FINAL Te Hau ki Turanga Economic Viability Study
Prepared by Antoine Coffin and Shirley-Marie Coffin in collaboration with John Coster, Heritage Works Tauranga 23 April 2014
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Contents
Introduction ..............................................................................................................................3 Brief ............................................................................................................................................3 What is an Economic Viability Study..................................................................................... 3 Key components of the proposal ......................................................................................... 4 Potential Target Markets ......................................................................................................... 5 Operating principles ............................................................................................................... 5 Critical Success Factors .......................................................................................................... 5 Sites and themes......................................................................................................................5 Restoration Projects ................................................................................................................. 6 Comparative and competitive national and international examples of cultural centres ......................................................................................................................................8 Te Puia: Whakarewarewa Village and NZ Māori Arts and Crafts Institute ................... 8 Mataatua: Manuka Tutahi ................................................................................................. 9 Tuhoe: Te Uru Taumatua ...................................................................................................10 Raukura: Te Wharewaka o Poneke .................................................................................10 Te Hana Te Ao Marama....................................................................................................11 Pataka and Te Rauparaha Arena...................................................................................12 Tamaki Māori Village .........................................................................................................12 Tjibaou Cultural Centre, New Caledonia ....................................................................... 12 Brambuk Cultural Centre, Australia .................................................................................13 Tjapukai Aboriginal Cultural Park, Australia ................................................................... 14 Polynesian Cultural Centre, Hawaii .................................................................................14 Hibulb Cultural Centre Marysville, Washington, USA..................................................... 15 American Indian Cultural Center & Museum, Oklahoma, USA .................................. 16 Overview of National and international examples....................................................... 16 Gisborne Tourism Analysis .....................................................................................................17 Maori Cultural Tourism .......................................................................................................17 Cruise Ship Market .............................................................................................................18 Nature and Beaches .........................................................................................................19 Summary of Gisborne Tourism Market ............................................................................19 Competitive Market Analysis ...............................................................................................19 Areas for business revenue...................................................................................................19 Capital Costs ..........................................................................................................................21 Comparative operational budgets ................................................................................23 Operational cost areas and ranges ...................................................................................24 Key Financial Risks .................................................................................................................25 Restoration programme....................................................................................................25 Construction .......................................................................................................................25 Operations ..........................................................................................................................25 Conclusion ..............................................................................................................................26 Appendix 1 – Draft Funding Strategy..................................................................................27 Appendix 2 – organisational structures ..............................................................................28 Appendix 3 – staff requirement and budget .................................................................... 31
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Introduction This economic viability study has been prepared by Antoine Coffin and Shirley-Marie Coffin in collaboration with John Coster, Heritage Works as part of an overall feasibility study for returning Te Hau ki Turanga whare currently housed at Te Papa Tongarewa to a number of possible locations in the Gisborne area. This study includes: • • • • • • • •
Identification of key components of the proposals that will have a significant cost; The potential audiences that will be targeted; The operating principles and key success factors (not yet categorically defined); Sites and themes; Examples of a number of cultural centres providing a comparison with size, scale, functions and costs; Analysis of the Gisborne and East Coast tourism market; Key financial risks at restoration, planning, construction and operational stages; and A draft funding strategy.
Brief The Te Hau ki Turanga Centre Proposal 1 sets out the proposal in general terms. The Te Hau ki Turanga Trust (THKT Trust) proposes to build a multi-purpose self-sustaining complex on a key site that will house and feature the whare whakairo, Te Hau ki Turanga. The history and korero from the house will be reflected in the design and function of the complex. It is envisaged that concepts drawn from the whare and Rongowhakaata culture will present ideas and opportunities for socio-cultural development; and economic and environmental sustainability. The brief for an economic viability study includes investigation of 6 options already identified by the THKT Trust and Rongowhakaata as set out in the Te Hau ki Turanga proposal and an opinion on the pros/cons of each (including financial sustainability) and to put forward new options (if considered viable by the consultants). The specific tasks requested are: • •
Development of a funding strategy, impact assessment, and market analysis; Estimate construction and operational costs along with possible income sources of the cultural centre option. Comparisons will be made with existing institutions/other whare (e.g. Te Puia, Mataatua) sufficient to demonstrate whether a cultural centre is a financially viable proposal.
What is an Economic Viability Study Viability studies are crucial during the early development of any project and form a vital component in the business development process. Viability studies enable organizations to assess the viability, cost and benefits of projects before financial 1 Te-Hau-ki-Turanga Centre Proposal. Prepared by Jody Wyllie, Te Hau ki Turanga Trust Project Manager. no date
4 resources are allocated. They also provide independent project assessment and enhance project credibility. Built on the information provided in the overall feasibility study, a business case is used to convince the audience that a particular project should be implemented. It is often a prerequisite for any funding approval. The business case will detail the reasons why a particular project should be prioritized higher than others. It will also sum up the strengths, weaknesses and validity of assumptions as well as assessing the financial and non-financial costs and benefits underlying preferred options. A viability study can help to: • • • •
Define the business requirements that must be met by the selected project and success factors for the project; Detail alternative approaches that will meet business requirements, including comparative cost/benefit and risk analyses; Recommend the best approach for preparing a business case or moving through the implementation process; Analyse project's costs and revenues in an effort to determine whether or not it is logical and possible to complete.
Key components of the proposal As mentioned, the proposal for the cultural centre has been described in general terms. It is understood that a preferred option including site location will be selected by Te Hau ki Turanga Trust as a result of the feasibility study and input of Rongowhakaata governance entities and whanau members. All options have been proposed based on an assumption that a comprehensive restoration project will be conducted before moving or retaining the house at its final destination. There are six possible locations identified in the proposal with other options added as a result of ongoing work on the project. Four configurations are considered, some of which are influenced by the site location. In summary the options are: 1. The retention of Te Hau ki Turanga whare at Te Papa. 2. The establishment of a multi-purpose cultural centre that houses Te Hau ki Turanga; and provides among many other things exhibitions, cultural performances, etc. This could occur at two sites at Te Wai-o-Hiharore and a number of locations at Manutuke. 3. The erection of the whare cocooned in a protective shell at the original site Orakaiapu, Manutuke, Eastern Institute of Technology, or the Tairawhiti Museum 4. An international travelling exhibition. The key components of the proposal are a site, a restoration project, a reconstruction of the whare or cultural centre and its ongoing function.
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Potential Target Markets The consideration of a target market is built on a premise of meeting social, cultural, and/or economic needs. This project seeks to re-vitalise and re-instate social and cultural associations of Rongowhakaata people with their house and its traditions. It also acknowledges economic opportunities and constraints that require consideration of tourism to provide revenue. The priority given to economic imperatives, balancing economic and cultural values, and the packaging of a proposal all influence the target audience i.e ‘Who is this for?’ A Te Hau ki Turanga Centre proposal in the Gisborne district will rely heavily on Rongowhakaata people and the 44,000 local residents in the Gisborne region to visit the centre on a regular basis. 2 People visiting family and friends with an interest in culture and heritage, domestic visitors and international cruise ship market are the obvious and likely target markets.
Operating principles The goal for the proposal is qualified with a number of economic criteria. These are self-sustaining revenue, opportunities for Rongowhakaata and benefits for the wider community. In economic terms this could be interpreted to mean: • • • • •
The Te Hau ki Turanga centre generates self-sustaining revenues; Provides job opportunities for Rongowhakaata people; Provides opportunities to sell ‘Made by Rongowhakaata’ merchandise; Rongowhakaata participates actively in the business community of Gisborne; and There are economic spin-offs for the cultural tourism sector.
Critical Success Factors Some of the key success factors of cultural centres and museums in New Zealand from an economic perspective involve most or all of the following situations: • • • • • •
A large seasonal or constant stream of visitors; A range of experiences, activities, educational/ public programs and merchandise for visitors that meet their needs and expectations; High quality facilities; Accessible location; Excellent customer service; and ‘Community good’ funding from an external source (Local Authority/Government/sponsor).
Sites and themes As already mentioned there are a number of possible sites with various advantages and disadvantages. These are detailed in the full feasibility report. From an economic perspective the identified sites will have a significant influence on the configuration and scale of the centre. Not only will the costs of construction be quite different for each site, but operations will have different resource requirements. 2
Census 2013 43,656 usually resident and 43,938 Census night. Statistics NZ
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The following table illustrates the potential divergence in themes for each site Te Wai o Hiharore
An iconic building with proximity to beach waterfront and heritage walks
Commercial Centre Rongowhakaata part of the City of Gisborne
Te Papa
A beautiful example of traditionally carved meeting house kept warm by descendants of the traditional owners A beautiful example of traditionally carved meeting house kept warm by descendants of the traditional owners Secluded and tapu home of Te Hau ki Turanga of Rongowhakaata Fully carved meeting house and exhibitions including C Company A runanga for special tribal gatherings and decision-making A living art work inspiring future artists
National Museum
International Exhibition Orakaiapu Pā Tairawhiti Museum Manutuke EIT
International Exhibition – the Maori meeting house Whare Rūnanga / whare wānanga Tairawhiti Museum Whare Rūnanga / whare wānanga Living exhibition and school.
Restoration Projects All of the Te Hau ki Turanga options involve a restoration project prior to any relocation, or status quo. This is understood to be a significant undertaking involving at least half of the house being restored and/or re-constructed over a few years. There have been several significant projects of this kind undertaken in the past. Learnings can be gained from these projects in terms of resources required, time frames and key risks. The projects include Te Hau ki Turanga (Dominion Museum 1930s/Te Papa Tongarewa 2003), Ruatepupuke (Chicago Field Museum), Hotunui (Auckland War Memorial Museum) and Mataatua (Te Runanga o Ngati Awa 1996). Te Hau ki Turanga (Dominion Museum 1936/Te Papa 2003) In the 1930s the wharenui was reconstructed, repainted and new tukutuku and carvings added to the house. This work was undertaken by experienced master carvers, weavers and museum staff. The work is understood to have been completed over a few of years. The project involved the harvesting and preparation of kiekie, kakaho and the procurement of native timber. The key challenges of this project was producing work that was of similar style and quality to the originals. Another challenge was producing elements of the house where originals or records did not exist. As part of the establishment of Te Papa Tongarewa, Te Hau ki Turanga was dismantled, packed and carried by Rongowhakaata to its current residence. A new
7 structure of steel and timber framing was built to support the house, complimented by cladding made of harvested and bundled raupo for the walls and toetoe for the roof. The project was undertaken by staff of the Museum of New Zealand Te Papa Tongarewa in consultation with Rongowhakaata. Key challenges for this project were sourcing traditional material, availability of experienced harvesters, space for preparation of materials and a working knowledge of traditional techniques. Ruatepupuke (Chicago Field Museum) This project involved the restoration of a carved meeting house in the Chicago Field Museum. Three descendants of Ruatepupuke worked on planning, logistics, construction, research, restoration and replacement of elements of the house over a two year period. The Maori team was complimented by a range of museum staff and contractors covering the areas of conservation, registration, building construction, engineering, planning and collection management. Key challenges for this project were dealing with museum staff and contractors who had no background or experience in matters Maori. That is, the language, whakapapa, kaitiakitanga, cultural values and practices. The project was challenging due to a number of technical staff from varying disciplines working on the project. Hotunui (Auckland War Memorial Museum) This project involved the reconstruction and conservation of a large meeting house at the Auckland War Memorial Museum. The reconstruction involved the building of support structures and provision of fire protection. The recent conservation work involved the stripping of many layers of paint from the carvings and ongoing repair and conservation of tukutuku panels. The project was undertaken in-situ over many years by a small number of Maori staff and conservators. The project is still ongoing. Key challenges for this project has been the time required to remove layers of paint from the carvings. The corresponding costs of staff and the breakdown in the relationship between the institution and traditional owners of the house. Mataatua (Te Runanga o Ngati Awa) This project involved the repatriation of a large fully carved meeting house to Whakatane. The reconstruction of the house involved the production of new tukutuku, new epa, some new poupou, replacements of rotten and missing elements and the addition of a new ‘Waharoa’. The project took 15 years to complete. The carving work was led by a Tohunga Whakairo, Te Hau Tutua and tukutuku produced by Ngati Awa women. The house is cocooned in a protective shell providing environmental conditions suitable for the longevity of the house. Key challenges for Ngati Awa were the actual costs associated with the restoration work, the size and scale of the undertaking of the project, the lack of professional institutional support (museum) and ongoing operational costs.
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Comparative and competitive national and international examples of cultural centres There are now a number of cultural centres that have been opened in the last five years that compliment a few well established centres, the most well-known of these being Whakarewarewa Village and New Zealand Maori Arts and Crafts Institute (Te Puia).
Te Puia: Whakarewarewa Village and NZ Māori Arts and Crafts Institute For over 45 years, Te Puia have welcomed visitors to their place, to hear their stories, to enjoy their unique culture and to experience first-hand the wonders of Maori arts and crafts. Te Puia is home to the internationally renowned 30m Pohutu geyser, the national carving and weaving schools, and the world famous Whakarewarewa guides. Te Puia is made up of a number of attractions. These are summarised below: The New Zealand Maori Arts and Crafts Institute For 38 years, students from tribes across New Zealand have converged on the New Zealand Maori Arts and Crafts Institute at Te Puia to learn traditional arts and crafts methods. Whakarewarewa Thermal Valley For local Maori, the Whakarewarewa Thermal Valley is more than a natural wonder. According to tribal history, this was the place where the Goddesses of fire, Te Pupu and Te Hoata, emerged from the earth’s core, inhaling and exhaling, creating the geysers, hot springs and mud pools. Tourists can then step into the ancient Whakarewarewa Thermal Valley to experience the amazing geysers, mud pools and boiling waters.
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Kiwi House Tourists can also discover the fascinating traits of New Zealand’s national icon, the Kiwi, and listen to the songs of other birds in their beautiful valley. The Kiwi House opened as a display centre in 1976 and spent fledging years learning and understanding the needs of New Zealand’s national icon. In 1986 Te Puia began receiving injured kiwi, often found in traps or on roadsides. It became a haven and achieved the highest rate of recovery and survival for the injured birds. Guided Tours Te Puia has a long history of famous Maori guides like Guide Maggie Papakura, Guide Rangi and Guide Sophia to name a few, who provided a strong foundation for an ongoing tradition. Many current guides are direct descendants of the guides of old. They tell stories that have been told for many generations and some new ones. Maori Cultural Performances The spirit of Te Puia’s daily Maori cultural performances, is to learn, to enjoy and also to be uplifted. Stories of old soar to life again through song. Poi and stick games reveal how favourite pastimes were, in fact, training for agility and co-ordination. For everything there was a purpose, yet the learning was fun. Te Po - Indigenous Evening Experience Te Po is Te Puia’s evening cultural experience. It is a feast of storytelling, entertainment and Maori Cuisine followed by a visit to the geothermal valley in lights. The banquet combines contemporary cuisine with a traditional hangi. Te Puia is New Zealand’s most successful Maori cultural tourism experience offering a range of activities and experiences targeted at tourists wanting a unique Maori experience. It is located in an active geothermal area and a popular New Zealand tourism destination. Te Puia leverages off a very strong and active marketing campaign for Rotorua. Visitor numbers: 500-600,000 3 Income: $ 14.9m 4 Employees approximately: 50 5
Mataatua: Manuka Tutahi Opened in September 2011, the historic Mataatua Wharenui is the centrepiece of the $4.5 million project – scaled back from the original $9 million plan. The Mataatua meeting house has been around the world. It was built in the 1870s to symbolise the unity and recovery of the Mataatua tribes from the traumas of the land wars and land confiscations of the 1860s. It was dismantled and removed in 1878, when it was taken by the Crown for exhibitions in Australia and Britain before its return to New Zealand for the South Seas Exhibition in Dunedin. It was then given to Otago Museum, where it remained until the mid-1990s, when it was returned to Whakatane ATTTO:2013 New Zealand Arts and Crafts Institute Rotorua Statement of Comprehensive Income for the Year ended 31 March 2013. Page 16 5 ATTTO: 2013 3
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10 as part of Ngati Awa’s Treaty settlement. The house has been in storage since then and its carvings have been restored. Mataatua wharenui is a symbol of Ngati Awa unity and resilience – a place where the iwi can celebrate their history, their present and their future. Designed by a Sydney firm of architects specialising in museums and art galleries, the marae features a dining hall seating 150 and an “interpretation hall” where visitors learn the history of both the wharenui and the Ngati Awa tribe. The separate hall also displays art and Maori artefacts. The complex is also expected to bring significant benefits to the Whakatane community as a medium-to-large conference and events venue. The wharenui can accommodate meetings and conferences of up to 200 people.
Tuhoe: Te Uru Taumatua This brand new complex opened in March 2014 and is the tribal headquarters for Tuhoe. It has a floor area of 1770m2 on a 4 hectare site. The construction cost was $12.3m. The centre includes onsite wastewater treatment plant, photovoltaic system (125kw), onsite storm water management, solar hot water system, full thermo massing, HVAC system, HarVar lighting, commercial café and kitchen, decks and stage, sound library, archives and taonga preservation area. There are 30 office staff, 2 caretakers, 3 café staff, 1 librarian and 2 administration people. It is not known what the annual operational costs are at this stage. Power and water are estimated to have no operational cost. Significant amounts of raw materials were sourced from the Urewera Park including the matai flooring. The building is not air conditioned and is not subject to a significant natural hazard. This building is relevant to Te Hau ki Turanga Study due to being the most recent example of New Zealand tribal cultural centres. It has a floor area comparible with current provisions for a full Te Hau ki Turanga Cultural Centre (1775m2).
Raukura: Te Wharewaka o Poneke Generally known as Te Wharewaka, Te Raukura has exhibition and function areas, a cafe, commercial kitchen and office space. It is designed to host powhiri and cultural performances, and features carvings and interactive history displays. The building highlights the mana of Taranaki Whanui ki Te Upoko o Te Ika on the waterfront which originally was harbour frontage to Te Aro Pa, one of the largest Maori communities in Wellington up until the 1880s. There are three parts to Te Raukura — the Wharewaka (waka house), Whare Tapere (conference/events and entertainment house), and Wharekai (eating house). The elements of the building include whakairo or carvings and modern renditions of traditional design which transform the building symbolically into a ceremonial waka linked to the ancestor Kupe and the voyaging traditions of the Pacific peoples. The statue of Kupe, in front of Te Raukura, shows the legendary Polynesian explorer with
11 his wife, Hine Te Aparangi, and his tohunga, Pekahourangi. The design of the roof is symbolic of the korowai as it drapes down the buildings sides and gives an outer layer of protection. Waka can be launched into the lagoon for ceremonial occasions via the slipways. The building was opened on Waitangi Day 2011. It cost $11.5 million to build and was funded by the Government ($7 million), Wellington City Council ($1 million) and other contributions by Port Nicholson Block Settlement Trust, Wellington Tenths Trust, and the Palmerston North Maori Reserve Trust.
Te Hana Te Ao Marama Te Hana Te Ao Marama Maori Cultural Centre is a Māori themed experience based at Te Hana, on SH1, one hour north of Auckland. Opened in 2010, the village includes a carving and weaving studio, art gallery, a replica 17th Century Maori Village and Model Pa Site with raupo whare, Manuka palisading and nine metre tall pourewa (look-out towers). Open seven days a week, 9am-4pm, the fully catered modern Marae facilities are available for overnight stays and events, as well as regular Maori cultural performances and hourly guided tours. Local people formed the Te Hana Community Development Charitable Trust to build an educational marae and cultural tourist village to boost local pride and the local economy. Funding and resources were provided by local community and volunteer groups, Corrections Department, Creative NZ and Lotteries.
Te Hana Te Ao Marama
Gifts shop
Cultural Experience
Cultural Performance
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Pataka and Te Rauparaha Arena Pataka has five main galleries with over 14 major exhibitions annually. Pataka Museum of Arts and Cultures opened in 1998 and has become the cultural heart of Porirua City. Pataka is dedicated to celebrating our heritage and specialises in showcasing Maori, Pacific Island, New Zealand, Asian and international contemporary art and culture. Pataka has five main galleries with over 14 major exhibitions each year, featuring work from local, national and international artists as well as a range of heritage and social history exhibitions. The Pataka complex also houses the Porirua City Library, Café Kaizen and a traditional Japanese garden, while Te Rauparaha Arena and the Aquatic Centre are located alongside in the same cultural precinct. Pataka also has a range of rooms and facilities for hire. The Te Rauparaha Arena is a multipurpose indoor event centre located in Porirua, Wellington. The main arena has three netball courts and can seat up to 2,000 people for sporting events. The main arena also features acoustic ceiling panels that provide the facility with the ability to host concerts, conferences, functions and dinners. The facility also has a separate one court room, as well as two meeting rooms, a theatre, dance studio and gym. The facility opened in November 2008 and was built for $17.5 million – $6 million of which was raised through grants. Te Rauparaha Arena is managed by Porirua City Council.
Tamaki Māori Village The Tamaki Maori Village concept is a 3.5 hour Maori Culture experience with a buffet hangi dinner set in a re-created pre-European Maori village, 15 minutes south of Rotorua. This experience is considered to be Rotorua and New Zealand’s premier cultural performance and hangi experience. On arrival, guests experience an evening of ceremonial rituals, re-enactments, cultural performances, storytelling and hangi feasting as the hosts relive significant events within their Pre-European history. Following a powhiri, guests are invited into the Pre-European village nestled within a Tawa forest. Tamaki Maori Village receives more than 100,000 people. This experience is particularly interesting as it is located some distance from Rotorua and was established following a large number of well-established culture performance and hangi experiences in Rotorua. The marketing and meeting visitor expectations is considered to be of high quality.
Tjibaou Cultural Centre, New Caledonia The centre features a 390 seat auditorium and an outdoor space for concerts which can accommodate 4,500 people. The Tjibaou Cultural Centre recorded 90,748 admissions in 2007. These admissions included: • 43,579 general admissions
13 • 15,252 educational visitors • 8,759 participants in seminars and conferences • 16,295 spectators at shows, and • 6,863 general admissions received from shows. Tjibaou Cultural Centre employs 90 people. Funding for the annual budget is derived from: • 39% Government • 40% New Caledonia and 3 provinces, and • 21% of its own revenue.
Brambuk Cultural Centre, Australia Built in 1990, the $1 million project was funded by the Victorian State Government and developed over some ten years by a committee of the five Aboriginal communities and other tourism and government bodies. Brambuk’s mission is to document, recover, conserve and present the indigenous culture of the Gariwerd region. ‘Brambuk is about bringing life to the history and culture of the Jardwadjali and Djab Wurrung and aboriginal communities of Southwestern Victoria. Ownership of Brambuk is shared between five Aboriginal communities with historic links to the Gariwerd-Grampians mountain ranges and the surrounding plains. Brambuk is 100% Aboriginal owned and is self-sustainable’. ‘It plays an important role in employment and training of aboriginal people, education of the community, reconciliation, advancement of aboriginal people and tourism in the region, as well as providing a greater understanding of Western Victoria’s unique Aboriginal peoples. It is located in the valley between Baronia Peak and the Wonderland Range, south of Halls Gap in the Grampians National Park - the richest site for Aboriginal art and artefacts in Victoria. Aboriginal people have always known the Grampians as Gariwerd.’ Gariwerd is home to 90% of the Rock Art sites in Victoria, with some dating back 22,000 years. The Grampians National Park is internationally renowned for its abundant wildlife, waterfalls, rugged rock formations, spectacular views and stunning spring wildflower displays. The building itself is 800m2 and shaped in the form of a cockatoo in flight, the totem animal of the Djab Wurrung and the Jardwadjali. Brambuk offers a range of activities including didgeridoo workshops, bushfood tasting at the Bushfood Café, boomerang painting and throwing, and children’s activities. It also is a gateway to the Grampians National Park on behalf of Victoria, and there is a backpacker facility adjoining the cultural centre. The two theatre presentations shown in the Gariwerd Dreaming Theatre are the ‘Gariwerd Creation Story’ and ‘Gariwerd - a Cultural Landscape‘. ‘Gariwerd Creation Story’ depicts the Aboriginal legend of Tchingal the giant emu and Waa the crow and the formation of the Grampians/Gariwerd mountains, while ‘Gariwerd
14 - a Cultural Landscape’ illustrates the geology, flora and fauna, Aboriginal and European history and the various uses of the Grampians. Brambuk also operates two separate tours which showcase the Aboriginal heritage and exceptional environment of the area. Annual visitors: 200,000
Tjapukai Aboriginal Cultural Park, Australia Tjapukai Aboriginal Cultural Park is an indigenous tourist attraction situated on 25 acres of land 15 minutes from Cairns. The complex encompasses a 200 seat restaurant, a retail gallery, five theatres and a museum. Tjapukai Aboriginal Cultural Park is known as Australia’s premier indigenous tourist attraction and is Australia’s most awarded attraction. Tjapukai Aboriginal Cultural Park is also Australia’s largest private employer of indigenous people. Of the approximate 100 people employed at Tjapukai 80% are indigenous. Tjapukai Aboriginal Cultural Park offers day and night tour options. All tours include a showcase of indigenous culture, allowing guests to watch theatrical performances and engage in interactive activities, to learn the traditional customs of the Tjapukai people. Tjapukai by Day During the day tourists view live performances, screen presentations, learn how bush foods were used to create medicinal remedies, learn how to play a didgeridoo, and throw a traditional boomerang and spear. It is a hands on experience where tourists can meet and interact with the Tjapukai people as they demonstrate their ancient skills and knowledge of the natural world. Tjapukai by Night At night tourists can journey into dreamtime legend and discover the magic of Australia’s ancient indigenous culture. They enjoy a cultural evening of entertainment and a full course buffet dinner. Annual visitors: 150,000
Polynesian Cultural Centre, Hawaii The Polynesian Cultural Centre (PCC) is a 42-acre facility on the North Shore of Oahu and is one of the top tourist attractions in Hawaii. Founded in 1963 by the Church of Latter Day Saints, the non-profit centre was created so that the students of nearby Brigham Young University Hawaii could work their way through college by sharing their island heritage with visitors. Many South Pacific nations are represented at the PCC, where recreated villages, exhibits and hands-on activities highlight eight of them: Samoa, Aotearoa (Maori New Zealand), Fiji, Hawaii, Marquesas, Tahiti, Tonga, and Rapa Nui (Easter Island). At the heart of the PCC experience are the island villages, which offer visitors an opportunity to learn about, and participate in, the customs of each island. Visitors are encouraged to take part in a number of authentic activities, representing everything from island games and crafts to food preparation and war training skills.
15 Visitors can also enjoy the Ali’i Luau, all-you-can-eat buffets, Rainbows of Paradise canoe pageant, shops, and the world’s largest evening show – ‘Ha: Breath of Life’ – are all part of PCC attraction’s event filled experience. ‘Ha: Breath of Life’ is performed in a 2,800 seat theatre by over one hundred performers from across the Pacific and includes, drums, dance, all new music and special effects, a fire spewing volcano and a world renowned fire knife performance. The PCC is one of the most well-known and long standing cultural centres in the world. It is located in a well-established and popular tourism destination and attracts large numbers of visitors. Visitor numbers: 661,000 (2011) PBN Research, > 1,000,000 (2013) Wikipedia Income: $30,000,000 per year (1996) Employees approximately: 1,000 (1996)
Hibulb Cultural Centre Marysville, Washington, USA The first nations Tulalip Tribes Hibulb Cultural Centre and Natural History Preserve is a place that honours the ancestors of the Snohomish, Snoqualmie, Skykomish and other tribes and bands signatory to the 1855 Treaty of Point Elliot. The $10 million, 2,100m2 building Hibulb Cultural Centre defines the Tulalip Tribe’s relationships with the land, perpetuating the hunting, fishing and gathering lifestyles of the people that are now known as the Tulalip Tribes. It is also a place where visitors – young and old – can come together and learn the history, values and life-ways of their heritage and culture. The Hibulb Cultural Centre will offer many educational programs making it possible to expand outreach to surround communities. The Hibulb Cultural Centre includes: • • • • • • •
A 370m2 Permanent Exhibit Gallery; A 185m2 Temporary Exhibit Gallery that will showcase arts and culture from the past and present; 2 classrooms with direct access to the natural history preserve; A Library; A rendition of a traditional Long House that will host special events, meetings, and films; A Gift Shop offering traditional and contemporary arts and crafts; and A 17 hectare Natural History Preserve offering natural trails, picnic areas, and observation desks.
Mission and Goals of the Hibulb Cultural Centre 1. Protect, perpetuate and honour the traditional cultural values and spiritual beliefs for which our ancestors gave their lives. 2. Share the true history and continue the life-ways of our ancestors, through the eyes and voices of our people, past and present. 3. Reinforce traditional teaching to promote pride and identity in our young people. 4. Keep the memories and teachings of our ancestors alive.
16 5. Acknowledge the traditional, usual and accustomed territories of the Tulalip Tribes to serve as a continuing reminder of the Tribe’s historic connections to the land. 6. Provide all visitors with a uniquely valuable educational experience. 7. Share the journey of our ancestors through permanent and temporary exhibitions and through cultural educational programs and activities such as carving, basketry, weaving, beadwork, poetry and native plant use. 8. Build our intellectual resources through a research library and archives that consolidate and preserve tribal knowledge.
American Indian Cultural Center & Museum, Oklahoma, USA The AICCM project is due to be completed in 2015 and includes an 11,600m2 cultural centre and museum on an 84 hectare site. It will be an interpretive museum and performance facility celebrating the cultural traditions of Oklahoma’s American Indian tribes. This site, donated by Oklahoma City, has a significant volume of passing traffic and is highly visible. In addition to the cultural centre and museum, this project includes supporting commercial development adjacent to the cultural centre. The commercial development would include a 1300m2 conference centre, a 250 room hotel, and an 18,500m2 arts marketplace including a range of galleries, upscale dining and local and national specialty stores. The project is likely to cost more than 40 million dollars. Key Components of the Proposed American Indian Cultural Center & Museum • • • • •
Cultural Centre & Museum Exhibitions Family Discovery Centre Visitor Centre 4 Film & Performance Venues Landscaped Cultural Park & Trail System including a 24 metre high circle of earth spanning 304 metres in diameter.
The project has been bogged down in legal processes for accessing state funding for capital costs.
Overview of National and international examples Successful cultural centres rely on large numbers of annual visitors and/or subsidies from local or central government. Proximity to large tourism destinations and routes is also important but always essential. Complimentary to success is having a wide range of activities and experiences tailored to the needs and expectations of the visitors. In New Zealand Te Puia’s success is based on its location in Rotorua, a wellestablished tourism destination, the active geothermal area and a range of cultural tourism products. Te Puia receives between 400,000 and 600,000 people annually. Gisborne is the fourth lowest tourism destination in New Zealand (by revenue) and is unlikely to attract large visitation sufficient to sustain a cultural centre. It is expected that visitation may be around 25,000 to 40,000 annually subject to the strength of Gisborne marketing and the range and quality of tourism products offered.
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Gisborne Tourism Analysis The Gisborne Regional Tourism Organisation (RTO) which includes both Gisborne and Opotiki Districts is ranked 28th in terms of visitor spend, out of 32 RTO’s in New Zealand. 6 Wanganui, Kawerau, Clutha and Chatham Islands make up the tail. The tourism spend in Gisborne remains static at $73m (but down) since 2009. 7 Gisborne has a small share of New Zealand tourism market at 0.52%. In comparison Bay of Plenty $520m and Rotorua $502m emphasise the small tourism market in Gisborne. Some 2.7 million people visited New Zealand during the year up to January 2014. This was a 12.2% increase on 2013. The origins of these visitors is predominantly Australians, Chinese, Americans, and British. In New Zealand, visitors are quite likely to visit Museums and attend a cultural/arts attraction. However, Maori cultural experiences feature low in visitor attendance. Literature suggests that this is significantly influenced by Australians, Japanese and Americans having very low attendance rates, as well as low return rates, that is, visitors are not likely to participate in more than one Maori cultural experience. It will be a significant challenge to Australian, Chinese and American visitors. The Australians and Americans because they have low participation rates in Maori cultural experiences, and Chinese because of the nature of their travel arrangements on packaged holidays, dominated by group flight and bus packages. Furthermore breaking into the typical Auckland, Rotorua and a South Island destination 5-day vacation is both logistically difficult and a competitive challenge. The Gisborne tourism economy has obvious seasons, the most important being summer months of December/January, and autumn months March/April. The rest of the year remains constant, at a third to half the strength of Dec/January. Gisborne had its strongest international expenditure for November to March comparable with other areas in New Zealand. 8 What this means is, when visitors actually get to Gisborne they are prepared to spend money. The reasons for visits in New Zealand are dominated by holidays, seeing friends or family and work. Gisborne is most likely to follow this convention. There are currently a number of large events in Gisborne, predominantly focused on summer holiday periods, such as Rhythm and Vines, Tairawhiti Regional kapa haka, wine trails and outdoor concerts.
Maori Cultural Tourism The Maori cultural tourism sector in Gisborne is in its infancy and does not yet offer a strong package of experiences seasonally or year round. There are no known regular Maori cultural performances during summer in Gisborne. There are several Ministry of Business, Employment and Innovation. Regional Tourism Estimates (Spend) March 2013 7 $73m visitor spend compared with $80m in 2009 8 Regional Tourism Indicators (RTI), Ministry of Business, Innovation and Employment January 2014 6
18 Maori tours running during summer, however these are operated by one or two people. Rotorua is still regarded as New Zealand’s heart of Maori culture and this is unlikely to change in the foreseeable future. International and domestic visitors to Rotorua are unlikely to also visit a Maori cultural experience in Gisborne. That said, there are Maori cultural experiences in most cities and many towns around New Zealand. A selected list includes: • • • • • • • • • • • •
Cape Reinga Paihia/Waitangi Russell Whangarei Te Hana Auckland Hamilton Tauranga Whakatane Wanganui Wellington Kaikoura.
Cruise Ship Market Gisborne is currently one of nine destinations, most of which are along the eastern coast of New Zealand. Other destinations include Akaroa, Auckland, Tauranga, Bay of Islands, Christchurch, Dunedin, Napier and Wellington. Cruises currently strongly promote the natural landscapes and flora of New Zealand. The attractions of each port or destination are also promoted and will strongly influence visitor expectations. Gisborne is described as an isolated region with a large Maori population, a popular leisure destination, a city of rivers and associated with Captain James Cook. Maori cultural experiences are promoted most strongly through the Tauranga port access to Rotorua as a geothermal wonderland, heart of Maori culture, and New Zealand’s primary tourist attraction. There are also established Maori cultural experiences for the cruise ship market in Auckland, Bay of Islands and Tauranga. Cruise ships will prefer to port at Napier due to the towns architecture, shopping offer and food outlets. Cruise ships anchored in Poverty Bay during good sea and weather conditions transfer tourists on small tender vessels to the port. The current area of the port for disembarking is not suitable for large numbers of visitors. If sea and weather conditions are not favourable, transfers will not be attempted. It is understood that only small numbers of tourists will venture around the waterfront and CBD even in good weather of the January-February season. The cruise ship market in New Zealand has increased in size and visitor numbers. It has the potential to deliver thousands of visitors a year to Gisborne. This will be dependent on good weather, significant investment in the construction of suitable disembarking facilities from ship to land, and a strong marketing presence to promote a range of unique and authentic Maori cultural experiences.
19
Nature and Beaches Landscapes, clean golden sand beaches, flora and fauna are heavily promoted by New Zealand’s international tourism marketing machine. The Gisborne district has well known surf beaches, and like many other East coast destinations clean and golden sand beaches. The wider region has large tracts of forest and bush experiences. As already mentioned the Gisborne district is geographically isolated and poses challenges for attracting visitors away from more accessible and well serviced destinations.
Summary of Gisborne Tourism Market Gisborne is one of the least-visited districts in the country, particularly by international visitors. Australian, American and Chinese international visitors are unlikely to visit a cultural centre in Gisborne in significant numbers. No reliable figures are available to indicate the numbers that do come, but, compared with major tourism centres like Auckland, Rotorua and Wellington, a Maori Cultural Centre in Gisborne could not be expected to attract a significant number of either domestic or international paying visitors. A cultural centre will most likely rely on operating income coming from another source.
Competitive Market Analysis Gisborne does not currently have a marae based cultural tourism experience. In Gisborne there is a well-established Museum, the Tairawhiti Museum which has dedicated spaces for Maori culture, arts and history. A dedicated building and permanent exhibition is almost completed for the C-Company Maori Battalion. For international visitors the well-established and marketed marae experiences are Auckland War Memorial Museum (Hotunui), Te Puia, Tamaki Tours, Te Papa Tongarewa (Te Hau ki Turanga) and more recent experiences like Manuka Tutahi (Mataatua), Mitai and Te Hana. The former three experiences receive large numbers year round and have dedicated programmes and supplementary experiences. For instance the museums of Auckland and Te Papa provide a wide range of culture and arts exhibits, events and activities.
Areas for business revenue The obvious areas for domestic and international visitor revenue can be grouped in the following by size of revenue; retail, travel expenses, accommodation, food and beverages, transport and tourism product. For a Maori cultural experience the key challenge is understanding that ‘admissions’ are important but a relatively small revenue stream. The real revenue is to be gained in retail, food and beverage as well as travel/accommodation packages. This is particularly relevant when considering the relationship between cost and price. For example the unit margins on retail goods, food, beverages compared to cost of establishing and running a facility divided by admissions. A large facility such as a cultural centre may wish to consider leasing or renting office space to generate income.
20 Products such as temporary exhibitions, education programmes, particularly for schools, commissioned art works can also add value to revenue streams. It should be stated that most professionally staffed museums in New Zealand are subsidised by a local authority or government in order to meet their budgetary requirements.
21
Capital Costs The cost of constructing a facility will depend heavily on materials chosen, difficulty of construction, timeframes for building and any compliance costs. For the purposes of this viability report we have chosen to provide an assumption regarding floor area for each option and a low/high figure range for cost. For instance we have estimated that a floor area of some 1775m2 is required for a cultural centre at the railway site. This centre would need to meet the highest of standards due to risk of tsunami, liquefaction and tidal surges, as well as natural elements in a coastal location. It is also assumed to be an iconic building. This would carry a range of $8-$12,000 a square metre. Therefore $14.2 - 21.3 million is the range. Other options will not require the highest specifications due to the lower risk of natural disaster and more favourable building conditions. In these instances a range of $5,000-$10,000 a square metre has been used. Table: Estimated Construction costs (by cost) Location Configuration Railway site Cultural Centre Stream site Cultural Centre Manutuke Cultural centre EIT Whare, carving school, collection facilities, whare paku, furniture store, gallery space Manutuke Whare, carving school, collection facilities Tairawhiti Museum Whare, wharepaku, kitchenette, changing room, admin (10sqm2), furniture store (8sqm) Manutuke Whare Orakaiapu whare Te Papa Whare Manutuke Whare (original pieces only on display)
sqm 1775 1775 1775 905 815 758
Cost (low) Cost (high) 14,200,000 21,300,000 14,200,000 21,300,000 12,425,000 $17,750,000 6,335,000 $9,050,000 5,705,000 5,306,000
$8,150,000 $7,580,000
650 4,550,000 650 4,550,000 210 1,470,0000 210 1,050,000
$6,500,000 $6,500,000 $2,100,000 1,470,000
The railway site and stream site have identical attributes for the construction and have been estimated at a low range of $7,000 a square metre and high range of $12,000 a square metre. The high range is due to design and build taking into account and protecting Te Hau ki Turanga from the tsunami and flood risks. The Manutuke cultural centre has been estimated on a low range of $7,000 a square metre and a high range of $10,000 a square metre. The Manutuke options do not have the high risk natural hazard profile of Te Wai o Hiharore. The Eastern Institute of Technology (EIT) and other options (except the original pieces on display option at Manutuke) are based on low range of $7,000 a square metre and a high range of $10,000 a square metre. The Manutuke whare option involving original pieces on display only has a low range of $5,000 a square metre and a high range of $7,000 a square metre. This is based
22 on lower environmental controls such as air conditioning and relatively simple construction requirements. The estimated space requirements are taken from the following table. Table: Estimated space required for cultural centre No. Space A 1 2 3 4 5 6
Public Facilities Foyer Te Hau ki Turanga Gallery 1 Gallery 2 Gallery 3 Theatre
7
Audiovisual theatrette
8
Carving school
9 10
Shop Kitchen
11
Whare paku
B 12 13 14 15
Collection Facilities Archive store Taonga store Fireproof safe Viewing & Research
C 16
Staff workspace Staff offices
17 18 19 20 21 22
Preparation room Dirty workshop Backstage theatre General storage Staff facilities 15% contingency
Function
Area (sq.m)
Gathering space, orientation and reception Dedicated gallery Permanent exhibition on Rongowhakaata history and culture Changing exhibitions of traditional Rongowhakaata taonga Changing exhibitions of contemporary Rongowhakaata art Waananga / hui / workshop / performance space for up to 100 people Audiovisual presentations, school classes, talks and lectures, seating 30 Publicly-visible workspace for whakairo and other arts (additional to temporary offsite Te Hau ki Turanga restoration workspace) Retail and storage - contemporary Rongowhakaata artworks Kitchen with limited facilities, for occasional catering or food preparation High-quality accessible public toilets 71%
80 650 30 20 60
Storage of archives, photographs, tapes, digital media Storage of taonga and artworks Storage of unique documents Secure access and workspace for visitors to archives and taonga 5%
20 40 5 20 85
Communal office space for Manager, Curator, Archivist, Programmes officer Exhibition development and preparation, staff workspace Carpentry and construction, generating dirt and dust Green room, storage, assembly, toilets Furniture, equipment and materials storage Staff kitchen, toilets, lockers Access and services
200 35 80 40 20 50 1265
30 30 15 60 40 20 230 24% 425 Total 1775
Land will need to be arranged for most of the options. The railway part of Te Wai o Hiharore option and the Tairawhiti Museum option will require purchase of land. The following table sets out the likely costs for acquiring land for the centre. In some cases where a property is much larger than the museum requirements, the balance of land can be sold, leased or used for other purposes. This would be the case for the railway site. Table: Land costs Option Railway land
Purchase of property Moving Vintage railway
Cost >$1m
23 Streamside land
Owned by Rongowhakaata
none
Manutuke
Marae reserve
none
Orakaiapu
Mormon Church lease or gift
nil
Orakaiapu Pa
Purchased or long-term lease
tbc
Tairawhiti Museum
Property required Sale of existing house No land required
800,000
Travelling exhibition
No land required
Nil
EIT
Leased
Tbc
Te Papa
Nil
Comparative operational budgets Several cultural centres, museums and art galleries have been reviewed to gain a comparison of operational budgets based on full time equivalents (FTEs). A range of sources have also been consulted to identify specific role remuneration ranges. Where possible professionals have been consulted regarding real costs of roles. Staff costs as a rule of thumb are the largest operational consideration and can provide an indication of total budget. A review of comparative operational budgets for museums and galleries would suggest a range of $1.2-1.9m for 10-13 FTEs. A reasonable approach would be to use a median of $1.5m for 12 staff. The Tauranga Art Gallery operational budget was $1.2m, with 9.83 FTE (2013), Southland Museum is $1.2m, with 13.1 FTE, Whanganui Museum, $1.0m, with 12 FTE, Pataka, and Porirua is running a $1.7m, with 13 FTE. With regards to cultural centres the range of operational costs is variable and dependent on the function of the facility and the costs of maintaining that function. The Mataatua whare currently runs at a loss with costs of $250,000 to operate 9, and Te Puia makes a small surplus and costs $15.3m 10 to operate. For Te Puia the largest costs were staff $4.9m, about a third of costs, depreciation $1.4m, thermal reserve $1.3m and retail shop $1.3m. Several small Museums operational budgets and annual report show great variation in not only the recording of income and expenses (cost centres) but also the amount accounted for in each cost centre. Most museum and public art galleries in New Zealand rely on a subsidy or grant from a local or central government source to address deficits. Pouroto Ngaropo, Ngati Awa. 2013 New Zealand Maori Arts and Crafts Institute Statement of Comprehensive Income for the year ended 31 March 2013. Page 16 9
10
24
Operational cost areas and ranges The tables below provides an initial estimate of the operational costs and revenues for the centre. Cost Centre
Expenses
Income
Surplus (-Deficit)
Manutuke Cultural Centre
595,410
297,000
(-$298,410)
Manutuke (whare/carving school))
208,500
55,800
(-$152,700)
Te Papa
146,000
0
(-$146,000)
Tairawhiti Museum
139,810
0
(-$139,810)
Te Wai o Hiharore (railway)
806,180
693,000
(-$113,180)
EIT
83,500
0
(-$83,500)
Manutuke Minimalist
74,000
0
(-$74,000)
Travelling Exhibition The travelling exhibition option has a different revenue and cost structure to the other options. Based on an exhibition travelling to Europe or USA, the house would need to be dismantled and packed in purpose built crates. A support structure would need to be constructed and have the ability to be transported (probably in parts). An exhibition for this exercise is based on a 3-6 month exhibition that provides for transport, unpacking, construction, training of local staff, monitoring and care, dismantling, packing, storage and transport. It is expected that a National Museum (Te Papa Tongarewa) would need to be the sponsor of the project and insurance Cost Centre EXPENSES Wages and Salaries Casuals Marketing and promotions Administration and general Equipment hire Security Building Insurance THKT Conservation Travel / Transport Total INCOME
Travelling Exhibition 288,500 0 80000 40,000 25,000 10,000 50,000 255,000 748,500
25 Fee Total (Deficit)
350,000 350000 (398,500)
Organisational Structure Options Organisational structures are included in Appendix 2.
Key Financial Risks Restoration programme The key financial risk for the restoration project is the formal relationship between Rongowhakaata Settlement Trust and Te Papa Tongarewa, in particular the detail of the roles and responsibilities for the de-installation, condition reports, packing, storage, transportation, unpacking, installation, restoration and reconstruction. Unclear and unspecified roles and responsibilities regarding the above may cause delays, unanticipated costs and undue stress on relationships. A potentially significant risk for the restoration project is the costs associated with travel, accommodation and catering of Rongowhakaata management and staff during the project in Wellington and probably Gisborne. This cost area needs to be carefully assessed and included in project costs. Another financial risk for a project of this duration is time delay and by implication cost. Time delays can be expected from any of the following circumstances: • • • • • • •
Changes in methodology for conservation works Staff turnover Staff illness Staff vacations Internal Te Papa changes – staff structure, physical spaces in galleries Strategic processes Break-down in relationships.
Construction Any construction project is subject to a range of circumstances that will increase or decrease financial costs. These range from varying weather conditions, availability of materials, skilled workforce on this type of building, changes in construction methodology, changes to design and floor area, and unforeseen compliance costs.
Operations A key risk in operations is attracting qualified, experienced and skilled management and staff to provide reliable professional leadership and technical proficiency in all areas of operation.
26 The accurate forecasting of expected revenues is an essential component of mitigating the risk of budget blow-outs. This is quite a significant risk area for entities that do not have a government or local government funder and under-writer. The long term care and maintenance of both Te Hau Ki Turanga and its surrounding facilities is essential in avoiding deferred maintenance and potential replacement costs.
Conclusion The key components of the proposals that will have a significant cost are land purchase costs (railway or Tairawhiti Museum options, a restoration/reconstruction project regardless of location option, construction of a cultural centre or alternative building and its ongoing operations. The potential audiences that should be targeted are Gisborne district residents, domestic visitors in particular those visiting family and friends, Rongowhakaata people and cruise ship visitors. The Gisborne tourism market is seasonal and Maori cultural tourism is in its infancy there. It is a small and isolated market with geographic and marketing challenges. Current New Zealand trends for tourism are very promising but this is not being experienced in Gisborne. A cultural centre on either the railway or streamside sites at Te Wai o Hiharore have significant capital price tags ($14.2 and $21.3m) and will cost around $650,000 to operate. Revenue is expected to be marginally lower, however staff costs are considered to be modest. A full cultural centre at Manutuke is a significant capital expenditure with operations likely to carry significant deficits. A variety of configurations based around a cocooned house range between $4.5m and $9m at Manutuke, Orakaiapu, Tairawhiti Museum, and EIT. They have similar operational costs between $140,000 and $160,000 but little or no income. All Turanga-based options will require significant operational subsidies. Te Papa Tongarewa requires the least capital and if negotiations around the relationship are successful, the least operational resource requirements. The travelling exhibition is unlikely to have any economic benefit and could pose a risk to Rongowhakaata and associated institutions unless social and cultural outcomes are key priorities. There are several key financial risks during restoration, construction and operational stages identified in this report.
27
Appendix 1 – Draft Funding Strategy Restoration of Te Hau ki Turanga Size Large Medium Small
Source Central Government through Te Papa Tongarewa Ministry for Culture and Heritage Rongowhakaata Maori funding organisations such as Te Maori Manaaki Taonga Trust
Effort 80% 15% 5%
Construction of Cultural Centre Large Medium
Small
Central Government Te Papa Tongarewa Ministry for Culture and Heritage NZ Lottery Grants Board Lotteries Rongowhakaata Iwi Trust/Settlement Trust Tairawhiti Iwi Central Government’s Regional Museums Fund Community and charitable trusts Gisborne District Council Business Private philanthropy
80% 15%
5%
Annual Operational costs for Cultural Centre Large Medium Small
Operational revenue Commercial activity of Turanga Group Holdings Ltd Rongowhakaata Grants Sponsorship Friends of Te Hau ki Turanga State funding agencies such as Creative New Zealand Maori funding organisations such as Te Maori Manaaki Taonga Trust
80% 15% 5%
28
Appendix 2 – organisational structures Travelling Exhibition – (5.9 FTEs)
Te Papa (2.2 new FTEs)
29
Manutuke (2.4 FTEs)
Tairawhiti Museum (1.3 FTEs)
30
Cultural Centre – Te Wai o Hiharore (8.2 FTEs)
Key
Formal relationship
Casual
Casual staff (on call)
FTE
Full time equivalent based on a 40 hour week
Blank boxes
Existing board, staff or function that will be resourced by another party. i.e. will not require further resource from Rongowhakaata.
31
Appendix 3 – staff requirement and budget
32 Table of Positions/Role and likely costs (by low and high range) Positions Retail Reception Education officer Archivist General Manager
Start up range 27,040 32,000 45,796 33,000 100,000
Mid-range 35,000 38,000 67,000 50,000 130,000
High-range 45,000 40,000 73,000 110,000 150,000
Maintenance Project Manager Board Representative (NfP) Curator
55,000 55,000 2,500 45,000
70,000 95,000 5,000 70,000
90,000 140,000 7,500 95,000
Kaitiaki
45,000
70,000
95,000
Guides and Hosts
20,000
40,000
60,000
Conservator Exhibition Technician Project Manager Construction Project Manager Carving Tutor Carving Tutor Administration
55,000 30,000 55,000 70,000
65,000 40,000
75,000 60,000 135,000 140,000
60,000 30 35,000
65,000 75 40000
Source BOP Times salary review Jan 2014 BOP Times salary review 2014 Careers NZ Job database Careers NZ Job database Careers NZ Job database/BOP Times salary review 2014 Careers NZ Job database Careers NZ Job database Institute of Directors Careers NZ Job database / Te Papa Tongarewa Careers NZ Job database / Te Papa Tongarewa Careers NZ Job database - Proguides NZ Tourism Institute NZ Conservators for Cultural Materials Careers NZ Job database Absolute IT and Trade Me Hays 2012 Salary Guide
70,000 Maori Arts and Crafts Institute 120 (an hour) NZ Tutoring Association 55,000 Careers NZ Job database
33 Roles and FTEs for each Option Position
Project Manager
Travelling exhibition FTE
Travelling exhibition cost
0.5
Technical
3
Registrar/Conser vator/Courier Guide/host
1 1.4
Manutuk e whare/ca rving FTE
Manutuke cost
Te Papa FTE
Te Papa cost
Tairawhiti Museum FTE
TM cost
Te Wai o Hiharor e FTE
0.5
120,000 65,000
0.3
19,500
1 1
56,000 0.3
Caretaker
0.3
1,500
0.2 2
1,000
0.3
40,000 1,500
EIT cost
Manutuk e CC FTE
Manutuke CC cost
1.5 0.3
0.7
Programmes/Boo kings Archivist
0.7 0.5
Casuals
Administration
288,500
1
65,000
1
0.5
20,000
1
2.4
127,000
2.2
65,000 60,000
141,000
0.5 0.3
1.3
41,500
8.2
32,500 -
1 1.5 0.3
1,500
140,000
21,000
1
Carving Tutor
0.5
20,000
0.3
Manager
5.9
EIT FTE
47,500
Board Representative Kaitiaki
Total
TWoH cost
60,000 1,500
21,000 0.7
49,000
1
110,000
0.7
46,900
0.5
25,000
1
65,000
49,000 110,000 46,900 25,000
65,000
40,000 482,400
53,500
7.2
357,400
34 Expenses and Income for Te Hau ki Turanga Options
Cost Centre EXPENSES Wages and Salaries Casuals Marketing and promotions Administration and general Electricity Equipment hire Property Maintenance Cleaning Security Building Insurance THKT Conservation Rates Travel / Transport Total INCOME Fee Admissions Retail Food and beverage venue hire (meetings)
Travelling Exhibition
Manutuke (whare/carving school)) Te Papa
Te Wai o Hiharore (railway)
Tairawhiti Museum
EIT
Manutuke CC
Manutuke Minimalist
288,500 0
127,000 0
141,000 0
41,500 8,300
482,400 62,480
53,500 0
357,400 0
42,000 0
80000
10,000
0
10,000
60000
10,000
60000
0
40,000 0 25,000 0 0 10,000 50,000 0 255,000 $748,500
20,000 10,000 3,000 10000 3,000 10,000 7,500 8000 0 0 $208,500
0 0 0 0 0 0 0 0 0 5000 $146,000
10,000 15,000 5,000 20000 5,000 10,000 10,000 5000 10 0 $139,810
40,000 25,000 25,000 40000 20,000 25,000 10,000 8000 3,300 5,000 $806,180
0 0 0 0 0 0 10,000 8,000 0 2,000 $83,500
40,000 25,000 15,000 30,000 20,000 25,000 10,000 8,000 10 5,000 $595,410
7,500 0 5,000 2,000 5,000 7,500 5,000 0 0 $74,000
350,000 0 0 0 0
0 1800 0 0 4,000
0 0 0 0 0
0 0 0 0 0
480000 50,000 75000 4,000
0 0 0 0 0
0 180000 20,000 25000 4,000
0 0 0 0 0
35 venue hire (spaces) Office space rental Student fees (carving school)
Total Surplus/(-Deficit)
$350,000 -$398,500
0 0
0 0
0 0
0 0
32000 2,000
0 0
16000 2,000
0 0
0
50000
0
0
50,000
0
50,000
0
$55,800 -$152,700
-$ 146,000
Te Papa 146,000
Tairawhiti Museum 139,810
(-$146,000)
(-$139,810)
-$ 139,810
$693,000 -$ 113,180
-$83,500
$ 297,000 -$298,410
-$74,000
Summary
Cost Centre EXPENSES INCOME Surplus/(-Deficit)
Manutuke (whare/carving school)) 208,500 55,800 (-$152,700)
Te Wai o Hiharore (railway) 806,180 693,000 (-$113,180)
EIT 83,500 (-$83,500)
Manutuke CC 595,410 297,000 (-$298,410)
Manutuke Minimalist 74,000 (-$74,000)
36
