Seven dancers from the Wellington Calendar Girls club are pursuing a case in the Employment Court to clarify their employment status, following a series of events that have raised significant concerns regarding their rights and safety. The women are seeking a declaration that they are employees rather than independent contractors, which would entitle them to greater legal protections under the Employment Relations Act 2000.

The situation escalated in 2023 when the dancers attempted to negotiate collectively for better working conditions after receiving a contract they deemed “manipulative.” Subsequently, nineteen dancers were dismissed via a Facebook post, instructed to clear out their lockers and not return to work.

Legal Proceedings and Non-Publication Orders

In response to their circumstances, the seven women filed for a non-publication order to protect their identities due to fears that exposure could harm their employment, housing opportunities, and personal safety. A ruling from Chief Employment Court Judge Christina Inglis granted this order in May 2023, suppressing their identities to mitigate the stigma associated with their profession.

Judge Inglis emphasized the urgency of the situation, stating, “I accorded urgency to the application given the nature of the alleged breaches and the concerns that had underpinned the making of the orders of non-publication in the first place.” An urgent hearing was scheduled for the week of the application, but it was cancelled after both parties agreed to respect the non-publication orders.

The judge confirmed, “The defendants confirm that they have removed all offending posts,” although no details were provided regarding the specific content of those posts.

Concerns About Safety and Reputations

During the proceedings, the women outlined several concerns regarding the potential repercussions of their identities being made public. They typically use stage names while working, avoiding the use of their real names to protect their privacy. However, their legal case has been presented using their actual names, leading to heightened anxiety about societal judgments and discrimination.

One dancer, who is a member of a church, expressed fear about the potential backlash from her congregation, while others have reported negative impacts on their housing applications. One woman was even dismissed from a government position upon it being disclosed that she had worked in the sex industry.

The women, all young, articulated their worries about how the stigma surrounding their profession could severely damage their reputations and affect their families. They also cited safety concerns regarding interactions with former clients and the public.

In a recent ruling, Judge Inglis issued orders preventing Calendar Girls from disclosing any identifying information about the women involved in the case. This directive applies to “all forms of communication, including oral, written, electronic, and any other medium.”

The substantive case is scheduled for a five-day hearing in February 2026, which will address the broader implications of their employment status and the treatment they have received.

Calendar Girls NZ Ltd operates clubs in various locations, including Christchurch, Auckland, Wellington, and Queenstown, and the outcome of this case could set a significant precedent for workers in the adult entertainment industry across New Zealand.

A heated council meeting in the heart of the community took place on October 24, 2023, as residents voiced their opposition to a proposed ban on private helicopters in residential areas. The motion, which aimed to address growing concerns regarding noise pollution and safety, faced immediate backlash from campaigners who rejected perceptions of being “jealous lefties.”

As tensions escalated, council members were met with impassioned arguments from local residents who expressed their frustration over the potential restrictions. The meeting highlighted a significant divide within the community, with some residents advocating for the ban while others defended their right to use private helicopters.

Community members opposed to the ban argued that private helicopters serve essential functions, such as emergency medical transport and business operations. Many residents emphasized the economic benefits these services bring, particularly to remote areas where access to services can be limited.

During the meeting, one prominent campaigner stated, “We are not against progress; we are against unnecessary restrictions that could hamper our livelihoods.” This sentiment resonated with numerous attendees who rallied behind the campaign for private helicopter access.

The council’s proposal stemmed from a series of complaints regarding the noise generated by helicopters, which some residents described as disruptive. Concerns over potential safety hazards associated with low-flying aircraft in densely populated neighborhoods also played a significant role in the council’s deliberations.

Despite the passionate discourse, council members ultimately decided to table the motion, indicating that further discussions would be necessary to find a balanced solution. This decision left many campaigners relieved but aware that the issue is far from resolved.

One council member remarked, “We need to consider all perspectives before making any decisions that impact our community.” The meeting underscored the complexities of balancing public safety and individual freedoms, particularly in urban settings where growth and development continue to shape the landscape.

As discussions continue, it remains to be seen how the council will navigate the differing viewpoints on the use of private helicopters. Community engagement will be vital in shaping future policies that address both safety and economic considerations in the area.

A recent assessment indicates that more than 15,000 Māori and Moriori cultural heritage items are currently held in museums and universities around the world. Arapata Hakiwai, a prominent figure at Te Papa Tongarewa, the Museum of New Zealand in Wellington, shared these findings, emphasizing the urgent need for awareness and action regarding these cultural treasures.

Hakiwai, who has been with Te Papa since its inception in 1998, recounted the pivotal moment that shaped his career. He was encouraged to join the museum by academic Sir Hirini Moko Mead, who recognized his potential in the field. Hakiwai quickly found himself immersed in the complexities of museum practices, particularly regarding the historical treatment of Māori and Moriori artifacts.

Upon delving into the museum’s holdings, Hakiwai discovered a troubling reality: many items associated with Māori and Moriori ancestors were taken from their communities, often through trade or sale. He noted, “Māori and Moriori ancestors, hundreds, thousands of them were taken… and our museum was implicitly involved in that.” His research has revealed that the number of cultural heritage pieces located in overseas institutions has likely surpassed 16,000, with significant collections found in over 33 museums across the United States and more than 30 in the United Kingdom.

Among these institutions, the Field Museum in Chicago houses one of the largest collections, comprising approximately 2,500 Māori taonga. Hakiwai pointed out that the vast majority of Māori and Moriori individuals are unaware of the extent of these collections or the whereabouts of their cultural heritage. He stated, “Over 95 percent wouldn’t know of that, wouldn’t be aware of the extent of that or where their taonga are, or who have them.”

Hakiwai believes that access to this information should be regarded as a right for Māori and Moriori people, rather than a privilege. He highlighted the uniqueness of certain artifacts, such as Te Rā, housed in the British Museum, which have no equivalents in New Zealand.

The Karanga Aotearoa repatriation programme, which began in 2003, initially focused on the return of human remains. Hakiwai noted significant progress in international cooperation, with many museums now agreeing to return ancestral remains, a notable shift from previous practices. Despite this progress, he expressed concern over ongoing acquisitions by some museums, stating that the tradition of amassing cultural treasures must come to an end.

The impact of the 1984 Te Māori exhibition has been profound, fostering better relationships between Māori and overseas museums. Hakiwai recounted how the Field Museum was the last venue for Te Māori, leading to initiatives aimed at restoring cultural connections, such as the restoration of the wharenui Ruatepupuke. Originally built in 1881 in Tokomaru Bay, this meeting house now resides in Chicago, having traveled through Frankfurt in Germany.

Hakiwai became involved in the restoration of Ruatepupuke in the 1990s after elders from Tokomaru approached him about the need to “re-clothe” their ancestral house. Initially, he assumed the project would end with the wharenui’s repatriation. However, the elders expressed a desire to collaborate with the Field Museum to ensure that Ruatepupuke could be appropriately cared for while remaining in Chicago.

He believes that museums can play a crucial role in supporting cultural identity and heritage. Hakiwai stated, “If that is the desire of iwi, hapū, and whānau for their taonga to be returned… we will work with them to achieve those ends.” He emphasized the importance of having taonga returned to their communities, where they can be celebrated and recognized for their historical and cultural significance.

Hakiwai’s insights challenge the conventional role of museums and advocate for a future where cultural heritage is not merely stored but actively integrated into the lives of the communities it represents.

More than 15,000 pieces of Māori and Moriori cultural heritage items are currently located in museums and universities outside of New Zealand. This revelation comes from Arapata Hakiwai, the Kaihautū of Te Papa Tongarewa, the national museum of New Zealand, based in Wellington. Hakiwai has been with Te Papa since its inception in 1998 and has dedicated his career to addressing the historical displacement of these cultural treasures.

Hakiwai’s work began under the guidance of esteemed academic Sir Hirini Moko Mead, who encouraged him to transition from teaching to working at the national museum. Early on, Hakiwai recognized significant gaps in the museum’s approach to Māori and Moriori heritage, stating that many ancestral items had been taken or traded with other institutions worldwide. He remarked, “Māori and Moriori ancestors, hundreds, thousands of them were taken, traded, swapped, exchanged, sold to other museums.”

Through extensive research, Hakiwai estimates that the number of Māori and Moriori items held internationally exceeds 16,000. He noted that over 33 museums in the United States and more than 30 in the United Kingdom possess these treasures, with the Field Museum in Chicago housing one of the largest collections, comprising over 2,500 Māori taonga.

Hakiwai emphasized that a substantial portion of indigenous cultural heritage remains offshore, and much of it originates from earlier periods. He expressed concern that “over 95 percent wouldn’t know of that, wouldn’t be aware of the extent of that or where their taonga are.” He advocates for this information to be readily accessible to Māori and Moriori people as a matter of right.

The issue of cultural heritage repatriation has gained traction globally, especially since the establishment of the Karanga Aotearoa repatriation programme in 2003, which initially focused on the return of human remains. Hakiwai noted that many museums have agreed to return ancestral remains, marking a significant shift in attitudes. He stated that the old practice of amassing treasures is increasingly being questioned, although some institutions continue to acquire artifacts.

Reflecting on the impact of the 1984 Te Māori exhibition, Hakiwai observed that it played a crucial role in shaping relationships between Māori and overseas museums. He pointed out the Field Museum’s involvement in the restoration of the wharenui Ruatepupuke, originally built in 1881 in Tokomaru Bay. The museum’s collaboration with indigenous people illustrates a model for how museums can engage with Māori communities.

Hakiwai recounted a poignant visit from elders in Tokomaru Bay who expressed the need to “re-clothe” Ruatepupuke, which currently resides in Chicago. They conveyed that the whare was “lonely” and “naked,” leading to a partnership with the Field Museum to restore the structure while keeping it in Chicago. This partnership highlights the potential for museums to support cultural identity and heritage preservation.

Hakiwai believes that museums can serve a higher purpose by uplifting cultural foundations and identities. He stated, “If that is the desire of iwi, hapū, and whānau for their taonga to be returned and homed we will work with them to achieve those ends.” He emphasizes that having taonga in their communities can elevate histories and significance far beyond the artifacts sitting on display.

As the conversation around cultural heritage continues to evolve, Hakiwai’s work at Te Papa aims to reconcile the past with a vision for the future, fostering partnerships that respect and honor Māori and Moriori cultural identities.