Te Papa To Berlin
Abstract
Description
[cover](https://repository.museumsiam.org/bitstreams/de0fec81-cccf-432e-9870-7a9b6b267fdc/download)
WHEN, IN 1997, I accepted the German government's invitation to become the chief executive of a planned Jewish museum in Berlin, I had only a hazy idea of what awaited me. I understood that the project was deeply enmeshed in national politics, and for that I came with a certain amount of experience from my days in Washington. I had also just written a book on German-Jewish history. However, I was not fitted for the task of defining a viable concept and actually translating it into the creation of a living museum suitable for viewing by a broad national and international audience. From the beginning, therefore, I was aware of the critical need to find a partner who would help guide the effort, someone with real museum experience and a proven record of accomplishment in the field. Finding the right one would be the key to the success or failure of the entire project.
CONTENTS Foreword by W. Michael Blumenthal 7 Preface 13 Chapter 1: Growing up at the bottom of the world 15 Chapter 2: Waikato and Tainui 21 Chapter 3: Te Papa 31 C hapter 4: The genius of Cliff Whiting 47 Chapter 5: Telling our stories 55 Chapter 6: Opening day 69 Chapter 7: What's the boy from Maungatautari doing here? 73 Chapter 8: Storytelling 87 Chapter 9: Nigel Cox: words and action 97 Chapter 10: A Holocaust museum as magical theatre 101 Chapter 11: Bringing hope 109 Chapter 12: Citizens of Berlin 119 Chapter 13: Daniel Libeskind, architect 133 Chapter 14: Reaching for the unexpected 145 Chapter 15: The era of problems 149 Chapter 16: Making progress 159 Chapter 17: The Gallery of the Missing 173 Chapter 18: Triumph, 9/11 and despair 191 Chapter 19: Time to go 197 Chapter 20: Germany and the East: a personal odyssey 209 Chapter 21: A new view of New Zealand 223 Acknowledgements 233 Quoted materials 238 Index 239
WHEN, IN 1997, I accepted the German government's invitation to become the chief executive of a planned Jewish museum in Berlin, I had only a hazy idea of what awaited me. I understood that the project was deeply enmeshed in national politics, and for that I came with a certain amount of experience from my days in Washington. I had also just written a book on German-Jewish history. However, I was not fitted for the task of defining a viable concept and actually translating it into the creation of a living museum suitable for viewing by a broad national and international audience. From the beginning, therefore, I was aware of the critical need to find a partner who would help guide the effort, someone with real museum experience and a proven record of accomplishment in the field. Finding the right one would be the key to the success or failure of the entire project.
CONTENTS Foreword by W. Michael Blumenthal 7 Preface 13 Chapter 1: Growing up at the bottom of the world 15 Chapter 2: Waikato and Tainui 21 Chapter 3: Te Papa 31 C hapter 4: The genius of Cliff Whiting 47 Chapter 5: Telling our stories 55 Chapter 6: Opening day 69 Chapter 7: What's the boy from Maungatautari doing here? 73 Chapter 8: Storytelling 87 Chapter 9: Nigel Cox: words and action 97 Chapter 10: A Holocaust museum as magical theatre 101 Chapter 11: Bringing hope 109 Chapter 12: Citizens of Berlin 119 Chapter 13: Daniel Libeskind, architect 133 Chapter 14: Reaching for the unexpected 145 Chapter 15: The era of problems 149 Chapter 16: Making progress 159 Chapter 17: The Gallery of the Missing 173 Chapter 18: Triumph, 9/11 and despair 191 Chapter 19: Time to go 197 Chapter 20: Germany and the East: a personal odyssey 209 Chapter 21: A new view of New Zealand 223 Acknowledgements 233 Quoted materials 238 Index 239
Keywords
Museum, history museum