AV Archives Management in the Pacific
Mark Nizette
Senior Manager, Access
National Film and Sound Archive of Australia
Preamble
A number of years ago, the formation of SEAPAVAA flagged the need for AV management training in both Asia and the Pacific. Over the past few years, various Asian countries have benefited from the activities of the association while it has concentrated on building its membership and strengthening its position in the AV community.
In response to requests for assistance from a number of cultural institutions in the Pacific to develop their audio visual preservation and access, the NFSA has secured funds to conduct a "needs analysis" throughout the region to determine the optimum way in which we can assist. Rather than respond to each individual request, it makes sense to plan a strategy that takes into account the collective needs of the region, whilst at the same time has the fineness of resolution to address the needs of each collection.
Although there are more than a dozen countries and scores of collections within the Pacific, four countries were chosen for the needs analysis based upon the size of the collections, previous contact, and the degree to which their collections represented the needs and resources of the region. Due to the logistics of transport, the analysis was conducted in two parts, Papua New Guinea was visited in October, followed in November by visits to Vanuatu, Fiji and Samoa.
What follows is a brief summary of some of the major collections from these countries, reflecting common problems of storage, treatment, training and management throughout the region.
Papua New Guinea
The following institutions were visited:
Observations
The National Library and the IPNGS appear to have the greatest amount of archival AV materials, but there is no clear distinction between these two institutions as to who is responsible for collecting material throughout the country. Both collections have evolved according to the separate functions of the institutions, but now constitute the most valuable AV record of the history, development and culture of the country.
Although there is legislation demanding the legal deposit of AV material it was not entirely clear as to what material should be deposited in what institution.
All of the people I visited were extremely enthusiastic about the prospect of professional training in an area which had been sorely neglected in the past, and all knew full well the value of the historical records they held on film, video and audio recordings.
None of the institutions has developed a viable access mechanism to their AV collections that does not put the original material at risk. Catalogues are difficult to navigate and in all cases the original material must be loaned or viewed. Apart form the editing suite in the IPNGS, the equipment I saw for viewing film, video and audio material was old and in need of maintenance, and put the material at risk just by its playing.
I could identify only one person who had some archival knowledge of AV materials, although of course, there are a number of technicians at the NBC and IPNGS who would be invaluable in developing the necessary technical skills for the cleaning and transfer of material and the maintenance of the equipment.
We have all heard tales of serious deterioration from our collections, and to illustrate the extent of some of the problems I have the following to offer. Two cans from one of the collections were chosen at random for examination, neither could be opened. Both were stuck fast by the unyielding deterioration inside. The second can exhibited an interesting black stalagmite formation on its upper edge. Examination of the can above it revealed three fine stalactites formed from the decayed origins of the film inside. The can had to be destroyed before it would reveal its unfortunate contents, a film deteriorated beyond salvation.
The whole of the storage room and its contents was covered with a fine yellow sticky film found nowhere else throughout the building. I suspect it to be the residual condensate from the deteriorating collection. Films less than 20 years old unsalvageable, and under their present conditions I’d be surprised if much of the collection remained within 5 years.
Vanuatu
Institutions visited inlcuded:
The Vanuatu Cultural Centre (VCC) first made contact with the NFSA through Mr. Jacob Kapere who is the Head of the centre’s Film and Sound Unit. The Director of the VCC, Mr. Ralph Regenvanu has also visited the NFSA to view our facilities and to explore avenues of cooperation. The VCC incorporates a museum, a film and sound unit and plays a vital role in the recording and preservation of cultural heritage and traditions. It also has close department links to the National Library and the National Archives.
The VCC has a large collection of magnetic materials, both video and audio, that date primarily from independence in 1980. There are also some motion picture films and still photographic materials including colour and B/W negatives and prints, and slides. The cultural centre was recently constructed, and its material is stored in relatively good conditions within the Film and Sound unit. Temperatures are maintained at around 20°C, and the RH at around 60%. Although these would be considered to be at the upper acceptable limits, they are the best that can realistically and reliably be maintained, given the resources of the institution and the remoteness of the country.
Both Mr. Regenvanu and Mr, Kepare are well aware of preservation issues and have put measures and controls into practice that are consistent with international conventions, whilst taking into account the practical realities of the location. There is a program to electronically catalogue the collection which is currently underway, there is a system of restricted access to original material, and the VCC is currently developing a program strategy to make access copies of their material. This latter program has been assisted in discussions and technical advice by the NFSA over the past couple of years.
The VCC has recently developed a memorandum of understanding with the Vanuatu Broadcasting and Television Corporation which, amongst other things, invites the VCC to produce and broadcast radio programs from their cultural material, and provides technical and maintenance assistance to the VCC. This is a most valuable association, reflecting the VCC’s commitment to provide easy and safe access to its material. It also means that the VCC does not have to unnecessarily duplicate technical maintenance staff and facilities to service its equipment.
The Vanuatu Broadcasting and Television Corporation
The audio collection is entirely on ¼" magnetic tape, and was largely inherited from the days of British/French administration (the Condominium). It was uncertain just how many hours were in the archive, but I estimate that there are a few thousand hours housed in a non air-conditioned room that leaks profusely when it rains, and during heavy rains, the floor is completely covered in up to 4 inches of water. The ceiling is collapsing because of the incessant water damage. Clearly, the collection is not used for archival purposes, although there was strong agreement that the material was valuable to the nation, and needed urgent attention. Information about the contents is limited to labeling on the side of the boxes, and brief notes within.
The video archive was housed in better conditions in the main building, although the area was not conditioned to reduce temperature and RH beyond the office conditions which are infrequently maintained. The material in the archive is all on Betacam, having been copied to that format for broadcasting. The data relating to the video collection is housed on a computer in a basic listing format, and complemented by information on the cases.
Although there is no archivist at present, such a position is planned in a restructure suggested by the Director of the corporation. It is planned to fill this position with the next 12 months. As mentioned above, there is considerable expertise within the corporation in relation to maintenance of their technical equipment, and the corporation is more than happy to continue the arrangement with the VCC to assist with their equipment.
Fiji
Institutions visited:
Observations
Within the cultural heritage institutions there has been a fair degree of training in the preservation of archival collections (such as books and paper), but none have touched on the preservation of film, video or audio materials. The fundamental issues of storage are generally well understood at a basic level, but the more complex issues relating to collection access and treatment are unknown.
The major AV collection in the country resides in the Ministry of Information, but the Museum and the National Library both fall within the Ministry for Women and Culture. According to the Director of the Fiji Musuem, the split between the two ministries makes cooperation and collaboration more cumbersome; and I understand she’s working towards encouraging all of the cultural institutions to fall within the same ministry.
To date there has been minimal public use of the archival AV collections throughout the country, although it does have more use from researchers. Both the Pacific Community and the USP media centers believe a greater use could be made of the collection at the National Film and Video Unit, but this is restricted due to poor facilities and the lack of expertise in its management. However, with the well resourced facilities at the PC, USP and Fiji TV, along with their willingness for cooperation, fundamental technical expertise and training in Fiji is available and accessible.
Samoa
Institutions visited:
Observations
The very small amounts of heritage materials in Samoa are being looked after well by the National Library, which has received valuable training from Australia in paper materials, although they have very little training in AV materials. There are very few cultural historical audiovisual records in the country, with most residing in the radio and more recently the TV station. Even these records are quite recent, with many being destroyed by cyclones at the beginning of the decade. The small cultural recording program begun in the Department of Youth, Sport and Cultural Affairs holds promise both as a valuable cultural record, and as a viable and effective means of distributing the information.
SUMMARY
This study was undertaken in order to get an overview of the level of AV archive management skills throughout the Pacific region, and to use these observations as a basis for recommending a course of action. The study has derived information from about 20 institutions or individuals who have AV collections of an historical nature. Additional information about other collections and country holdings have been obtained from UNESCO sources, and from discussion with other professionals who have visited such places over the past few years.
All countries from throughout the region have collections of audiovisual material documenting valuable cultural history and traditions. In most cases, these records are unique, and if lost so too will be some aspect of that society. In addition, all countries have been sporadically filmed, videoed or otherwise documented for the past 100 years by colonialists, researchers and visitors, and many of these records are housed in collections in other parts of the world, primarily in Britain, France, the USA and Germany.
Within most of the countries themselves there is a general knowledge of the presence of major collections, but in most cases the collections themselves are not properly documented, making strategic management of access and preservation issues very difficult. Very few institutions have an active collection development or access program, and none have an active preservation program. Storage facilities and conditions are basic and in almost all cases are inadequate to effectively retard the rapid rate of deterioration that must be occurring in these countries where high temperatures and high humidities are normal throughout the year. These observations are supported by a recently completed UNESCO survey of broadcasters from throughout the region who all report that they have culturally valuable recordings that are inadequately stored or cared for, and for which access and funds are severely limited.
From these observations alone it is clear that training in AV archive management is urgently needed for the whole of the region. The urgency becomes clearer when these facts are combined with an examination of cultural norms throughout the region.
In the Pacific region history has been recorded for many hundreds (and in some cases thousands of years) by the remembering and telling of stories. Without the aid of writing but through the learning of storytelling skills, cultural traditions have been preserved literally since time immemorial. However, for the past few decades these histories have been increasingly recorded onto film and latterly onto magnetic materials; with the dual consequences of greater accessibility to and distribution of information, but with the unhappy consequences that the art of storytelling is slowly and surely being lost to the replay ability of machines.
The problem now exists whereby storytelling is becoming a rare and diminishing skill, but the traditions and cultural information are recorded on fragile and rapidly deteriorating media. Both the traditional and the technological records are disappearing at an alarming rate. In many cases the most authoritative and complete accounts of some cultural traditions will soon be reduced to colonial interpretations or administrative records.
FUTURE ACTION
Action will only be effective through the regional cooperation of sponsors, training providers and the institutions themselves. It is necessary to find a vehicle or organization through which planning and coordination efforts can be made. One such organization is the Pacific Islands Museum Association (PIMA) which has an active and increasing membership, and which has taken a leading role in addressing historical collection management issues throughout the region. I believe that SEAPAVAA could work through PIMA to deliver AV management strategies to these Pacific institutions. SEAPAVAA would bring value to the partnership through its expertise in dealing with many of the issues, and PIMA will be invaluable in facilitating the key contacts and administrative details throughout the region.
PIMA is currently developing a strategic planning program which has anticipated the need for AV preservation, and I believe would welcome the opportunity to take the leading role on this issue. Consistent with PIMA directions, one country from the region would be nominated as the centre of excellence in AV archive management, based upon its present levels of expertise, the collection, institutional policies and commitment, and government support. This country would then assist with the coordination of skills development throughout the region, and would be referred to for advice and direction. The sword, as usual is double edged. The institution would attract primary attention with regard to funding and training support, but at the same time would be committed to resourcing some of the training needs, taking resources away from its direct line of business.
Because of the nature of AV material, close connections and consultation with technical facilities are necessary. In this respect, the value of broadcasters and the contribution they can offer regarding technical training, equipment maintenance and as a source of reference for standards must not be overlooked. Additionally of course, many broadcasters have their own AV archives in need of preservation and management attention. Accordingly, it may be strategic to approach the Pacific Islands Broadcasting Association (PIBA) for their support of a training program. Both PIBA and PINA (Pacific Islands News Association) were recently approached as part of a UNESCO survey, and all who responded (9 out of the 12 countries) indicated that they did have collections of magnetic and other sound materials that were of cultural importance, and all of them were in need of preservation and management training.
The cooperation between a regional cultural heritage organization (PIMA), and an association of professional broadcasters (PIBA) would broaden the appeal and value of the program. It would clearly emphasize the crucial link between both professions, drawing upon the strengths of cultural institutions in the collection and interpretation of heritage material, and the strengths of broadcasters in the copying and delivery of the same. Unlike many other areas of cultural preservation, the preservation and management of AV material is directly linked to a complex and highly developed technical industry, and cannot proceed effectively without close liaison and reference to this industry.
The developed strategies, however, cannot be solely based upon commercially viable technological decisions, and must take into account the philosophies and cultural directions of a heritage institution. The result will be sound management, access and preservation decisions based upon the best advice from both quarters giving maximum access to the collections with the minimum need for duplication of resources and the minimum chance of the use of non standard or low standard equipment.
AREAS TO BE ADDRESSED
National Responsibility
Within each of the countries there are varying degrees of responsibility for the management of audiovisual records of historical cultural value. To a large extent this is due to the nature of the material itself, as it does not fall neatly into the accepted collection materials of a museum, archive or a library. However, it is imperative that the national cultural institutions within each country reach an agreement amongst themselves and with the relevant government authorities as to who is responsible for the management, preservation and access of the national cultural records on film, video and audio materials.
Responsibility does not necessarily mean ownership or even control over all collection materials, but it does imply that there is an overseeing role, and a position of responsibility to ensure the various bodies are properly managing their collections according to accepted standards. Additionally, responsibility implies a role which ensures that all relevant audiovisual materials are managed by some authority, and that nothing of value is left to fall through the cracks.
In this respect, it is necessary for national collections of materials currently housed outside the country should be located and identified, and an assessment made as to whether to pursue repatriation of the originals, seek to have copies made, or at the very least, to have a register of pertinent information lodged with the responsible national institution.
Having decided upon a system of national responsibility, it must be fully supported by the rest of the community to ensure effective lobbying for adequate resources. In all countries this is an urgent need. Many collections examined are in advanced stages of deterioration, and in many cases, material is still being kept that is well past the point of restoration.
There is an urgent need for the relevant bodies and ministries within each country to discuss these issues and agree upon a plan of action. There is an urgent need for an organization such as SEAPAVAA to take note of these circumstances and to work with other national bodies such as UNESCO and PIMA to develop a professionalism in AV management that will ensure the preservation of these Pacific cultures.