marketing of the institute’s products, especially DVD
documentation and publications.
i.

Publications – In the Language gallery of the National Museum of Ethnology there wasa display of a story book for children (The Little Princess, by Antoine de Saint-Exupery)
published in different languages. This can be a project for the Institute of Language and Culture,89

to publish a story book for children in different dialects used within Fiji as a whole. Such a bookcould be exhibited in the waiting area for the public, and could even be taken on a travelingexhibition conducted by the Ministry around Fiji. The main purpose of this publication would be
to preserve the different languages or dialects of Fiji.
ii.

DVD documentation – This could be the documentation of various
traditional ethnological artefacts and the knowledge needed for theirproduction, knowledge that has been transmitted from generation
to generation. A simple example is a documentation shown by Dr
Ishimura from the Tokyo National Research Institute for Cultural
Properties on the steps in preparing an ethnological artefact used forrice harvesting in Japan in the past. The Institute documented thistraditional knowledge and published a practical guideline for future
use or a revitalisation programme.

4.2.4 Staff education or training

Figure 2 Traditional
ethnological artefacts
documented for the
purpose of future
revitalization

Cultural researchers, data management officers and database operators need to attend training suchas this programme organized by the ACCU Nara Office on the study of Museology. This training
program has enhanced our knowledge of different fields of documentation and management of culturalproperties. It will contribute greatly in achieving the core function of the Ministry and department asknowledge and skills learned during the one month of training will definitely improve the standard ofservice within the Ministry, especially the conservation of ethnological artefacts and the protection ofindigenous cultural heritage, both tangible and intangible.
In-house training in anthropology or museology should be conducted at the Fiji Museum, withparticipation of all cultural stakeholders through attendance in this kind of training. Overseas experts,
such as professionals from the Nara City Archaeological Centre or the Tokyo National ResearchInstitution for Cultural Properties, should be invited to conduct training for our field officers anddata operators. More skilled training on methods of documentation and the management of data will
improve the strategic operation procedures of the Institute, ranging from activities in the field tostorage. Officers need to understand the tools and methods used for documentation, their features andhow documentation can be adjusted to suit the particular environment.
Archaeologists, ethnologists, cultural researchers, database operators and cultural conservationists
require a lot of international training and practical experience as well, for capacity building purposes.
As stated by Mr. Morishita Keisuke, “If you listen you forget, if you see you remember and if you do
it you will understand it.” By attending training and getting practical experience in a highly developed90

country like Japan, officers will surely understand better ways to protect our cultural properties. This
will enhance their knowledge and give them motivation for future improvements in their departmentalorganisations and management work, especially at the Museum.
Example of a training program:
Photography: Field officers need to understand the features of digital/video cameras before use.
Resources available at the Institute can be used to construct a photography stand, but the Ministryneeds to purchase a lighting system for studio photography. It is important to have a software
programme such as Photoshop for editing images, to be installed for the data operators of the Institute
who are responsible for editing images.

Figure 3 Training on photography by Mr. Sugimoto Kazuki

4.2.5 Cultural Stakeholders Commission
A Cultural Stakeholders Commission could be formed, with a membership representative of each typeof cultural stakeholder. This commission should discuss various subjects including the following.
i. Cultural heritage (tangible/intangible) protection issues and other related challenges and needs
ii. Preservation and utilisation of cultural properties
iii. Communicating information about cultural properties
iv. Activities for promoting and raising awareness about the protection of cultural properties
v. Opportunities and ways forward for the cultural stakeholders
4.2.6 Improving management of artefacts and data
To improve the registration system of artefacts, ethnological artefacts collected from the field by
the research officers should be labelled (with information cards), registered (manually and on an
Excel worksheet registry) and stored. Registration of artefacts should be done according to province,
meaning one register book for each province. Scale drawings of artefacts should be made in theInstitute as they render the artefacts more interesting for research by locals and students. Therefore theInstitute needs to purchase equipment required for making scale drawings.

91

The Institute should also improve the storage system for the data collected from the field and thestorage of the artefacts. A storage room should be developed within the Institute for storage of those
artefacts that are not being displayed for the public. Artefacts exhibited in the office should be placed
according to their usage. Available resources in the country should be used to construct a better
exhibition place which is less conducive to artefact degradation.
Another important factor that I have experienced during the practical sessions at the Nara City
Archaeological Research Centre is that the documentation and management officers are passionate
about their work and the way they appreciate the artefacts collected from excavation sites. Therefore,
all cultural officers within our Institution should be similarly aware of the importance of these artefacts,and especially they should understand the importance of conserving and protecting ethnologicalartefacts donated from villages around the 14 provinces of Fiji.
4.2.7 Activities for promoting and raising awareness of the protection traditional knowledge andexpression of culture in Fijii. School holiday cultural programme – The Ministry of iTaukei Affairs can organize activities
and cultural programmes or cultural expos during school holidays, for families to participate incultural activities such as pottery making, weaving, carving, art design, tapa making and artsand crafts for children (hands-on activities). This is a way in which the traditional knowledgeof such activities can be transmitted to the younger generation in Fiji. In these expos, othercultural departments and organisations can be invited to exhibit their work and assist the publicduring the hands-on activities. Teaching ICH (Intangible Cultural Heritage) is meaninglessunless youths are given a chance to learn, know, and perform ICH (i.e., active instead of passiveawareness), accordingly these should be ‘live’ performances that help realise the safeguarding of
ICH.
ii. Charity Ceremony – This should be organized by the Fiji Museum and be open to the public.
The purpose of this ceremony is to promote cultural properties protection and conservation.
Some of Fiji’s cultural properties should be displayed on the premises at the ceremony to makeit more meaningful for the donators and visitors. Celebrities can be invited to attract the public,
for example, sports celebrities, ambassadors, the prime minister, the president, etc. Some of thecharity programmes organized by the Kyoto National Museum are the Charity Tea Ceremony
and the open air theatre. In Fiji, for instance, the charity ceremony could be organized by the Fiji
Museum with the assistance or close collaboration or other cultural stakeholders.
4.2.8 Education: Program of archaeological research
Most of the younger generation nowadays in the Pacific are not aware of or interested in cultural

92

heritage protection because they are not well informed about heritage as the representation of theirculture, identity, tradition and especially their everyday life. I believe that through subjects suchas anthropology, museology, epistemology, and ethnology, the tangible and intangible cultural
heritage can be included in the school curriculum for primary and secondary schools. At the Nara
City Archaeological Research Centre, students from various schools participate in the excavation ofheritage sites, and in the documentation, conservation and management of artefacts. This programshows the younger generation the value of cultural heritage and properties and the importance ofprotecting and conserving them for future generations. Cultural stakeholders, in collaboration with
the Ministry of Education in Fiji, could develop a strategy for educating young people about cultural
heritage protection. With the inclusion of such a cultural heritage subjects in the curriculum, the Fiji
Museum can expect an increase in local visitors (students and parents) who are highly interested incultural heritage and education. Such an increase in the number of visitors would lead to more income
and thus more funds available for the development of the Fiji Museum or other institutions, helping tosolve issues of inadequate space and funds.
5.0 Conclusion
The cultural sector in Fiji is entering a new area where there is renewed interest in traditional
knowledge and cultural expression. Awareness activities and dissemination of relevant information
on opportunities within this important sector have created a stir amongst traditional practitioners,
custodians and the iTaukei community in general. The Pacific is facing climate change and theformation of rescue committees will contribute to the protection of cultural heritage and properties
stored in National Museums and by other cultural stakeholders.
I thank ACCU Nara for the invitation to this most interesting training on the study of Museology, andalso thank the Permanent Secretary of the Ministry of iTaukei Affairs for the privilege of attending on
the Ministry’s behalf, and the Fiji Museum for accepting my application.
The Institute is optimistic that this training will bring about many positive changes in regards to policy
development, implementation and enforcement that will ensure safeguarding of iTaukei cultural
heritage.

93Papua New Guinea
Jethro Tulupul Stalen

Final Report: A Study of Museology – Nara Prefecture, Japan 2017

This training gives many insights into how we can improve in the area of work in cultural heritage
sectors within Papua New Guinea and the Pacific region as a whole. From the beginning of the training
at the Kyoto National Museum, Mr. KURIHARA Yuji clearly pointed out a very important point that“museums are not research institutions,” and therefore the work of museums is very unique in thepreservation of cultural heritage for future generations. Although there is so much to say regarding thetraining, this report will basically outline some of the highlights of the training together with issues
that the Papua New Guinea National Museum and Art Gallery is facing, particularly the Conservation
Department.
This training helps in the capacity building of knowledge about conservation work for culturalproperties in various aspects. One very important notion acquired at the start of the training is thevery influential role of conservators in the work of displaying cultural artefacts. In most cases, thegakugeiin (curators) in the Papua New Guinea National Museum and Art Gallery make decisions on
the collections that will be going out for special exhibitions. However, regardless of the condition of
the objects, conservators are always finding a hard time to keep up with demand regardless of the stateof deterioration of an object/artefact. However, it is through this training that we came to understandthat the conservator should make the final decision on the object regarding whether to display or use areplica instead.
Most museums around the world are not just museums with the regular functions of protecting
and preserving cultural heritage, but they also work collaboratively with each other and there are
overarching organizations that set standards and good ethics in museum work. One such professional
body is the International Council of Museums (ICOM). The Papua New Guinea National Museum
failed dramatically in keeping up with the standard by not affiliating with ICOM. However, there
are regionally established professional organizations that promote collaborative museum work on a
restricted scale. One such organization is the Pacific Islands Museum Association (PIMA). However,the Papua New Guinea National Museum and Art Gallery also failed to affiliate with PIMA, thePacific’s premier museum network. Therefore, it is only through this training that we gained a clear
understanding of how museums can work together collectively in a professional setting in addressing

94

issues and challenges. There is great need for improvement in this regard, for the Papua New Guinea
National Museum and Art Gallery to affiliate with professional bodies such as PIMA and ICOM.
Most museums that are managed directly by the government have a very important role to playin terms of education and marketing. This is due to the fact that normally the subsidy from thegovernment does not meet the expectations of the museums. Therefore, marketing plays a vital rolein boosting income to meet the expected needs. Special exhibitions are a good option for raising extra
funds to help sustain the work of the museum, displaying national treasures and unique cultural objects
for public viewing such as the special exhibition on Unkei, “the Great Master of Buddhist Sculpture,”that attracts tens of thousands of people to visit the Tokyo National Museum in a single day. This also
includes developing products of commercial value such as the souvenirs, sweets, and shopping bags,
etc. Prior to that, promotion of its unique icons for public attractions in the form of mascots, posters,
or pamphlets is important. When the icons are familiar, the commercial products tend to sell out very
quickly; one very unique example is the promotion and familiarization of the deer as a national iconby the Nara National Museum and Todai-ji Temple, or Torarin, the Kyoto National Museum mascot,
based on a painting by the legendary 18th century painter Ogata Korin. It is a great setback for the
Papua New Guinea National Museum to rely heavily on the government subsidy alone in runningits operations. This training is really helpful in broadening the idea of creativity for raising funds tosustain the operations of the Papua New Guinea National Museum and Art Gallery; therefore goodmechanisms for marketing and promotion should be established.
Inclusion and participation are two very important terms frequently encountered during the training.
Most museums in Japan tend to prefer the word inclusion or participation instead of education, as
used by the Papua New Guinea National Museum and Art Gallery. For example, the Lake Biwa
Museum has a child-friendly space where school children can interact, and learn not only from seeing,
but by actually feeling the texture of the fossils from the lake, and also tasting the delicacies fromthe restaurants within the museum. Though the idea of participation or inclusion is risky in termsof a cultural materials conservation perspective, several measures were put in place to prevent thecollections from suffering as a consequence. Another very good example is the National Museum of
Ethnology, where staff members check very carefully all the objects for more than an hour per day.
This is basically to identify risks and possible infestations or deterioration of the objects and act on it
as soon as possible.
The Papua New Guinea National Museum and Art Gallery has a serious setback in the area of inclusive
learning or participation. Though there are educational programs for school students, inclusion or
participation is missing as students are not allowed to interact with the objects. However, this training95

provides the avenue for creativity in inclusion and participation, and therefore students in Papua New
Guinea should have the opportunity to interact with the collections by providing replicas or video andaudio displays for participation and interaction.
The restoration methods learned during this training were very comprehensive. Though there is agreat challenge in restoration work on cultural properties, practice makes perfect. And practice can bedone through observation and learning from the professionals. One such example is the observations
during the case study visit to Kiyomizu-dera Temple and Kawai Kanjiro’s House. At Kiyomizudera Temple, certain conservation ideas concerning permanent structures were grasped. Though therestoration activities are on-going, one notable technique was to leave certain parts of the building withthe unrestored shape, colour, and texture. This gives insight into what has been done in the processof restoration. The visit to Kawai Kanjiro’s House was a firsthand experience in the manufactureof stoneware (Sue). For the purpose of conservation, it is always important to understand an object
from its starting point—how it is manufactured, what process was involved, as well as under whatenvironmental conditions and temperatures, etc., it was made. That knowledge will be very useful forknowing how to handle and restore the item, as well as about its proper storage. The practical lessons
on storage at the Nara City Archaeological Research Centre (NCARC) were very interactive. Though
it will be difficult to restore a broken piece of clay pottery object such as a Sue dish, the learning ofscale drawing is a very helpful and handy skill for making an image of the object and understanding
its dimensions and the measurements. With the help of scale drawing, a good reconstructed object canbe made just from several actual shards of the same piece of pottery. Furthermore, as a way to make arecord of its designs, the ink rubbing method also comes in handy.

Figure1: Kiyomizu-dera Temple

Figure 2: Participatory learning at NCARC

Figure 1 illustrates a unique conservation technique in the restoration of a building by leaving certain
parts unrestored to convey an idea of its former condition. Figure 2 shows one of the techniques usedin measured drawing.

96

Taking photos of cultural property is not the same as ordinary photography. It has to be taken seriously
because it is important due to the fact that it records the image of the cultural property object whichmight disappear later and the photograph then utilized in its place. This training will be really helpful
for conservation and archaeology work as photography helps also in documenting changes that occur
with items of cultural property. Learning how to use the important functions of the camera and thesettings provided really helpful insights for photography. How to set up for the photo and the best
angles that the photographer can utilize is a bonus. For instance, for the use of aperture, though thatfunction exists on most cameras, it is not always utilized in the photographing or documentation ofcollections at the Papua New Guinea National Museum and Art Gallery. This is because nobody reallyhas any idea how to utilize that function of the camera. Thanks to this training, now this knowledge
will be utilized in the documentation of cultural materials for conservation and restoration work.
The visits to storage facilities at different museums in Japan gave us many ideas about how the Papua
New Guinea National Museum and Art Gallery can improve its storage facilities and arrangements,
as well as the environment. One such example is the visit to the Nara City Archaeological ResearchCentre’s storage facilities where they were using earthquake-resistant containers for storage, and haveseveral storage rooms for storing different objects under different environmental conditions to prevent
deterioration of the objects. For instance, pottery is stored in an area with increased humidity andwithout air conditioning. Some storage facilities have wood-based wall surfaces that help in controllingthe humidity and temperature. This was also noticed at the Tenri University Sankokan Museum. These
are some of the very new things learned in the area of conservation of cultural materials. The Papua
New Guinea National Museum and Art Gallery has storage rooms that are continuously faced withissues of space and unstable environmental conditions. This training helped a lot in understanding thestorage environment as well as storage arrangement.
The information on basic chemistry regarding the storage environment and metals was very handy.
As most of the participants come from fields of study other than chemistry, it really helped us tounderstand how we can store our collections properly in various environments as suitable to prevent
deterioration. We also learned that there are other several factors that contribute to the deterioration ofcultural properties apart from temperature and humidity or pests, such as vibration impact or natural
disasters.
The exhibitions and display methods were fascinating, and most of the exhibition displays in all of
the museums visited during the training were unique and eye opening. Even the cultural objects fromthe Pacific were better presented than in our own museums. One such example was on the visit to the
National Museum of Ethnology, where the objects are displayed using very unique stands with proper97

support and hi-tech lighting systems that give visitors greater insights into understanding the meaningof the collections. Even simple techniques such as mirrors that give a three-dimensional view of theobjects from the top as well as the sides and bottom are effective, such as in the exhibition at the Nara
Palace Site Museum. The Papua New Guinea National Museum and Art Gallery has a good number ofobjects on display in its exhibition areas that need improvement in the way they are presented.
To conclude, a lot of new approaches to the work of museums were learned during this training, andregardless of the manpower shortages and funding constraints that the Papua New Guinea National
Museum and Art Gallery is facing, such training provides invaluable knowledge to the participants.
Ideas can be used from the knowledge gained in this training to achieve favourable results. Despite
the many problems that are encountered by the Conservation Department of the Papua New Guinea
National Museum and Art Gallery, this training was really helpful in terms of using whatever resources
are available or everyday materials to do the work. I offer my acknowledgement and sincere gratitude
to the Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO,
together with all the other stakeholders (museums and cultural heritage institutions) who contributed
immensely in imparting invaluable cultural heritage knowledge to the participants from Papua New
Guinea, Solomon Islands, Fiji Islands, and the Pacific as a whole. God bless Japan!

98Papua New Guinea
Kenneth Pari Miamba

EVALUATION REPORT, CULTURAL HERITAGE RESTORATION AND
PROTECTION TRAINING COURSE ADMINISTERED BY THE ASIAPACIFIC CULTURAL CENTRE FOR UNESCO—JAPAN, FOR PACIFICISLAND COUNTRIESACKNOWLEDGEMENT
I would like to thank the various institutions and personnel in Japan for their support in making thistraining a success.
ACCU Nara Staff
I acknowledge the Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for
UNESCO (ACCU) for this training arrangement on specific needs of the participants. The staff of
the ACCU were very courteous, reliable and responsible, making the atmosphere conducive for theparticipants during our stay and training in Japan.
Mr NISIHMURA Yasushi (Director)
Mr NAKAI Isao (Director, Programs Operation Department)
Ms WAKIYA Kayoko (Director, International Cooperation Division)
Ms SUZUKI Sonoko (Staff, International Cooperation Division)
Interpreter
Ms SUDANI Kazuko
The interpreter’s untiring efforts in receiving information in Japanese and decoding to English werehighly appreciated. Through her we were able to learn and absorb the many things we encountered.
Hotel Fujita Nara
I’d like to also thank the management and staff of the Hotel Fujita Nara (Washington Hotel Group) forthe hospitality and service provided during our stay at the hotel.

99

Key Training Partners of ACCU in Japan
I’d also like to thank the following private and government institutions in Japan for the preparation ofcourse materials, and for hosting and conducting training at their institutions. Through their efforts, thelessons were tailored to meet the individual participants’ specific needs.
• Kyoto National Museum• Nara City Archaeological Research Centre• Nara National Research Institute for Cultural Properties• Nara National Museum• National Museum of Ethnology• Lake Biwa Museum• Tenri University Sankokan Museum• Tokyo National Research Institute for Cultural Properties• Tokyo National Museum• National Museum of Nature and Science
OUTCOME OF THE TRAININGCountry report presentations and discussions among participants indicated that our issues and problems
are common. Each Pacific Island country has tried its best to restore and preserve its unique way oflife and cultural properties despite the challenges each is facing. Each participant has now learned withthe others more suitable styles of management, and restoration and preservation methods that can be
adopted and utilized to meet similar situations in their home countries.
The cultural property protection system in Japan is well thought out and structured. This provided
a better understanding about how to establish an effective and prudent cultural protection system
in Papua New Guinea, which is currently lacking. The PNG National Museum and Art Gallery
encompasses the roles of museum, researcher, and regulatory agent for cultural properties, but being
compounded by financial constraints and understaffing, it cannot efficiently implement all of its
functions. What was learned from this course of training on cultural properties protection systems has
provided insights for considering adjustments and changes in the divisions of the institution for better
efficiency in the enforcement of cultural property legislation, and for relevant amendments to legal acts
to enable these changes.
The concept of museum system learned is more reasonable and accessible compared to the centralized
national museums in most Pacific Island countries. Government, private and institutional museums
are all ideal for cultural inclusion and participatory programs. It was also learned that museums100

are not research institutions, but places of information and learning. Hence, they are a means fordisseminating knowledge of cultural practices, and for the restoration and preservation of cultural
heritage. Decentralization of the national museum from a single location to multiple centres acrossthe country, through revitalization of cultural centres (small provincial museums) and encouraging theestablishment of institutional museums, is a challenge that Papua New Guinea as a large Pacific Island
country with diverse cultures should undertake.
In every participating Pacific Island country, inadequate funding for cultural heritage protection has
hindered the relevant institutions in their efforts to fully implement their function of promoting andprotecting the cultural heritage. The ways of management of museums, and the marketing strategies
explained and illustrated in all museums visited during the training were indeed helpful. Seeing
examples of income-generating activities such as the production and sale of museum goods andservices, and the lease or rental of museum amenities to private business firms, has broadened thisparticipant’s knowledge of how to be more self-reliant. Currently untapped facilities such as gift shops,
food kiosks, open air theatres, and barbeque facilities on the PNG National Museum premises will be
examined, in order to apply some of these marketing tips to generate much needed income to support
the museum’s budget.
Disaster risk reduction and preparedness remain issues for a disaster prone Pacific Island country suchas Papua New Guinea. Poorly engineered, substandard museum structures, including unmaintained
defects, plus poor conservation philosophies and a lack of occupational health and safety measures,are some areas that will be addressed after this training. This will safeguard the collections in storage
and the lives of the workers at the museum. Climate change is still a major issue currently affecting
archaeological sites and cultural properties in the open natural environment where they are found.
Relevant knowledge was gained at all training institutions visited. This participant is now vested
with ample knowledge in order to be vigilant in this aspect of the restoration and preservation ofcultural property. Hence, a disaster risk reduction preparedness plan will be formulated to manage
unanticipated impacts from both natural and human-induced disasters affecting cultural heritage sites
and properties in the country.
For decades, the Papua New Guinea National Museum had faced the problem of protecting significant
archaeological sites and cultural properties in the open environment. As a consequence, sites were
impacted by natural disasters, infrastructure development, and economic projects without propersalvage, documentation, and study. The use of Geographic Information System (GIS) in conducting the
research, monitoring and management of archaeological sites and cultural properties is an invaluable
tool. Training in GIS has highlighted how sites can be monitored and managed without physical101

presence and is cost effective. GIS is considered an ideal tool to enforce cultural heritage legislation
and acts in the country. Hence, procurement of GIS programs and training for the other officers in theparticipant’s country will be considered.
Affiliation with international and regional professional organizations such as ICOM and the creationof a regional museum network are important. This will allow for cooperative participation andexchanges of information to improve the standards of the museum, and benefit the protection ofcultural properties. Examples from ICOM and its affiliates, and the regional network of East Asianand South East Asian museums are models that all Pacific Island country participants learned. Existingorganizations include the Pacific Island Museum Association (PIMA), which is a body that nonmember Melanesian countries (including PNG) can look forward to joining as a member to work
together for the common good of all museums in the Pacific. Affiliation with ICOM by the PNG
National Museum and its specialists is imminent.
The collection management system in the Papua New Guinea National Museum is now no longer an
ongoing issue. Lectures, hands-on practice and participatory observation at archaeological research
centres, museums and other institutions were very successful. It was learned that registrationcommences at an excavated site and is completed at the permanent storage shelves. Hands-on practicein cleaning and drying, measured drawing, reconstruction of fragmented artefacts and ink rubbing
were bonus laboratory skills which added to the participant’s knowledge of documentation andanalysis. These are archaeological methodologies that most archaeologists from the Pacific lack andare not taught in the curriculum at their universities. The Papua New Guinea National Museum will
impart this vital knowledge to University of PNG archaeology students when its students enter an
intensive training program commencing next year. This will prepare and motivate participants as wellas upcoming national archaeologists to conduct independent archaeological research and publication
instead of relying on foreign researchers and academics.
Photographing, image scanning, editing and registration knowledge gained during this training werehighly commendable. This participant learned and understood quickly the photographing techniques oftaking quality photos of cultural properties in any given situation. Scanning, editing and 3-D modellingof images are useful for the purposes of research and dissemination of information to protect culturalproperties. These are also lifelong skills that can be utilized apart from one’s profession. The skills
gained during photographing lessons will be utilized in taking quality photos for the Vernon Collection
Management System (VCMS) that just commenced last year and is ongoing at the PNG National
Museum.

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Insightful knowledge on the planning and staging of exhibitions were also learned and acquired
during the training. Both permanent and special exhibitions can serve the purposes of learning anddissemination of information to ordinary citizens. Flow lines, methods of mounting exhibits, lighting,creation of an appropriate atmosphere to amuse and arouse curiosity in visitors, these are some of thethings newly learned at every museum visited. What was observed and learned are essential knowledge
and skills, unfortunately only few will be used immediately in the participant’s country to improvemethods of exhibitions and cultural inclusion programs.
CONCLUSION
To conclude, I recommend the following institutions in charge of intangible culture in Papua New
Guinea for any future training by ACCU or its affiliates that may be suitable in their field of specialty.
• Institute of Papua New Guinea Studies – an institution responsible for the intangible culture of
Papua New Guinea• Summer Institute of Language (SIL) – a non-government organization (NGO) that studies,
documents, and translates books into the 800 plus languages and encourages people to read in
their own languages

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Solomon Islands
Grinta Gay Ale’eke

TRAINING COURSE FOR RESEARCHERS IN CHARGE OFCULTURAL HERITAGE PROTECTION IN ASIA AND THE PACIFIC,
2017: A STUDY OF MUSEOLOGY (10 October – 3 November 2017)

Introduction
First of all I want to acknowledge and thank the Agency for Cultural Affairs, Japan (Bunkacho),
Asia-Pacific Cultural Centre for UNESCO (ACCU), National Institutes for Cultural Heritage,
Tokyo National Museum, Kyoto National Museum, and Nara National Research Institute for
Research Institute for Cultural Properties, in cooperation with the Japanese National Committee for
the International Council of Museums, for organising this training course in 2017 for the Pacificparticipants from Papua New Guinea, Fiji, and the Solomon Islands on this specific theme of ‘A studyof Museology’.
I am very honoured and privileged as a participant from the Solomon Islands to have joined thistraining course. I have learned so much in this training. It broadens my understanding and gives me awealth of knowledge and a clear picture of how a museum should be managed, and how to protect thecultural heritage in my country.
In this final report, I will include mainly what I have learned in these four weeks of training and how it
can be utilised back in my country.
I will focus on the points of Management of Museums, Archaeological Practice, Photography, andConservation and Management, based on the lectures, practical work sessions and case studies learned.
Management of Museums in JapanThe national government and local governments thoroughly support the work of museums in Japan.
Governments provide the budget and every year museums get funds and grants for their operations.
Back in the Solomon Islands, there is only one National Museum and the funds budgeted every year
are few and cannot support all of the core important functions of the museum compared with Japan.
This lecture helped us to understand the museum system in Japan, and about the management ofmuseums, including risk management and international strategies of museums. There is a huge gap

104between Japan’s museums and the Solomon Islands National Museum. We have only one National
Museum in my country. So from the lectures on museology, the knowledge and skills acquired inthis training will help me to fill in some of the gaps needed to improve the National Museum in the
Solomon Islands.
Documentation and Management of Artefacts (Excavated Archaeological Artefacts)
This work session on documentation and management of artefacts really opened my mind and I
learned many new things in this one week of training. It will really have an impact on my work as afield archaeologist because we were actually learning through hands-on activities what I am supposed
to do back in the museum in my country. I learned there are two important parts to the work, each withsteps to follow when documenting and managing excavated artefacts.
The first part is the preparatory work before conducting research. It involves six important steps
which the researcher must carefully follow. The first step is that researchers or archaeologists
conduct excavations at archaeological sites. Then all of the unearthed artefacts are brought back to
the laboratory for cleaning. When cleaning the artefacts, one must be very careful about the kind of
equipment used. Some artefacts can be washed with water, but for vulnerable items which can beeasily damaged, cleaning must be done with good care and should be without water. The next step is to
do drying on movable shelves. After that is the important step of making entries in the artefact register.
An artefact card is used to register each artefact. It contains the research number, name of its zone at
the site, feature number, name of the stratum and the date of the find, and the registration number inthe upper right corner of the artefact card with a red magic marker. The artefact card is very importantbecause it gives the information about the artefact, and without this information the artefact willlose its value. The last step in this part is writing, when marking of the artefacts. I learned that whenmarking, the writing must be on hidden parts of the artefact and also the writing must be clear, small,and must be divided into two lines. This should be done quickly.
The second part is the research and this is where the most time is spent because it involves carefulobservation of the artefact. There are eight procedures in this research. The first one is classification,and observation/preparation of registers. The second one is bonding, so the artefacts must be classified
according to their shape and type. It is advised that all the sherds must be collected together before
actually doing the bonding. The other steps are observation, measured drawings, ink rubbings,
restoration, photographing, comprehensive analyses of artefacts and features, writing a report, andpreparation for storage and registration of artefacts in the storage register and storage room. The
storage rooms for all artefacts analysed should be large enough to accommodate the artefacts.

105One important thing I also learned concerns the utilization of research results. This is a very interesting
activity because we are telling our fellow citizens the outcome of what we have found in our research.
Also, this is to educate them about the importance of protecting our archaeological sites. This involves
providing the public and school children with knowledge of archaeology and experience in thepractical work of excavation at sites. Also, volunteers who are willing to come forward and learn aboutarchaeology should be involved in these activities. In my country, not many people know about thearchaeology of the Solomon Islands. This is one way that I can utilise this knowledge and skills andapply them in my country.
Photography and Data Management
There are important points learned in the photography lecture and practical session about how to makegood photos of cultural artefacts that will not deteriorate. The first is about the studio setup with apaper backdrop and all the equipment needed for taking the photos. A curved paper is used to get aseamless backdrop and the colour selected must be according to the colour of the artefact. The lightused must be same. The mode used must be neutral when taking photographs of cultural properties.
The three important elements are aperture, shutter speed and ISO and the camera must be set up andadjusted before taking photographs of the artefacts.
The camera settings on the camera must be properly adjusted before shooting photos of artefacts. A
neutral background and light are used to show the artefacts more clearly. All the patterns and designs
on the artefacts should be visible. Accordingly, when taking photographs of cultural properties thesethings must be considered and applied. Also I learned that natural light is not always good for taking
photos of artefacts as it might change the colour of the original artefact.
Also, at the excavation site, a cloudy day is the best time to take a photograph. The purpose ofcultural properties photos as a record is very important, and they must be stored carefully to prevent
deterioration so that this record will not disappear. It is advisable to use a telephoto lens of 70 mm
for artefacts to avoid distortion. I have acquired this knowledge and skills in taking photographs ofartefacts and at excavation sites.
Archaeology with Geographic Information System (GIS)This is one of the important aspects of archaeology that we lack at the Solomon Islands National
Museum and really need. Archaeological GIS is an important tool for management, research,
exhibition and education in archaeology. I have learned that all of the paper documents, photos, andGPS photos that we have stored can be scanned and located using GIS.

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It is a very important tool to use especially when dealing with cultural properties, particularly ininstances of natural disasters, so that we can easily locate the cultural properties.
Museum Exhibitions and Storage Rooms
There were many different museums that we visited during the training. They were the Kyoto National
Museum, Kawai Kanjiro’s House, Kiyomizu-dera Temple, Nijo-jo Castle, National Museum of
Ethnology, Lake Biwa Museum, Tenri University Sankokan Museum, Nara National Museum, Todai-ji
Temple, and the Tokyo National Museum.
The displays of the exhibitions in all of these museums were unique and well organised. There
were also special exhibitions where National Treasures, Important Cultural Properties and Cultural
Properties were displayed. It gave me many ideas when seeing all of these exhibitions about how
we should set up our own exhibition. Also, the storage rooms are well maintained, so that culturalproperties are protected from deterioration and damage by pests.

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Photographs provided by Sireli Saro and Nikolau Tokainavatu

Figure 1.0 (Nara City Archaeological Research Centre)
Learning how to make a measured drawing of pottery from Ms Miho Miyoshi.

Figure 1.1 (Nara City Archaeological Research Centre)
Learning techniques of bonding pottery and making wet
rubbings.

Figure 2.0 (Right: Nara City ArchaeologicalResearch Centre; left: Nara National
Research Institute for Cultural Properties)
Setting up for studio photography.

Figure 3.0 (Nara City ArchaeologicalResearch Centre) Storage room.

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V. Appendix
1. List of Participants
2. List of Lecturers and Interpreter

Appendix

3. Organisers

Group Photo at Tokyo National Museum

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110

1. List of Participants
Republic of Fiji
Nai N. RACACA
Administration Clerk (Collections Assistant)Administration and Finance Department,
Fiji Museum
Thurston Garden, Suva, Fiji
Tel: (+679) 331 5944

Fax: (+679) 3318 909

nancyfilan0@gmail.com

Nikolau TOKAINAVATU
Field Research Officer
Archaeology Department,
Fiji Museum
Thurston Garden, Suva, Fiji
Tel: (+679) 331 944

Fax: (+679) 3305 143

niko.tokainavatu@gmail.com

Sireli SARO
Executive Officer
iTaukei Institute of Language and Culture,
Ministry of iTaukei Affairs
P.O. Box 2100, Government Building(87 Queen Elizabeth Drive, Suva, Fiji)
Tel: (+679) 310 0909
sireli.saro@govnet.gov.fj

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Independent State of Papua New Guinea
Jethro Tulupul STALEN
Principal Conservator
Conservation Department,
Papua New Guinea National Museum and Art Gallery
Independence Drive, Waigani,Port Moresby, Papua New Guinea
Tel: (+675) 325 2405

Fax: (+675) 325 1779

jstalen@museumpng.gov.pg

Kenneth Pari MIAMBA
Site Curator
Prehistory Department,
Papua New Guinea National Museum and Art Gallery
Independence Drive, Waigani,Port Moresby, Papua New Guinea
Tel: (+675) 325 2405
kmiamba@museumpng.gov.pg

Solomon Islands
Grinta Gay ALE’EKE
Field Archaeologist
Archaeology Unit,
Solomon Islands National Museum,
Ministry of Culture and Tourism
P.O.Box 313 Honiara, Solomon Islands
Tel: (+677) 20137

Fax: (+677) 20046

GAle’eke@tourism.gov.sb

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2. List of Lecturers and Interpreter■ Kyoto National Museum
527 Chaya-cho, Higashiyama-ku, Kyoto
605-0931, Japan
KURIHARA Yuji
Deputy Director
kurihara@kyohaku.go.jp■ Nara City Archaeological Research Centre
2-281 Daian-ji Nishi, Nara-shi, Nara
630-8135, Japan
HARADA Kenjiro
Senior Staff
harada-kenjiro@city.nara.lg.jp
MIYOSHI Miho
Assistant Director
miyoshi-miho@city.nara.lg.jp
MORISHITA Keisuke
morishita-keisuke@city.nara.lg.jp■ Nara National Research Institute forCultural Properties
247-1, Saki-cho, Nara-shi, Nara
630-8577, Japan
NAKAMURA Ichiro
Official Research Photographer
Photography Section
Department of Planning & Coordination
i-nakamura@nabunken.go.jp
YAMAGUCHI Hiroshi
Associate Fellow
Archaeological Research Methodology Section
Centre for Archaeological Operations
yamahirog@gmail.com

WAKIYA Soichiro
Senior Researcher
Conservation Sciences Section
Centre for Archaeological Operations
s-wakiya@nabunken.go.jp■ Saidaiji Photo Studio4-28 Saidaiji Honmachi, Nara-shi, Nara
631-0816 Japan
SUGIMOTO Kazuki
Photographer
higeji@nabunken.go.jp■ National Museum of Ethnology
10-1 Senri Expo Park, Suita-shi, Osaka
565-8511, JapanHIDAKA Shingo
Associate Professor
Department of Advanced Human Sciencess-hidaka@idc.minpaku.ac.jp
NISHIZAWA Masaki
ChiefInformation Planning Section
Office of Information and Documentationhyohons@idc.minpaku.ac.jp■ Lake Biwa Museum
1091 Oroshimo, Kusatsu-shi, Shiga
525-0001, Japan.
HAYASHI Ryoma
Research Scientist
Cultural History and Geoscience Research Grouphayashi-ryoma@biwahaku.jp
SENOO Yusuke
Research Scientist
Cultural History and Geoscience Research Groupsenoo-yusuke@biwahaku.jp113

WATANABE Keiichi
Research Scientist
Cultural History and Geoscience Research Groupwatanabe-keiichi@biwahaku.jp

TARASHIMA Satoshi
Supervisor
Informatics Division
Curatorial Planning Department
stara@tnm.jp■ Tenri University Sankokan Museum
250 Morimedo, Tenri-shi, Nara
632-8540, Japan
FUJIWARA Ikuyo
CuratorArchaeology Unit
ikuyo@sta.tenri-u.ac.jp
HAYASAKA Bunkichi
CuratorEthnology Unit
bun74@sta.tenri-u.ac.jp■ Tokyo National Research Institute forCultural Properties
13-43 Ueno Park, Taito-ku, Tokyo,
110-8713, Japan
ISHIMURA Tomo
Head
Audio-Visual Documentation Section
Department of Intangible Cultural Heritage
ishimura09@tobunken.go.jp■ Tokyo National Museum
13-9 Ueno Park, Taito-ku, Tokyo
110-8712 JapanKUNIGO Hideaki
Supervisor
Collections Management Division
Curatorial Research Department
h-kunigo@tnm.jp
TAKENOUCHI Katsunori
Supervisor
General Affairs Division
Administration Department
k-takenouchi@tnm.jp

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TAZAWA Hiroyoshi
Director
Curatorial Research Departmenth-tazawa@tnm.jp
TSUCHIYA Yuko
Senior Manager
Conservation Technology Division
Curatorial Research Department
y-tsuchiya@tnm.jp■ Interpreter
SUDANI Kazuko■ Acknowledgement for cooperation
Nara Archaeology Club

3. Organisers
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara)
757 Horen, Nara-shi, Nara 630-8113, Japan
Tel: (+81) 742 20 5001 Fax: (+81) 742 20 5701
nara@accu.or.jp
http://www.nara.accu.or.jp

NISHIMURA Yasushi
Directornishimura@accu.or.jp
TAMAKI Shigeru
Deputy Director
tamaki@accu.or.jp
NAKAI Isao
Director
Programme Operation Department
nakai@accu.or.jp

NISHIDA Michiko
Staff
Planning & Coordination Divisionnishida@accu.or.jp
SUZUKI Sonoko
Staff
International Cooperation Section
ssuzuki@accu.or.jp

WAKIYA Kayoko
Director
International Cooperation Division
wakiya@accu.or.jp
HORIKAWA Kazuko
Chief
Planning & Coordination Divisionhorikawa@accu.or.jp
SAKIMOTO Keiko
ChiefInternational Cooperation Division
sakimoto@accu.or.jp

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