A jewel in the region’s crown, the Omaka Aviation Heritage Centre’s (OAHC) story began with the sound of two Nanchang trainers flying over Blenheim and grew into something extraordinary. After years of collaboration, the centre opened its first exhibition, Knights of the Sky, in 2006, followed by Dangerous Skies in 2016. Ahead of Omaka’s 20-year anniversary, chief executive Jane Orphan talks about what makes this world-class facility so special.
As told to Amy Russ
Can you tell us a little about the original vision and how it feels to see how far the centre has come? Our vision was a facility to showcase heritage aircraft, not only to attract and educate, but to inspire people to own and fly more of these aircraft themselves. Today, OAHC is Marlborough’s leading visitor attraction and Omaka is a hub for heritage aviation with an international reputation. I am proud of how far we have come and energised by how bright Omaka’s future is. Looking ahead, we are poised to double the WW2 exhibition space, adding more aircraft, telling more fascinating stories and educating an even wider audience on the value and enjoyment to be found in aviation.
What is it about standing beside these historic aircraft that creates such a powerful connection for people, even those who aren’t aviation enthusiasts? Being alongside an actual aircraft, seeing its size and imagining yourself in the cockpit can be a sobering experience. An example is the Yak-3 in the snow. Alongside it is a young blonde girl, a mannequin likeness of Lydia Litvyak, only 21 when she was last seen with her Yak trailing smoke and German fighters on her tail. She never returned. Few visitors would not be moved, standing beside that aircraft, imagining Lydia’s last dogfight.
As Omaka approaches its 20-year anniversary, what are some of the moments that stand out when you look back over the journey? Back in 2007 we released homing pigeons that flew from Omaka across the Cook Strait. Each bird carried a square of material and as these arrived in Wellington they were pasted onto a billboard, which spelled out an Omaka message. I was present when the last was installed by Sir Richard Taylor. The blanks left behind honoured the pigeons that didn’t make it home, making it a fitting tribute to their role in WWI. Another standout was the way our volunteers rallied to create a whole new exhibit featuring an unrestored Lockheed Hudson fuselage. The result was one of my favourite displays, depicting the Hudson as a crashed wreck, overgrown with jungle.
How important have volunteers, collectors, donors and supporters been in shaping its success? Omaka relies heavily on volunteers, not only in helping create many of the remarkable exhibits but also by working as guides. We are also extremely grateful for the generosity of owners, who entrust their valuable aircraft into our care. The same can be said for collectors and individuals who have donated mementoes from their treasured family history or who have given financially. Altogether, our supporters are indispensable.
What do you think Marlborough can be proudest of when it comes to Omaka’s place on the world stage? Omaka can hold its head high as one of the best aviation museums in the world. We are not the biggest, but we do have a remarkable collection of significance and the way these aircraft are displayed is outstanding.
Do you have a favourite aircraft or exhibit at Omaka, and why does it stand out to you? Among my favourites is the story of Keith ‘Grid’ Caldwell, bravely standing on the wing of his aircraft, damaged and spinning out of control after a mid-air collision. Having no parachute, he miraculously stabilised the aircraft enough to guide it back across the lines and jump off, surviving the event and the war as our top-scoring Ace. This is a dramatic story of a Kiwi hero.
If you had to describe the Centre in just a few words, what would you say? Omaka’s exhibitions engage visitors through captivating and evocative sets, helping to convey where and how technology or human bravery rose to meet the challenge of war in the air.
