The Canadian Museum of Civilization uses its theatre company to recount native
peoples' legends, as one way of introducing visitors to the key characters of
native mythologies; the same device could be used to interpret complex matters
such as the west coast "potlatch" ceremonies. Depending on how the "plays" were
structured, they could be tied more or less closely to individual artifacts or
types of these.

When I was visiting the Auckland Museum in April 1995, I saw a Maori group
performing in the large hall of that museum which houses the largest Maori
artifacts. While the performance was interesting, there appeared to be only
limited connection or attempt at interpreting the artifacts in the hall and I
had the impression, rightly or wrongly, that a useful opportunity was at least
in part being missed.

One of the techniques that our own live interpreters employ is to step right
into and become a part of the diorama, as in the case of "Rosie the Rivetter"
interpreting Canadian wartime production in a diorama representing a small part
of a factory floor of the 1940-45 period. It worked extremely well. It would be
interesting to see the same technique used at, say, the Canterbury Museum in
Wellington, NZ (provided that the huge glass panels which protect the dioramas
were removed first!).

A very successful way of interpreting "native" artifacts is done during the
performance at the aboriginal dance theatre at Kuranda in North Queensland,
where the use of fire sticks, the fabrication and playing of a didgeridoo
(pardon the spelling, mates!), etc., are demonstrated as part of the
performance.

Harry Needham
Canadian War Museum