 ōtu whare nei tēnā koe, ina mana whenua ki te Papatongarewa runga fakaata tēnā koutou katoa, ina mana whenua ki tēnā i rohi, tērā nei ki whānau i te upoko te ika, nāti toa rangatira, nāti raukawa tēnā koutou katoa, ina wahini toa nāti raukawa Nancy Brunning moimai, moimai, moimai rā, rau rangatira ma tēnā koutou katoa. Ina mana heri anahoa i whānau mai hara mai ki whanganui atara tēnā koutou katoa. Greetings everybody, acknowledge runga fakaata, iwi in residence at Te Papatongarewa, the mana whenua of this land. I also want to acknowledge Nancy Brunning, nāti raukawa wahini toa, who passed away just the other day. She was 48 years old, which is the same age that I am, and my life in Wellington has been marked by things that Nancy did for us. And I will never forget being at Downstage Theatre and seeing her in a production of Wai Ora. My friend Hone Koka's play where she captured the emotion of colonisation and of our country in a way that few other actors have. So haere, haere, haere atura. I also want to acknowledge all of the Te Papa staff, Fran Wilde, the chair of the board, Jackie Lloyd from the board, Grant Martin. Thank you for hosting us here in the wonderful Te Papa. To all of the hosts and the organisers of the National Digital Forum, thank you for inviting me today. I've never really been thought of as glam before, so I'll take Minister for Glam any day of the week. It's something I've looked forward to coming to this conference because I wanted to do two or three things in my brief introductory remarks today. The first of those is actually to thank you all for the work that you do. You work in a sector that is incredibly important, not just to me personally, but to the Government and to the country as a whole. The more we understand about ourselves, our history, our present and our future, the better we will be as a nation. And in your work every day, you look after that heritage. You treasure Atonga, you make sure it's available, and increasingly you make sure it's available in a digital form. I thank you for that work. You're not as well paid as you should be. My mother is an archivist, and so I always say that whenever I'm in the presence of people who work in this sector. Because you do it because you love it, and you do it in a way that makes a huge difference to our society. So that's the very first thing that I wanted to say today. The second thing that I wanted to acknowledge today was the place of our heritage and Atonga in a modern digital world. And I don't need to tell you, because this is what you all do. But it is quite clear to me that the digital world offers us a huge set of possibilities for how people interact with, understand and value both our past, our present and our future, but also the objects and the memories that are part of that. Like all things, the digital world provides huge opportunities for people, but it also presents challenges. It presents challenges about how we respect the past in a modern medium. It presents challenges for how we continue to ensure equity of access. It presents challenges for not glossing over our history in an attempt to make it immediately available and accessible. So with the opportunities that you have, you also have to manage those challenges. And I acknowledge that today. When I come to events like this, I get wonderful speeches written for me by people from the Ministry of Culture and Heritage. Thank you very much for that. And then they sit here and they go, why doesn't he use them? And so I will use a little bit of it just so that Matthew feels better down the front here. But one of the reasons is that a lot of what's written down on the page for me here is telling you what you do. And I'm not going to do that today because you know that better than me. The government certainly values and understands what you're doing and we are doing our level best to contribute. And it's already been mentioned before in terms of what we do to look after the thousands, hundreds of thousands even of items from our film, our television, our radio history. I was there the day that the Flying Nun Collection was lodged at the Alexander Turnbull Library and for a complete Dunedin music tragic such as me it was one of the best days I've had as a minister. They won't let me in there on a regular basis which is disappointing to me but other than that it's great. But we have a huge job ahead of us between Ngatonga Sound and Vision, the National Library and Archives New Zealand to make sure that the huge amount of material that is captured on videotape often in formats that is declining and will no longer be serviced. We have a huge job ahead of us to preserve that material. So it's fantastic that those agencies are working together on that and in fact I'm acknowledging Bill McNaught from National Library here. We now have Ngatonga actively embedded at the National Library because they can't use the building in Taranaki Strait anymore. Out of adversity comes a new partnership that we can build on to make sure we are sharing our resources to preserve that material. I just note that we are 40 years on from the aerobis crash next week and it is really important to us that material like the videotapes and from around that era the cockpit voice recorder from the aerobis crash that these materials are preserved and that we own our history in that way. And so that project is ongoing and the Crown is committed to supporting the preservation of that material. I also want to acknowledge the importance as we move into the digital age of our relationship with Māori and through the establishment of the Māori Crown Relations portfolio Te Arawhiti, my colleague Kelvin Davis is leading the work to ensure that the expectation on Crown agencies to work more collaboratively with Māori and iwi is understood and is implemented. That exists in terms of our digital needs and aspirations as well. At the end of last year the Prime Minister who's not only my boss generally but also my boss as the Minister of Arts, Culture and Heritage launched the Te Tai Whaka Aia Treaty Settlement Stories project. Initiated by the Ministry of Culture and Heritage this project aims to take a deeper look into the history behind the Treaty claims and the relationships that have been born from them. This is a really important kopapa. It provides a digital platform to tell stories from the perspectives of all those involved in using contemporary storytelling techniques. It's a really exciting project. It starts with Ngāti Awa and their story of their settlement negotiations and if you haven't looked at Te Tai I really encourage you to look at it. It's a really exciting collaborative project that I believe builds on our Treaty partnership and is an important one. Of course we're not the only people doing this. I want to acknowledge the Te Awa Tonga Network which involves the Ministry, Ngā Tunga, Te Papa, Heritage New Zealand and DIA through the National Library and Archives who are collectively working with iwi groups at a sector level and iwi are adopting this approach using a partnership approach to ensure that we continue to manage the Tonga and that is the contemporary Treaty claim process. So all of that work is important. The Crown and the Government is alongside you in doing that and we understand why we do it. The final thing that I want to talk about today is the biggest context in which I believe the Glam sector works and that is within the broader concept of wellbeing. Now all of you will know, I hope anyway, that for visitors from overseas you'll learn today, the Government released its first ever wellbeing budget in May this year and for me that was a really important moment because what it did was take us past the traditional way that we have done budgets as a country. For those who don't know, I'm also the Minister of Finance. He's a less reasonable, easy going guy than the Associate Minister of Arts, Culture and Heritage but he's okay and in that first wellbeing budget we did something very different. Not only are we measuring our success against a wider set of indicators, beyond just fiscal indicators, they're still there but we're also measuring ourselves against and it's a framework written by economists so human capital, natural capital and social capital or as I prefer to talk about it, people, the environment and communities. Those four areas, fiscals, people, environment, communities is now how we measure our success a framework that you can have a look at online that has a range of indicators for how New Zealand is going across those four areas and we will measure and report on that at every budget but the really significant thing that we did at Budget 2019 was use that framework to decide what to invest in as well. We looked at it and the evidence in it and made that the guide to what our priorities should be. So for example, you saw significant, in fact the largest ever investments in mental health in eliminating domestic and sexual violence and dealing with child poverty and cleaning up our waterways. These are the evidence based issues that we saw. As part of that framework though, we also are recognising the place of arts, culture, heritage in our well-being. Now this is a challenge because we haven't traditionally been able to create indicators of that and we're not monetising everything. We still need indicators of what is success and what does it look like. So we've been working hard to try and recognise better what that looks like in terms of our cultural sector and we've recently had a piece of work done by Paul Delzal and Carolyn Saunders and their team at Lincoln University to try and understand where does culture fit in that living standards framework and within our well-being budget. There's a strong movement for there to be a fifth capital, cultural capital and that discussion goes on but for now culture is embedded across all of those other areas in the way we think about the environment and what it means for our people and the fulfilment of our persons and for what it means in strengthening and connecting our communities. I encourage and urge you as you go about your work to think about how we can embed that sense of culture, of history into our well-being. As a Government, we've taken a really important step forward in confirming that we will have New Zealand histories taught in all of our schools across all year levels starting from 2022. We need your help in that. We need your help in the resources that go with that and we need your help in making sure that as we further develop the well-being framework we truly recognise the value of the glam sector and of arts, culture and heritage generally. It doesn't have to just be about economic value. Sure, that's important and being able to demonstrate that helps but it is much more important to me that it is about its intrinsic value to who we are as people and who Aotearoa New Zealand is today. That is the true value of arts, culture and heritage. Understanding our past, grounding ourselves in our present and looking to the future with those lessons. Your role in the glam sector and doing that is vital. Your role in making sure of the new technologies that you are discussing within the Digital Forum are essential to the progress of that and therefore I wish you all the very, very best for your conference over the next two days. Norela, tena koutou, tena koutou, tena tatou katoa.