Te Kupenga by Massey University Press

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TE KUPENGA

101

Stories of Aotearoa from the Turnbull

E D I T E D B Y M I C H A E L K E I T H A N D C H R I S S Z E K E LY

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CONTENTS

H E MIH I 6 FO R EWO R D 7 IN TRO DUCT I ON 8 1 01 STO R IE S

WAKA SAIL 16 P ORTR AIT OF A N A L L IA NC E 18 MINIAT UR E WOR L D 20 DR AWN TO TE AO M ĀO R I 22 YOU NG EMIS SAR IE S 24 LET T ER FROM E RUE R A 26 MEETING H ON G I H IK A 30 A NOTH ER VIEW O F WA ITA NG I 32 W H ALING IN T H E BAY 34 BIR D TR ADE 36 MOKO OF KAWE P Ō 38 HĀKAR I 40

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TRAN S I TI O N I N   TAHI TI 42 E I GHT- HOU R- DAY CHAM PI O N 4 4 F I RST N EW Z E ALAN D ATLAS 4 6 TWO M ĀO RI I N V I E N NA 50 S HI PB OARD D I ARY 54 HE WAHI N E TOA 56 HE HO N O N GA TĀN GAE N GAE 58 S E LLI N G A FARM I N G D RE AM 60 ‘ I S HALL N OT D I E ’ 62 K E REO PA TE RAU 66 WĀHI N E M ĀO RI , W HE N UA M ĀO RI 68 TE LEGRAPHI C TW E ETS 70 AC TI O N S AT PARI HAK A 72 FARM O F THE S OU TH 74 F LOW E RI N G ART O F S CI E N CE 76 HE W HAK AAHUA RAN GATI RA 78 A MO RI O RI GROU P 80 ADVENTURE, LOVE AND KEEPSAKES 82 LAGM HO R S O N G B O O K 86

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LAST OF T H E L AUG H ING OW L S 90 A TAXING IMP O SIT IO N 92 KIRIKI H O R I 96 PEACE ON T H E WAT E RS 98 TAKING MĀO R I TO T H E WO R L D 100 DIG GING FO R L IV E L IH O O D S 102 CHAMPION OF WOMEN IN MEDICINE 104 COLLEC TIV E MIG H T 108 ‘IT ’S JUST H E L L H E R E ’ 110 SAFE SEX P IO NE E R 112 CH ATH AM ISL A ND JO C K EY C LUB 1 14 MANSFIE L D ’S T Y P EW R IT E R 118 VILLAIN O R V IC T IM? 122 SĀMOA MŌ SĀ MOA ! 1 24 ‘COME ON, JAC K !’ 1 26 CAPTURING THE SPIRIT OF THE AGE 128 CUR IO S 130 TH E DR AW O F H A INING ST R E ET 132 HIGH ER MOUNTA INS 134 AOTEAROA FROM T H E A IR 136 SIGNING T H E T R E AT Y 138 AUSWANDE RUNG 140 A JAPANE SE SO NG B O O K 14 4 WAR , REFUG E A ND L E A R NING 14 8 CUSTOM M E ETS C O L O NISAT IO N 150 HEALT H IN B O DY A ND MIND 1 52 GIFT OF FIR E 154 ANCIENT D O C UM E NTS 156 HUT U AND K AWA 160 KOROUA , MO KO P UNA 162 MEAN MO NEY 164 TH E G OL D E N AG E O F WO O L C R A FT 166 TH EAT R E L A ND M A R K 168 FROM TO K E L AU TO W E L L INGTO N 170 WHET U — ST Y L E IC O N 172 ‘EDUCATE TO L IB E R AT E ’ 174 TH E DAW N R A ID S 176 ‘NOT ONE MO R E AC R E ’ 178 TOITŪ TE W H E NUA 180 CAMB ODIA N JOUR NEYS 182

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PEO PLE ’S P O ET 184 THE LI F E S HE WAS B O RN TO LE AD 186 V I S I TI N G FO OTROT F LATS 188 A VO LCAN I C CARE E R 190 ALL-W HI TE ALL B LACKS 192 HALT THE RACI ST TOU R 194 G O I N G AN TI - N UCLE AR 196 N GĀ TAO N GA REO M ĀO RI 198 BRE AK OU T THE TAB S 202 D I V I N E I LLUM I NATI O N 204 NEW BREATH FOR ANCIENT VOICES 208 HE KIRIATA NUI: MĀORI ON SCREEN 2 10 W RI TI N G THE MOV E S 2 12 S OM ALI PACI F I C STAR 2 14 CO LOU R, MOV E M E N T AN D MUS I C 2 16 CO LO S SUS O F S CI E N CE 2 18 W RI TE RS O N RECO RD 220 A CHAN CE TO D RE AM 222 GAM E O F THE PEO PLE 224 D I SASTE R AN D CARTO O N S 226 JAM M E RS AN D B LO CK E RS 228 M AHY M AG I C 230 F ROM LI LBU RN TO VAP O RWAV E 232 U N I TE D I N GRI E F 236 FO R GE N E RATI O N S TO COM E 238 W E ARE B E N E F I CI ARI E S 240 ‘ I S E E YOU ’ 242 CLO S I N G THE GE N D E R PAY GAP 24 4 ‘ TAK E SAG E O F V I RTU E ’ 24 6 D I G I TAL D I ARI E S 24 8

REFEREN CES A N D SOURCES 250 A BOUT T HE ED ITO RS 262 A BOUT T HE CO N T RIBUTO RS 26 3 ACK N OWL ED G EMEN TS 267 IN D EX 268

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HE MIHI C H R I S S Z E K E LY

Tēnei te tuku whakamānawa mō Te Kupenga me ōna āhuatanga katoa. He whakamoemiti anō hoki. Mai i ngā mōhio me te ngākau nui o tēnā kaituhi, o tēnā kaituhi, tae noa ki ngā pūkenga me te pukumahi o te hunga nā rātau i ahu, i hoahoa, i waihanga i tēnei taonga, tēnei ka mihi. Ka mihi hoki ki te mauri o tēnā taonga, o tēnā taonga kei roto i ēnei whārangi me ngā whakatipuranga o te hunga i waihanga i ēnei taonga me ngā kōrero kei roto. Otirā, ko te tino tūmanako ka whaitake a Te Kupenga ki te hunga katoa ka pānui, tae atu hoki ki ngā rangatahi. Ko te inoi ka noho tēnei pukapuka hei takoha e ngākau titikaha ana, e hāpai nei i te oranga o tō tātau iwi, me mau i te tangata te wairua ake o tēnei taonga.

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FOREWORD JOHN MEADS Chairperson

Endowment Trust

History matters. It has mattered to the Turnbull Endowment Trust since it was founded over 85 years ago and it is no less important today. I have no doubt that Te Kupenga will be useful to all of us as New Zealanders, especially our rangatahi.

Te Kupenga is an excellent, informative and enjoyable read. The Trust was delighted to give the support necessary to bring this book to fruition. As a charitable trust we have for many years been the recipient of bequests and donations to form a capital base that enables us to support the Alexander Turnbull Library. While the core business of the Library is funded by government, the Trust adds value by supporting initiatives that promote the Turnbull collections and services. We do this through contributions to exhibitions, campaigns to fund remedial treatments on artworks, and, in this instance, by co-publishing a book. Te Kupenga was made possible by a grant we received from the New Zealand Lottery Grants Board. The Trust, working with the National Library, will ensure that every high school in New Zealand receives a copy.

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My fellow trustees and I find joy and no small measure of satisfaction in supporting one of New Zealand’s most prestigious heritage institutions. Alexander Turnbull’s founding generosity is legendary. Less well known are the legacies that generations of everyday New Zealanders bestow on the Library through the gifting of collection items and, through the Endowment Trust, bequests and donations. We owe a tremendous vote of thanks for these quieter acts of generosity. They really make a difference in supporting what matters. On behalf of the trustees, I thank the Lottery Grants Board for their support and congratulate the Alexander Turnbull Library on its centenary. Well done also to Massey University Press and everyone in the wider team who have had a hand in producing this book of wonder.

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INTRODUCTION C H R I S S Z E K E LY

There was once a young man who had a net and spent his entire life fishing. He preserved his catch carefully and, just before he died, presented it to his king — the catch of a lifetime to nourish a country forever. The country was Aotearoa New Zealand. The man was Alexander Turnbull. The net, with its catch, was his magnificent library. The Alexander Turnbull Library has served the people of New Zealand for a hundred years and more. This book celebrates the library and its founder with 101 stories, told by those who serve the library today. Stories are how we remember things that are important to us, as individuals, families and communities, and as a country. They offer insights that help us make sense of who we are and how we see the world. This book presents its stories like a multiplicity of windows looking in on, and out of, the library and the country it was established to serve. Alexander Horsburgh Turnbull, or Alex H., was born in Wellington in 1868. His Scottish parents, Alexandrina and Walter, came to New Zealand in 1857. He was one of seven children, two of whom died young in a drowning incident. Walter was a successful merchant, and when he died in 1897, one year after his wife, the family was well set up. Alexander Turnbull had the means to pursue two prevailing interests: yachts and books. As a young man, he was a keen yachtsman, most at ease knocking about with friends on one of his sailing boats. He was also a bibliophile, a collector not just of books but also of any document that had something to tell about New Zealand and the Pacific. In 1893 he said, ‘Anything whatever to do with this colony, on its history, flora, fauna, geology and inhabitants, will be fish for my net, from as early a date as possible until now.’ As Turnbull entered his forties, his quest was already well established. He built a spacious home strong enough to house his library and then retreated inside it. Surrounded by his books, papers, prints and paintings, he became reclusive and unwell. His health continued

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Alexander Turnbull, 1891

Henry van der Weyde (1838–1924)

1/2-032603-F (digitally enhanced)

to decline and he died, unmarried and without children, on 28 June 1918. He was 49. Just before he died, Turnbull bequeathed his library to King George V with a request that the contents be kept together as the basis of a national collection. The gesture was hailed as ‘the most generous bequest to the people of New Zealand ever made by a New Zealander since the beginning of New Zealand time’.

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Mr Kebbell (left) and Alexander Turnbull, on board Turnbull’s yacht Rona, c. 1896

Photographer unknown

PAColl-4109: 1/2-036181-F

It took two years before Turnbull’s library was sufficiently sorted and catalogued to be ready for public use. On the second anniversary of his death, 28 June 1920, the door of the Alexander Turnbull Library, located in the collector’s former home on Bowen Street, was opened to the people of New Zealand. The ethnologist and editor Johannes Carl Andersen (1873–1962) was appointed as the first chief librarian. He held the position for 18 years and developed the collection in line with Turnbull’s founding declaration. Andersen was a member of the Polynesian Society and well connected with the scholars of the time. This network initially comprised the principal users of the library, who contributed not only to its collections through the deposit of personal papers, but also to its reputation as a research library. Over the ensuing decades, the library’s size and renown continued to grow, both nationally and internationally. In 1965, the government established the National Library of New Zealand, incorporating the Turnbull and realising its founder’s wish that his library become the nucleus of a national collection. Today, the Alexander Turnbull Library continues as part of the National Library of New Zealand. It still bears the name of its founder, and its collections have grown many times over from the founding bequest. It is a legal deposit library, which means that a copy of every item published in New Zealand, including music, is required

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by law to be deposited into its collections, to be preserved, protected and available forever. The collections are ever-growing in every conceivable format except film. They include rare books, maps, manuscripts, music, oral histories, photographs, ephemera and artworks. Most items are donated; many are, or will be, digitised. The largest volume of contemporary New Zealand published material collected by the library is now digital in origin, primarily harvested from the internet but also scraped from hard drives and disks. Digital wizardry is very much a part of the modern library’s skill set. Since 1920, more than 60,000 New Zealanders have followed Turnbull’s lead and placed their treasures into the library’s care as a research legacy for future generations. Thus, while the National Library’s core services, including the Turnbull, are funded by government, the tradition of philanthropy and public good has continued and remains relevant. The Turnbull Endowment Trust, established over 85 years ago, is a charitable organisation that receives bequests, grants and donations to support, promote and add value to the Turnbull’s research library mission. This book is an example of how the trust gives a helping hand. A centenary is a great reason to publish a celebratory book. Such publications are not uncommon for galleries, libraries, archives and museums as they reach their 100year milestones — almost obligatory, in fact. However, at least two things distinguish this book: the way it was written and the timing of its publication.

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DESCRIPTION

MAKER / ARTIST

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Alexander Turnbull Library, Bowen Street, Wellington, 1930s

Photographer unknown

PAColl-5167: 1/2-023744-G

In this book we’re celebrating not only the library’s marvellous collections; we’re also acknowledging the people who work in it. I invited everyone in the National Library to choose an item in the collections that meant something to them personally or professionally and to write about it. Dozens of colleagues nominated hundreds of items, a wish list eventually whittled down to those 101 essays featured here. The final selection mirrors the serendipity of browsing the shelves, with more than a few unexpected finds. Most formats are represented, including manuscripts, maps, music, oral histories, digital media, drawings, paintings and, of course, books. Nearly 40 library staff members have written mini essays to accompany their choice of items. They each write in their own voice, their choices and stories informed by numerous factors, including language, personalities and backgrounds. All librarians can write, but how we write varies enormously, a variety I see as a virtue. There are five essays written in te reo Māori. This reflects our capability: notable, emergent and modest. They

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stand on their own merits in the language of our place, without translation. Several of the essays are written in the first person. Some are formal and learned, while others are informal and familiar. We were especially delighted when Rob Tuwhare offered a whānau response to our essay on his father, Hone Tuwhare. Our voices are diverse, as are our users and readers. As in fishing, we’ve used different bait to entice interest, but with the one aim: we want all New Zealanders to find a flavour that suits, have a nibble, and get hooked on the Turnbull collections. The second distinguishing feature of Te Kupenga — its timing — is equally serendipitous. Aotearoa is at the start of introducing the history of this country as a compulsory subject in schools. Young New Zealanders now learn about the place they live in as part of their formal education. Yet history isn’t about memorising facts, figures and dates; rather it is about drawing on evidence to uncover a narrative, to tell a story, to find truths. Libraries like the Turnbull are storehouses of evidence. As a national storehouse, the Turnbull’s collections should

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DESCRIPTION

MAKER / ARTIST

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Sophia Hinerangi on the Terraces at Rotomahana, 1885

George Dobson Valentine (1852–1890)

PA-Group-00133: PA1-q-138-021

offer materials of relevance and meaning to every New Zealander, enabling them to make connections and find stories that illuminate and intrigue. Here is one such story from me. In my family we have a hero. Her name is Sophia Gray (Ngāruahine; c. 1834– 1911), or Te Paea Hinerangi, or simply Guide Sophia, my mother’s great-grandmother. Sophia guided tourists to the Pink and White Terraces, Ōtūkapuarangi and Te Tarata, a geothermal landmark in the volcanic plateau of New Zealand’s central North Island. When Mount Tarawera erupted on 10 June 1886, the terraces were destroyed and around 120 people died. Sophia helped rescue survivors and sheltered them in her whare. Less than six months before the eruption, and when he was just 18 years old, Turnbull toured the terraces and made Sophia’s acquaintance. She was his guide. His trip was inspired by a book in his possession, a recent acquisition, James Kerry-Nicholls’ The King Country; or, Explorations in New Zealand. It proved to be the very first book he bought for his collection. The Alexander Turnbull Library had begun. Nothing stays the same, especially in perpetuity. When Turnbull died, he was buried alongside his parents in the Bolton Street Cemetery in Wellington, a short distance from his home and library. Other family members would follow. A hundred years or so after he

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was born, his remains and those of his family, along with many others, were exhumed to make way for a motorway. They’re now in a common grave. One hundred years from now, what will the Turnbull Library be like? Certainly, it won’t be like it is now. It can’t be. As the director of a famed history museum has said, ‘Anniversaries are more than milestones — they are crossroads at which we decide to live in the past or use our experiences to inform and empower our future’. The Turnbull is at such a crossroad. The only ‘must’ in its future is the promise of care for the ever-growing collections, the promise to make the collections available to the people of New Zealand, and — one hopes — to continue to acknowledge the many donors who make the library possible. In this regard, first thanks will always be to Alexander Horsburgh Turnbull, who hoped that his books and manuscripts would assist those in the future in search of truth. His hopes have now been realised for more than a hundred years. There is a whakatauākī that sums up the crossroad and the continuity: ‘Ka pū te ruha, ka hao te rangatahi. When the old net is at an end, the new net goes fishing.’ We owe thanks to the generations of New Zealanders who have worked with and for the Turnbull to extend Alexander’s magnificent legacy. We look forward to the generations who will continue to build on it.

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The library’s large-format store contains works on paper, including watercolours, sketches, prints, posters and maps. Prolonged exposure to light affects these items, so they are housed in acid-free tissue and folders and secured in locked drawers until requested.

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101

STORIES

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Alexander Turnbull said of his approach to his collecting: ‘Anything whatever relating to this colony, on its history, flora, fauna, geology and inhabitants, will be fish for my net …’ This book’s 101 stories reveal how wide that net has been cast by the library that bears his name.

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WAKA SAIL OLIVER STEAD DESCRIPTION

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Drawing of the rā in the British Museum, date unknown Pencil on linen-backed paper 620 × 475 mm

Maker unknown

Plans-80-1215

This painstaking scale drawing of a rā in the British Museum records an unknown scholar’s attempt to under stand exactly how a customary waka sail was constructed. The rā itself was likely acquired on one of the voyages of British explorer James Cook (1728–1779) to New Zealand in the late eighteenth century and is thought to be the only surviving material example of sail construction from te ao Māori at that time. It is not certain who made this meticulously detailed drawing, or even how it came to be in the Turnbull Library collection. Various leading ethnologists with connections to Alexander Turnbull or the Turnbull Library (or both) — for example, Augustus Hamilton, Elsdon Best, Raymond Firth and Te Rangi Hīroa (Sir Peter Buck) — are known to have studied the sail in the British Museum. What is clear is that the diagram is an attempt to document it precisely and understand its unique construction, perhaps because the recorder believed it represented a vanishing or already vanished technology. Today, however, with the revival of traditional Pacific Ocean voyaging, the rā represents a continuing link with the pre-European Māori world and the knowledge and skills that enabled the migration of Polynesian peoples to Aotearoa hundreds of years before European navigators could get here. Polynesian sailing technology and navigational science are now recognised as among the most extraordinary achievements in human history. The stories of how

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Austronesian-speaking peoples spread themselves and their cultures across the vast expanses of the Pacific and Indian Oceans are receiving more attention than ever as today’s Pacific voyagers continue to revitalise and pass on ancient techniques of long-distance sailing and navigation. Cook was astounded at the similarities between the Māori and Tahitian languages, considering how distant these islands were from each other. He was lucky to have the Raiatean tohunga Tupaia (1724?–1770) with him on his first visit to Aotearoa in 1769, and those initial con versations between Māori and Europeans were facilitated by Tupaia. But as indigenous Pacific scholars are now pointing out, the Pacific was a vast meeting place of peoples long before the arrival of Europeans, and navigators had the multilingual and cultural skills to conduct complex exchanges across widely separated cultures — all facilitated by highly evolved sailing technology and navigational lore. The rā itself is approximately 4.3 metres high by 2.7 metres at its widest point, and is made of woven flax in 13 sections. Its zigzag bands of hexagonal openwork plaiting will have allowed the controlled passage of air through the sail, while flax-fibre loops on the vertical edges attached the sail to narrow, light masts. In 2019, three Te Tai Tokerau weavers visited the British Museum to study the sail and are now engaged in a project to re-create it.

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This drawing of the rā brings out the detail of the sail’s patterning, which is hard to distinguish in photographs.

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PORTRAIT OF AN ALLIANCE OLIVER STEAD DESCRIPTION

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Tu, King Pōmare I of Tahiti, 1777 Oil on canvas, 362 × 280 mm

John Webber (1751–1793)

G-697

By the age of 20, Tu-nui-e-a‘a-i-te-atua (c. 1753–1803) was acknowledged as the paramount chief of the island of Tahiti. By unifying the island under his leadership through warfare and diplomacy, Tu, as he was commonly known, was to become King Pōmare I of Tahiti. Tahiti itself was a focal point for eighteenth-century European explorations of the Pacific. During the visit of explorer James Cook (1728–1779) to the island in 1769 on his first Pacific voyage, Tu avoided the expedition members because he did not trust them. However, when Cook visited Tahiti a second time, in August 1773, Tu’s status had increased and Cook went to see him, hoping to form a strategic alliance. Cook and his party were welcomed by a crowd of 1000 people at Tu’s home in Pare, Matavai Bay, and Cook ordered a bagpiper to play in honour of the occasion. Tu then visited Cook on the HMS Resolution and Captain Tobias Furneaux on the companion ship HMS Adventure. A firm friendship had been established. This was much to Cook’s strategic advantage, as he was able to use Tahiti as a safe haven and a friendly base for supplying further explorations in the Pacific.

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By the time of Cook’s third visit, in August 1777, Tu had received visits from several French and Spanish vessels, but his bond with the English captain remained strong. It was evidently Cook’s idea to have Tu’s portrait painted by John Webber (1751–1793), the official artist on the voyage. Tu readily consented to sit for the portrait and was reportedly so pleased with his image that he requested a portrait of Cook be made for him to keep in memory of his friend. Webber duly carried out this commission. Cook’s portrait was treasured by Tu and shown off to other visiting English captains, including William Bligh of the ill-fated HMS Bounty. According to some accounts, the visitors signed their names on the back of the portrait, and it was sometimes carried into battle during intertribal conflicts. The last English captain to see the portrait was reputedly George Vancouver, who visited in 1791. It has since disappeared. As Pōmare I, Tu was the founder of a dynasty that ruled over the kingdom of Tahiti until its cession to France by Pōmare V in 1880. Tu’s portrait was passed down through the family of Captain James King, who commanded HMS Discovery after Cook’s death in Hawai‘i. The portrait was purchased by the Turnbull Library at Christie’s, London, in 1977.

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Alexander Turnbull was keenly interested in collecting material related to James Cook. The library’s Cook collection has continued to develop strongly over the last century, including this purchase in 1977.

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MINIATURE WORLD ANTHONY TEDESCHI DESCRIPTION

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Pocket globe and case, 1776 Globe: papier mâché; case: shagreen, 70 mm diameter

Nicolas Lane (fl. 1775–1783)

Rare Books and Fine Printing Collection (fR407834)

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The pocket globe, centred on the Australasian region, shows the track of James Cook’s first voyage (1768–71) extending from the east coast of Australia through Raukawa Moana Cook Strait and into the wider South Pacific. The case interior displays hand-painted celestial charts.

Measuring just 7 centimetres in diameter, this visually appealing example of a late-eighteenth-century miniature globe is the only one of its kind held by a New Zealand institution. The globe was made in 1776 by Nicolas Lane, who was active in London between 1775 and 1783. This edition was the first to be issued in the Lane line of pocket globes, which were manufactured by the firm into the first half of the nineteenth century and were owned by gentlemen as status symbols or used as educational devices for the children of the wealthy classes. It is delicately crafted from papier mâché overlaid with engraved, hand-painted curved segments known as gores. It incorporates certain cartographic conventions of the time: for example, Tasmania (which is labelled ‘Dimens Land’ rather than Van Diemen’s Land) is attached to mainland Australia, or ‘New Holland’ as the landmass was then known; and the Antarctic and Arctic polar regions are each denoted simply as the ‘Frozen Ocean’. However, California, long thought to be an island, is depicted as a large peninsula.

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Accompanying the globe is a hinged case constructed of wood covered in black shagreen, likely made from the skin of a shark or ray, with two hooked metal clasps. The interior of each half is lined with engraved, hand-painted celestial charts of the northern and southern skies that illustrate the constellations as figures or beasts from classical mythology. These celestial gores were most likely acquired from earlier examples produced by the British globemaker Richard Cushee. Unlike them, the terrestrial gores for Lane’s pocket globe were newly engraved to show the track of Captain James Cook’s first voyage into the Pacific region (1768–71), along with the route taken by Commander George Anson (later 1st Baron Anson) during his circumnavigation of the world in 1740–44. Early Pacific exploration was a collecting focus for Alexander Turnbull and remains so for the library today. The depiction of New Zealand and the tracking of Cook’s first voyage, combined with the item’s rarity and excellent condition, made it a highly desirable acquisition. The Turnbull purchased the globe from an antiquarian bookseller in 2019.

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DRAWN TO TE AO MĀORI OLIVER STEAD DESCRIPTION

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Nuku Tawiti, a Deity in the First State, 1824 Pencil and ink on paper 242 × 200 mm

Thomas Kendall (1778–1832)

Kenneth A. Webster: Church Missionary Society (A-114-045)

From his earliest encounters with Māori, English missionary Thomas Kendall (1778–1832) immersed himself in their language and culture. His drawing of an ancestral carving illustrates his struggle to reconcile his fascination for the Māori spiritual world with his mission to convert Māori to Christianity. Kendall, along with his wife and family, were part of a small group of English missionaries who settled in Pēwhairangi Bay of Islands in 1814 under the protection of Ngāpuhi rangatira. From the outset, he was eager to learn to speak te reo Māori, and he worked to establish its written form as an essential aid to communicating the Christian message. As he became proficient in the language, Kendall strove to understand the spiritual beliefs of the people to whom he was bringing his Christian ministry. He found the study of Māori whakapapa and cosmology very challenging, even complaining that it was painful. At times his immersion in these themes and narratives led him to question his Calvinist Christian faith. Kendall’s sketch of ‘Nuku Tawiti’ is an example of his struggle to understand Māori cosmology. The carving shows Nukutawhiti as both Ngāpuhi ancestor — captain of the Ngāpuhi ancestral canoe — and as a god. In certain Te Tai Tokerau traditions, he was the primordial deity, creator of sky father Ranginui and Earth mother

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Papa-tahuri-iho, a status Kendall attempted to describe in the sketch’s notes, in which he refers to Nukutawhiti as ‘a deity in the first state’. The carving was the kūwaha (entrance) for a fine pātaka (raised storehouse). As the house was tapu, anyone entering it risked death. The kūwaha, with its carved ancestor-god and his lineage, could be seen as representing the threshold between life and death. In 1821, despite being married, Kendall began a relationship with Tūngaroa, daughter of the tohunga Rākau, from whom he learnt much of his Māori knowledge. This liaison, together with Kendall’s refusal to intervene in the efforts of his friend the Ngāpuhi rangatira Hongi Hika to obtain firearms, eventually led to his expulsion from the Church Missionary Society, the organisation that ran the mission settlement. However, Kendall’s work to standardise the written form of te reo Māori had lasting effect. In 1820 he travelled with Hongi and Waikato to England, where they consulted with Professor Samuel Lee at Cambridge University on solutions for the orthography of written Māori. The subsequent publication that year of A Grammar and Vocabulary of the Language of New Zealand laid the basis for literacy and literature in te reo Māori today.

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Historian Judith Binney’s study of Thomas Kendall’s sketch notes that the carving style of this kūwaha resembles the elaborate work of carvers from Te Moana a Toi Bay of Plenty iwi, sought after at the time by other iwi for their skill with metal tools.

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YOUNG EMISSARIES OLIVER STEAD DESCRIPTION

MAKER / ARTIST

REFERENCE

Tuai, 1818 (left); Tītere, 1818 Oil on board, 305 × 254 mm, in original frames

James Barry (fl. 1818–46)

G-608; G-626

In October 1818, two rangatira, Tuai and Tītere, dressed in their finest English attire, sat for their formal portraits in London. The portraits were intended for the Church Missionary Society (CMS) as a memento of a visit from which the society had high hopes for the future of Christianity in New Zealand. During the previous decade, in Sydney the Reverend Samuel Marsden (1765–1838) made concerted efforts on the CMS’s behalf to bring a Christian influence to Māori in the Bay of Islands. The bay was also an increasingly popular port of call for whaling vessels and for ships sailing eastwards from Australia. Many young Māori men were keen to travel overseas, learn European ways and gain valuable possessions, especially firearms. Marsden was equally keen to make young converts from chiefly families, bringing them to his base at Parramatta to be trained in English, biblical studies and the arts of industry in order to persuade their people to abandon their traditional ways of life for Christian ‘civilisation’. Tuai (Ngare Raumati; c. 1797–1824) was one such promising youth. He first visited Parramatta in 1814, helping missionaries learn te reo Māori there and acting as a go-between for them during their visits to Aotearoa. Tītere also arrived in Sydney in 1814, and he and Tuai became firm friends. Little is known about Tītere’s background, but he too probably came from a leading Bay

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of Islands family. Both men wished to travel to England, and in 1817 Marsden agreed to send them, specifically to help compile a Māori grammar and dictionary for the CMS with Cambridge University linguist Samuel Lee (see page 22). The pair arrived in London in February 1818, but dictionary work was put aside when they became ill with respiratory infections. In May, they went to Madeley in Shropshire, where, in breaks from lessons on religion and English, their host, the Reverend George Mortimer, arranged for them to visit steel- and glass-making factories, learn carpentry and work on farms. While the pair struggled with their studies, they eagerly participated in other activities and gained celebrity status in their social life, charming and entertaining their many curious hosts and visitors. However, by the time they boarded their ship for New South Wales at the end of the year, relations with their CMS patrons and companions had become strained and during the voyage they refused further instruction. Any hopes the CMS had that Tuai and Tītere would bring Christian salvation to Aotearoa were dashed when, on their arrival home, both men returned to their customary lives. The portraits of the rangatira were passed into the Turnbull’s care in the 1920s.

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The artist James Barry was a Church Missionary Society supporter who painted another famous picture for the CMS in the Turnbull collection — of Hongi Hika, Waikato and Thomas Kendall during their 1820 visit to England.

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LETTER FROM ERUERA PAU L D I A M O N D

DESCRIPTION

MAKER / ARTIST

REFERENCE

Portrait of Eruera Pare Hongi, ‘a baptized New Zealand youth’, 1830s

Artist unknown

From Church Missionary Quarterly papers no. LXXIII, Lady-Day, 1834 (E-296-q-180-2)

The Christian missionaries who came to Aotearoa New Zealand opted to bring the message of their faith to Māori in te reo Māori. For this, they relied on Māori not only to learn the language for oral communication, but also to create its written form via grammar books and dictionaries to produce Christian reading materials. In the process, the new technologies of reading and writing were seized on with enthusiasm by Māori, including Eruera Pare Hongi (Edward Parry Hongi) (Ngāpuhi, Ngāi Tawake; c. 1815–1836). Hongi, a relative of the Ngāpuhi chief Hongi Hika, excelled at the Church Missionary Society (CMS) school in Kerikeri — the CMS’s second European settlement, established in 1819. This letter (see pages 28–29), written when Hongi was about 10, is addressed to the CMS leaders in England and was sent to them by his teacher, George Clarke, as a sample of his top students’ work, ‘quite masters of reading and writing’. In his letter, Hongi asks for writing paper and an invitation to travel to England. According to historians Alison Jones and Kuni Kaa Jenkins, he also ‘wished to know the names and dispositions of the chiefs in Europe; and he wanted to find out more about how Europeans decide who are the “good” and “bad” people. He had also

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hoped for some reward for his letter.’ For them, Hongi’s letter marks the end of the beginning of Māori engagement with writing, which by the late 1820s was established as a popular pastime in the Bay of Islands. Hongi became the most prominent scribe of the 1830s, and signed as witness to a number of land deeds in Northland. He worked closely with the missionaries, particularly William Yate, who arrived in 1828 and baptised Hongi in 1831. The men collaborated on the Māori translation of scriptures for printing in Sydney, which Hongi visited several times. Hongi also wrote the Māori text for the 1831 petition to King William IV, written by Yate for 13 rangatira who were concerned about a possible takeover by the French. Yate, described as a constant companion of Hongi’s, was dismissed from the CMS because of his relationships with men. Although Hongi is said to have married in 1833 or 1834, it is likely that he was also Yate’s lover. Hongi was the scribe for the Māori text of the 1835 Declaration of Independence, He Whakaputanga, which Ngāpuhi scholars believe he also helped to draft. With his early death in 1836, we can only imagine what contribution he might have made to drafting the Treaty of Waitangi.

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Eruera Pare Hongi was one of the most accomplished pupils of the Church Missionary Society school in Kerikeri and became a prominent scribe in the 1830s, witnessing a number of land deeds and drafting He Whakaputanga, the Declaration of Independence, in 1835.

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MAKER / ARTIST

Eruera Hongi (c. 1815–1836), about 1825

DESCRIPTION

Letter written to Church Missionary Society leaders by a 10-year-old pupil at the CMS school, Kerikeri, c. 1825

Kenneth Athol Webster collection (MS-Papers-1009-2/71-01)

REFERENCE

MEETING HONGI HIKA OLIVER STEAD DESCRIPTION

MAKER / ARTIST

REFERENCE

Meeting of the Artist and Hongi at the Bay of Islands, November 1827, c. 1830 Oil on canvas, 578 × 898 mm

Augustus Earle (1793–1838)

Collection of Alexander Turnbull (G-707)

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Augustus Earle’s Meeting of the Artist and Hongi at the Bay of Islands, November 1827 was one of Alexander Turnbull’s most important acquisitions. The library also holds a fine panoramic watercolour view of the Bay of Islands by Earle, purchased in 1977.

Augustus Earle (1793–1838) was one of England’s first professional travel artists. He journeyed widely around the world in the 1820s, sketching people and scenes he encountered on many islands and continents. He later worked up his drawings into finished oil paintings for exhibition and sale. He also wrote and published illustrated accounts of his travels and adventures. When Earle met the great Ngāpuhi rangatira Hongi Hika (1772–1828) in Pēwhairangi Bay of Islands in 1827, the chief was suffering from a severe bullet wound to the chest. Hongi had sustained the injury during one of the many engagements between his people and rival iwi over previous years, aided by English muskets, a trade in arms to which the weapons in the picture allude. Hongi died of the wound during Earle’s stay in New Zealand. The supply of firearms to northern iwi was greatly boosted as a result of Hongi’s visit to England in 1820. There, he met King George IV and was presented with various gifts, which he later traded for muskets and ammunition. The ammunition box in the painting’s foreground, marked with a crown and the initials G. R. (Georgius Rex), is a reference to this visit.

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In his book A Narrative of a Nine Months’ Residence in New Zealand in 1827, Earle describes the meeting, and Hongi’s appearance: ‘His look was emaciated; but so mild was the expression of his features, that he would have been the last man I should have imagined accustomed to scenes of bloodshed and cruelty. But … when he became animated in conversation, his eyes sparkled with fire … it only required his passions to be aroused to exhibit him under a very different aspect.’ Earle’s description of the scene and characters matches those depicted in the painting, but his representation does not show a man with ‘emaciated’ features. As art historian Leonard Bell has noted, Hongi’s image is derived not from a sketch of Hongi himself but rather that of another Ngāpuhi chief, Te Whareumu, under whose protection Earle was staying in Pēwhairangi. The painting is actually a composite image synthesised from a number of sketches Earle made, showing various people and scenes from different times during his stay in Aotearoa. With artworks such as these the only visual images remaining to give insight into the people and places of the time, inaccuracies of this kind are all the more frustrating.

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ANOTHER VIEW OF WAITANGI PAU L D I A M O N D

DESCRIPTION

MAKER / ARTIST

REFERENCE

Reconstruction of the first signing of the Treaty of Waitangi, c. 1940 or 1930s Watercolour, 185 × 275 mm

Attributed to Oriwa Tahupōtiki Haddon (1898–1958)

Donated by Department of Māori Affairs (A-114-038)

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DESCRIPTION

MAKER / ARTIST

The Signing of the Treaty of Waitangi, c. 1933 Photograph of original oil painting submitted to New Zealand Patent Office, 1934

Oriwa Tahupōtiki Haddon (1898–1958) REFERENCE

Courtesy of Archives New Zealand (AEGA 18982 PC4 1934/3067)

In 1960, the Department of Māori Affairs donated a watercolour of the signing of the Treaty of Waitangi to the Turnbull Library. No details were provided about the artist, but it is thought to be Oriwa Haddon (Ngāti Ruanui; 1898–1958). A polymath, Haddon trained as a Methodist minister and pharmacist, but also gained a reputation as an artist and cartoonist and as a broadcaster. In 1934, his oil painting of the same scene was presented to the Governor General, Lord Bledisloe, and was hung in the Treaty House at Waitangi. This painting subsequently went missing, but was recorded in a photograph taken for a patent application. The similarities between the lost painting and this watercolour led Turnbull staff to attribute it to Haddon. Both paintings are interesting for the prominence they give to Māori compared with the European figures, and they stand in marked contrast to the better-known painting of the Treaty signing by Marcus King, completed in 1938 (see page 138). In King’s reconstruction,

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Europeans outnumber Māori, a visual premonition of the influx of settlers to New Zealand after the Treaty was signed. The Māori depicted are also physically placed lower than the Europeans, who sit on a stage, making the former seem supplicant and submissive. In Haddon’s works, in contrast, Māori (women as well as men) dominate among the figures grouped around the wooden table. In the watercolour, a man is signing the Treaty, watched by Lieutenant-Governor William Hobson, another naval officer and the missionary Henry Williams, who is translating. Other Māori, standing and squatting, also look on. The blue-robed man at the right may be the Catholic bishop Jean-Baptiste Pompallier, who argued for the Treaty to include a clause recognising different faiths. Pompallier is more obvious in Haddon’s oil painting (behind the men signing). Also depicted are the former British Resident James Busby (right foreground) and a bearded man (by the tent), who may be the Anglican missionary William Colenso. Colenso printed the Treaty and in 1890 published his own memories of the signing, The Authentic and Genuine History of the Signing of the Treaty of Waitangi. Despite lacking the polish and official imprimatur of the King painting, these works by a largely unsung Māori artist may be a more accurate view of the Waitangi signing. They also reflect the Māori agency and engagement evident in Colenso’s account, which is regarded as the best eyewitness record of the event. Haddon died at Taihape on 17 June 1958, following a car accident.

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WHALING IN THE BAY ER ENA WILLIAMSON DESCRIPTION

MAKER / ARTIST

REFERENCE

Whangamumu whaling station, 1927

Leo White (1906–1967)

Whites Aviation Ltd: Photographs (PA-Group-00080: WA-25237-G)

Whangamumu, a small, peaceful, bush-fringed harbour tucked away in Pēwhairangi Bay of Islands, once echoed with the sounds of whaling and exuded the smells of the industry. From 1844 to 1941, the harbour was the site of a shore-based whaling station. It has been described as ‘one of the country’s earliest and most economically successful’ whaling operations. It was also unique in New Zealand in its use of nets to catch whales. Today, winding roads from New Zealand’s first capital, Kororāreka Russell, to Rāwhiti lead travellers past a Department of Conservation sign beside the road, all that indicates the steep track leading up and over the hill to the station. Little remains there aside from rusting iron and graffiti-splattered concrete and brick structures, all gradually being absorbed into the bush. It’s a poignant place. Commercial whaling is now abhorrent to many New Zealanders, and images like this one are graphic reminders of the vast numbers of whales that were slaughtered and butchered. Our involvement in the industry is now associated with a sense of shame and loss — another example, perhaps, of how we could have done things better in the past. What is interesting, though, is what we can learn about our history and identity as a nation from accounts of Māori and Pākehā interactions that occurred because

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of whaling. These relationships began as early as the 1820s, when the first shore-based stations were set up. The establishment of whaling settlements like Whangamumu was possible only because of the cooperation of local iwi and hapū, who allowed settlement and provided food and other supplies essential for the survival of the whalers. In return, papa kāinga (villages) benefited from the income brought in by the young men who took up whaling. Whangamumu was supported by the nearby community at Rāwhiti. Some 20 men from there are thought to have been living and working at the station by 1899. It was not uncommon for Pākehā whalers to form relationships with Māori women, tying the two groups together through kinship. These relationships enabled some whalers to acquire land of their own for farming when the whaling industry collapsed. Whalers were also among the first Pākehā to become fluent in te reo Māori, essential to their survival as a minority culture within the Māori world. Mana whenua from Rāwhiti are still involved with the Whangamumu station. Today, however, they work with the Department of Conservation to care for the site and to preserve the stories that give insights into much more than just whaling.

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A Whangamumu whaling station worker, probably a Rāwhiti man, with a flensing spade ready to strip the blubber off a whale carcass. Almost all parts of the whale were processed to extract oil and make fertiliser.

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BIRD TRADE

R ENE BURTON & ER ENA WILLIA MSON DESCRIPTION

MAKER / ARTIST

REFERENCE

Diary of John Waring Saxton, entry 4 April 1842

John Waring Saxton (1807–1866)

MS-Papers0107-1-11

This poignant and exquisitely drawn image illustrates a migrant’s diary entry about the capture of a toroa (albatross) from the ship Clifford during its voyage to New Zealand in 1842. John Waring Saxton (1807–1866) gives a graphic description of how the toroa was hauled on deck half-drowned and then crushed to death. He goes on to write, ‘As it is intended to stuff [the albatross], it was thus killed in order that the skin and feathers might not be damaged.’ The killing of toroa by passengers and crew on ships traversing the oceans appears to have been relatively common, if mostly opportunistic. But this event was indicative of a seemingly insatiable appetite among European travellers to ‘new world’ countries like Aotearoa for hunting and selling manu (birds), some live but most dead, for avid collectors at ‘home’. For Māori, as for indigenous cultures worldwide, manu were and are taonga — as messengers, augurs and teachers, and they featured prominently in pūrākau (traditional knowledge stories). New Zealand’s bountiful manu were not only a source of food and prized for adornment, but were also indicators of the mauri (life force) of the taiao (natural world).

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In country after country where indigenous people had long lived in coexistence with their bird populations, new arrivals — visitors and colonists alike — plundered the exotic creatures, and there was no shortage of willing buyers. Manu were collected and traded by both individuals and institutions such as museums. Feathers were also highly sought after as fashion accessories, as well as for use in trims and embellishments for garments. As demand exploded, manu became commodities and their populations were decimated. It is not known exactly how many of New Zealand’s unique manu were hunted and exported around the world, but the number has been described as astronomical. Taxidermists preserving specimens operated throughout the country, feeding this trade. It wasn’t until 1922 that a complete ban on hunting most native manu in New Zealand came into effect. Today, toroa continue to be harmed by human activities, most commonly as fisheries by-catch. The Department of Conservation estimates that a million seabirds drown in drift nets each year in New Zealand territorial waters, and toroa are frequently caught on hooks set by commercial longliners.

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White feathers from toroa were highly valued in European and American fashion markets. As a preserved specimen, this magnificent manu — with a wing span of more than 3 metres — would have been intriguing.

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MOKO OF KAWEPŌ DENISE ROUGHAN

This extraordinary drawing, almost life size, is of the facial moko of Rēnata Kawepō Tama-ki-Hikurangi (Ngāti Te Upokoiri, Ngāti Kahungunu; 1808?–1888), drawn by Kawepō himself. It features in one of three sketchbooks created by the missionary Thomas Biddulph Hutton

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(1824–1886) between 1844 and 1846. These sketchbooks, donated to the Turnbull Library in 2016, record Hutton’s experiences in Aotearoa New Zealand, a country on the threshold of colonial change, and include portraits of Māori, details of church architecture, botanical drawings, and images of Māori and Pākehā social life.

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DESCRIPTION

‘The moko of Renata Kawepo, drawn by himself ’, c. 1844 Pencil drawing MAKER / ARTIST

Rēnata Kawepō Tama-kiHikurangi (Ngāti Te Upokoiri, Ngāti Kahungunu; 1808?–1888) REFERENCE

Sketchbook of Thomas Hutton (E-111-1-044) Thomas Hutton’s New Zealand sketchbooks stayed with his family in England until 2016, when Mayo Marriott, a descendant of Hutton’s second wife, donated them to the Turnbull Library. 2

DESCRIPTION

Carte de visite portrait of Rēnata Kawepō Tama-ki-Hikurangi, Napier, early 1880s MAKER / ARTIST

Samuel Carnell (1832–1920) REFERENCE

PA-Group-00468: 1/4-022223-G This photograph of Kawepō was probably the basis for Gottfried Lindauer’s 1885 painting of him, held at Auckland Art Gallery Toi o Tāmaki. 2

Kawepō was a rangatira and a Christian missionary. He had learnt to write in English as a youth and was able to instruct the missionaries he knew in the Māori language. Hutton arrived in New Zealand in 1842 and would have encountered Kawepō when he met with Reverend William Charles Cotton, chaplain to the first Anglican bishop in New Zealand, George Augustus Selwyn. Kawepō travelled with the clerics as a guide and interpreter in their visits to missionary posts throughout New Zealand in 1843–44. Both Cotton and Hutton drew Kawepō in their sketchbooks, and Kawepō recorded his own account of their arduous journey, Ko te Haerenga o Rēnata (Rēnata’s Journey), almost certainly the earliest of this type of document to be written by a Māori in te reo Māori. His manuscript is held with Cotton’s journals in the State Library of New South Wales; the Turnbull Library holds a copy on microfilm. Volume IV of Cotton’s journals

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also includes a self-executed drawing of Kawepō’s moko, for the purpose of basic instruction in the art of tā moko. In 1869, more than 20 years after the drawing in Hutton’s sketchbook was made, Kawepō’s right eye was gouged out in an act of vengeance by the young widow of a chief who had been killed during the capture of Te Pōrere pā, in which Kawepō had participated. Rather than punishing her, Kawepō decided her act was a fair one and protected her; she later became his wife. Although he was known for wearing a patch over his missing eye, Kawepō was photographed on numerous occasions in later life without it. When Kawepō died at Ōmāhu in Heretaunga on 14 April 1888, 6000 people attended his tangi. He had been highly regarded by both Māori and Pākehā for his open-mindedness and fair judgement, and a monument to him was erected at Ōmāhu a year after his death.

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HĀKARI OLIVER STEAD

DESCRIPTION

REFERENCE

The stage erected to contain the food at the feast given by the native chiefs, Bay of Islands, September 1849, c. 1849 Watercolour, 302 × 477 mm

Collection of Alexander Turnbull, part of album E-320-f (B-030-007)

MAKER / ARTIST

Cuthbert Clarke (1819–1863)

Hākari — occasions for celebratory feasting and entertainment — were often of a grand scale in the nineteenth century, as shown by this depiction of the event held by Te Tai Tokerau iwi in the aftermath of the Northern War of 1845–46.

Hākari — an occasion for hosts to provide their guests with sumptuous food and entertainment — is a vital part of manaakitanga in te ao Māori, uplifting and maintaining the mana of hosts and guests alike. Many kinds of events can be celebrated with hākari, including marriages, the naming of children, tangi, the resolution of conflicts and the reciprocation of previous hospitality. In the first half of the nineteenth century some hākari were conducted on a huge scale. Such events often featured elaborate scaffolding-like stages, also called hākari, some of colossal size, on which food was arranged. This one, with flags flying proudly, towers over a marae at Kororāreka in the Bay of Islands in September 1849. It was recorded as being around 45 metres high, made from 160 kauri spars bound with torotoro vine. Some hākari were much lower, but could be up to 3 kilometres long. Such events could be attended by thousands of people from various iwi. The greatest hākari stages could hold staggering amounts of produce as iwi adopted new farming methods, crops and domestic animals. Tonnes

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of potatoes, beef and pork would be presented, along with traditional staples such as eel and dried fish. After the formal welcome for the guests, the leader of the host group would indicate to each group of guests which portion of food they were to receive at the feast. The food was not intended to be eaten all at once, but rather to be distributed among groups to carry back to their homes. In time the guests might host a reciprocal hākari. Once the stages had fulfilled their function, they were

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never erected again in the same place. Some were left to decay naturally, while others were cut up for firewood. The hākari depicted in this watercolour by Cuthbert Clarke (1819–1863) was organised by Te Tai Tokerau iwi as part of the peacemaking following the Northern War of 1845–46. The event celebrated the reconciliation of formerly hostile iwi, who had variously aligned themselves with and against the colonial government that had instigated the conflict. Governor George Grey,

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the leader of that government, was also present. Clarke, newly arrived in the country, travelled there with Grey’s party in his employment as a government artist. This spectacular scene is one of his best-known New Zealand works. After spending several years in Aotearoa, Clarke moved to Australia. The watercolour was part of Alexander Turnbull’s original collection that founded the library.

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TRANSITION IN TAHITI DENISE ROUGHAN DESCRIPTION

MAKER / ARTIST

REFERENCE

Queen Pōmare IV of Tahiti, with her husband and eldest son, Tahiti, 1847

Artist unknown

Sketchbook of original watercolours painted in Tahiti (E-113-f-06)

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Queen Pōmare IV of Tahiti, with her husband, Tamatoa, dressed in both formal and casual attire, 1847. The vibrant illustrations in this sketchbook provide a glimpse into the everyday life of the Tahitian people in the wake of French annexation.

On 29 April 1847, the newly constructed ship Harpley set sail on its maiden voyage from Tasmania, bound for England. It eventually reached Gravesend in February 1848, but not before springing an almost catastrophic leak that forced the crew to seek refuge in Tahiti. Getting to safety was a desperate endeavour. A written account gives a potted but vivid description of how all able hands worked around the clock at the pumps to get the brand-new ship and its passengers safely to land: ‘Sprang a leak on the 17th of May 4500 miles from land in Long. 150.5.W Lat. 51.40.S. Threw overboard 50 Tons of Wheat and 4 Carronades and bore up for Valparaiso but Easterly Winds prevailing, on the third day we steered for Otaheite hoping to reach it in 10 days … we were 46 days before we were in harbour.’ The Harpley arrived just a few months after Queen Pōmare IV (‘Aimata Pōmare IV Vahine-o-Punuatera‘itua, 1813–1877) had reluctantly consented to rule under French administration, having returned from a period of exile in Ra‘iātea without any success in obtaining help from Britain against the French. During the ship’s 11week stay on the island for repair, an unidentified member of its company filled a sketchbook with 52 watercolours and anecdotes, including the account quoted above. The sketchbook was acquired by the Turnbull Library in 2017 from the London antiquarian bookseller Maggs Bros. This image of Queen Pōmare and her husband, ‘Tamatoa’ (Tenani‘a Ari‘ifa‘aite a Hiro, 1820–1873), is unusual, depicting the couple artificially as four individuals rather than two, standing alongside each other in formal and more casual attire. Perhaps diffident, the queen’s eldest surviving son, ‘Aritaue’ (Ari‘iaue Pōmare, 1838– 1856), Crown Prince of Tahiti, is also depicted, with his back to the viewer. The sketchbook’s simple but beautifully executed illustrations provide some insight into daily life for the indigenous Tahitians in the immediate aftermath of the Franco–Tahitian war (1844–47). The French military presence and triumphant flag feature in several of the images. Tahiti continued as a French protectorate, with Queen Pōmare as monarch until her death in 1877. Three years later, the islands became a French colony. As to the fate of the Harpley, when the ship was examined on its arrival in England, the conclusion was drawn that the Tasmanian mountain ash or swamp gum used in its construction was not fit for purpose. Despite this, the vessel went on to complete several more journeys between England and Australia, until it was finally wrecked in 1862 while bound from Scotland’s River Clyde for San Francisco.

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EIGHTHOUR-DAY CHAMPION J O H N S U L L I VA N DESCRIPTION

MAKER / ARTIST

REFERENCE

Samuel Parnell, 1890

Henry Wright (1844–1936)

PAColl-5032: 1/1-020462-G

For many Kiwis, Labour Day is simply a holiday weekend at the end of October and they are unaware of its origins. These lie in the actions of a carpenter who, on first setting foot in this country, established a labour relations benchmark that endures to this day. When Londonborn Samuel Duncan Parnell (1810–1890) arrived at Pito-one (Petone) aboard the Duke of Roxburgh on 8 February 1840, one of his fellow passengers, shipping agent Thomas Hunter, asked him to build a warehouse. Parnell’s response has gone down in history: I will do my best, but I must make this condition, Mr. Hunter, that on the job the hours shall only be eight for the day … There are twenty-four hours per day given us; eight of these should be for work, eight for sleep, and the remaining eight for recreation and for men to do what little things they want for themselves. I am ready to start tomorrow morning at eight o’clock, but it must be on these terms or none at all. Parnell’s words echoed the 1817 slogan of Welsh manufacturer and social reformer Robert Owen: ‘Eight hours’ labour, eight hours’ recreation, eight hours’ rest’. Parnell established a custom that spread from Wellington

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to many other parts of the country. He met all ships arriving in Port Nicholson (Wellington Harbour) and told the new migrants not to work for more than eight hours a day. His determination gained the support of other workers, and the general shortage of labour gave employers little leverage. A meeting of Wellington workers in October 1840 resolved to work no more than eight hours per day, between 8 a.m. and 5 p.m., and promised those working longer hours a dunking in the harbour. The year 1890 marked the jubilee of organised European settlement and also, for a by now powerful trade union movement, the institution of the eight-hour working day. This would be celebrated at an inaugural Labour Day demonstration in October. Parnell was living in retirement in Wellington, and a committee of Wellingtonians was formed to honour him at the event. On 28 October 1890, Parnell rode on a brake drawn by four horses at the head of the Labour Day parade to Newtown Park. He died shortly after, on 17 December, and was given a public funeral, with a crowd of thousands — accompanied by the Garrison Band — marching in procession from his home in Cambridge Terrace to the Bolton Street Cemetery. A decade later, the Liberal government made Labour Day a statutory holiday (see page 108).

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This portrait of Samuel Parnell was taken by Wellington businessman and keen amateur photographer Henry Wright, probably in preparation for the Labour Day celebrations in 1890.

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FIRST NEW ZEALAND ATLAS SASCHA NOLDEN

DESCRIPTION

MAKER / ARTIST

REFERENCE

Three plates from Geological and Topographical Atlas of New Zealand, published by T. DeLattre, Auckland, 1864

Dr Ferdinand von Hochstetter and Dr A. Petermann

Mantell Collection (Mantell HOC 1864)

German scientist Ferdinand von Hochstetter (1829– 1884) spent much of 1859 travelling around Aotearoa surveying its varied geology. He arrived in Auckland in December 1858 as a member of the Austrian Novara scientific expedition. Soon after, the Auckland provincial government invited him to make an extended stay to carry out a geological survey and explore mineral resources. The task was also a topographical survey, as the land beyond the coast had not yet been mapped in any detail. Initially, Hochstetter surveyed the Auckland volcanic field, visiting many of the points of eruption and working closely with the artist Charles Heaphy (1820–1881), who provided tracings of base maps. The resulting map forms an important record of the Auckland landscape before it was altered by extensive quarrying and development in the burgeoning urban area. Once Hochstetter had investigated the surroundings of Auckland, he undertook a major 79-day survey expedition across the North Island, travelling from Auckland down to Lake Taupō and up through Rotorua and the Bay of Plenty, before returning to Auckland. A geological highlight of this journey was the visit to Lake Rotomahana, which resulted in Hochstetter’s iconic map showing the location of the Pink and White Terraces,

Ōtūkapuarangi and Te Tarata, a major tourist attraction before it was obliterated by the Mount Tarawera eruption of 10 June 1886. Later, Hochstetter and his friend and newly arrived migrant the geologist Julius von Haast (1822–1887) went on to explore parts of Nelson Province, where gold, copper, coal and various minerals were being mined. After returning to Vienna in 1860, Hochstetter compiled a folio of the survey observations that were scattered throughout his diary and sent this data to the pre-eminent cartographer of the day, August Petermann, in Gotha, Germany. Petermann and a team at the Justus Perthes publishing house brought together Hochstetter’s extensive fieldwork, including the compass bearings, drawings, photographs and sketch maps he had created on site. The six chromolithographic printed maps that emerged were first produced with German-language labels and published in journals, books and the German edition of the atlas. They formed a unique portrait of the land. The English version of the maps was commissioned by Carl Frank Fischer of Auckland, who compiled the atlas, which was then published by his brotherin-law Theodore DeLattre in 1864 as the first atlas of New Zealand.

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TWO MĀORI IN VIENNA PAU L D I A M O N D

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The journal by Te Hemara Rerehau, with a translation by te reo Māori scholar Helen Hogan, was published in 2003 as Bravo, Neu Zeeland: Two Māori in Vienna 1859–1860.

DESCRIPTION

MAKER / ARTIST

REFERENCE

Pages from ‘Notes on Trip to Vienna by Wiremu Toetoe and Te Hemara Rerehau’, 1859–60

Te Hemara Rerehau (c. 1840–1895)

Alexander Francis McDonnell (1866–1938): Papers (MS-Papers-0151-05)

In December 1858, the Austrian naval frigate SMS Novara arrived in Auckland as part of its circumnavigation of the globe. When it left in January 1859, Wiremu Toetoe (c. 1827–1881) and Te Hemara Rerehau (c. 1840–1895), both of Ngāti Apakura, had joined the expedition. On reaching Vienna, the men worked in the printery of Emperor Franz Joseph; nine months later, on their departure, they presented the emperor with a product of their newly learnt craft — an address printed in German and Māori. Toetoe and Rerehau entranced their European hosts and were themselves intrigued by the things they saw. We know what they thought about this remarkable trip thanks to an account written by Rerehau: ‘[Austria] is a very fine country, and the way people live is really excellent; the buildings are big and very tall. It is very beautiful inside the rooms, with lovely beds, excellent food and drink. And there are figures in the shape of lions and bears; their mouths are open so that water comes out.’ When the emperor’s brother Archduke Maximilian offered the men a farewell present, they asked for a printing

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press. By the time the pair returned to New Zealand in 1860, the Taranaki wars were underway, and their press was later put to use to print the Kīngitanga newspaper Te Hokioi o Nui-Tireni, e Rere atu na (War Bird of New Zealand in Flight to You), the first te reo Māori newspaper produced entirely by Māori. The paper’s nine issues, printed between 1862 and 1863, appeared with an acknowledgement: ‘Te perehi aroha noa o te Kingi o Atiria’ (‘The press given with affection by the King of Austria’). In retaliation, the government set up its own newspaper, Te Pihoihoi Mokemoke i Runga i te Tuanui (The Sparrow Alone on the House Top). A war of words began between the papers until, in March 1863, a group of Ngāti Maniapoto people seized the government press and threw it and its type and printed sheets into a nearby river. The recovered press ended up with the Government Printing Office, which donated it to the Turnbull Library in 1958, where it still lives, stored in the basement. Actual war silenced Te Hokioi — that press is held by the Te Awamutu Museum. The Turnbull holds copies of both newspapers, which are available digitally via Papers Past.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Wiremu Toetoe (left) and Te Hemara Rerehau, London, 1860 Gelatin silver prints, 190 × 140 mm

Antoine Claudet (1797–1867)

Nolden, Sascha and Sandy B. Nolden (2015). Hochstetter Collection Basel: Part 5 — Portrait Photographs. Auckland: Mente Corde Manu (5.2.T3/5.2.R11)

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Wiremu Toetoe and Te Hemara Rerehau returned home via London, where these photographs were taken when they met Queen Victoria.

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SHIPBOARD DIARY JOA N MC C R AC K E N

DESCRIPTION

MAKER / ARTIST

REFERENCE

Page 8 from ‘Diary from leaving England Octr 8th 1864 to November 8th 1866’

William Webster Hawkins (1842–1918)

qMS-0934_008

‘Hurrah! Land sighted abt 12 noon today … The lookout on the foremast saw it but said he thought it was a cloud.’ After 102 days at sea, 22-year-old William Webster Hawkins (1842–1918), who had boarded the wooden sailing ship Wild Duck in October 1864, was delighted to see the cloud that was Aotearoa New Zealand. Having graduated from Cambridge University that year, Hawkins had been contracted by Joseph and Elizabeth Tetley to tutor their three young sons in New Zealand. Travelling with the family, he wrote in his journal on most days during the voyage. The Wild Duck made regular voyages to New Zealand, bringing settlers and goods, usually under the command of Captain Thomas Bishop. On this trip, Hawkins was one of 15 cabin passengers, with another 46 people in steerage. The lovestruck captain and his bride appear in the diary: ‘It is very delightful for the passengers the Captain being newly married and having his wife on board as they “bill & coo”… How will it be after two or three voyages!’ Many migrants en route to New Zealand were keen writers of diaries, and the Turnbull holds numerous examples of these. Most were kept by cabin passengers, like Hawkins, who could afford the paper and pens required to keep such a record, and who had the space

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William Hawkins’ diary remains an entertaining account of the long sea voyage to the ‘cloud’ that was Aotearoa, and of his time as a tutor with the Tetleys in Kekerengu. It was purchased by the Turnbull Library in 1970, along with a separate sketchbook. The diary has been digitised and can be read on the National Library website.

in which to write. Few steerage passengers or crew had these luxuries. Hawkins’ leather-bound journal is written in ink, legible but with many smudges and crossings-out. One imagines that the movements of the ship made writing quite difficult at times. It is special to this author for its pictures and amusing captions. Hawkins regularly records the ship’s position, the weather and the distance covered each day (from 18 miles to 248 miles). He also documents the activities of his fellow cabin passengers and the crew, including the discomforts of shipboard life, the boredom and frayed tempers, the games and rituals. Sea sickness was a terrible problem: ‘My stomach and bowels are very obstinate.’ It was a relief on 18 January 1865 when the ship anchored in Port Nicholson (Wellington Harbour): ‘The day we got in the wind was blowing very strong & raising the dust a good deal, but we were informed the wind was a trifle to what it is sometimes.’ Hawkins continued to write and sketch during the three years he lived at Kekerengu in Marlborough with the Tetleys. Upon completing his contract, he returned to England and commenced a lifelong career as a Church of England minister.

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HE WAHINE TOA TRISH BEAMSLEY

DESCRIPTION

Page 4 from ‘Handwritten account by Heni Pore about her involvement in the NZ Wars’, date unknown MAKER / ARTIST

Hēni Pore (1840–1933) REFERENCE

James Cowan Collection, MS-Group-2097 (MSPapers-11310-141)

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DESCRIPTION

Portrait of Hēni Pore, 1920–33 MAKER / ARTIST

Photographer unknown REFERENCE

James Cowan collection of photographs (1/2-041822-G) Hēni Pore (aka Jane Foley, aka Hēni Te Kiri Karamū) was not only a wahine toa, but she also embroidered the red silk ‘Aotearoa’ flag for the Kīngitanga, a famous trophy from the wars that is now in the care of Auckland War Memorial Museum Tāmaki Paenga Hira.

Tucked away among the papers of journalist and historian James Cowan (1870–1943) in the Turnbull Library is a 56-page memoir handwritten by Hēni Pore (Te Arawa; 1840–1933), a woman whose long and extraordinarily full life spanned almost a century of war and peace in Aotearoa New Zealand. As a four-year-old, Pore witnessed the burning of Kororāreka at the beginning of the Northern War, and as a young mother in her twenties she fought for the Kīngitanga in Waikato and at Tauranga. Her memoir is an enthralling read, as this excerpt about the attack on Pukehinahina Gate Pā in April 1864 demonstrates: as soon as the hangi was covered we were surprised to see the soldiers marching up towards us … as Rawiri Puhirake was on top of the parapet of his pa, I heard [him] refuse to give up the firearms, he said he intended to have breakfast in Te Papa … while he spoke we were called to prayers in our pa and all of us jumped into the trench … my place was alongside of our chaplain Hori; on the other side of Hori was Eraihia and Patutiti [and] just below me was Timoti Amopo, my brother alongside of him in the trench … I had my hands on my face when Timoti

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dragged me down into the trench [at the] same time as [a] terrific crash was heard and [then] groans … when I looked up my two comrades [were] blown to atoms … I heard the soldiers singing and laughing and I didn’t know what they laughed at, then I saw the whole potatoes of our hangi blown up, the shell which killed my two comrades went through the hangi bursting them. At Pukehinahina this wahine toa also earned a reputation as a compassionate rival, crossing the lines to give wounded British troops water. Interestingly, the following year she joined her Te Arawa relatives supporting the colonial government against Pai Mārire forces at Matatā and Te Teko. Although some of Pore’s life experiences were published in early twentieth-century newspapers, an inscription in her handwriting near the back of her account says, ‘more rubbish for you to burn’, suggesting that she thought few others would have an interest in her work or life. To the contrary, her writings and her life are now a taonga, and more special than ever. Ka nui te mihi ki a koe, e Hēni!

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HE HONONGA TĀNGAENGAE RU K I TOBI N DESCRIPTION

MAKER / ARTIST

REFERENCE

Ko Hāre Pōmare, ko Hariata Tutapuiti me tā rāo tamaiti a Albert Victor Pōmare, Ingarangi, 1863

Nā Mayall Studio, Rānana

1/2-045055-F

He kāwai whakapapa rangatira tō Hāre Pōmare, he hekenga ia nō Pōmare II o Ngāti Manu, ā, he wahine rangatira hoki a Hariata Tutapuiti nō Te Ahuhu o Ngāpuhi. I whakawhiti rāo ki Ingarangi i te tau 1863 ki te taha o tētahi kapa haka. He mea haere ki te taunaki, ki te whakatauira atu i ngā mahi-ā-rēhia e mana ai te kauhau o William Jenkins, he kaikauhau Wēteriana. I taua wā i te mau tonu a Kuīni Wikitōria i te pōtae tauā o mate, nā te wehenga o tōna hoa rangatira a Kīngi Albert Victor. Ka wehi mārika a Wikitōria i tana tūtakitanga ki te kapa Māori, ā, ki ngā kupu mihi i tuku ki a ia, ki tōna makau hoki. Ka tirotiro haere ia, nā kite ia i a Hariata. Nā te oreore o te ngākau aroha, ka tono ia ki a Hariata, kia tū ko ia hei ruahine mō tana tamaiti. Ki te whānau kōtiro a Hariata, kia tapaina ko Wikitōria hei ingoa mōna, ā, mēnā he tama, kia tapaina ko Albert hei ingoa mōna. Nāwai, nāwai ka whakawhānau a Hariata i tētahi pūru taitama, ka tapaina ko Albert Victor Pōmare tōna ingoa. Ka rongo a Wikitōria i tēnei karere, ka horo tana whakarite onge mō Albert. Ka kohaina he kākahu tohi Karaitiana, he kōpaki kirikau kākāriki nō Marako me tētahi pune, he

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tao, he naihi, he kapu hiriwa nōki. Ka whakairo ki runga i ēnei taonga tēnei karere: ‘To Albert Victor Pomare from his Godmother Queen Victoria, November 1863’. Ka tohia a Albert ki te whare karakia o Hato Pāora i Tottenham i te 3 o ngā rā o Tīhema. Ka haere te whānau ki te tūtaki ki te Kuini me tana kāhui ki Windsor Castle. Ka rewa te aroha me ngā whakamiha o Wikitoria ki tēnei tama. Ka tono te Kuini ki te whānau Pōmare kia whakaahuatia rātou. I te wehenga o te whānau Pōmare i Ingarangi ki Aotearoa i taua tau tonu o 1863, nā te Kuini anō i utu mō tō rātou haerenga, ā, i hoki rawa nui rātou. Ki tā ngā uri o te hapū o Ngāti Manu, nō te iwi o Ngāpuhi, he hononga tāngaengae tēnei e kore e taea te motu. He piringa tēnei o te ao Māori ki te ao Pākehā. He tohu aroha tēnei e whakatauira ana ka taea e te tangata, ahakoa nō ao kē, nō whakaaro kē, te noho tahi i raro i te rangimārie, i te ngākau whakaute. Nā Rahiri ēnei kōrero i tuku ki ana tama tokorua a Uenuku rāo ko Kaharau, kia tau te rangimārie ki waenganui i a rāo, ‘Ka mimiti te puna ki Taumārere, ka totō te puna ki Hokianga. Ka mimiti te puna ki Hokianga, ka totō te puna ki Taumārere.’ Kia tau te rangimārie!

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He whakaahua tēnei o Hāre, o Hariata me tā rāo tamaiti a Albert Victor Pōmare ki Windsor Castle, ki Ingarangi i te tau 1863. He whakaahua tēnei e whakatauira ana i te mana o te kōtui whakapapa, i te mana o te ingoa, i te mana o te aroha.

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SELLING A FARMING DREAM S U Z A N N E H A R DY

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DESCRIPTION

Roman Catholic Church at the Bohemian Settlement of Puhoi, 1887 Watercolour, 124 × 234 mm MAKER / ARTIST

Ishbel Maria Hamilton-Gordon, Marchioness of Aberdeen and Temair (1857–1939) REFERENCE

A-237-004 The Catholic church in Pūhoi was at the centre of the Bohemian community’s life. The artist, Ishbel Maria Hamilton-Gordon, made her name as an author, philanthropist and advocate of women’s interests.

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In 1887, during a once-in-a-lifetime visit to New Zealand, Ishbel Hamilton-Gordon, Marchioness of Aberdeen and Temair (1857–1939), came across what she must have thought was a surprising and charming rural scene as she travelled through the wilds of north Auckland. She has left us her memory of the encounter with this painting of Pūhoi in its early years. It puts me in mind of my great-great-grandfather, Anton Russek (1822–1897), and the dream he was sold when he and his wife, Margaretha, and their four children migrated to New Zealand in 1863 — and also what he must have thought when he first saw this landscape. His family came from a farming community in Bohemia (now in the Czech Republic), where labour was poorly paid and land ownership was impossible for the average worker. He was one of those who heard the call from the enthusiastic and charismatic retired soldier Captain Martin Krippner (1817–1894) promoting New Zealand’s prospects. The Auckland provincial government had a scheme offering foreigners tracts of freehold land — 40 acres (16 hectares) per adult, and 20 acres (8 hectares) for children over five years old. New Zealand had fertile land suitable for farming in a climate similar to their own, so the story went, making the proposition even more compelling. Sixty-three daring Bohemian citizens trusted Krippner’s judgement and took up the challenge to travel to the other side of the world to join him. The immigrants may not have owned their land in Bohemia, but they were used to well-established farms, with fenced and orderly pastures, and they arrived in New Zealand expecting to gain the same. Instead, when they travelled north from Auckland to their promised land on the Pūhoi River, they were conveyed in waka by people of Ngāti Rongo to a place upriver, deep in dense kauri forest. They would have starved if they hadn’t been fed and housed by Ngāti Rongo. However, having spent their entire fortunes getting to the place of their dreams, there was no option but to carry on and establish a community. The Bohemians eventually made their living from the very trees they despaired of, clearing the impenetrable bush with axe and saw, hauling out the logs with bullock teams and developing prosperous dairy farms. After many years of back-breaking work, their gamble to emigrate finally paid off.

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‘I SHALL NOT DIE’ PAU L D I A M O N D

DESCRIPTION

MAKER / ARTIST

REFERENCE

‘Ki a Puano ma’, letter dated 25 June 1868

Riwha Tītokowaru (c. 1823–1888)

MS-Papers-3006-01; MS-Papers-3006-02

‘E kore ahau e mate, kāore ahau e mate, ka mate anō te mate, ka ora anō ahau’ (‘I shall not die; I shall not die. When death itself is dead I shall be alive’). These ringing words of defiance were written in a letter found in a cleft stick on a south Taranaki road in June 1868. The letter — written by Ngāti Ruanui rangatira Riwha Tītokowaru (c. 1823–1888) — had an explosive effect. Frustrated with the continued confiscation of his people’s land, Tītokowaru wanted to send a deterrent message to the Pākehā population and, by extension, the colonial government. A fortnight before the letter was written, a soldier called Tom Smith was killed when, disobeying orders, he went looking for his horse. Only the lower part of his body was found; the rest had been cooked and eaten in what historian Tony Sole has described as a terror tactic. Tītokowaru’s letter, which refers to this act, was designed to outrage and sow panic among Pākehā settlers and troops alike in the run-up to renewed armed resistance from iwi forces, led by the rangatira himself. What followed was a series of battles in which Tītokowaru proved himself to be a brilliant military strategist. He achieved major wins over the colonial

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This letter by Riwha Tītokowaru was part of Alexander Turnbull’s original collection. It was given to him in 1916 by the surveyor and collector Gilbert Mair, who had his own notable career as a soldier in the New Zealand Wars.

forces at a time when they were also battling military leader Te Kooti’s insurgency on the East Coast. But at the height of its success, Tītokowaru’s campaign ended abruptly — and at the time inexplicably — when he and his forces abandoned their pā at Tauranga-ika in 1869. Tītokowaru’s words ‘I shall not die’ have become well known as the title of his 1996 biography by historian James Belich. Less well known is that Tītokowaru was borrowing from the whakataukī, ‘E kore au e mate, he kākano i ruia i Rangiātea’ (‘I shall not be lost, the seed that was sown from Rangiātea’). The reference to the ancestral homeland, Rangiātea, makes a powerful statement about the enduring survival of the Māori people and, in the case of the Taranaki wars, their resistance to land loss. That resistance continued in the non-violent movement propounded by Te Whiti-o-Rongomai III and Tohu Kākahi from their papakāinga Parihaka, in which Tītokowaru took a leading part and for which he was imprisoned after Parihaka’s invasion in 1881. After his release the following year, Tītokowaru travelled with his followers throughout the Taranaki region preaching peace and reconciliation.

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‘Cease travelling on the roads … lest you be left … as food for the birds of the air and for the beasts of the field, or for me because I have eaten the European … I have begun to eat human flesh, and my throat constantly craves for the flesh of man. I shall not die; I shall not die. When death itself is dead I shall be alive. You all too shall live if you leave Matangārara.’

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KEREOPA TE RAU T E W H A I M ATAU R A N G A S M I T H DESCRIPTION

MAKER / ARTIST

REFERENCE

Ko Kereopa Te Rau, 8 Tīhema 1871, Ahuriri

Samuel Carnell (1832–1920)

Māori portrait negatives (PA-Group-00468: 1/4-022022-G)

Ko te whiu o te kōrero i whina ki Tarimano, ko Te Aongahoro, ko te ruahine a Tawakaheimoa a kia rere ki mua ko Rangiwewehi e! HE WĀHANGA NŌ TE WAIATA PĀTERE I TITOA E KATO FLAVELL

I te 21 o Pēpuere i te tau 1864 i tae atu te Karauna ki Rangiaowhia, he pā tata atu ki Te Awamutu. I reira rātou ka patu, ka kōhuru i te iwi o reira. Ko ētahi i kōhurutia i tēnei pakanga he wāhine, he tamariki. Ko te hoa rangatira me te tamāhine o Kereopa Te Rau i mate i te ringa o te Karauna. I te 22 o Pēpuere, i whawhai tahi a Kereopa Te Rau ki te taha o ngā toa o te ope o te Kīngitanga i te Hairini, he wāhi i waenganui o Te Awamutu me Rangiaowhia. E ai ki ngā kōrero o Ngāti Rangiwewehi, i reira ka mate te tuahine o Kereopa. I taua tau anō i huri a Kereopa ki te hāhi Pai Mārire, ā, i tonoa e Te Ua Haumēne a Kereopa rāua ko Pātara Raukatauri ki Te Tairāwhiti hei māngai, hei kaiwhakapāho i te whakapono nei. I Ōpōtiki a Kereopa i te tuarua o Māehe 1865, i te whakawātanga o Carl Volkner. I te marama o Māehe 1865 i āki a Kereopa kia whakawātia te mihingare nei a Carl Volkner nā runga anō i āna mahi muna. Ko ngā mahi muna a Volkner he tohatoha kōrero ki a Kāwana Kerei mō te whakatakotoranga o te pā o Rangiaowhia i mua i te kōhurutanga a te Karauna i te iwi o reira. I runga anō i ēnei kōrero i whakatau te minenga nei kia mate a Volkner, ā, ko Kereopa i whakaae nōki

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ki tēnei. I te rua o Māehe 1865 i herea te kakī o Volkner, ā, i whakairia ki te rākau whiro mate ai. I aruaru te Karauna i a Kereopa mō ngā tau e ono. I noho muna ia ki te rohe o Tūhoe, ki Te Urewera mō aua tau. Nā te tokomaha o Tūhoe i mate i runga anō i tā rātou manaaki i a Kereopa, i tukuna a Kereopa ki Ahuriri, ki te whareherehere. I reira ia i whakawātia e te Karauna mō tōna hononga ki te kōhurutanga o Volkner. E ai ki te Karauna, nā Kereopa Te Rau i whakaoreore i ngā mahi whakamate i a Volkner. E ai nōki ki ētahi, i te rapurapu noa te Karauna i tētahi take kia taea e rātou te whakamate a Kereopa. I te mutunga iho i tutuki i te Karauna tā rātou i whai ai i runga anō i tā rātou mahi tinihanga. I te ata o te tuarima o Hānuere, i te tau 1872 i herea te kakī o Kereopa, i whakairi i a ia i roto i te whareherehere o Ahuriri. I te marama o Hakihea i te tau 2012 i tukuna te whakaaetanga whakataunga o Ngāti Rangiwewehi. Ko tā te iwi o Kereopa, i hē te Karauna whakawā, whakatau i tōna kēhi, ā, kāore a Rangiwewehi i whakaae ki te whakatau a te Kōti kia whakamate i a Kereopa. Kei te pēnei tonu te whakapono o Ngāti Rangiwewehi i ēnei rā tonu.

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He whakaahua tawhito tēnei o Kereopa Te Rau i whakaahuatia i te tuawaru o Tīhema i te tau 1871. Ko te kaiwhakaahua ko Samuel Carnell, ā, i whakaahuatia i te whareherehere o Ahuriri.

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WĀHINE MĀORI, WHENUA MĀORI ER ENA WILLIAMSON DESCRIPTION

MAKER / ARTIST

REFERENCE

Maraea Mōrete, c. 1870

Photographer unknown

1/2-C-016559-F

This portrait of Maraea Mōrete (Te Aitanga-a-Māhaki; 1844–1907) is a reminder of the many wāhine Māori who have fought to retain or reclaim rights to their people’s whenua. Some were directly involved in combat in Ngā Pakanga o Aotearoa, the New Zealand Wars, in the midnineteenth century, others petitioned and protested against government actions, and yet others pursued legal avenues in court, most often the Native Land Court (now the Māori Land Court). Since the wave of would-be settlers began arriving in Aotearoa in the late eighteenth century, whenua has been a crucial part of interactions between tangata whenua and tauiwi (new comers). It has been traded, gifted, sold, appropriated and confiscated. Government involvement in these processes has varied; however, in 1865, one year after the Waikato War ended, the colonial Parliament passed the Native Lands Act, the consequences of which can still be felt today. To administer the law, the government set up Native Land Courts in strategic locations around the country. These courts enabled whenua Māori to be assigned to individual owners, rather than being held collectively by hapū and iwi. The result was that land transfer to Pākehā settlers became much easier, and some 2 million hectares changed hands between 1870 and 1892.

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Maraea Mōrete, also known as Maria Morris, became caught up in both war and legal processes. In 1868, during the Crown’s conflict with forces loyal to Te Kooti Arikirangi Te Tūruki (Te Kooti) in Tūranganui, she and her husband and child were captured by a Te Kooti raiding party. Mōrete’s husband was executed, but after two weeks as a prisoner she managed to escape with her child. In 1869, she appeared in the Supreme Court in Wellington to testify against the men involved in these events, who were on trial for high treason. Aside from her strong desire to see Te Kooti and his followers brought to justice, Mōrete may have been motivated to testify to ensure she was not viewed as a rebel by the government, as the Native Land Court could exclude Māori from holding shares in whenua on this basis. And indeed, the Native Land Court minutes for Tūranganui-a-Kiwa (Gisborne area) in 1869 record her presence and testimony in a successful fight on behalf of her whānau for rights to their whenua, to which they were able to return. Later in life, Mōrete wrote about her experiences in a manuscript known as her ‘Reminiscence’. This is believed to be the first autobiography written by a wahine Māori, and a copy is held in the Turnbull Library.

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This carte de visite portrait of Maraea Mōrete was possibly taken during her stay in Wellington to testify against followers of Te Kooti Arikirangi Te Tūruki during their Supreme Court trial for high treason.

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TELEGRAPHIC TWEETS DY L A N OW E N DESCRIPTION

MAKER / ARTIST

REFERENCE

‘News of the Week’ (detail)

Author unknown

Otago Witness, issue 1104, 25 January 1873

‘We are informed that a frog was seen on Devon Hill last week,’ the Otago Witness’s brief ‘News of the Week’ advised its readers on 22 January 1870. Long before twenty-firstcentury tech giants like Twitter and Instagram colonised our social media landscape, early New Zealand newspapers were doing something similar — they just used different technologies. Newspaper columns with titles like ‘News of the Week’ and ‘General Intelligence’ dispensed a digest of eclectic, pithy content — international to local, tragic to trivial. For today’s readers, they somewhat resemble a Twitter feed. Local newspapers would take content from other published papers, then curate and publish what they thought was relevant to their readership. Sometimes, even no news was deemed newsworthy, as the Wellington Independent reported on 21 June 1864: ‘There is no local news from Otago of the slightest general interest.’ A column called ‘Telegraphic Brevities’ reinforced the crucial importance of the telegraph’s invention for colonial newsgathering and distribution. Before this, news and newspapers from overseas took months to arrive in New Zealand — even local papers and news could take weeks to reach their audience. The telegraph made it possible to send and receive national and international news in minutes; for newspapers, this was revolutionary.

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Hares, figs, whooping cough, lunatic asylums — newsy mentions of familiar goods and ills of their former home countries helped give a scattered colonial population a sense of connection and shared background and experience.

New Zealand’s first electric telegraphic service connected Lyttelton to Christchurch in 1862. During the following decade, it crossed Raukawa Moana Cook Strait and then the Tasman Sea, and connected all the country’s cities and major towns. For newspapers, the telegraph married timeliness with increased access to content. The ‘News of the Week’ example shown here carries informational snippets from all parts of the country. Pro-colonial and Anglocentric, eclectic, entertaining and occasionally sobering, columns like this captured people’s preoccupations with the weather, farming life and personal misfortune, and perhaps something of an emerging Pākehā identity. Rediscovering this information has been made possible through the extensive digitisation of the Alexander Turnbull Library’s National Newspaper Collection. Its online delivery through the website Papers Past allows anyone to search more than 77 million articles from historical Māori and Pākehā newspapers. As for the Otago Witness, it ceased publication in 1932, but not before it claimed two notable firsts for a New Zealand newspaper. One was to feature photographs and illustrations. And the other was to run the extraordinary ‘Dot’s Little Folk’, a decades-long social correspondence column for children and teenagers.

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ACTIONS AT PARIHAKA PAU L D I A M O N D

DESCRIPTION

MAKER / ARTIST

REFERENCE

‘For Diver’s Reasons’ cartoon, Wellington Advertiser, 19 November 1881

Attributed to Edward Pharazyn (1835–1890)

Collection of Alexander Turnbull (A-095-038)

The woodcut cartoons printed in Taranaki Punch, a satirical magazine published between 1860 and 1861, are thought to be the first to depict Māori. Many were to do with the war erupting in Taranaki at the time and showed Māori in a negative light, invariably as one of two ‘types’ — shrewd, bloodthirsty savages or primitive simpletons.

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The Wellington Advertiser was a short-lived newspaper that is thought to be this country’s first to include editorial cartoons. The library’s holdings of the newspaper do not include the cartoons, which were collected separately by Alexander Turnbull.

A later stage of the Taranaki wars — the 1881 invasion — prompted another of Parihaka in south Taranaki cartoon featuring Māori, which Alexander Turnbull collected from the Wellington Advertiser. At first glance, this brutal image of a man in naval uniform dismembering a defiant Māori man could be read as an attack on Māori.

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DESCRIPTION

MAKER / ARTIST

Volunteer soldiers at their camp at Parihaka, November 1881

William Collis (1853–1920) REFERENCE

Parihaka album 1 (PA1-q-183-13)

However, the historical evidence suggests the opposite, with an initial clue in the pencilled text written by Turnbull below: ‘Evidently war in Taranaki. Parihaka?’ Parihaka was founded in 1866 by two rangatira, Te Whiti-o-Rongomai III (Te Āti Awa; ?–1907) and Tohu Kākahi (Te Āti Awa; 1828–1907), who opposed the Māori land confiscation that had followed the Taranaki wars. When the government began to enforce the confiscation, including at Parihaka, the followers of Te Whiti and Tohu resisted — without using violence. Surveying was interrupted, ploughmen ploughed confiscated lands and fencers repaired fences damaged around Māori cultivations. The government’s concern over this opposition culminated in the invasion of Parihaka on 5 November 1881 by 1500 militia and volunteers. The inhabitants of the settlement, who numbered more than 2000, offered no resistance.

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Among the invaders was a naval doctor called Henry Diver, represented here sawing off the man’s leg. His name provides the title’s pun: ‘divers’ is another word for ‘diverse’. By 19 November, when this cartoon was published, Te Whiti and Tohu had been arrested, their followers removed, and the village and its cultivations were being destroyed. This may have been the cartoonist’s message — without their economic base, Taranaki Māori were left, literally, without a leg to stand on. The artist may also have been commenting on the government’s credibility over the invasion. The mountain and the tree on the right seem to echo surveyor Charles Heaphy’s famous painting Mt Egmont from the Southward (1840), an idealised scene used to promote colonisation. This cartoon, by comparison, is far from a New Zealand idyll, with the soldiers’ tents at the centre underscoring the domination of Māori by force. Cartoons are valuable evidence of attitudes to issues of the day and the times — here, that Pākehā did not universally support the government’s actions at Parihaka. This one is also significant as an early example of a cartoon that does not depict Māori in a negative, stereotyped light.

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FARM OF THE SOUTH S U Z A N N E H A R DY DESCRIPTION

MAKER / ARTIST

REFERENCE

Champion Shorthorn Cows and Bulls, c. 1884

George Ferdinand Fodor (1859–1930)

G-389

The setting looks like Scotland, and some of the cows’ and bulls’ names sound Scottish, too, but this mid-1880s portrait of prize cattle originated in that fast-developing farming paradise of the southern hemisphere, New Zealand. In 1886, visitors to the New Zealand section of London’s grand Colonial and Indian Exhibition may well have spotted this glowing portrayal of top-quality livestock from the British Empire’s farthest-flung colony. The painting was made by George Ferdinand Fodor (1859–1930), who was active in Dunedin in the 1880s and was regularly commissioned during that time to record farm animals and rural life for Dalgety & Co. Ltd, a stock and station agency. Pictorial propaganda like this was a forerunner of the illustrated marketing catalogue, intended to encourage immigration and investment by depicting New Zealand in a positive light. The painting reflected the colony’s growing confidence in its reputation as an international trader in quality primary produce. By the 1880s, a generation of Pākehā settlers had been developing pastoral farms in the east and south of the South Island and the east of the North Island, in a climate temperate enough to allow their animals to live outdoors year-round. Herd and flock numbers had expanded to both feed the growing population and supply the international demand for wool, but there was no international market for meat.

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That changed with the development of refrigeration. In 1882, the first shipment of some 5000 frozen sheep and lamb carcasses left Port Chalmers in Dunedin for London’s Smithfield Market. The success of that venture gave New Zealand companies an early advantage in the frozen meat trade and, with Britain’s population growth rapidly outstripping its ability to grow all its own food, access to a ready market for their goods.

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Made for stock and station agency Dalgety & Co. Ltd, c. 1884. By this stage, Dalgety was headquartered in England, with subsidiaries in Australia and New Zealand.

So began various preferential arrangements with Britain that New Zealand farmers, processing companies (many British owned) and governments alike came to depend on for economic stability. For nearly a century, through boom, bust and two world wars, Britain’s ‘farm of the south’ shipped off much of its massive surplus of meat and dairy products to the mother country in the north.

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All that changed in the 1970s, when Britain abandoned the cosy relationship with her former imperial family to join her neighbours in the European Common Market. New Zealand farming adapted to the shock and weathered that storm, even as the climate crisis — a far greater challenge for the present and future of us all — loomed on the horizon.

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FLOWERING ART OF SCIENCE DENISE ROUGHAN

DESCRIPTION

MAKER / ARTIST

REFERENCE

Karaka — Corynocarpus laevigata, 1890s

Sarah Ann Featon (1848–1927)

New Zealand flower studies not published in The Art Album of New Zealand Flora, c. 1889–1926 (A-171-021)

Nobody is sure when Sarah Ann Porter (1848–1927) arrived in New Zealand from London, but in 1870, aged 22, she married 30-year-old public servant Edward Featon (1840–1909) in Auckland. As a young woman immigrant, perhaps she would have struggled with the hardships that she faced in an unfamiliar country, but she also obviously came equipped with some level of artistic training as well as curiosity about the unique natural world that surrounded her. Sarah put her skill as a watercolourist to practical use, becoming one of a growing number of women taking an interest in capturing images of plant life here. That interest developed into an enterprising publishing project. Together with her husband, who wrote the accompanying text, she compiled a collection of 40 drawings that resulted in The Art Album of New Zealand Flora. The work was subtitled as ‘being a systematic and popular description of the native flowering plants of New Zealand and the adjacent islands’. The Featons hoped it would help to debunk the popular misconception at ‘home’ (in mother England) that there were no flowers in New Zealand.

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Sarah Featon was among the earliest women botanical artists to make a distinguished contribution to the art of scientific illustration in Aotearoa New Zealand.

The first fully coloured art book to be printed in New Zealand, The Art Album was originally published in three parts between 1887 and 1888, and complete, as ‘Volume 1’, in 1889. It referenced the English botanist Joseph Hooker’s scientific (and rather drier) two-volume Handbook of the New Zealand Flora (1864, 1867), but was nonetheless more accessible for amateurs, whose interest in local flora was increasing. The couple also made a point of calling it an ‘art album’. The work was so impressive that, in 1897, a copy was gifted to Queen Victoria, presented in a purpose-made casket crafted from indigenous woods, to celebrate her Diamond Jubilee. The original drawings for the published album are now housed at the Museum of New Zealand Te Papa Tongarewa; the collection of 47 in the Turnbull Library is catalogued as ‘those not published’ in the album. These are dated from the late 1890s to about 1925, and were likely intended for two further volumes planned for publication. Sadly, these did not ever eventuate, probably because of the prohibitive cost of the lithography.

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HE WHAKAAHUA RANGATIRA CELLIA JOE-OLSEN

Ko Maungahaumi te maunga Ko Waipāoa te awa Ko Te Aitanga-a-Māhaki te iwi.

He rangatira whai mana a Hēni Materoa Carroll (c. 1852– 1930). He rangatira kaha ia ki te ārai i tōna iwi, he wahine aroha ki te tangata, he wahine piri pono ki te Karauna, he wahine whai whakaaro hoki. Ko ēnei āhuatanga he momo whakaheke i tōna kōkā. Ko Riperata Kahutia tōna kōkā, he kaingārahu ihorei o Te Aitanga-a-Māhaki. Ka kawea e Riperata tōna take whenua ki Te Kōti Teitei ki Ingarangi, ā, ka whakamanatia taua take whenua. Nōna hoki te whenua e tū ana ki te tāone nui o Tūranga ināianei. Ko Mikaere Tūrangi tōna pāpā, he tino rangatira o Rongowhakaata. He hononga ōna ki ngā iwi mai i a Te Wairoa ki Waiapu. Eaoia ka heke mai ia i ngā kāwai rangatira o Te Tai Rāwhiti tonu. Ka mārena a Hēni ki a Timi Kara (1857–1926) nō Ngāti Kahungunu. I pōtitia a Timi Kara ki te Pāremata hei mema mō Te Tai Rāwhiti i te tau 1887, ā, ka tū kē hei mema mō Waiapu i te tau 1893. Kāre a Hēni i whai i a ia ki Pōneke, ka noho kē ia ki Tūranga. He ahakoa, he rite tonu tōna manaaki i ngā mana tōrangapū, i ngā manuhiri whai mana, i tō rāua kāinga i Tūranga. He maha ngā mahi i oti i a Hēni. Ehara i te hanga te mahi e mahia mai nei e ia. Ka noho ko ia tonu te tino kaioha atawhai o te iwi kāinga. Huhua tonu ngā kaupapa i takohatia e ia ki te whenua ki te moni hoki. Ka mahi moni ia hei tautoko i ngā hōia Māori o Te Hokowhitu-a-

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Tū, hei whakatū hoki i tētahi whare ruruhau mō te hunga taitamariki. Ka pēnei hoki tana mahi i te wā o te urutā rewharewha o 1918, i taua tau hoki ka whakawhiwhia ia ki te tohu OBE. Ka whakaahuatia hoki a Hēni e Samuel Carnell. Ki ētahi, he momo waka huia ngā kohikohinga whakaahua a Samuel Carnell. Ko ngā rau o te waka huia nei, he whakamaumaharatanga ki taua wā, ki te wā i tū ai a ngāi Māori ki te pari o te rua. I tērā wā, ko ngā tā moko katoa he haehae hōhonu i te kiri. He kōiwi manu tai ngā uhi o mua. Ko te moko te tohu whai mana o te tangata. Ka āta kite koe i tēnei whakaahua ngā tā moko o Hēni. Nā te parakena hū hoki tana moko kauae e miramira ana. Ka kite koe i ngā tā moko, he pānuitanga whakapapa. Ka tīmata ngā mahi a Samuel Carnell i 1864 ki Ahuriri. I taua wā tonu he tokomaha ngā rangatira rongonui i taetae atu ki a ia, ko ētahi hoki i waitohu i Te Tiriti o Waitangi. Ko Te Hāpuku tērā, ko Mahi-kai tērā. He rite tonu tōna tari whakaahua ki tētahi huinga tūtakitanga ki ō tātau tīpuna. Ka pupū ake te pātai, he aha rātau i pērā ai? Nā te pai pea o āna whakaahua me te pai o ngā āhua o ngā Māori ki roto, ka taea e koe te kite ōna whanaungatanga ki ngā Māori. Tē kite i ngā tīpuna e tuohu ana, e kiri wera ana rānei. Engari kē ia he tū whakahīhī, he tū rangatira, kia kite ai te toa o ā rātau tū.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

He kohinga whakaahua rangatira, 1870–90

Samuel Carnell (1832–1920)

Māori portrait negatives (PA-Group-00468: 1/4-022062-G)

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He kohinga whakaahua tēnei a ngā Māori i whakaahuatia e Carnell i waenga i ngā tau 1870 ki 1890. Hei whakatairanga i āna mahi whakaahua. Ko Hēni Materoa kei te taha mauī rawa.

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A MORIORI GROUP J O H N S U L L I VA N DESCRIPTION

MAKER / ARTIST

REFERENCE

A group of Moriori, Wairua, Chatham Island, c. 1889

Karl Andreas Gerstenkorn (1854–1906)

Romeril Album (PA1-o-1333-10)

This photograph shows a group of unidentified Moriori men, women and children on the western side of Te Whanga Lagoon, Chatham Island. We know nothing about them as individuals, apart from what we may imagine from their appearance or surmise from historical circumstances. However, we do know something about the photographer. German-born Karl Andreas Gerstenkorn (1854– 1906) arrived in New Zealand from Australia in July 1888 to work with the studio of Eden George in Christchurch. His early dismissal from that firm led to a vituperative court case, which provided the Christchurch newspapers with copy for the next two years. In the interim, he travelled to the Chatham Islands with his business partner Thomas Attwood in July 1889, returning in October that year with a portfolio of images of the landscapes and people — European, Māori and Moriori — of the islands. The albumen print featured here was mounted in an album of views of Chatham Island. The album was presented in 1895 to Captain George Romeril of the steamship Kahu, which serviced the Chathams. More than a century later, in 2006, the album was acquired at auction by the Turnbull Library.

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The Chatham Islands, known to their original settlers as Rēkohu and to nineteenth-century Māori settlers as Wharekauri, were first inhabited around 1500 CE by voyagers from Aotearoa, whose descendants are known as Moriori. The arrival of Europeans in 1791 and Māori in 1835 precipitated a series of events that saw the Moriori population enslaved. Their numbers plummeted from an estimated 2000 in 1791 to 160 in 1863, when slavery was abolished. By the time photographers from New Zealand began visiting the Chathams in the late 1880s, these numbers had somewhat recovered. Gerstenkorn’s photograph contradicts the established narrative that portrayed Moriori as an extinct or vanishing people. The members of the group face the camera with a questioning reserve. It is not clear whether they have consented to be photographed, or whether Gerstenkorn has encountered them by chance. While the exact circumstances may never be known, the photograph remains as an item of evidence for researchers — including, perhaps, the descendants of the sitters — to interpret. And Karl Andreas Gerstenkorn? He acquired a photography business in Invercargill in 1891, and was a well-regarded photographer known for portraits and landscape views until his death in 1906, aged 52.

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The arrival in Rēkohu Chatham Islands of Europeans in 1791 and Māori in 1835 was disastrous for Te Iwi Moriori. Their estimated numbers of 2000 in 1791 had plunged to 160 by the time of the 1863 census. However, the resilience and resolution of their descendants have seen a resurgence of Moriori identity and culture and of the social and economic development of the iwi.

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ADVENTURE, LOVE AND KEEPSAKES A U D R E Y WA U G H

Joanna Elizabeth Turnbull (1870–1955), the younger sister of Alexander Horsburgh Turnbull and fondly known in her family as Sissy, was born in Wellington in 1870. In 2017, George Tatham (a great-nephew of Alexander Turnbull) donated Joanna’s autograph album to join the other Turnbull family treasures in the library. Autograph albums were personal but not private; unlike diaries, they were maintained to be seen by others. People used them to collect quotations, signatures, illustrations and more from among family members, friends and associates. They were very popular from the fifteenth to the mid-nineteenth centuries, after which their popularity began to wane. The Turnbull Library holds more than 70 autograph albums, with the earliest example dating from 1694. Joanna’s album spans the period from 1888 to 1897. During this time its pages were filled with poems, music, watercolours, ink drawings, inscriptions, autographs, pressed flowers and invitations to social events from Joanna’s time in Paris and beyond. The volume is bound in black leather and enclosed in a white linen cover embroidered by Joanna with blue cross-stitching. The contributions may not be the author’s own but, as with most autograph albums, they help build a picture of who Joanna was, what she did and the social circles in which she moved.

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In the album’s final year, 1897, James Leigh-Wood (1870–1949) was a fellow passenger on Joanna’s voyage from London to Wellington aboard the RMS Ionic. The album includes an invitation to tea from ‘Ye Bachelors of Cabin 6’, indicating that Joanna attended along with several other single women. Joanna must have made quite an impression, evident in James’s inscription at their journey’s end: ‘the voyage is o’er, the chance acquaintance flown, and memories pass as bubbles lightly blown, but in one heart, I’d crave a kinder end — to merge the chance acquaintance into friend’. The romance blossomed, despite the protests of Joanna’s brothers, Alexander and Robert, and after a relatively long engagement the couple married in 1900. Some of the album’s more intriguing additions include four hair clippings from Joanna’s pets, with names and dates recorded alongside. Collecting hair clippings — from various loved ones — was common in the Victorian era, and people would often incorporate samples into their keepsakes. Joanna was obviously very fond of her pets and wanted to preserve the memory of them alongside some of her own adventures. And that is what this album captures in its treasured pages — the spirit of adventure, love and friendship.

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MAKER / ARTIST

Joanna Turnbull (1870–1955)

DESCRIPTION

Page from Autograph album, 1888–97

ATL-Group-00177: MSX-9534_07

REFERENCE

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MAKER / ARTIST

Joanna Turnbull (1870–1955)

DESCRIPTION

Pages from Autograph album, 1888–97

ATL-Group-00177: MSX-9534_98; MSX-9534_34 (digitally merged)

REFERENCE

Left: a card of autographs from passengers aboard the RMS Ionic, including Joanna’s signature and L.W. (James Leigh-Wood). Many of the people who signed this card also contributed an artwork, poem or quote in the album. Right: Laura Buller’s entry ‘A spirit yet a woman too’ is thought to be a drawing of Joanna.

LAGMHOR SONG BOOK M IC H A E L BROW N

‘The Lagmhor Song Book’ is a record of an immigrant community and the role music played in preserving their culture and connections — and of the romance that flourished between two people involved in its making. This bound volume contains handwritten notation for hundreds of Scottish tunes collected in and around Lagmhor, a 18,600-hectare sheep station west of Ashburton, in Canterbury. It was created at the behest of Donald McLean (1835–1906), who came to New Zealand from the Inner Hebrides in 1862 to manage Lagmhor (‘large fields’ in Gaelic). A Highland music enthusiast, he would hasten to have any new tune he heard written down, whether it be ‘whistled or sung by trained singer or untrained “swagger”’. This 300-page treasure from the Turnbull’s Archive of New Zealand Music was probably brought out at many gatherings of Scottish farming people in Canterbury. It showcases the skills of two copyists: station employee Harry Herring and Alice Rowley (1870–1940). An accomplished pianist and composer, Alice met Donald at a Canterbury Caledonian Society concert in 1892; they married shortly afterwards. Music was a shared passion, and Donald delighted in Alice’s ability to transcribe Scots tunes by ear ‘to reproduce later with full accompaniment

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and easy grace’. She also composed the volume’s only New Zealand piece, ‘The Lagmhor Strathspey’. Scots like Donald McLean made up a large group of colonial migrants to New Zealand, second only to the English in number. Most settled in Otago and Southland, but southern Canterbury was popular with rural Highlanders, many of whom worked as shepherds. They brought their own culture with them, including the Gaelic language, Highland games, whisky and bagpipes. At Lagmhor, Donald formed a piping and dancing group and had his clan tartan spun at a local mill. Most of the tunes in the volume are arranged for piano, the ‘home entertainment centre’ of colonial New Zealand. By the First World War, possibly 40 per cent of New Zealand households had a piano, as did every public hall and theatre in the country, providing an essential ingredient for sing-songs, concerts and dances. Individuals kept collections of sheet music that reflected their backgrounds and tastes, and which now offer insights into communities like the Scottish farming folk of Canterbury. In 1954, ‘The Lagmhor Song Book’ was placed in the Turnbull’s care by Donald and Alice’s daughter, Flora Pearce. More than 70 of Alice’s own compositions in manuscript form came into the collection later.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Mrs Alice Mackay (née Rowley), date unknown

Photographer unknown

PAColl-0785-1-122-03

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Raised in poverty in Christchurch, Alice Rowley received early support for her musical endeavours from former governor Sir George Grey. In 1900, she was the first woman in New Zealand to receive a Bachelor of Music degree, from Canterbury College. She remarried twice after the death of Donald McLean, taking the name Mackay from her third husband, Walter.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

‘The Lagmhor Song Book’: A collection of Scottish music, c. 1880s–1906

Alice McLean

qMS-1190_01

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Belying its title (there are no lyrics), ‘The Lagmhor Song Book’ contains mostly accompaniments to dances such as reels, strathspeys, jigs and hornpipes, many of them probably aurally transmitted traditional tunes.

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LAST OF THE LAUGHING OWLS PA M E L A L OV I S

The whēkau, or laughing owl (Sceloglaux albifacies), is one of two owl species endemic to New Zealand, the other being the ruru, or morepork. The whēkau was rare in 1892 when this unique photograph of a live bird was taken. It was one of a pair kept by ornithologist and bird collector Walter Buller (1838–1906) in an aviary at his Wellington home. Buller had a lifelong interest in New Zealand birds, making detailed observations first published in 1873 in his landmark A History of the Birds of New Zealand. The book was later published in enlarged format in 1888, and its coloured lithographs by J. G. Keulemans have become iconic in themselves. Buller built his own large collection of specimens, as well as supplying them to overseas collectors. He believed it inevitable that native birds would become extinct, replaced by the new European arrivals, and that it was therefore important to preserve them in perpetuity. The photographer was Henry Wright (1844–1936), a Wellington businessman who had an interest in photography and conservation. Buller arranged for Wright to take the photograph before he sent the owls overseas in 1893 to the British collector Lord Walter Rothschild. Buller remarked that it was highly probable that this live pair ‘shall be the last we ever get’.

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The rapid decline of New Zealand birds, caused by loss of habitat along with competition from, and predation by, introduced species, was by then well known. Government officials and scientists such as Buller talked about the need for protection and for establishing reserves on offshore islands, such as Te Hauturu o Toi Little Barrier Island, to which rare birds could be transferred. Wright took up a post as a temporary ranger on Te Hauturu for several months in December 1892 and later campaigned for bird conservation. Buller advocated in public for conservation efforts, but at the same time continued to collect rare birds such as whēkau and huia to supply to overseas collectors. His pair of whēkau could have been taken to an island reserve in an effort to preserve the species, but instead Buller chose to send them to Britain. Within a few decades it was too late, and the opportunity to save the species was lost. The last confirmed record of a whēkau was in 1914, and by 1940 the species had joined New Zealand’s dismal roll call of extinction. With its living presence captured forever in one black-and-white photograph, the whēkau serves as a cautionary tale.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Male whēkau, laughing owl (Sceloglaux albifacies), Wellington, 1892

Henry Wright (1844–1936)

PAColl-5032: 1/1-020529-G

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The last recorded sighting of the whēkau, one of two species of owl endemic to Aotearoa New Zealand, was in 1914. It was declared extinct in 1940.

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A TAXING IMPOSITION S E Á N M C M A H O N & LY N E T T E S H U M

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DESCRIPTION

REFERENCE

Poll tax certificate for Yong Sai Sue, Canton (Guangzhou), arrived Wellington, 30 November 1899

Collection of Steven Young (MS-Papers-7724_003)

Chinese people were the first ethnic group to have their immigration into New Zealand restricted by the government, including the burden of a poll tax. Chinese migrants first began arriving in numbers in the 1860s, invited by the Otago Chamber of Commerce, which encouraged them to seek employment on the South Island goldfields. By the 1870s, anti-Chinese prejudice was developing among other immigrants, and claims that the Chinese were taking over their jobs, bringing diseases into the country and not assimilating into the local culture were common. Prejudice bred a political issue, and in 1881 Parliament passed the Chinese Immigrants Act, which introduced a poll tax of £10 per Chinese migrant. The Act also imposed a restriction on ship passengers — one Chinese passenger per 10 tons of cargo. In 1896, the tax was increased to £100 per person (equivalent to a year’s wages for a labourer) and further restrictions were placed on the number of Chinese migrants able to enter New Zealand. Between 1882 and 1930, an estimated 4500 people paid the tax. If a Chinese migrant wished to visit China and planned to return to New Zealand to live within four years of departure, they were required to complete an exemption certificate. The traveller would keep one

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Anti-Chinese prejudice developed over the 1860s and 1870s and was given legislative force in 1881, when the passing of the Chinese Immigrants Act introduced a poll tax and reduced migrant numbers.

section of the certificate, while a magistrate kept the other for immigration records. Chinese migrants were the main target of discrimination by the state, but immigration services also looked unfavourably on other ethnic groups. In 1906, 361 immigrants in New Zealand had registered as being born in Syria. The certificate of registration shown on pages 94–95 relates to the registration of the Khouri family from Syria. The form had been developed for Chinese people, and so ‘Syrian’ has been substituted for ‘Chinese’. From 1908 onwards, certificates included tighter controls, such as fingerprinting and identification photographs, as in the example shown here. The Chinese Immigrants Act was repealed in 1944, although it wasn’t until 1952 that the government once again allowed Chinese immigrants to become New Zealand citizens. In 2002, Prime Minister Helen Clark made a formal apology to those Chinese people who had paid the poll tax and suffered other discrimination imposed by statute, and to their descendants. The apology acknowledged the considerable hardship the tax had inflicted, and that its cost and the impact of other discriminatory immigration practices had split families apart. In the 2018 Census, 247,770 respondents identified with the option of Chinese as an ethnic group.

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REFERENCE

Collection of Lynn Horgan (MS-Group-2277: fMS-Papers-11659_001)

DESCRIPTION

Immigration re-entry registration certificate for Lily Khouri, aged 44, and her three children, 1908

KIRIKI HORI PAU L D I A M O N D

When the ‘champion Herculean wrestler and weight lifter’ Dr John Theo Hatzopulos visited New Zealand in 1899, his Gisborne appearance was promoted in te reo Māori as well as English. Hatzopulos, who claimed to be able to ‘allow two persons, selected haphazard from the audience, to break with sledge-hammers a stone weighing 200lb [pounds] resting on his bare head’, was known as ‘Professor Greek George’ — ‘Kiriki Hori’ in the poster’s Māori version. ‘Kiriki Hori’ illustrates how words are transliterated into Māori, creating ‘loan’ words using the Māori alphabet, which has fewer characters than English. The handbill is one of the items listed in Books in Māori 1815–1900 Ngā Tānga Reo Māori, a bibliography published by the Turnbull Library and Reed Publishing in 2004. It records all known books and other items published in Māori during that time, beginning with the elementary Māori-language primer printed in Sydney in 1815, A Korao no New Zealand. The primer is an example of the items produced by Christian missionaries, who had to learn te reo Māori in order to bring their message to the New Zealanders, as Māori were then known. In addition to religious texts, the collection includes dictionaries, government publications, commercial

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publications and ephemera such as the Kiriki Hori handbill. Some, including this handbill, were collected by Alexander Turnbull himself. Turnbull used experts such as Bishop Herbert W. Williams as an agent to find items for his collection. Herbert Williams was a grandson of Bishop William Williams, author of the first two editions of the Williams Dictionary of the Maori Language, first published in 1844 and the standard Māori–English dictionary for 150 years. (Herbert edited the fifth edition and his father edited the third and fourth editions.) Herbert also produced a bibliography of written Māori, which Turnbull staff revised to become Books in Māori. The library has begun digitising the items listed in Books in Māori, starting with those for which it holds the only known copy, including the Kiriki Hori handbill. As the legal scholar Māmari Stephens has noted, these early publications show how Māori was a language of civil engagement and discourse, and are an inspiration for how this could happen again. The library’s collection is a major part of an Aotearoa-wide collection of te reo Māori material, described by Roger Maaka, a professor of Māori and indigenous studies, as arguably the largest of any indigenous language and a key resource for researchers, students and those interested in language revitalisation.

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DESCRIPTION

REFERENCE

Handbill in English and te reo Māori advertising the Gisborne appearance of Kiriki Hori, Professor Greek George, the champion Herculean wrestler and weightlifter, June 1899

Printed Māori Collection BIM 1537 (Eph-B-Variety-1899-01-1; Eph-B-VARIETY-1899-01-2)

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The te reo Māori version of this 1899 poster shows the language’s adaptation to a bilingual milieu, with the ready adoption of transliterated English creating loan words.

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PEACE ON THE WATERS A M A N DA S Y K E S DESCRIPTION

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REFERENCE

The Waimarie below Pipiriki, Whanganui River, c. 1905

Auckland Star staff photographer

New Zealand News Ltd: Photographs from the Auckland Star/Auckland Star album 3 (PA1-q-014-4405)

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Before the Whanganui River Road opened in 1935, paddle steamers such as the Waimarie regularly conveyed tourists and locals up and down the river and through its 239 sets of rapids.

E rere kau mai te awa nui nei Mai i te kāhui maunga ki Tangaroa Ko au te awa Ko te awa ko au. The great river flows From the mountains to the sea I am the river The river is me.

In 1899, a new paddle steamer in kitset form arrived from England in Whanganui, where it was assembled and launched to go into service on the Whanganui River. Originally called Aotea, the steamer was renamed Waimarie (meaning ‘good fortune, peaceful waters’) in 1902 when merchant Alexander Hatrick (1857–1918) bought it for his river shipping company. The name was slightly ironic, given that during the journey along the river the Waimarie had to navigate some 239 rapids. At the time the Whanganui River was experiencing a surge in popularity with tourists, with newspaper advertisements describing the river as ‘the Rhine of Maoriland’. The Waimarie carried visitors to and from popular tourist sites such as Pipiriki and Hipango Park, as well as cargo such as sheep and wool, and operated a mail and passenger service for the river’s settlements. The steamer’s especially shallow draught was ideal for navigating the rapids. By 1935, however, the Whanganui River Road had opened, greatly reducing the need for a steamer service and the Waimarie ceased operating in 1949. In 1952, it sank at its mooring, where it remained for 40 years. During the half-century in which the Waimarie had sailed the Whanganui River, the tourism industry had boomed. But, in another irony, the waters of relationships between local Pākehā and iwi were not

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peaceful. The presence of shipping on the river had destroyed iwi fisheries, and ownership over the river and the surrounding land had become contested. Several attempts were made to restore iwi ownership over the Whanganui River during the twentieth century, the earliest of these being in 1938 through the Maori Land Court. In 1994, the Waitangi Tribunal claim Wai 167 was heard, and the Whanganui River Report was published in 1999. This report affirmed the te reo version of Te Tiriti o Waitangi as guaranteeing the rangatiratanga of iwi. The Te Awa Tupua (Whanganui River Claims Settlement) Act 2017 conferred personhood on the Whanganui River. This granted the river the same rights as a person in acknowledgement of its substantial role and significance in te ao Māori, and brought protection of the river’s spiritual and physical health through community responsibility. In the 1990s, the restoration of the Waimarie became Whanganui’s official millennium project. At 11.45 p.m. on 31 December 1999, a hundred years after the steamer was built, the newly reincarnated Waimarie was blessed with a karakia and set sail once more to carry visitors along the Whanganui River. The ‘River Queen’ has endured to become a symbol of the region’s tourism industry once again.

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100

TAKING MĀORI TO THE WORLD PAU L D I A M O N D

From its inception, tourism in Aotearoa New Zealand has been founded on the beauty of the land and the uniqueness of tangata whenua, the Māori people. Both elements come together in this early twentieth-century tourist memento. The two women portrayed as this plate’s centrepiece, the sisters Maggie and Bella Papakura (Te Arawa, English; 1873–1930 and 1870?–1950, respectively), were renowned guides at the Whakarewarewa thermal village, a centre for Māori-led tourism from the late nineteenth century. According to legend, Maggie, who was born Margaret Pattison Thom but was also known as Mākereti (Margaret), was standing near the Papakura Geyser when visitors asked her what her ‘real’ name was. She responded ‘Maggie Papakura’. The name stuck and was also adopted by Bella and their brother Tiki (Dick). The two women’s whakapapa embodied the history of contact between Māori and Pākehā. Their mothers, Rakera Ihaia and Pia Ngarotu Te Rihi, had relationships with their father, William Arthur Thom, an English soldier who served with the Waikato Militia and the Armed Constabulary in the New Zealand Wars. The constabulary fought alongside Māori from Te Arawa, including Ngāti Wāhiao of Tūhourangi, the two mothers’ hapū.

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Although many guides were well known, Mākereti’s entrepreneurship took her fame to another level, spread through the sale of portraits commissioned from photographers, such as the image here. Her international reputation soared further in 1909, when she took te ao Māori to the world, leading a cultural group, including Bella, accompanied by a carved village for exhibition on a tour of Australia. Her group’s second Australian tour in 1910 extended to Britain for the Festival of Empire and the coronation of King George V in 1911. In 1912, Mākereti returned to England to marry Richard Staples-Browne, a wealthy landowner she had met when he visited Rotorua. After the couple divorced in 1924, Mākereti enrolled at Oxford University, less than a decade after women were admitted as students. There, she opted to study the new discipline of anthropology, selecting her own people as her topic. Mākereti died suddenly in 1930, aged 56. Her unfinished thesis was published posthumously as The Old-time Maori (1938). Her grave at Oddington in Oxfordshire is a site of pilgrimage for visitors from New Zealand, keen to see the last resting place of the woman once so famous that mail addressed to ‘Maggie, New Zealand’ would reach her.

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DESCRIPTION

REFERENCE

Metal plate featuring Maggie and Bella Papakura, bordered with New Zealand landscapes and unidentified tangata whenua, 1901–05

Donated by Mrs L. A. Johnston, Sussex, 1957 (Curios-013-003-1)

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The image of Maggie and Bella Papakura was based on a portrait by Rotorua photographer Arthur Iles and was also reproduced on postcards.

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102

DIGGING FOR LIVELIHOODS LISA ALLCOTT

DESCRIPTION

MAKER / ARTIST

REFERENCE

Children working in the gumfields, Te Tai Tokerau, 1910

Attributed to Arthur James Northwood (1880–1949)

Northwood Collection (PA-Group-00027: 1/1-009779-G)

With cheerful smiles and gear at the ready, the boys in this photograph could be off for a day at the beach — but a closer look reveals a different scene altogether. In 1910, when this image was taken, these boys worked with their families, digging kauri gum out of the swamps of Te Tai Tokerau Northland. It was hard physical labour, in all seasons and weathers, often knee-deep in muddy water, using a spear with a long, narrow neck to probe the mud for chunks of gum and a special Skelton spade to dig the pieces out. For decades, communities of Te Tai Tokerau whānau, along with many immigrants, mined the buried remnants of Northland’s ancient kauri forests for gum to sell for export. Among the immigrants were Dalmatians, from southeastern Croatia — ‘Ngā Tararā’ to their Māori neighbours, with whom some intermarried. This image from the Northwood Collection is part of a precious photographic record of these people and their way of life in the gumdigging industry. Gumdiggers moved around frequently, looking for likely sites to find more gum. At each site, they made tents and whare out of any materials to hand — corrugated iron, sacking, mud, ponga logs and nīkau fronds. It was a basic and often harsh life. In 1898, Thomas Shore, a storekeeper and gum buyer at Hikurangi, told a royal commission of inquiry into the industry that ‘the life

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From 1850 to 1900 kauri gum was Auckland’s leading overseas export. Despite the introduction of compulsory primary education in 1877, children often worked in the gumfields to help support their whānau and contribute to the national economy.

of a gum-digger is wretched, and one of the last a man would take to’. Māori of Te Tai Tokerau traditionally used kauri gum for chewing and for medicinal purposes, as well as for fires and torches (it is quite flammable). The international trade in the gum took off in the 1840s when the resin was found to make a superior kind of varnish. It was exported to northern hemisphere countries and for decades was a major contributor to New Zealand’s economy. Following the start of the First World War, a few years after this photo was taken, trade in kauri gum began to falter. Britain and Germany could no longer receive gum exports, and many young New Zealanders went off to fight. Perhaps the boys in this image were among those to enlist. In the Second World War, the iwi connection with gumdigging was memorialised in the 28th (Māori) Battalion’s A Company, whose members were affiliated to iwi north of Auckland and whose nickname was Ngā Kiri Kapia (the Gumdiggers). The Northwood Collection is an invaluable historical archive of northern New Zealand, recorded by the Northwood family of photographers — father Richard Arthur and sons Arthur, Richard Alfred and Charles. Arthur, who took most of the photographs in the collection, operated a studio in Kaitaia from 1909 until his death in 1949.

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104

CHAMPION OF WOMEN IN MEDICINE A U D R E Y WA U G H

Dr Agnes Bennett (1872–1960) arrived in Wellington from Australia in 1905 to take over Dr Isabella Watson’s Willis Street practice. She had qualified as a medical practitioner at Edinburgh University in 1899, but ran into opposition to woman doctors when she returned home to Australia. New Zealand offered her an opportunity to become one of a small but growing number of women here in medical practice. Along with her private practice, in 1908 Bennett became the medical officer at Wellington’s St Helens Maternity Hospital, where she furthered her interest in obstetrics. She was also appointed as physician to Wellington Hospital’s children’s ward in 1910. She developed her research on maternal and infant welfare, specifically lactation, into her PhD, which she obtained from Edinburgh University in 1911. During the First World War, Bennett travelled overseas to offer her medical expertise to the armed forces. In 1915, she served with the New Zealand Medical Corps in Cairo for a year, then moved to Britain, where she took charge of a Scottish Women’s Hospitals medical unit. In 1916, the unit was deployed to Macedonia, where Bennett established a military hospital to assist Serbian allies in their fight against German forces.

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The hospital, stationed near the front, saw many casualties, and the work was both challenging and confronting. Bennett earned respect from patients and colleagues alike, and when she had to resign because of severe malaria she was honoured for her service by both the Serbian government and the Serbian Red Cross. After further service on troopships and in Britain during the 1918 influenza epidemic, she returned to Wellington in 1920 to pick up her work where she had left off. Although she retired from private practice in 1930, Bennett carried on with her work at St Helens until 1936. The processes she instituted there for reducing birth-related mortality became a model for the rest of the country. Her ‘retirement’ included further service in New Zealand and England during the Second World War. Bennett was not one to be deterred by preconceived gender roles in her professional or personal life. From being the first woman in Wellington to own and drive her own car, to establishing military hospitals and influencing birth practices, she not only challenged expectations in male-dominated professions but also pioneered new possibilities for women in New Zealand healthcare. Bennett’s collection came to the Turnbull Library as a bequest in 1963.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Agnes Bennett in army uniform, Macedonia, about 1917

Photographer unknown

Agnes Elizabeth Lloyd Bennett (1872–1960): Photographs (PA-Group-00674: PAColl-6972-12-25-1)

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From 1916 to 1917, Agnes Bennett was commanding officer of the 7th Medical Unit of the Scottish Women’s Hospitals for Foreign Service in Macedonia, Serbia, responsible for running a hospital for frontline Serbian troops.

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The framed paintings store is home to around 1000 pictures, a small proportion of the library’s collection of over 120,000 artworks. Watercolours are stored flat in file drawers, and framed oil paintings are secured vertically in boxed drawers or fixed open racks.

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108

COLLECTIVE MIGHT OLIVER STEAD

DESCRIPTION

MAKER / ARTIST

REFERENCE

Banner of the Wellington branch of the Amalgamated Society of Carpenters and Joiners, 1909 Oil on silk on board, about 2350 × 1850 mm

Maker unknown; based on a design by A. J. Waudby (c. 1817–1872)

Donated by the New Zealand Carpenters Union (G-830-3)

Proudly emblazoned with emblems of the trade, the giant banner of the New Zealand Amalgamated Society of Carpenters and Joiners, thought to have been made specially for the 1909 Labour Day parade, proclaims the collective might of the union’s Wellington branch members. The banner’s design was based on one created by British artist Arthur Waudby in the 1860s. Its architectural facade is surmounted by the biblical carpenter Joseph, while female figures below represent Industry, Art, Justice and Truth. Other images represent benefits available to members. The society’s international headquarters in Manchester, England, held the design, which was copied widely throughout the British Empire. Labour Day was first observed by trade unions on 28 October 1890. It marked the establishment of the eight-hour working day in New Zealand, and was celebrated in the main centres with parades attended by thousands of workers and supporters. It became an official public holiday in 1899. The ‘eight-hour day’ movement in New Zealand had been going since 1840, started by carpenter Samuel Duncan Parnell (see page 44). During the inaugural 1890 celebrations, and shortly before his death, Parnell was acknowledged as the father of the movement at a special ceremony in Newtown, Wellington.

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Labour Day was first observed by trade unions on 28 October 1890; this elaborate banner was carried in the Wellington Labour Day parade of 1909.

The Amalgamated Society of Carpenters and Joiners was established in this country in 1860. It survived into the early 2000s, becoming New Zealand’s longestrunning trade union organisation. ‘This Society is one of the most powerful trade societies in the world,’ proclaimed the 1897 Cyclopedia of New Zealand. Wellington branch members, said the Cyclopedia, could earn between 50 and 60 shillings per week. They paid the association a subscription of 1 shilling per week, and ‘9d. [pence] per quarter for contingencies’. The society’s benefits were ‘numerous and liberal’. For example, members ‘when unemployed get 10s. [shillings] per week for the first twenty-six weeks, and 6s. per week after that time till employed again. When sick, members get 12s. per week for twenty-six weeks, and 6s. thereafter as long as they are ill. In case of an accident they get £50 if partially disabled, and £100 if totally disabled. The allowance during a strike is 15s. weekly.’ At the time the banner was created, New Zealand had one of the most highly unionised workforces in the world. In these days of reduced union influence, many workers who are engaged in unpaid overtime, zero-hours contracts, staggered shifts and weekend work might well yearn for the era of strictly enforced and zealously guarded eight-hour days.

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110

‘IT’S JUST HELL HERE’ DY L A N OW E N

DESCRIPTION

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REFERENCE

Pages from Alfred Cameron’s war diary, 1914–15

Alfred Cameron (1894–1966)

Diary donated by L. A. Cameron, 1990 (MSX-2853_05; MSX-2853_56)

Two double-page spreads from the First World War diary of Trumpeter Alfred Cameron (1894–1966) illustrate his journey from home and adventure into hell at Gallipoli. The diary begins optimistically enough. On 13 August 1914, in neat cursive writing in ink, the 20-year-old introduces his modest intent: ‘I write these lines hoping they will be interesting to those at home.’ Cameron, a Canterbury farmworker, had just enlisted (along with his horse Percy) with the Canterbury Mounted Rifles. On 20 August, 16 days after war was declared, he started training in a temporary military camp at Christchurch’s Addington Show Grounds. By 3 December, the Canterbury Mounted Rifles were in Egypt at Zeitoun Camp, near Cairo. Here, Cameron’s diary records extensive battle practice, including military horsemanship training. In keeping with his military occupation as a trumpeter, he also notes: ‘Trumpet exam in afternoon played 20 calls on bugle and 20 on the trumpet passed for badge.’ However, there were also recreational trips into Cairo with his mate George Ilsley and a popular visit to the Pyramids of Giza, which New Zealand soldiers were known to sleep on top of overnight. Cameron arrived at Gallipoli on 12 May 1915. On 24 May, he witnessed the ANZAC–Ottoman 24-hour

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Alfred Cameron’s war diary was donated to the Alexander Turnbull Library by his son, L. A. Cameron, in 1990. In 2012, artist Bob Kerr vividly portrayed its entries in his series of paintings ‘Hell Here Now’: The Gallipoli Diary of Alfred Cameron.

armistice, during which both sides met in no man’s land to bury thousands of dead soldiers: ‘No shot has been fired all morning and quietness seems uncanny,’ he wrote. From this date, Cameron’s diary entries increasingly appear in pencil and record his growing despair, poignantly and graphically captured in his last two diary entries from the front: Anyday. It’s just hell here now no water or tucker only 7 out of 33 in no 1 troop on duty not either dead or wound. Dam the place no good writing any more. My cobber George Ilsley dead. Killed August 7th. bullet through head. buried Taylors Hollow. They were the last words Cameron scratched out before he himself was blown up and buried alive. Incredibly, he survived. A final short note in the diary records his twenty-first birthday, which he spent in the Port Said Government School Hospital. When the Canterbury Mounted Rifles were relieved in September 1915, only 28 out of 677 men were still fit for service. The rest were either dead, wounded, sick or missing in action. Invalided back to New Zealand in 1915, Cameron eventually became a farmer near Fairlie.

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112

SAFE SEX PIONEER ER ENA WILLIAMSON

DESCRIPTION

MAKER / ARTIST

REFERENCE

Ettie Rout’s Volunteer Sisterhood on the eve of their departure for Egypt, Wellington, October 1915

Stanley Polkinghorne Andrew (1878–1964)

S. P. Andrew Ltd: Portrait Negatives (PA-Group-00572: 1/1-014727-G)

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DESCRIPTION

Ettie Rout, 1918 MAKER / ARTIST

Photographer unknown REFERENCE

PAColl-4832 Ettie Rout returned once to New Zealand before her death in 1936. Her friend the novelist H. G. Wells described her as ‘an unforgettable heroine’. She commented to him once, ‘It’s a mixed blessing to be born too soon.’ Rout, hatless, stands in the centre of the photograph of the members of the Volunteer Sisterhood on the page opposite.

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New Zealand was in the grip of the First World War when photographer Stanley Andrew took this portrait of Ettie Rout’s Volunteer Sisterhood in his Wellington studio in 1915. The mostly untrained women were on their way to support New Zealand troops stationed in Egypt however they could, despite government opposition. Rout, seen hatless here in the centre of the picture, would follow later. Australian-born Ettie Rout (1877–1936) was a socialist unfazed by conventions, particularly those applying to women. She was tall, fit and energetic, with no time for the constraints of fashion, including corsets. She was one of the first government-appointed reporters in the Supreme Court, using her advanced shorthand and typing skills to record proceedings, including commissions of inquiry. She’d set up her own secretarial business, had worked as a journalist and was heavily involved with the trade union movement. In Egypt, the Volunteer Sisterhood assisted as service workers in hospitals and also ran canteens and recreational centres for the thousands of soldiers stationed there. But when Rout arrived, her greatest concern was with the venereal diseases rife among the troops who frequented local brothels. She battled mainstream morals, sexism and opposition to her straight-talking manner to push for disease prevention by the military authorities, without judging the men’s morality, but with little success. In 1917, she moved to London, where she extended her campaign directly to the New Zealand troops in England, providing soldiers with preventative kits containing condoms, ointments and disinfectants. In 1918, she set up a similar welfare service for Kiwi soldiers visiting Paris, including introductions to a safe brothel. By the end of 1917, the New Zealand Army had adopted Rout’s kit, but during her lifetime she was not publicly acknowledged at home for her significant contributions to the health of the New Zealand troops. In fact, for a while after the war the government banned her books on sexual health from being published or sold here and decreed that newspapers would be fined £100 for even mentioning her name. The French government, however, awarded Rout the Reconnaissance française medal for her work in Paris and with the French Red Cross in 1919 and 1920. King George V sent her a letter of commendation in 1920. At home, it took until the 1980s for her contribution to become widely known and celebrated, particularly after the publication of Jane Tolerton’s biography Ettie in 1992. In 2008 in Tasmania, Rout’s birthplace, she was posthumously inducted into the Tasmanian Honour Roll of Women for services to health.

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114

CHATHAM ISLAND JOCKEY CLUB NATA S H A BA R R ET T

It is the late 1860s in a blustery group of islands in the Pacific Ocean, miles from anywhere. What do the horse-riding locals do for fun? They organise races, of course. Horse racing was, and still is, an important sporting pastime and social focus for the Rēkohu Wharekauri Chatham Islands communities living on the geographically remote archipelago, even appearing on their $3 banknote in 2001. Early photographs donated to the Turnbull show how the annual horse races gave locals an opportunity to gather, wear their best clothes, be photographed, admire the horses and compete with their own steeds. In 1869, the Hawke’s Bay Herald described how ‘Waitangi presented a scene of great festivity … when nearly the whole of our fellow settlers were assembled to celebrate our annual races’, followed by a social gathering and meal at Beamish’s Hotel. The Chatham Island Jockey Club was established in 1873 by Thomas Ritchie (1843/44–1934), also the club’s first president (in the photograph on page 116,

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Ritchie is seated centre and wearing a bowler hat), with the first races taking place the following year. The club’s annual race meeting featured in the New Zealand sporting calendar, and races were held at both Kaingaroa and Waitangi, the latter boasting a grandstand, described in the 1900s as one of the world’s smallest. The islands’ horses were shipped over from the mainland and Australia, and were considered to be of good quality. In 1872, the New Zealand Herald described them as plucky and having great endurance, adding ‘[t]here is perhaps scarcely an island so small as this that possesses so good a breed of horses’. Or as many: horse numbers were close to a thousand. These days the club’s annual meeting is now run as a three-day carnival over the Christmas and New Year period, with training held in the three months prior. Some island families, such as the Tuuta whānau, have been involved continuously from the earliest days, as jockeys, trainers and club presidents. The event remains one of New Zealand’s oldest racing fixtures and a great occasion for an annual catch-up with the neighbours.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Watson Tuuta in jockey’s kit, with thoroughbred in hand, date unknown

Photographer unknown, possibly Ernest Guest (c. 1873–1957) or his cousin J. J. Guest

Photographs of the Chatham Islands, c. 1900–40, PAColl-4872 (1/2-037631-G)

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Watson Tuuta in his jockey’s kit, with thoroughbred in hand — perhaps George Tuuta’s horse Moana, which won the Chatham Islands Stakes in 1910 and 1914.

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MAKER / ARTIST

Photographer unknown

DESCRIPTION

Crowd at the Chatham Island Jockey Club racecourse grandstand, Waitangi, c. 1905–10

‘Photographs of Chatham Islands relating to the Fougere, Beamish and Wishart families’ (PAColl-4855-1-01)

REFERENCE

A crowd gathered at the Chatham Island Jockey Club racecourse grandstand, with Thomas Ritchie, club president, seated centre. Others identified are Dr Ellison (?) and Mitai Tini (left and right of Ritchie), Rika (behind Ritchie to the left), and, on horseback, Willie Dix, clerk of the racecourse (left), and Joe Santos (right).

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118

MANSFIELD’S TYPEWRITER DENISE ROUGHAN

The handwriting of New Zealand’s most famous author, Katherine Mansfield (1888–1923), was notoriously difficult to decipher, as those who have studied her manuscripts can attest. It was perhaps fortunate, then, that towards the end of her life she came into possession of a typewriter and from then on used it enthusiastically or, depending on her health, had others type up her manuscript drafts. Mansfield’s typewriter was donated to the Alexander Turnbull Library by her long-time companion Ida Baker in 1971 and deposited in 1972 by Mansfield scholar and Turnbull Manuscripts Librarian Margaret Scott. The latter met Baker (commonly referred to as LM, or Leslie Moore, in Mansfield’s papers) in 1971 on her research travels to England and France as the second recipient of the Katherine Mansfield Fellowship. In her fascinating 2001 memoir, Scott describes how Baker gave her Mansfield’s ‘little Corona typewriter’, which was ‘a very primitive affair but it still worked’. The typewriter had belonged to Mansfield’s husband, John Middleton Murry (1889–1957), who bought it brand new in March 1920 for £15 15s 0d (the equivalent of the cost of a mid-range laptop computer). We do not know exactly when Mansfield began using the Corona on a regular basis, but entries in her notebooks

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would suggest that it was some time around the middle of 1920. From 1921 until the end of her life, depending on whether she and Murry were together or apart, the typewriter was at her disposal. This probably indicates that Murry gave it to her, as it was among her possessions that went to Baker after Mansfield’s death on 9 January 1923. This popular model of the Corona 3 was one of about 21,000 manufactured as early as January 1920 by the Corona Typewriter Company in the United States. It was small, light and compact, with a carriage that folded over the keyboard so it could be stored in its purpose-made carry case and easily transported. That would have suited Mansfield well; she changed address around eight times during her final two years as she sought relief and a cure for her tuberculosis. Mansfield spent most of her writing life in England and Europe, remaining ambivalent about her connection to her country of birth and upbringing. The Mansfield collection of unpublished material at the library stakes a firm claim to that connection. It is foremost in the world, and is used extensively in scholarly research; it is also recognised on the UNESCO Memory of the World Register.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Katherine Mansfield’s Corona 3 typewriter, c. 1920

Corona Typewriter Company, Groton, New York

Curios-018-1-010

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Katherine Mansfield’s Corona typewriter was among various mementos of her life donated to the Turnbull Library by Ida Baker. Others included a cape, a suitcase, a Japanese fan, a coral necklace and a folding book stand.

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MAKER / ARTIST

Katherine Mansfield (1888–1923)

DESCRIPTION

Notebook 39, page 42, from the draft of ‘The Story of Pearl Button’

MS-Group-0038: qMS-1243_091_p-42

REFERENCE

Katherine Mansfield’s handwriting was often difficult to decipher and posed a tough challenge for scholars of her work in the decades after her death.

122

VILLAIN OR VICTIM? PAU L D I A M O N D

Walter D’Arcy Cresswell (1896–1960) was determined to be the great New Zealand poet of his generation. Unfortunately for him, others did not share his opinion of his poetry talents. His memoirs, published in London in 1930 and 1939, were better received and still find a readership. And he did inspire other New Zealand writers, Ursula Bethell, Frank Sargeson and Robin Hyde being among those who benefited from his mentorship.

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Cresswell achieved enduring fame (or infamy) for another reason — his role in a blackmail scandal. In 1914, Cresswell left his home near Timaru and travelled to London to further his architectural studies. During the First World War, he served with the British and New Zealand armies, before returning to New Zealand in 1919. In May 1920, he visited his relations in Whanganui, where his cousin introduced him to the town’s mayor, Charles Mackay (1875–1929).

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DESCRIPTION

Passport photograph of Walter D’Arcy Cresswell, 1921 MAKER / ARTIST

Photographer unknown REFERENCE

Photographs of D’Arcy Cresswell, his family and friends (PAColl-5543-07) 2

DESCRIPTION

Charles Mackay, Mayor of Wanganui, from assemblage of Wanganui Borough council members, 1919 MAKER / ARTIST

Photographer unknown REFERENCE

PAColl-3037: 1/1-016124-G (detail) The Cresswell–Mackay scandal of 1920, and the way in which Cresswell attempted to deflect knowledge of his own homosexuality, exemplified the level of prejudice towards gay men in New Zealand society.

Mackay had been repeatedly returned as mayor since his first election in 1906, but by 1920 he was facing criticism for the state of the town’s infrastructure, which had not kept up with the rapid growth of Whanganui that he had led. He had also accumulated enemies, who may have known about a secret that made Mackay vulnerable to blackmail: he was homosexual and had sought treatment for this in 1914. In circumstances that remain unclear, Cresswell decided to blackmail the mayor, threatening to reveal Mackay’s homosexuality unless he resigned. To Cresswell’s surprise, Mackay drew out a pistol (which he apparently carried because of death threats) and shot the younger man. Cresswell survived his wounds and Mackay was sentenced to 15 years’ hard labour for attempted murder. At the time, Cresswell won praise for unmasking Mackay’s

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homosexuality and was seen as the victim, but when it later became known that Cresswell was also homosexual, the roles of villain and victim became less clear in the public mind. Following his early release from prison in 1926, Mackay travelled to London, where he re-established himself as an advertising agent. He never again saw his wife or children (who all changed their names), and his name was sanded off the foundation stone of the Sarjeant Gallery in Whanganui. In 1928 he moved to Berlin, then a magnet for gay travellers, to work as a journalist and English-language teacher. There, while covering the May Day riots in 1929, he was shot by a police sniper and bled to death on a street corner. Cresswell died in 1960 of accidental gas poisoning in his London flat.

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SĀMOA MŌ SĀMOA! U L U A FA E S E DESCRIPTION

MAKER / ARTIST

REFERENCE

Mau parade along Beach Road in Apia, Sāmoa, on Black Saturday, 28 December 1929

Alfred James Tattersall (1866–1951)

1/2-019638-F

New Zealand occupied German Sāmoa during the First World War and in 1920, following Germany’s defeat, was allocated the territory (renamed Western Sāmoa) by the League of Nations. Distrust of the New Zealand administration took hold early on. On 7 November 1918, the SS Talune arrived in Apia from Auckland. Although some of its passengers and crew were suffering from the strain of pneumonic influenza that was then raging around the world, the New Zealand administrator, Lieutenant-Colonel Robert Logan (1863–1935), failed to quarantine the ship and sick passengers were permitted to disembark. Logan then rejected medical help from American Sāmoa as infection rapidly spread throughout Western Sāmoa. Within two months, 8500 people had died — 22 per cent of the population. The speed and magnitude of deaths allowed no time for traditional burials, and grieving families had to settle with mass graves for their loved ones. Over the next few years, opposition towards New Zealand rule hardened. O le Mau a Sāmoa, also known as the Mau or the League of Sāmoa, whose slogan was Sāmoa mō Sāmoa (Sāmoa for Samoans), was established in March 1927 with the aim of achieving independence. This photograph, taken on 28 December 1929, shows a Mau parade proceeding along Beach Road in Apia peacefully — that is, until a little later, when New Zealand police attempted to arrest a Mau leader. When protesters intervened, police fired into the crowd

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before retreating towards the police station. There, police fired a machine gun from the balcony over the heads of the approaching protesters, and officers below began firing their rifles. Samoan leader Tupua Tamasese Lealofi III (1901–1929) was one of 11 people who died. The day became known as Black Saturday. The tragedy exacerbated animosity between the Mau and the New Zealand administration until 1936,

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The New Zealand administration’s attempts to suppress Samoan aspirations for independence in the 1920s and 1930s were a dark chapter in the history of the relationship between the two nations.

when the Mau was recognised as a political organisation and the New Zealand government and Sāmoa began the slow transition towards independence. This dream was achieved on 1 January 1962, when Tupua Tamasese Mea‘ole (1905–1963; son of Tupua Tamasese Lealofi III) and Malietoa Tanumafili II (1913–2007; son of Malietoa Tanumafili I, adviser to New Zealand administrator George Richardson) became joint heads of state.

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On 4 June 2002, Prime Minister Helen Clark formally apologised to Sāmoa for the New Zealand government’s actions. Although Samoan people will never forget the tense relationship with New Zealand and those who died because of it, the apology closed a dark chapter in Sāmoa’s history and New Zealand’s activities in the Pacific region.

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‘COME ON, JACK!’ A U D R E Y WA U G H

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DESCRIPTION

Training diary, entries 6 and 7 August, 1936 MAKER / ARTIST

Jack Lovelock (1910–1949) REFERENCE

MS-Group-0012: MSX-2510-114 Jack Lovelock’s training diary entry for 6 August 1936 describes his victory in the final of the Olympic games 1500 metres. The photograph of his winning moment shows behind him his great rivals, Glenn Cunningham (US), then the world mile record holder, and Luigi Beccali (Italy), the 1932 Olympic champion. 2

DESCRIPTION

Jack Lovelock winning the 1500 metres, Berlin Olympics, 1936 MAKER / ARTIST

Photographer unknown REFERENCE

Jack Lovelock Album (Olympics) XVIII (MS-Group-0012: MSX-2261-062)

‘Lovelock leads! Lovelock, Lovelock! Come on, Jack! My God, he’s done it!’ So BBC radio commentator and former Olympic sprinter Harold Abrahams exhorted the sole New Zealand competitor as he raced to win the 1500 metres gold medal before a cheering crowd of 120,000 at the 1936 Berlin Olympics. By 1936, Jack Lovelock (1910–1949) was already an established international runner. From his days as an outstanding athlete at Timaru Boys’ High School and Otago University, where he began his medical training, he had progressed to competing in the 1932 Los Angeles Olympics and becoming the 1-mile champion at the 1934 London Empire Games, along with winning other middle-distance races and making record-breaking performances in the US and Britain. Lovelock’s Berlin Olympic victory came from a surprise sprint 300 metres from the finish line, and he completed the race in a world-record time of 3 minutes 47.8 seconds. As he wrote in his diary, it was a case of ‘getting first break on the field, catching them napping, and for all practical and tactical purposes the race was over 300m from home … I finished in perfect form, relaxed and comfortable’. In doing so, Lovelock became New Zealand’s first winner of Olympic gold for athletics.

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Lovelock kept journals and diaries throughout his running career, and there is an entry for every race in which he competed. This diligent and systematic approach is reflected in his training diary entry for his Olympic victory: ‘It was undoubtedly the most beautifully executed race of my career, a true climax to 8 years steady work, an artistic creation.’ Lovelock had made a long study of the training schedule and conditioning a body needs to support high-performance athletics, foreshadowing the science behind professional sport today. The race itself was filmed by Leni Riefenstahl, propagandist film-maker for the Nazi regime that hosted the Olympics, and enshrined in her film Olympia (1938). The Jack Lovelock Collection was donated to the Turnbull Library by the Timaru Boys’ High School Board in 1986 to ensure its long-term preservation. The materials had previously been presented to Lovelock’s old school, along with his medals, by his widow, Cynthia James. Although his was a life cut short, Lovelock left an enduring sporting legacy, reflected in the achievements of later New Zealand middle-distance runners. His scientific contributions to the world of running are preserved in his meticulous diaries and scrapbooks, forming a collection of historical importance in the development of elite sports training.

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CAPTURING THE SPIRIT OF THE AGE JEANNIE SKINNER DESCRIPTION

MAKER / ARTIST

REFERENCE

Waino Sarelius skating, about 1938

Thelma Kent (1899–1946)

Thelma Kent Collection (PA-Group-00400: 1/2-009527-F)

A young person’s interests and enthusiasms, encouraged by a supportive adult, can flourish into a lifelong pursuit and, sometimes, develop into a career. When she was 14 years old, Thelma Kent (1899–1946) was given a box Brownie camera by an uncle keen to foster her artistic talents. She soon won a newspaper photography competition, upgraded her camera and, with a darkroom set up in the garden, taught herself the art and science of photography. Kent worked in her father’s Christchurch business doing the accounts, and as an independent, single working woman she had freedoms that were new to her generation and gender following the First World War. At every opportunity through the 1920s and 1930s, she would take herself off in her car to explore and photograph the high-country landscape of mountains, rivers and lakes that so inspired her. Kent’s career paralleled the rise of popular photography as cameras became more affordable and portable. Her work embodied the spirit of the age in other ways, too. Increased leisure time, more cars and new roads on which to drive them enhanced opportunities for tourism and travel, and there was an expanding

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interest in exploring remote places and getting ‘back to nature’, as well as taking part in new recreational activities such as tramping and mountaineering, skiing and skating. This wintry image, taken possibly at Lake Tekapo, shows Waino Sarelius, a champion ice skater originally from Finland, who taught fitness at Kent’s former high school. He’s probably practising his figure skating — a picture of poise and balance. The ice rinks at Tekapo and Mahaanui Mount Harper were popular destinations for Christchurch skaters, and Kent and her friends made frequent winter visits there. Kent’s photographs of Māori taken when she visited the North Island’s East Coast are warm and natural, and more informal than those typical of the time — it is easy to see a thread connecting her work to that of Ans Westra a couple of decades later (see page 162). Kent was also one of the pioneers of micro-photography, contributing her expertise to medical and scientific research. Kent died of cancer when she was only 46 years old, but her legacy of photographs shows a life full of adventure with friends and family, and an artist’s eye. Her extensive collection was donated to the Turnbull Library in 1948 by her family.

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With increasing temperatures due to climate change, outdoor natural ice-skating rinks in Aotearoa are pretty much a thing of the past — even in the coldest parts of the country.

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CURIOS C H R I S S Z E K E LY

DESCRIPTION

MAKER / ARTIST

REFERENCE

Five pistons, a valve and a connecting rod, handcast as parts of a motorbike engine, 1950–70

Burt Munro (1899–1978)

Curios-047001/007

Curio: an object of fascination, sometimes unusual, perhaps unexpected. Alongside papers and photographs, paintings and books, the Turnbull has a sprinkling of curios, each with a story to tell. Number one, a spark plug. Following the very first flight across Raukawa Moana Cook Strait on 25 August 1920, the triumphant pilot, Captain Euan Dickson (1892–1980), removed the plug from his Avro biplane

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The pistons were made by Munro for his racing Indian and Velocette motorcycles. They were hand cast using sand from local beaches in a variety of receptacles, including tin cans, and then finished using a file and a lathe.

and presented it to the newly opened Turnbull Library a month later, on 30 September 1920. Dickson, a First World War flying ace, also piloted the first flight to Aoraki Mount Cook in July 1920. A souvenir programme listed the names of the passengers: there were six in total, including the lucky two who flew on the Aoraki leg. Next, some pistons — three of them plus a rod and a valve, all linked to an Indian motorcycle owned by Burt

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Two of the more unusual items in the Turnbull collections link to the pioneering transport past of Aotearoa New Zealand. The spark plug came from the first plane to fly across Cook Strait, while the rock punctured a tyre on the very first motor vehicle to drive to Aoraki Mount Cook.

DESCRIPTION

Spark plug from 110 hp Le Rhone engine powering Avro bi-plane, c. 1920 MAKER / ARTIST

Rock responsible for puncturing tyre of 40 hp Darracq motor vehicle, 1906

Maker unknown

MAKER / ARTIST

REFERENCE

Collected by Rodolph Lysaght Wigley

Donated by Captain Euan Dickson (Curios028-002_017)

REFERENCE

MS-Group-2402: MS-Papers-11944-4 _011

Munro (1899–1978). Munro was a motorbike racer from Invercargill who set several New Zealand speed records from the late 1930s, before going on to break world records at the Bonneville speed races in Utah during the 1960s. His Bonneville exploits were brought to the big screen in the 2005 film The World’s Fastest Indian, with Oscar winner Sir Anthony Hopkins playing the lead role.

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There are no punctured tyres in the Turnbull collections. However, nestled among the papers of Rodolph Lysaght Wigley (1881–1946) is the rock responsible for puncturing a tyre on a 40 horsepower Darracq motor vehicle on the first car journey to Aoraki Mount Cook, in 1906. The car belonged to Wigley, who had just founded the Mount Cook Motor Car Service, transporting mail and passengers in the region. Undeterred by the flat tyre, he persevered, and in 1912 relaunched the business as the Mount Cook Motor Company Ltd. By 1930, it was the largest tour operator in New Zealand. Mechanical parts and stone chips are not typical of the Turnbull collections. Neither is the writer Katherine Mansfield’s hair, composer Douglas Lilburn’s piano, or a knife and fork purported to have come from the table of explorer Captain James Cook. Yet these and other surprising pieces easily cohabit in the library, inviting attention, curiosity and, sometimes, intrigue.

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THE DRAW OF HAINING STREET LY N E T T E S H U M DESCRIPTION

MAKER / ARTIST

REFERENCE

Used pakapoo ticket, 1920s

Maker unknown

Eph-A-LOTTERY1920s-01

Back in the days before Lotto, the TAB and even the art unions, there was pakapoo. From the late 1800s to the mid1900s, this Chinese lottery drew thousands of non-Chinese participants on a regular basis to Haining Street, which at the time was the heart of Wellington’s Chinatown. I spent the first year of my life in a Chinese laundry on the edge of Chinatown, but I had no idea of the reality of life in and around Tong Yan Gai, as Chinese people themselves referred to the street, until a relative encouraged me to record the stories of those who remembered it. So began the Haining Street Oral History Project in 1994. I interviewed Chinese and nonChinese men and women, residents and visitors, workers, gamblers and police, all with a connection to the street. What emerged was a fascinating story of cooperation and interdependence in a city community, contrasting with the exoticised and sensationalised images promoted by the press of the day. This is no better illustrated than by the organisation of, and participation in, pakapoo — bak gap biu 白鴿票 in Cantonese, or ‘white pigeon lottery’. This game of chance was illegal between 1881 and 1974, even though other gambling games such as poker and two-up were openly played all over New Zealand. Despite this, Wellingtonians came in their hundreds to

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play, from all over the city and all walks of life. The lotteries were organised on a massive scale, with some saying that it seemed as if every other house in the street was involved. A 1914 newspaper headline trumpeted that a ‘ton of tickets’ was secured in a police raid. To go in a draw, you paid the agent for up to 10 choices of Chinese characters on your 80-character ticket, marking them with a brush dipped in ink. The agent made a copy and kept it. Winnings were in proportion to the number of characters that matched the 20 selected on the master ticket held at the ‘bank’, the place where the organising syndicate was located. Runners couriered results around the neighbourhood. The game was similar to Lotto, except the odds were much better. ‘Like a pakapoo ticket’ was the insult interviewee Joy Matthews remembered a teacher flinging at her when her homework was not presented tidily enough. But Mathews also recalled, ‘If it hadn’t been for the pakapoo, the Chinese would have starved. If it hadn’t been for the Chinese, we would have starved.’ At a time when racism was rife in New Zealand and Chinese people were not widely accepted, the pakapoo world illustrated that the capital’s communities were indisputably interdependent.

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A pakapoo ticket with its 80 Chinese characters. They are actually the first words of the Thousand Character Classic, an ancient prose poem used as a primer for more than 1500 years to teach Chinese children to read and write. This used ticket has 20 characters marked up for the lottery draw — there would be several in a day. The handwritten numbers may refer to winnings paid out.

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HIGHER MOUNTAINS C H R I S S Z E K E LY

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DESCRIPTION

Naxi women washing laundry, Lijiang, Yunnan, China, 1938 MAKER / ARTIST

Dora de Beer (1891–1982) REFERENCE

Negatives of New Zealand’s first mountaineering expedition overseas (1/4-083409-F) Because she was behind the camera, Dora de Beer seldom appears in her expedition’s images. 2

DESCRIPTION

‘On the ice fall’, Khumbu Icefall, Nepal, 1951 MAKER / ARTIST

Harold Earle Riddiford (1921–1989) REFERENCE

ATL-Group-00418 (PAColl-D-1561) Harold Earle Riddiford was a member of the 1951 Mount Everest Reconnaissance Expedition organised by The Himalayan Committee of The Royal Geographical Society and Alpine Club, London.

New Zealand is blessed with many mountains — little wonder, then, that the country grows mountaineers who stand tall on the world’s loftiest peaks. The Turnbull collections are rich in mountaineering accounts, both local and international. For a glimpse of two of these tales, meet Dora de Beer and Earle Riddiford. Dora de Beer (1891–1982) grew up in Dunedin and began climbing in the 1920s in the Southern Alps. Following her mother’s death in 1931, she moved to London, from where she continued to climb in the Swiss Alps. As a member of a wealthy family, unmarried and with her own private income, she had the resources, experience and freedom to undertake an expedition to the Yulong Xue Shan range in the Yunnan province of China. She was one of three women who funded, organised and embarked on the adventure. The others were Australian Marie Byles and New Zealander Marjorie Edgar Jones. Together, they enabled a climbing party that lays claim to being New Zealand’s first overseas mountaineering expedition. The trip began in British-ruled Burma (now Myanmar) in August 1938 and progressed via rail, river, mule and foot into China. The objective was to scale the unconquered peak of Mount Sansato. Regrettably, extreme weather made the ascent impossible. The party

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reached a position of 5500 metres, 600 metres short of the summit, before abandoning the attempt. Sansato remained unconquered for a further 50 years. De Beer found consolation in scaling its neighbouring peak, Geena Nkoo, a respectable climb at 5900 metres and a satisfying end to the six-month tour. She was 47 years old. Earle Riddiford (1921–1989) also began his climbing experience in the Southern Alps. He came to international mountaineering attention in the early 1950s, organising the first New Zealand expedition to the Garhwal Himalayas in a party that included Ed Cotter, George Lowe and Edmund Hillary. With Cotter and Nepalese mountaineer Pasang Dawa Lama, Riddiford was the first to climb the previously unscaled peak of Mukut Parbat (7242 metres). This was one of three Himalayan climbs he made, which included the British reconnaissance in 1951 that paved the way for the ascent of Everest in 1953. His story is featured in the book Only Two for Everest (2016) and the documentary Before Everest (2020). Riddiford’s archive of photographs and personal papers was deposited with the Turnbull by his family in 2019. The photographic archive of de Beer’s expedition — some 372 film negatives — was in the possession of the New Zealand High Commission in London and came to the Turnbull in 1990.

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AOTEAROA FROM THE AIR JENNI CHRISSTOFFELS

DESCRIPTION

MAKER / ARTIST

REFERENCE

Whites Aviation staff in the office’s hand-colouring studio, Auckland, 1956

Photographer unknown

Whites Aviation Ltd: Photographs (PA-Group-00080: WA-44609)

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Queenstown, Lake Wakatipu and the Remarkables, c. 1950 Silver gelatin print with handapplied colouring, mounted on board, 380 × 680 mm

Photographer unknown

Whites Aviation Ltd: Photographs (PA-Group-00080: PAColl-D-1214)

Already well known as an aerial photographer and aviation enthusiast, Leo White (1906–1967) established Whites Aviation in Auckland in 1945. The company published the monthly magazine Whites Aviation, as well as several editions of the popular Whites Pictorial Reference of New Zealand and many smaller one-off publications. Whites Aviation photographs covered mainly towns throughout New Zealand, with some views of rural areas and scenic hotspots. Smaller towns may have been covered only once or twice, while larger towns and cities — particularly Auckland and its surrounds — were covered multiple times from the 1940s to the 1980s. The 1950s and 1960s were particularly productive, with Whites undertaking extensive photography all around New Zealand, although the last time any part of the South Island was photographed appears to have been in 1974. Unlike government-contracted New Zealand Aerial Mapping, Whites Aviation had no mandate to cover the entirety of New Zealand, so presumably it focused on what would be of greatest interest and commercial value to the company. Whites Aviation was also employed by various authorities and companies to take aerial photographs. As a result, an extensive range of images — motorways

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Hand-colouring prints made from black-and-white negatives was an important part of Whites Aviation’s publishing activities. Many New Zealand homes had the company’s hand-coloured views on display, like the classic image here of Queenstown with its lake and mountains.

under construction, forestry plantations, new subdivisions and the like — formed part of its stock. After the death of Leo White, the company went through several changes of ownership, eventually ending up with GeoSmart. In 2007, GeoSmart decided to move away from aerial photography and offered the Whites Aviation archive to the Turnbull Library. The library bought not only the collection of about 80,000 negatives and 55,000 prints, along with the negative registers, but also the copyright to these images. Among them was a large collection of photos taken by Leo White himself from 1921 onwards, including those from his days as a freelance photographer. The negative from which the image of the company’s office was taken shows early signs of so-called vinegar syndrome, in which the acetate backing has begun to shrink, causing the negative to wrinkle, often to the point where the image can no longer be seen. The Turnbull’s conservation team can make these images viewable by removing the backing, but this is a slow and painstaking process and is done only as required. Environmental conditions in the library ensure the negatives will not deteriorate any further.

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SIGNING THE TREATY OLIVER STEAD DESCRIPTION

MAKER / ARTIST

REFERENCE

The Signing of the Treaty of Waitangi, 6 February 1840, 1938 Oil on canvas 1205 × 1810 mm

Marcus King (1891–1983)

G-821-2

Marcus King’s grand 1938 oil painting of the signing of the Treaty of Waitangi was a bold feature of New Zealand’s pavilion at the World’s Fair, held in 1940 in New York, where around 8 million people saw it. Coinciding with New Zealand’s centennial celebrations, the painting demonstrated how the government wished New Zealand to represent itself in terms of its Māori population — with ‘the best race relations in the world’. The event’s depiction reflects a popular belief that the signing was an orderly and not obviously complicated process. Certainly, the work was intended to present the event in an idealised way. Indeed, the whole scene is imaginary; no one who witnessed the Treaty signing on 6 February 1840 is known to have made a picture of it. So, when government artist King (1891–1983) came to paint this image, he had little visual evidence on which to base his conception. As it turned out, many of the details are historically inaccurate. Unlike Leonard Cornwall Mitchell’s 1949 depiction of the signing, King’s painting seems to have lacked a key that enabled viewers to identify the people shown. The caption to a print of the work published in the New Zealand Free Lance in 1939 simply gave a few names.

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The rangatira seen signing the document was named as Ngāpuhi leader Tāmati Wāka Nene. Also present were the missionary Reverend Henry Williams, Captain Joseph Nias of the Royal Navy, the new LieutenantGovernor, Captain William Hobson, and James Busby, the former British Resident. It is difficult to be sure who is who. The flags, evidently meant to represent signal flags used by naval and merchant shipping, do not conform to systems or codes used at the time. Some of the details of the naval costumes are also inaccurate. King’s composition may be derived from the famous American painting The Treaty of Penn with the Indians, completed by Benjamin West in 1772. It shares many features of West’s composition, including the frieze-like row of figures and the gesturing indigenous figure in the foreground. King’s painting was passed to the Turnbull Library from the Ministry for Foreign Affairs and Trade in 1990. In 1952, King completed an even larger version of the scene, somewhat different from the earlier composition, for exhibition in London. Unfortunately, it is not clear what happened to this version. In 2014, it was re-created from photographs by New Zealand artist Dick Frizzell.

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Marcus King had a long career as an artist, both privately and commercially. He worked for the Publicity Studios of the National Film Unit from 1930 to 1960.

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AUSWANDERUNG C A M U S W YAT T

DESCRIPTION

Folder: ‘Auswanderung’, 1938–39 MAKER / ARTIST

Ester and Helmut Einhorn REFERENCE

Papers re emigration from Germany (MS-Group-1852: MS-Papers-11756-5_001) The Einhorn family papers in the library document Ester and Helmut’s lives and work in New Zealand, as well as their journey here. Their 1984 interview with Ann Beaglehole is held in the library’s Oral History and Sound Collection. Speaking of making their Karori home, Ester said, ‘the effort … was so terrific for us — physically and mentally and financially — that nailed me down to here … my homesickness, my desperation had gone’. 2

DESCRIPTION

Letter of referral to New Zealand Jewish Welfare Society, May, 1939 MAKER / ARTIST

German Jewish Aid Committee, Overseas Department REFERENCE

Papers re emigration from Germany (MS-Group-1852: MS-Papers-11756-5_023_03)

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This plain brown folder, from the Turnbull Library’s Einhorn collection, is simply titled ‘Auswanderung’ (‘Emigration’). Inside, a profoundly personal record details the efforts of two German Jews to escape the horror of Hitler’s Nazi regime in the late 1930s. Facing an increasingly dire situation in their homeland, Ester (1913–2010) and Helmut Einhorn (1911–1988) sent numerous letters abroad, to friends, chance acquaintances, Jewish aid organisations — in fact, anyone anywhere who could help them flee Nazi persecution.

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‘I am a German Jew,’ Helmut wrote to one organisation, ‘hard pressed to leave the country, where I was born, in search of a country where I will be allowed to lead a more dignified existence.’ The folder contains responses filed with applications. In December 1938, the Australian Jewish Welfare Society wrote: ‘concerning your proposed immigration to Australia … your prospects of being absorbed here are so negligible that … with the utmost regret and sympathy … this Society finds itself forced to refuse the endorsement of your application for a Permit’.

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DESCRIPTION

Draft of a letter to Institute of New Zealand Architects, no date MAKER / ARTIST

Helmut Einhorn REFERENCE

Papers re emigration from Germany (MS-Group-1852: MS-Papers-11756-5_031) 4

DESCRIPTION

Ester and Helmut Einhorn MAKER / ARTIST

Jule Einhorn REFERENCE

Reproduced courtesy of the Einhorn family

New Zealand was no more welcoming than most other countries. In a 1984 interview with historian Ann Beaglehole, Helmut said, ‘New Zealand really wasn’t aware that they had to save people. They thought people didn’t like this [Nazi] government and [just] wanted to come.’ Jews fleeing the Nazis were asked to jump through the usual hoops for non-British migrants — fit within quotas and have a solid job offer or a good deal of money. For many, these requirements made escape impossible. But in a stroke of luck, a friend’s uncle in Sweden gave the Einhorns a name to write to in England. Gerhard Rosenberg, an urban planner, wrote back that his brother Wolfgang had immigrated to New Zealand and could help Helmut secure a job there. A German Jewish aid organisation could fund their passage.

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The Einhorns arrived in New Zealand in July 1939. Helmut tried to help his parents escape as well, but without money and contacts it was to no avail. They perished in the Holocaust, along with 6 million of Europe’s Jews. After the war, the Einhorns built a new life here. Helmut became a leading modernist architect and poured the skills he’d brought with him into building a family home in Wellington, where the couple created an unusual garden of native plants surrounding a few exotic flowers. In their 1984 interview, Ester noted the things that now tied her to New Zealand — friends, a home, her children. Few other Jews from Ester’s hometown survived the war. The documents and stories the Einhorns carried with them give us all an opportunity to learn and to remember.

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A JAPANESE SONGBOOK SEÁN MCMAHON

DESCRIPTION

MAKER / ARTIST

REFERENCE

Japanese songbook, crafted at the Featherston prisoner-ofwar camp, c. 1943

Maker unknown

Donated by Bruce Thomson, Wellington, 1973 (MS-1079_59_ object-view)

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The collection of 52 cards, including covers, is bound by thread and has an index of titles. Each prisoner received cigarettes as part of their rations.

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DESCRIPTION

Smoko, Featherston prisonerof-war camp, 1943 MAKER / ARTIST

John Pascoe (1908–1972) REFERENCE

PA-Group-00197 (1/4-000774-F) A Japanese prisoner of war lights up during a break from loading shingle onto a truck near the Featherston prisoner-of-war camp, 1943. The photo was taken by John Pascoe on a visit to the camp to document it as part of his work as an official wartime photographer.

This beautiful and unique manuscript was found on the body of its maker, killed in a massacre of prisoners at the Japanese prisoner-of-war camp in Featherston during the Second World War. It is a songbook handmade from cigarette packets, with a song in elegant cursive Japanese script inscribed on the reverse side of each opened-out carton. There are 50 songs altogether, obviously recorded from memory and mostly popular in, or from films of, the 1930s and 1940s. They concern love, Japanese places, travel stories, melancholia and soldiers’ letters home from the Japanese colonies, among other things. The Featherston prisoner-of-war camp was established in September 1942 to accommodate soldiers and sailors from the Imperial Japanese Army and Navy, along with their Korean labourers, who had been captured by Allied forces during the Battle of Guadalcanal. The camp housed more than 800 prisoners in four compounds. By 1943, tensions were running high between the prisoners and their New Zealand guards. At issue was the work that the prisoners were expected to undertake, including clearing gorse, gardening, cooking and clearing the compounds. Along with the dishonour of capture, many of these ex-combatants felt deep shame at having to participate in such daily labour.

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On 25 February, 240 prisoners went on a sit-down strike. Eventually, a confrontation between the two groups erupted after a guard fired a warning shot. As the prisoners armed themselves with stones and approached the guards, the latter opened fire with pistols, rifles and sub-machine guns. During the melée, 49 people died — 48 Japanese prisoners and one New Zealand guard. Both labour and creativity continued as part of camp life. Some prisoners produced elaborately carved artwork as well as furniture in traditional Japanese styles in the onsite workshop. Others fabricated items for New Zealand’s burgeoning state house construction industry. Chimneys, fireplaces and washtubs, all made from concrete, were produced at the camp. At the end of the war, the camp was closed and all remaining prisoners were repatriated by ship to Japan. Today, a grove of cherry trees, popularly known as the Peace Gardens, acts as a memorial to those who died at Featherston. A plaque there quoting a haiku by the seventeeth-century poet Matsuo Bashō commemorates those killed: Behold the summer grass All that remains Of the dreams of warriors.

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MAKER / ARTIST

Maker unknown

DESCRIPTION

Japanese songbook, page 39: ‘Niizuma Kagami’

MS-1079_47_p-39

REFERENCE

The song on this page, ‘Niizuma Kagami’ (‘Bride Mirror’), comes from a 1940 film of the same name, a love story about a new wife and the travails of her life after marriage. Reads top to bottom, right to left.

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148

WAR, REFUGE AND LEARNING ER ENA WILLIAMSON DESCRIPTION

MAKER / ARTIST

REFERENCE

Armed forces library, probably in the western Pacific region, 1943

Photographer unknown

Department of Internal Affairs, War History Branch Collection (PAColl-4161: 1/2-044866-F)

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This well-stocked library was most likely located at an armed forces base camp rather than near the front, given the building’s reasonably substantial structure.

War and libraries seem curious bedfellows. However, during both world wars, not only were servicemen provided with libraries in training camps and hospitals, on ships and in combat zones, but librarians were also there to ensure the smooth running of these facilities. These libraries served a far wider purpose than simply recreation. Along with canteens and social clubs, they provided respite from the rigours of war, and they also were places of learning. The government recognised the benefits of libraries for the armed forces, partly in response to repeated requests from servicemen for reading material. While the armed services supported the idea in principle, they did not contribute funds, although they did allow men to be seconded to administration and librarian roles when needed. These libraries were, in fact, financed solely by public donation and through organisations such as patriotic societies, St John, the YMCA and the Red Cross. The benefits were seen as threefold. First, libraries provided much-needed relaxation during downtime. Second, magazines, periodicals and newspapers helped servicemen stay connected with life at home and were therefore an important boost for morale. And third, books were used for education and training purposes.

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Encouraged by the government, many in the armed forces grabbed the opportunity to undertake study or vocational training courses. Others continued working towards university degrees, mindful of the need to prepare for post-war life back home. Newspaper articles published during both global wars attest to the gratitude the troops felt for the reading material provided, and people at home worked hard to satisfy their ongoing needs. This photograph shows a well-provisioned and organised library, probably somewhere in the Pacific. The librarian in charge has clearly done their best to make this a peaceful and inviting space, despite the conditions — although these are luxurious compared with those in combat zones. One library operating during the Pacific War that we do know about was located in New Caledonia. It was part of the first overseas branch of the New Zealand Army Education and Welfare Service. This library alone held more than 6000 books, magazines and other types of reading material. Printing facilities were often housed near or as part of libraries, where administration staff produced their own newspapers and magazines to add to library collections.

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150

CUSTOM MEETS COLONISATION R ENE BURTON & ER ENA WILLIA MSON DESCRIPTION

MAKER / ARTIST

REFERENCE

Men of the 28th (Māori) Battalion with a gift of kai for Christmas, 23 December 1944

George Frederick Kaye (1914–2004)

PAColl-5547-037 (DA-07989-F)

When whānau in Aotearoa sent barrels of tītī (muttonbirds) as a Christmas gift to their sons, brothers, cousins, fathers and uncles in the 28th (Māori) Battalion they were making a statement about whanaungatanga and kaitiakitanga.

He manawa tītī, me tōhuna hiringa. With the famed strength and perseverance of the tītī.

The image here, taken in Italy during the Second World War, records 28th (Māori) Battalion soldiers embracing their Christmas gift, barrels of preserved tītī. Also known as muttonbirds or sooty shearwaters, tītī have for centuries been harvested in April and May from locations in southern Te Waipounamu and preserved to provide food in winter months. Upon their arrival in Aotearoa, Māori began to form physical and spiritual connections with te taiao (the natural world), and amassed a significant body of mātauranga (knowledge) about this unique environment. From these connections came the concept of kaitiakitanga, or guardianship, and with that came tikanga, meaning customs or the correct way of doing things. For Māori,

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harvesting and preserving birds is kaitiakitanga and tikanga in action — a centuries-old customary practice. Colonisation disrupted all this. Māori struggled to have their rights acknowledged, let alone enacted by the colonial government. In some respects, this is a struggle that continues to this day, despite kaitiakitanga and customary harvest being examples of the rangatiratanga (self-determination) guaranteed to Māori through the signing of Te Tiriti o Waitangi in 1840. Between 1861 and 2013, the government created a staggering 609 different pieces of legislation around the protection, hunting or harvesting of taonga in Aotearoa. From early on in our shared history, there was friction between Māori rights to tino rangatiratanga and Pākehā

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interests in hunting birds for sport or tapping into the lucrative supply of specimens to collectors and museums worldwide. In time, as the losses of species became apparent, an admirable concern for their conservation arose. However, the overall result of many of these laws was the restriction or denial of Māori customary practice. This image taken by official war photographer George Kaye (1914–2004) undoubtedly served its purpose of reassuring whānau at home. But the arrival of tītī had greater significance for members of the 28th (Māori) Battalion beyond being a special gift.

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The gathering, preparation and sending of tītī to the battalion was a strong statement from those very whānau. In the first place, it was about caring deeply for the men by providing kai to sustain them. But it also reaffirmed whanaungatanga (relationships with whānau and hapū) and tikanga, and sought to maintain connections to papa kāinga (home). Kaitiakitanga has long been compromised by tensions resulting from the imbalance of power between Māori and Pākehā, tensions that have only recently been acknowledged.

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152

HEALTH IN BODY AND MIND INDIR A NEVILLE DESCRIPTION

MAKER / ARTIST

REFERENCE

‘Kevin diving’, Fairfield College, Hamilton, 1964

Max Christian Oettli (b. 1947)

PA-Group-0002: PADL-001331

Physical Education, phys ed, PE, or whatever it was called at your school, was something we all had to do. Some of us loved it, some of us loathed it, but most of us just did it. Why? Because we had to; it was compulsory. Why? Because it was good for us. In the early 1900s, the commonly held belief that a healthy body ensures a healthy mind drove physical education in New Zealand schools. In the years leading up to the First World War, that approach was all about fitness and military prowess (the ‘healthy body’) and imperialistic morals and ideals (the ‘healthy mind’). Physical education was focused on boys and largely took the form of military training, with marching, drills, fake battles and shooting instruction. From 1913, however, it became compulsory for all students. Healthy children continued to be seen as essential to the strength and survival of the nation, and while the boys kept on marching, the girls undertook less explicitly ‘military’ exercises such as stretching and lifting dumbbells (undertaken in full school uniform, including stockings). This nationalistic approach was a key part of school life until the end of the Second World War, when educationalists began to criticise it as endangering children’s individual moral, physical and emotional development.

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Philip Smithells, the Education Department’s Superintendent of Physical Education, took a similar view. In the 1940s he revamped both the primary and secondary school syllabuses, downplaying ‘allconquering athleticism’ and the connection between the healthy body and the healthy mind. Instead, he stressed the responsibility teachers had to all children as individuals, including those with physical disabilities, those with poor motor skills and ‘average’ performers. He even established remedial clinics to help with this. In addition, Smithells emphasised the aesthetic qualities of movement in his syllabus, mainly through dance and gymnastics, which included trampolining. The current New Zealand Curriculum contains elements of both approaches — physical education for society, and physical education for the individual. Unlike the binary models of the past, they coexist and are considered equally important. As for Kevin, the flying Waikato schoolboy captured in this image by Swiss-born photographer Max Oettli (b. 1947), we don’t know whether he loved or loathed phys ed. But in this moment of trampoline magic, at least, he looks as if he’s having a good time.

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Swiss-born Max Oettli took up photography as a teen in Hamilton and became a career photographer, capturing slice-of-life moments from the 1960s to the present. He deposited his archive with the Turnbull in 2004.

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154

GIFT OF FIRE A R I A NA T I K AO

DESCRIPTION

MAKER / ARTIST

REFERENCE

Maui Fleeing from Mahuika, Goddess of Fire, 1952 Coloured linocut 320 × 245 mm

E. Mervyn Taylor (1906–1964)

B-036-008

This linocut print by Mervyn Taylor (1906–1964) is one of my favourite images in the Turnbull collection. I first discovered it when researching for the exhibition Wāhine: Beyond the Dusky Maiden, which showed in the Turnbull Gallery in 2017. The exhibition’s kaupapa was to expand knowledge and perceptions about Māori women beyond the stereotypes. Taylor’s artwork calls to mind the way in which Māori legends and origin stories help us understand the traditional world and values of our ancestors, including the importance of the role of women, often seen through qualities and actions of atua wāhine (female deities). Turnbull collections feature various stories of atua wāhine that offer a glimpse into the high esteem in which wāhine are held within te ao Māori. On a spiritual level our voices can bridge spaces between the realms of the living and the dead; our wombs are the whare tangata, the house of humanity, ensuring our survival as a people. Ka wani kē! To preface this story, the demi-god Māui goes to his grandmother Mahuika, to ask her for her gift of fire. He knows it is a finite resource, flickering away in each of her

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Mervyn Taylor contributed to a nationalist movement in the arts, and became well known for his New Zealand landscapes, botanical artworks and depictions of Māori legends, mostly in the form of wood-cut engravings.

fingernails. Māui, being Māui, extinguishes the first nail on purpose and then repeats the process until he has taken possession of the fire from Mahuika’s last nail. At this point, Mahuika realises she’s been duped and unleashes her inferno upon him. Fortunately for Māui, he can transform himself into a hawk, a power given to him by — guess what — another female relative, Hinearoraki (in a South Island version of the kōrero). Taylor perfectly captures Māui’s moment of transformation from man to bird. I also love the fact that Mahuika’s hand on the right resembles mountains, a hint of Papatūānuku, the Earth mother. As far as fire was concerned, luckily for us its last seeds were hidden in the kaikōmako and other trees, woods used for fire-making. Taylor’s work is strongly represented in the Turnbull Library. He was a prominent artist in the mid-twentieth century who endeavoured to capture the essence of Aotearoa New Zealand culture visually at around the time that composer Douglas Lilburn was attempting to do the same through music. Taylor also played a supporting role in the lives of artists such as Cliff Whiting and Para Matchitt, influencing a generation of Māori visual artists.

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ANCIENT DOCUMENTS OLIVER STEAD DESCRIPTION

MAKER / ARTIST

REFERENCE

Sumerian clay tablets with cuneiform inscriptions, 2250–2100 bce Sizes c. 45 × 35 × 11 mm

Makers unknown

Donated by Kenneth A. Webster (Curios-007-001)

Made more than 4000 years ago, these three Sumerian clay tablets are by far the oldest artefacts in the Turnbull Library collection. They came to the library in 1956 as part of a collection of samples of different systems of writing from around the world, donated by the New Zealand-born artefact dealer and collector Kenneth Athol Webster (1906–1967). Their presence illustrates the influence of the priorities of New Zealand collectors who followed the library’s founder, Alexander Turnbull. Born in Wellington and educated at Wellington College, Webster worked as a clerk and a farmer before travelling to Britain in 1936, where he based himself for the rest of his life. After the war, during which he served in the Royal Army Ordnance Corps, he began to collect Māori artefacts, New Zealand and Pacific books, manuscripts, paintings, drawings and prints, making many items available through donation and sale to New Zealand museums. Webster was an early advocate for the repatriation of Māori antiquities in overseas collections. In 1961, he offered his substantial collection to the New Zealand government for purchase, but the government declined to buy it. After his death, the Alexander Turnbull Library purchased Webster’s remaining collection of books,

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paintings, prints and manuscripts from the rare books dealer Maggs Bros. in London. The earliest cuneiform tablets were made well over 4000 years ago in the area that is now Iraq. Earlier tablets featured pictograms of animals and other agricultural produce. Gradually, the pictograms were refined into a script for texts, at first in the Sumerian language. Later, the system was adapted for other ancient languages such as Akkadian, Assyrian and, much later, Persian. Several hundred thousand cuneiform tablets are recorded in the world’s museums, but relatively few have been translated and published. Translation became possible when nineteenth-century scholars discovered that the signs represented syllables and were intended to be read from left to right. Of the tablets here, one inscription concerns grain, mentioning the field of the shepherds and the temple of the deity Shara and of a certain Shubati. It is dated in the year that Simurrum was laid waste for the third time, during the Third Dynasty of Ur (about 2250 BCE). Another records three deliveries of leather bags to a palace, while the third concerns the charge for hiring a boat and its crew to carry reeds upstream from the city of Umma to the city of Nippur.

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These 4000-year-old tablets were donated to the Turnbull by Kenneth Webster, one of several important collectors whose gifts and bequests have added to the collection’s range and significance.

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The boxed photographic prints store, where over a million printed photographs are kept.

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160

HUTU AND KAWA M A RY SK A ROT T

DESCRIPTION

MAKER / ARTIST

REFERENCE

‘We must be cousins!’ said Hutu, from Hutu and Kawa Find an Island, 1956–57

Avis Acres (1910–1994)

B-087-021

A storybook about fairies was nothing new to children in 1950s New Zealand, but Hutu and Kawa are arguably the best known of the local fairy folk. This watercolour was painted for Avis Acres’ 1957 book Hutu and Kawa Find an Island. Avis Acres (1910–1994) was an artist and storyteller whose career began with the cartoon series ‘The Adventures of Twink and Wink, the Twinkle Twins’, published in the Auckland Star in 1929. Her pōhutukawa babies, inspired by Australian artist May Gibbs’ books featuring the gumnut babies, Snugglepot and Cuddlepie, first appeared in the New Zealand Herald children’s page in a comic strip that ran from 1951 until 1960. Acres had always imagined Hutu and Kawa as book characters; Hutu and Kawa Find an Island was the third of three picture books in which they featured. The stories follow the twins’ adventures in the bush with the birds and forest folk, and incorporate a wealth of information about ecology and the natural world. Acres’ art is grounded in the New Zealand environment. Like Gibbs in Australia and Cicely Mary Barker in England, who also personified plants and flowers, Acres combines fantasy and imagination with careful botanical observation. Birds, too, are an important part of Hutu and Kawa’s

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Avis Acres’ close observation of nature is shown here with the rātā vine in its natural habit, twining around a tree trunk, and all its flowering stages included: tight buds, buds starting to open, full flowers and a finished flower head.

world. Acres loved to draw in the field, and the birds she sketched were depicted accurately in her stories so that young readers would recognise them. In this story, Acres’ conservation message is particularly evident. The possum that has caused damage to trees and birdlife on the island symbolises the pest’s disastrous introduction to New Zealand. The Hutu and Kawa books were all published by A. H. & A. W. Reed, known for their keen interest in New Zealand content. The 1950s was a time of growth in local children’s publishing, and Acres’ first book, The Adventures of Hutu and Kawa (1955), sold so well that it was reprinted. However, by the third book public interest was waning and there were to be no more. To a contemporary reader the stories are undeniably sentimental, but their conservation message is enduring. All three books were reprinted, unedited, in 1990, and The Adventures of Hutu and Kawa again in 2015 as a sixtieth anniversary edition. Every children’s book published in Aotearoa is held by the Turnbull, but the papers and artwork that sit behind this body of New Zealand literature are scarcely represented. Acres is an exception; the library received her artwork as a bequest following her death in 1994.

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162

KOROUA, MOKOPUNA JEANNIE SKINNER DESCRIPTION

MAKER / ARTIST

REFERENCE

Koroua and baby, Koriniti, 1961

Ans Westra (b. 1936)

Courtesy of Suite Gallery (PA-Group-00941: AWM-0070-F_10)

Away from the crowds and main action, a roving photographer with a keen eye for a special human moment crouches low to take a surreptitious photo of a koroua sitting in the shade, chatting to some mates and with his mokopuna held within the circle of his arms. This timeless and endearing moment was caught at a hui at Koriniti on the Whanganui River in 1961 by Ans Westra with her twin-lens Rolleiflex camera. It exemplifies the ‘rules’ of this notable photographer’s informal approach: one, don’t ask permission — doing so interrupts the moment and the dynamic changes when people start to pose; and two, don’t focus on the obvious — pay attention as much to the audience as to the main players at an event. Westra, born in the Netherlands in 1936, was inspired to become a photographer when she visited the groundbreaking 1955 Museum of Modern Art’s touring exhibition The Family of Man in Amsterdam in 1956. She came to New Zealand in 1957 and was immediately captivated by te ao Māori. Self-taught, as a freelance documentary photographer she travelled around the country, inviting herself to places and events, sometimes welcome, sometimes not, photographing what caught her eye and interest.

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This particular photograph was taken at a hui at Christmas organised by the Pentecostal mission. Although little is known about the people themselves, there are many threads to explore around the place’s broader setting and history. Koriniti is tūrangawaewae for the hapū Ngāti Pāmoana of the iwi Te Āti Haunuia-Pāpārangi. Their original kāinga was called Operiki, until the settlement relocated in 1848 to better agricultural land at Otukopiri. It was renamed Koriniti (after Corinth in Greece) at the suggestion of the Anglican missionary Richard Taylor. A flour mill was built here in 1854, Burton Brothers of Dunedin visited and took photos in the 1880s, the Dominion Museum visited in 1921 as part of an ‘ethnographic expedition’, the Pentecostal Christian revival movement burgeoned here in the 1950s, and a wharenui was moved here from Karatia (Galatea) in 1967. These and many more stories of people and place lie behind this photograph’s simple moment, captured some 60 years ago. Perhaps, too, there are whānau who will recognise the people in it and treasure the memory and connection that the image records.

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Ans Westra is one of New Zealand’s foremost documentary photographers. Her collection is a treasure house of images documenting the everyday and the extraordinary in the lives of the people of Aotearoa over more than 60 years. An archive of more than 2300 of her images was established at the Turnbull Library in 1982 and many have since been digitised.

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MEAN MONEY SULIANA VEA

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DESCRIPTION

Pacific Island workers at a plywood factory, Auckland, 1971 MAKER / ARTIST

Ans Westra (b. 1936) REFERENCE

Courtesy of Suite Gallery (PA-Group-00941: AW-500_03; AW-500_11) Migrants from the Pacific saw New Zealand, and its plentiful jobs, as a ‘land of milk and honey’ that could improve their prospects and help their families back home in the islands.

‘I scored a job at the factory aye … yeah … mean money.’ The words of Alexo in the 2018 Cougar Boys video Things Islanders Say echo the factors that lured Pacific Islanders to Aotearoa 50 to 60 years earlier. These photographs, taken in 1971 at a plywood factory in Auckland, signify an important part of New Zealand’s history with its Pacific neighbours. After the Second World War, the New Zealand economy picked up pace and began to flourish. More and more jobs were being created and there was a shortage of people to fill them. Employers needed workers to meet that demand, and where better to advertise the dream of opportunity than with their Pacific neighbours? The people of the Cook Islands, Tokelau and Niue were already New Zealand nationals, and could come here as of right. But for people in Sāmoa, Tonga and Fiji, this was a welcome opening. Whole families packed their bags and boarded boats to get here, leaving behind loved ones in their search of a better future. New Zealand was the biblical ‘land of milk and honey’, a place where you could earn money to send back home to help with kaveinga or fa‘alavelave (family obligations), building a

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house for the family, or paying for school fees so that your children or siblings could get an education. In my family, on my father’s side, Nimilote Finau — Uncle Nimi — from Faleloa, Ha‘apai, in Tonga came to Wellington in the 1960s to help his mother and siblings back home after his father died. He studied hard and got into the building industry, then began bringing his other family members over for work. When the visas for one lot expired, they returned home and Uncle Nimi brought over another lot. Later, he was able to bring over his mother, his siblings and their families, and his in-laws, and he then extended that help to his village and whoever in the Tongan community needed it — all done with love and support to make New Zealand a home. In Oscar Kightley’s film Dawn Raid (2021), one Samoan migrant comments on how a week’s pay could help not only his immediate family but also his extended family. That was how ‘mean money’ was back in those days. ‘Mean money’, as Kightley says in the film, ‘to do the dirty jobs, the factory work, the cleaning.’ And for those whose visas had expired, a blind eye was turned — as long as the economy was booming (see also pages 174 and 176).

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THE GOLDEN AGE OF WOOLCRAFT DY L A N OW E N

DESCRIPTION

MAKER / ARTIST

REFERENCE

Aotea Knitting Pattern 7256, late 1960s–early 1970s

Mosgiel Woollens Ltd

Eph-A-KNITAotea-7256

Once upon a time, when the world knew Aotearoa New Zealand mainly for its sheep, every New Zealander had woollen clothes in their wardrobe and every city and major town had a wool shop. The latest woollen fashions weren’t purchased from a shop or online; they were handknitted by you or by your mum. Between the 1950s and 1980s, knitting patterns like this were purchased in their tens of thousands. Tank tops, hot pants, ponchos, balaclavas, bed jackets, bellbottoms, twinsets — the patterns gave home knitters the opportunity to produce fashionable woollen clothes for themselves and their families. New Zealand woollen textile companies, such as Mosgiel Woollens Ltd, with its Aotea brand shown here, used knitting patterns to promote their wool yarns, the idea being that you knitted the pattern with the yarn recommended on the front cover. This was the golden age of woolcraft, and wool was a significant primary industry in New Zealand. In 1955, the Auckland department store Milne and Choyce recorded a stock of some 19,000 kilometres of wool yarns. Thirty years later, the country’s sheep numbers peaked at just over 70 million. This was also the era of national wool weeks, knitting competitions and fashion parades. For a

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The Aotea wool brand was part of the Otagobased Mosgiel Woollen Mills empire in the years before synthetic fabrics and low-cost imported garments killed off home knitting.

while, New Zealand was the world’s largest exporter of spinning wheels. Knitting patterns typically comprised four pages. An aspirational cover featured a model or models wearing the completed knitwear, while the back frequently advertised other knitting patterns in the series. Inside, the instructions to knit the patterned garment were written in a language resembling software code — 1st row: (right side). K1, pl, *k3, p1*, rep from *to* until 1 st rems, k1. Today, knitting is a recreational activity, not a necessity — the advent of cheap, commercially manufactured knitwear and fast fashion has seen to that. However, there have been comeback spikes in popularity this century, including the social knitting movement stitch and bitch, the hipster handmade ethos and, more recently, the surge in knitcraft activity during the 2020 national Covid-19 lockdown. The hundreds of knitting patterns held at the library are a reminder of the extraordinary popularity of knitting. Even in the mid-1980s, seven out of ten New Zealand households could claim an active home knitter. In addition, a look through the pattern covers offers an interesting lens on fashion, hairstyles and ethnic and gender stereotypes over the decades.

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THEATRE LANDMARK ER ENA WILLIAMSON

1 1

DESCRIPTION

Īnia Te Wīata, Royal Opera House, London, about 1951 MAKER / ARTIST

Photographer unknown REFERENCE

New Zealand Free Lance: Photographic prints and negatives (PA-Group-00079: PAColl-6208-05) Famed singer and performer Īnia Te Wīata was also known for his skills as a carver, having studied at the famous carving school established by Te Puea Hērangi at Tūrangawaewae. 2

DESCRIPTION

Poster for the New Zealand Opera Company’s production of Porgy and Bess, 1965 MAKER / ARTIST

Charles Henry Cabot (1890–1978) REFERENCE

Eph-D-CABOT-Opera-1965-01

The striking poster here is for a landmark New Zealand Opera production in 1965 that was the catalyst for the evolution of modern Māori theatre in Aotearoa. The production was not only one of a very few occasions when George Gershwin’s controversial opera Porgy and Bess was performed outside of America, but it was also highly significant for having a predominantly Māori cast. First performed on Broadway in 1935, the story of Porgy and Bess centres on poor African American families in South Carolina, and was the subject of debate over

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stereotyping and appropriation. It was a huge coup for a small opera company at the bottom of the world to obtain permission from the trustees of Gershwin’s estate to stage the show, which was granted on the proviso that Māori performers would take the place of African Americans. In the end, however, three cast members were brought in from the United States. The cast, drawn together following a nationwide search, included the bass-baritone Īnia Te Wīata (Ngāti Raukawa; 1915–1971), who played Porgy. Te Wīata, by

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then an internationally renowned singer and performer, was undoubtedly the star of the show. The Auckland Star of 25 February 1965 wrote, ‘One thing is certain: neither opera, nor Maori entertainment is ever likely to be the same in New Zealand after Porgy and Bess.’ Aotearoa at this time was experiencing what has been called a Māori cultural renaissance, with the revitalisation of ngā toi (the arts) and te reo Māori and the development of new organisations. These included the Māori Theatre Trust, formed in 1966 by several actors from Porgy and Bess. The trust’s first plays were well received, and the company toured internationally in 1970. It eventually disbanded for financial reasons, but other companies emerged to continue the journey, among them Te Ika a Maui Players and Maranga Mai.

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Theatre had always been part of Māori society: te whare tapere (the house of entertainment) was the centre for waiata, haka, music, puppetry, games and storytelling. Modern Māori theatre drew on these traditions as well as European theatre. Māori political activism also played a significant part in its emergence; writing and performing plays was recognised as a powerful medium to convey their messages to audiences both nationally and internationally. In the 1980s, the hugely influential and successful Depot Theatre opened in Wellington, producing only home-grown work. Now known as Taki Rua, it is considered New Zealand’s foremost Māori theatre company, continuing to ensure the voices of Māori are heard.

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FROM TOKELAU TO WELLINGTON SULIANA VEA

This photograph of a newly arrived group of Tokelauans in Wellington accompanied an article printed in the Evening Post on 26 May 1964. The group had just been shopping for the clothing they are wearing, the first warm clothes they had ever needed to own. New Zealand’s cold weather and infrastructure and technology were major changes for the group. As the paper wrote, ‘They come from a tiny dot in the Pacific … hav[ing] never seen a bicycle, let alone a motor-car.’ This group of 10 migrants was the second to arrive in New Zealand as a part of a government-assisted scheme for unmarried people. The scheme offered Tokelauans a chance to start a new life with many more opportunities than they had back home. Susana Lemisio (née Perez; pictured second left) was only 18 when she arrived in New Zealand. She married and settled in Wellington, and bought a home in Petone with her husband, Teofilo, in 1974. Although leaving home can potentially mean losing one’s national identity, she was determined to ensure that the Tokelauan language and culture were passed on to future generations. Susana is now a well-known figure in the Tokelau community, dedicating many years of her life to

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empowering the people and strengthening the use of their language. In 2016, she was made a Member of the New Zealand Order of Merit in recognition of her services to New Zealand’s ‘Tokelau community and early childhood education’. One of her achievements was starting Akoga Kamata, the first Tokelauan-language nest and playgroup for Tokelauan children in Petone, in the 1980s. New Zealand started administering Tokelau in 1925, when it was a British territory known as the Union Islands. In 1948, it was officially made part of New Zealand, and its name was changed to Tokelau Islands in 1976. Tokelau is made up of three coral atolls — Fakaofo, Nukunonu and Atafu — whose combined liveable land area is the size of a small New Zealand town. By the 1960s, overpopulation was becoming an issue, so the New Zealand government put its resettlement scheme in place. Fifty years on from that early, chilly shopping trip, Wellington continues to hold warm appeal for the people of Tokelau. The Tokelauan population in New Zealand (more than 8600 people in the 2018 census) now far exceeds the numbers living in Tokelau itself (around 1600 in the 2019 Tokelauan census), with most of the population resident in the Wellington region.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

New arrivals from Tokelau, Wellington, 1964

Evening Post staff photographer

Dominion Post Collection (PA-Group-00685: EP/1964/1760-F)

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The second group of government-assisted migrants from Tokelau to arrive in Wellington, 1964: from left, Lele Tanu, Susana Lemisio (née Perez), Eneliko Tovio, Hinalagi Maka, Ianeta Baker (née Tinielu), Lui Tufala, Kailua Teilo, Filika Tato (née Lomano), Akileo Manuele and Savelio Lomano.

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WHETU — STYLE ICON PAU L D I A M O N D

DESCRIPTION

MAKER / ARTIST

REFERENCE

Whetu Tirikatene-Sullivan in her Parliamentary office shortly before the birth of her first child, October 1970

Evening Post staff photographer

Dominion Post Collection (PA-Group-00685: EP/1970/4641/10a-F)

In 1967, Whetu Tirikatene-Sullivan (Ngāi Tahu, Ngāti Kahungunu; 1932–2011) was a new Member of Parliament, adjusting to life as the representative for the Southern Māori electorate. She had won a by-election following the death of her father, Eruera Tirikatene, who had held the seat for the Labour Party since 1932. One day, the mail arriving in her office at Parliament included a parcel containing 3 yards (2.7 metres) of white linen printed by the Ngāti Kahungunu artist Sandy Adsett. The black design was inspired by the mangōpare (hammerhead shark) pattern, referencing the shark and its reputation for strength. Adsett wrote, ‘I thought the fighting Māori proverb connected with it lent itself to the work you do for our people … it is my own interpretation of the design.’ Writing to friends in 1970 (in a letter from the Turnbull Library’s collection of the journalist Elsdon Craig’s papers), Tirikatene-Sullivan recalled her excitement: ‘[It] was a spectacular piece, bold and definite in its black stylised Maori motif and was the most exciting thing that happened to me that year … this was the catalyst for my renewed interest in promoting the use of Maori motif in fabric.’

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Long-serving Labour MP for Southern Māori Whetu Tirikatene-Sullivan made political history and had a major impact on fashion.

Tirikatene-Sullivan used the fabric to make up a dress, which she wore to the opening of Parliament in 1968. She asked Adsett to design further pieces, which she also had made up into dresses. Fascinated by Māori design from the age of 13, the politician was also a knitter and incorporated Māori motifs into sweaters she created for her husband, Denis Sullivan. She encouraged young Māori to make contemporary clothing and jewellery using Māori designs, and she opened her own fashion boutique in Wellington. Tirikatene-Sullivan’s 29-year career as the Labour member for Southern Māori (later Te Tai Tonga) was marked by many milestones. These included being the first New Zealand politician to give birth while holding office, and being the only woman in the Cabinet of the 1972 Kirk Labour Government. When she lost her seat to the New Zealand First party in 1996, she was the longest-serving woman politician in the house. Alongside these achievements, a case can be made for Tirikatene-Sullivan’s enduring impact on popular culture and fashion in this country, and as a champion of Māori design in clothing at a time when this was an unusual and bold position to take.

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‘EDUCATE TO LIBERATE’ SULIANA VEA DESCRIPTION

MAKER / ARTIST

REFERENCE

Cover page for Polynesian Panther Party legal aid booklet, about 1973

Polynesian Panther Party

David Wickham (fl. 1968–95): Papers/Polynesian Panther Party (MS-Group-0392: 95-222-1/09-02)

This item is part of a collection donated to the Turnbull Library in 1995 by human rights activist David Wickham. It gives a glimpse into the work of the Polynesian Panther Party (PPP) for their community and for Pasifika people generally. The Polynesian Panther Movement, as it was first known, was formed in 1971 by a group of Pacific Islanders in their later teens and early twenties — mainly Samoans, Tongans and Cook Islanders, along with a few Māori. Most were from low-income family backgrounds, with homes in Auckland’s inner suburbs. Many of them were high school or university students. The Polynesian Panthers were inspired by the American advocacy group the Black Panthers, and the movement was set up, according to founding member Will ‘Ilolahia, ‘because of the racism, discrimination and all-round oppression’ evidenced in the crackdown on immigration facing Pacific Islanders in New Zealand at the time. Pasifika people were being targeted by police, not only in the notorious dawn raids (see page 176), but also at work and on the street. They would be randomly stopped and asked for their passports, picked up for minor incidents and often subjected to racial discrimination, abused in public as ‘bungas’, ‘coconuts’ and ‘niggers’.

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The Panthers were portrayed negatively in the media, but they wanted to help their people and were community focused. They were the first organisation in New Zealand to set up and run homework centres. Their Tenants Aid Brigade advocated for tenants’ rights, they ran food banks and they had a programme for the incarcerated, Prisoners Aid. The multilingual legal aid handbook, created with the help of lawyer (and future prime minister) David Lange, was designed to educate people about their rights and how to deal with the police, especially when being stopped and questioned (or getting pulled up just for being brown, as many Pasifika suspected). One of the Panthers’ most memorable actions was ‘dawn-raiding’ politicians to give them a taste of the stresses ordinary Pacific Islanders faced. The PPP disbanded after the 1981 Springbok rugby tour protests, but in recent years former members have found a renewed interest in their experience. They have rejuvenated their work with their Educate to Liberate speaking programme, connecting with thousands of people, especially the young, of all cultures. As Pasifika activist, and author of a book on the Panthers, Melani Anae says, ‘Once a Panther, always a Panther’.

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Fifty years since the movement’s founding in 1971, the Polynesian Panthers have witnessed a renewed interest in their work, which has been lauded for its importance.

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176

THE DAWN RAIDS SULIANA VEA

DESCRIPTION

MAKER / ARTIST

REFERENCE

Front page of ‘Dawn raids: The ugly reality’ information sheet, 1976

Prepared by the Auckland Committee on Racial Discrimination; published by Amnesty Aroha, Wellington

Collection of Herbert Otto Roth (ATL-Group-00304: 94-106-19/07-02)

This 1976 information sheet spells out why the phrase ‘dawn raid’ has become embedded in the story of Aotearoa New Zealand. It chronicles a police raid on a Tongan couple and their two sons in Grey Lynn, Auckland, at the height of a campaign to catch illegal immigrants, also known as ‘overstayers’. It comes from the collection of labour and trade union historian Bert Roth (1917–1994), donated to the Turnbull Library after his death. Dawn raids specifically targeted Pacific Islanders and took place during the night or the early hours of the morning. Police would turn up at a home and demand that everyone show them their passports or permits to prove they were in the country legally. If you couldn’t, you would be arrested and held in police cells until you could, or be deported. To have police barge into your bedroom at random times of the night, pull off your bed covers and look through your wardrobe and under your bed was a frightening experience. How did this come about? In the early 1970s, the New Zealand economy started to falter when the United Kingdom joined the European Community, creating new competition for this major export market, and with the onset of the first oil crisis. Unemployment and the cost of living both rose, and many blamed Pacific Islanders for taking increasingly scarce jobs. In good times, the relaxed application of

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immigration laws had allowed Pacific people to fill low-paid jobs in factories and service industries. The 1972–75 Labour Government began enforcing the law on overstaying in 1974. Then, having made repatriating overstayers a populist election issue in 1975, the new National government under Prime Minister Rob Muldoon instigated a further wave of policing and prosecutions in 1976. Pacific Islanders made up only one-third of the overstayers in New Zealand at that time. The rest were from Europe and North America, and yet of those prosecuted around two-thirds were Pacific Islanders. The dawn raids strained relationships between New Zealand and its Pacific neighbours. They tore families apart, and Pacific homelands struggled with the sudden return of their people to economies where there was already a shortage of jobs. In Aotearoa, the disgraceful treatment of Pacific communities meant they now regarded the police as enemies, leading to a fracture in relations that would take years to mend. At the same time, these events saw Pacific people mobilising politically to assert their rights, such as the emergence of the Polynesian Panthers, as well as campaigns in solidarity from groups in the wider community, including the Auckland Committee on Racial Discrimination and Amnesty Aroha.

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‘NOT ONE MORE ACRE’ PAU L D I A M O N D DESCRIPTION

MAKER / ARTIST

REFERENCE

Māori Land March leaving Te Reo Mihi Marae, Te Hāpua, 14 September 1975

Christian F. Heinegg (b. 1940)

Photographs of the Māori Land March (PA-Group-00080: 35mm-87491-16-F)

Christian Heinegg’s photograph records the moment the Māori Land March set off from Te Hāpua in the Far North of Aotearoa on 14 September 1975. The march was organised by Te Rōpū o te Matakite o Aotearoa (the Group of Visionaries) to protest the loss of Māori land. Unified under the slogan ‘Not One More Acre’, the hīkoi opted not to use banners or signs, only a pouwhenua, or land-marker post, and a flag, carried in this photo by Cyril Chapman. The marchers travelled through the North Island under the leadership of 79-year-old Te Tai Tokerau matriarch Whina Cooper (Te Rarawa; 1895–1994) and other kaumātua. An estimated 40,000 arrived at Parliament buildings in Wellington on 13 October, where they presented a petition and a memorial of right. The land march was controversial within the Māori world, with marchers being challenged by other Māori critical of the protest. However, the intergenerational make-up of the hīkoi helped persuade people. While the younger people marched each day, the elders rested and were driven to the next marae stop. Each evening, the marchers recovered and nursed their blisters, and the old people talked into the night with their hosts, explaining the kaupapa of the hīkoi.

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The novel form of this protest took people by surprise and captured much media attention. Unlike the media images, however, the photos taken by Heinegg, an American living in New Zealand, documented the march from the perspective of the marchers. The hīkoi was also recorded by a film crew, led by Geoff Steven. Also with Steven were cinematographer Leon Narbey (who can be seen at right operating the camera) and sound recordist Phil Dadson. Te Matakite o Aotearoa — The Māori Land March (1975) was broadcast on TV2, the first-ever New Zealand documentary shown on the new channel. Vivian Hutchinson, a Pākehā friend of Cooper’s and a Matakite member, helped organise the march. He donated his papers to the Turnbull Library after Chief Librarian Jim Traue put out a call for material about the march. In 2008, Heinegg donated his collection of negatives to the library. The fortieth anniversary of the march was marked by a Turnbull Gallery exhibition, Not One More Acre. Steven spoke at a screening of his film and recorded an interview for the oral history archive, adding to the Turnbull’s record of this momentous episode in the making of Aotearoa New Zealand.

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Māori Land March participants, with the pouwhenua at their head, leave the Te Reo Mihi marae, Te Hāpua, on their month-long hīkoi to Parliament. The march organisers vowed the pouwhenua would never touch ground until all land claims were settled. It has still not touched the ground.

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TOITŪ TE WHENUA CELLIA JOE-OLSEN

Whatungarongaro te tangata, toitū te whenua.

DESCRIPTION

MAKER / ARTIST

REFERENCE

Ko te Hīkoi mō te Whenua kei Kirikiriroa, 26 Mahuru 1975

Christian F. Heinegg (b. 1940)

Photographs of the Māori Land March (PA-Group-00234: 35mm-87527-2-F)

I te 14 o Mahuru, 1975 ka wehe te hīkoi whenua i te roa o Te-Ika-a-Māui, mai noa i Te Hāpua ki te whare paremata ki Te Whanganui-a-Tara. Koni atu i te kotahi mano kiromita te pāmamao i te hiku ki te upoko o te ika, ā, kotahi marama te rerenga o te hīkoi nei. Ko te rironga o te whenua te take, ā, ka tū hoki te hīkoi whenua hei tohu i te whakahē a te Māori ki te hokonga atu o te whenua. Nā Te Roopu o te Matakite tēnei kaupapa i kōkiri, ā, ka takitakina tēnei hīkoi whenua e te Kahurangi, e Whina Cooper (Te Rarawa; 1895–1994). I te tīmatatanga e 50 ngā tangata ka wehe i Te Hāpua. Ka haere, ka haere, ā, e kīia ana ko tōna rima mano nei te hunga mautohe ka rūpeke atu ki Te Whanganui-a-Tara. Neke atu i te 40 mano ngā tāngata i tautoko ā-tinana nei i te hīkoi i tō rātau ake takiwā. I ngā pō ka manaakitia te hunga mautohe e ngā marae maha o te motu. Kei reira rātau wānanga ai i ngā kaupapa o Te Roopu o te Matakite. Ko tētahi whakamīharotanga ka ara ake ko te kotahitanga o ngā whakahaerenga a te Māori, pēnei nei i

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Ko Tame Iti e hiki ana i te pou whenua o te Hīkoi mō te Whenua. Ko Whina Cooper, ko Moka Puru ētahi o nga kaitautoko. Kei Kirikiriroa rātou, i te wāhanga mai i a Ngāruawāhia ki Kihikihi i te 26 o Mahuru 1975.

te Rōpū Wāhine Toko i te Ora, i te Kīngitanga, i te Kaunihera Māori me ētahi atu rōpū ngākau whakapuke. He nui ngā tāngata i emi mai ki raro i te mana o Te Roopu o te Matakite, kaumātua mai, rangatahi mai, uniana mai, hāhi mai. Ka hainatia hoki tētahi kirihipi tikanga e tōna 60 mano kaitautoko, Māori mai, tauiwi mai. Ko te kaupapa o te kirihipi tikanga ko te whakakore i ngā ture tango whenua a te Kāwanatanga, ka tahi, ka rua te whakakao me te rāhui anō hoki i ngā whenua Māori mō ake tonu atu. I te 13 o Whiringa ā-nuku ka tukua te kirihipi tikanga ki a Bill Rowling, te pirimia. Whai muri i te hīkoi whenua ko tētahi o ngā hua ka puta, ko te whakatūngia e te Kāwanatanga te Rōpū Whakamana i te Tiriti o Waitangi. Ko ā rātau mahi he whakawā i ngā takahitanga a te Karauna i Te Tiriti o Waitangi. Ko Matiu Rata te Minita mō ngā Take Māori, mō ngā Whenua hoki i taua wā. He wāhi nui hoki tōna ki te whakatūngia o te Rōpū Whakamana i te Tiriti o Waitangi.

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CAMBODIAN JOURNEYS LY N E T T E S H U M DESCRIPTION

MAKER / ARTIST

REFERENCE

Cambodian oral history project interviewee Sokhom You (left) speaking to Niborom Young in 1993

Victor Young

Courtesy of Victor Young

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Gathering of Cambodian oral history project interviewees, 2009

Victor Young

Courtesy of Victor Young

The nine Khmer and one Khmer-Chinese participants in the Cambodian oral history project were born between 1920 and the 1950s and came from different parts of Cambodia and various circumstances. In 2009, the group came together to receive their copies of interviews and transcripts. Present were (clockwise from back left): Neary Khun (daughter of the late Heang Long), Sichun Saingtha, Sok Vorn (mother of Nom Khat), Sokhom You, Chhay San, Phalla Chok, Ngoc Chou Tran, Thol Sao, Peth Soun; absent: Yong Yin.

‘We thought tigers were wild, but the Khmer Rouge were worse, wilder than crocodiles, as they killed without mercy.’ The chilling words of Phalla Chok come from recordings of survivors of Cambodia’s civil war, made by Niborom Young and memorialised in the Turnbull Library’s Oral History and Sound Collection. Young came to New Zealand from Cambodia in 1974 as a Colombo Plan student, but was unable to return home after the Khmer Rouge took over her country in a murderous revolution in 1975. She did not know what had happened to her family. Later, volunteering as an interpreter, she travelled to refugee camps for displaced Cambodians, hoping — fruitlessly — that she would find some trace of her relatives. She began interviewing 10 other women from Cambodia in 1993 for Women’s Suffrage Centennial Year, recording the stories of their lives in Cambodia before, during and after the civil war. The interviewees recount their harrowing experiences under Pol Pot, the regime’s leader, their experiences of being refugees, and the process of getting to New Zealand and adjusting to life here. The interviews were recorded in Khmer, the women’s first language. The tears Young shed with the women as

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they were telling their stories fell again as she painstakingly transcribed the interviews and translated them into English. She later turned them into book form in I Tried Not to Cry: The journeys of ten Cambodian refugee women, published by Steele Roberts in 2015. ‘I enjoy living in New Zealand,’ says Sokhom You, ‘but I still miss Cambodia very much … my absent family, my village, and many places and people … I can’t help but think of the many traumatic experiences I had under Pol Pot … the killing fields that made me suffer and now still linger in my mind. Every time I think of it, it hurts and I cry. Well at least now I can cry without the fear of death.’ This oral history archive is one of several taonga in the Turnbull Library inscribed on the New Zealand register of UNESCO’s Memory of the World. The register lists documentary heritage endorsed by UNESCO as being of world significance and outstanding universal value. The archive allows another generation of Khmer New Zealanders to learn how they came to be here, and perhaps to get answers to questions that will never be satisfied by parents or grandparents trying to forget or bury their painful past.

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184

PEOPLE’S POET

S E Á N M C M A H O N W I T H A W H Ā NAU R ESPONSE FROM ROB TU WHAR E

Hone Peneamine Anatipa Te Pona Tuwhare (Ngāpuhi; 1922–2008) was one of New Zealand’s foremost poets. His early childhood love of reading spurred his own serious writing, which he himself dated from 1957. In the 1960s he began publishing poems in journals and performing them at festivals around Aotearoa. His first collection, No Ordinary Sun, was published to wide acclaim in 1964. He was one of the initiators of the first Māori Writers and Artists Conference, held in 1973, and he walked on the 1975 Māori Land March.

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Performance of poetry was vital to Tuwhare. In her book, Hone Tuwhare: A biography, Janet Hunt writes: ‘[He] believed that poetry is to be spoken, it is an art that lives not only on the page but also in the voice, breath and very being of the writer and the reader … A “people’s poet”, he was loved by New Zealanders from all walks of life.’ The self-portrait shown here was among a collection of Tuwhare’s papers acquired by the Turnbull Library in 2009 as part of its extensive holdings of Aotearoa New Zealand writers.

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DESCRIPTION

Hone Tuwhare, 1986 MAKER / ARTIST

Kenneth Quinn (1920–2013) REFERENCE

Portraits of prominent New Zealanders (ATLGroup-00559: 1/4-089310-F) 2

DESCRIPTION

‘Self-portrait in pen as a gift from self ’, 16 August 1999 MAKER / ARTIST

Hone Tuwhare (1922–2008) REFERENCE

Literary drafts, 1980–2001 (MS-Papers-9503-2) Hone Tuwhare sketched this rare self-portrait when he was 76 and living at Kaka Point, Otago. The typically wry note reads: ‘I always design glamorous self-drawn pictures of me.’ The photo portrait was one of a series that the Turnbull Library commissioned Kenneth Quinn to take of prominent New Zealanders. Quinn was an accomplished photographer and writer as well as a Professor of Classics at Otago University.

And a response from Rob Tuwhare: Hone was the son of Mihipaea Anehana and Ben Tuwhare. Mihipaea passed away when Hone was just six years old and he spent the next 14 years of his life close to his father, who worked at Chinese market gardens in Avondale, Panmure and Māngere. Ben read Hone verses from the Old Testament, and from an early age Hone loved to read comics, cowboy novels and books he found on visits to libraries around Tāmaki Makaurau. When he was a teenager, Hone trained as a boilermaker. He formed a musical quartet called The Maori Ink Spots, and wrote his first known poems in 1946 while travelling to Japan to serve alongside 4500 other New Zealanders in Jayforce. In 1948, Hone met his future wife, Jean McCormack, who worked at Progressive Books in central Auckland. The bookstore was a meeting place for people who believed in entitlement to education for workingclass people and in social unity. Hone’s eyes were opened to a vast range of international writing unavailable in most bookstores and libraries then. Hone was welcomed into Jean’s Pākehā family. Alongside Hone, Jean was frequently published in The Listener, often with stories of the racial divide that she was quickly learning about.

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The publication of Hone’s first book of poems No Ordinary Sun in 1964 launched him into ‘literary stardom’; it sold 700 copies in 10 days. The poem ‘No Ordinary Sun’ speaks of the devastation of nuclear warfare, the aftermath of which he had experienced in Japan. The award of Otago University’s Robert Burns Fellowship took Hone to Dunedin in 1969 and helped him to transition from tradesman-boilermaker to poet. He then made his home in Otago until he passed away in 2008. Hone particularly loved his readings for school audiences, where he urged young people to find their own voice and write. Although he never attended secondary school, his many awards included honorary Doctorates from both Otago and Auckland universities. Hone would joke, ‘I’m a double doctor and I can’t even fix my sore leg.’ Today, his poems are available in an extensive collection entitled Small Holes in the Silence — the title taken from a line in his much-loved poem ‘Rain’. His work continues to be read, studied and enjoyed in Aotearoa and internationally. His poetry has been translated into several languages. His small house in South Otago has been restored and is available as a residence for writers, musicians and artists, of all ages and abilities.

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THE LIFE SHE WAS BORN TO LEAD VA L E R I E L O V E & S E Á N M C M A H O N

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Carmen at her famed Carmen’s International Coffee Lounge at 86 Vivian Street, Wellington, in the 1970s. Peacock feathers, trinkets, photographs and posters of dancers adorn the wall in the background.

DESCRIPTION

MAKER / ARTIST

REFERENCE

Signed photograph of Carmen Rupe at Carmen’s International Coffee Lounge, Wellington, 1970s

Photographer unknown

PA-Group-00255: PAColl-9445-10

Carmen Rupe (Ngāti Maniapoto, Ngāti Hauā, Ngāti Heke-a-Wai; 1936–2011) was Aotearoa’s most highprofile drag queen entertainer and transgender advocate. She was also a sex worker, entrepreneur and successful businesswoman during the 1960s and 1970s. Born in 1936 in Waimiha, near Taumarunui, and assigned male at birth, Rupe realised from a young age that her perceived gender didn’t match who she was. She left school at the age of 15 and in 1953 moved to Auckland, where she became part of the local gay social scene. One of her earliest drag performances was at an event during her compulsory military service. In 1959, Rupe moved to Sydney. She worked at various Kings Cross clubs as both a showgirl and a sex worker — she was the first Māori drag queen performer in Australia. In Sydney, she vowed never to wear men’s clothing again. However, both homosexuality and sex work were illegal in Australia at the time, and she suffered regular harassment and abuse from the Australian police. In 1968, she changed her legal name to Carmen and moved back to Wellington. Here, her entrepreneurial spirit came to the fore, and she opened and ran a number of highly successful cafés, entertainment venues and brothels. Carmen’s International Coffee Lounge in Wellington was her best-known café and sex club, and attracted a wide

clientele. The Coffee Lounge, with its exotic décor and teadrinking etiquette (to indicate your sexual preferences), cemented Rupe’s notoriety and public profile. The venue featured an elaborate system of doors and stairways, so clients could escape more easily if there was a raid. Such was her fame that she ran (unsuccessfully) for the Mayor of Wellington in 1977. In 1979, Rupe moved back to Sydney to pursue her business interests, and she lived there until her death in 2011. She donated her personal collection of photographs and papers to the Turnbull in 2008. Throughout her life, Rupe was an advocate of gay and transgender rights, safe-sex practices and (latterly) HIV awareness, and she supported charities and aided community groups associated with the sex industry. This was during a period when social mores in both New Zealand and Australia were conservative and legislation criminalised sexual activities between men and discriminated against sexual activities between women. Cross-dressing was not illegal, but it was frowned upon and considered lewd and offensive behaviour. Dressed in glamorous ball gowns, Carmen Rupe swept all this aside as she pursued the life and career she felt she was born to lead.

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VISITING FOOTROT FLATS INDIR A NEVILLE

DESCRIPTION

MAKER / ARTIST

REFERENCE

Wal Footrot escaping a rugby tackle, assisted by the Dog, Evening Post, 1989

Murray Ball (1939–2017)

Reproduced by permission of Diogenes Designs Ltd., New Zealand Cartoon and Comics Archive (H-450-002)

The romance of rural life is embedded in New Zealand’s culture, a curious form of nostalgia for something most people have had little experience of. From the start of British colonisation, the majority of immigrants have lived in urban areas, always vastly outnumbering the people actually doing the business ‘down on the farm’. Despite this, the idea of farming being ‘Kiwi as’ affectionately persists, providing fertile ground for some of the country’s most iconic comedy — television farmers such as John Clarke’s Fred Dagg, for example, and comicstrip farms like Murray Ball’s Footrot Flats. Murray Ball (1939–2017) originally became famous for his cartoons in the British magazine Punch, but here in his home country he is undoubtedly best known for Footrot Flats. The strip first appeared in Wellington’s Evening Post in 1976 and ran for 20 years. When I was young, our house was full of Footrot Flats collections and I loved the drawings and jokes. Even as a child, I understood that this strip was ‘New Zealand’ in a way that Peanuts or Garfield were not. Footrot Flats is the name of the farm where most of the strip’s action takes place. Alongside lead characters Wal Footrot and Dog, depicted here, there’s Wal’s hairdresser girlfriend Cheeky Hobson, his permaculture

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neighbour Cooch, fussy Aunt Dolly, a vicious stray cat called Horse and, among many others, my favourite — Pongo Footrot, Wal’s niece. When a friend once compared me to Pongo I was so excited — Pongo is her own woman, both tough and feminine. The farm is an expansive and complex universe, with recurring events and places, characters who slowly but perceptibly age and mature, against Ball’s gentle exploration of political themes, particularly environmentalism and feminism. It is rendered via lively singular black-and-white drawings, with short, sharp strips. The masterful interplay of image and text places a lovely emphasis on particular moments and events within the Footrot Flats world, such as the rugby game in this image. These are sometimes hilarious, sometimes poignant, often both. The strip was syndicated in overseas newspapers and published in more than 40 books. It inspired a musical (in which my father played Wal, to great acclaim, in the Whakatane Repertory Society’s 1986 production), an illustrated novel and an animated feature film. In 2002, Ball was awarded the New Zealand Order of Merit for services as a cartoonist. He died in 2017, but Footrot Flats lives on forever.

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Ferociously loyal defence by the Dog sees Wal Footrot en route to glory on the try-line. The Turnbull’s New Zealand Cartoon and Comics Archive includes various classic Footrot Flats cartoons by Murray Ball.

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A VOLCANIC CAREER M IC H A E L BROW N

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DESCRIPTION

Folios of musical arrangements, 1972–85 MAKER / ARTIST

Tumanako (Tui) Teka (1937–1985) REFERENCE

Scores (ATL-Group-00400: MSZ-1758_MSZ-1762_MSZ1757_001_mm) Prince Tui Teka’s well-worn folios of musical arrangements testify to a busy life on the road. 2

DESCRIPTION

Prince Tui Teka, cover from The Maori Album (Ode SODE 080), 1975 (detail) MAKER / ARTIST

Photographer unknown REFERENCE

Reproduced courtesy of Terence O’Neill Joyce (Phono q Lc7777)

Tumanako Teka (Ngāi Tūhoe; 1937–1985), also known as Prince Tui Teka, was one of the entertainment greats of Aotearoa New Zealand. He spent his early career touring Australia with Wirth’s Circus and the Māori Troubadors showband, then the world with the Māori Volcanics. In 1972, he brought his talents home, going solo, becoming a household name through his television show and the 1982 hit song ‘E Ipo’ (‘My Darling’), and contributing to a crucial time in the revival of te reo Māori. The folios of band arrangements used by Teka’s bands of the 1970s and 1980s — for piano, guitar, bass, drums, alto and tenor saxophone, trumpet and trombone — document his eclectic repertoire. They include country (‘Before the Next Teardrop Falls’), rock ’n’ roll (‘That’s All Right’) and doo-wop (‘Only You’), with comic improvisations (‘The Stripper’), showcases for his trumpet playing (‘Il Silenzio’) and waiata Māori (‘Hoki Mai’). ‘I’m middle of the road,’ he once joked. Heavily worn, repaired with tape and marked up with stage cues, the folios testify to a busy life on the road. It is fortunate that they have survived at all. The Turnbull Library purchased them at auction in 2019. Versatility epitomised the performance of Māori showbands, one of the country’s prime musical exports in the mid-twentieth century. Combining variety with

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musical virtuosity, humour and Māori culture, groups such as the Māori Hi-Five, the Quin Tikis and the Māori Volcanics wowed audiences at hotels and cabarets around the world. Teka performed with the Volcanics in 30 different countries, across Europe, the Middle East and Southeast Asia, including for soldiers in South Vietnam. Ironically, the showbands’ international success was unknown to most New Zealanders at the time. Māori showbands picked up songs and invented new musical ‘cocktails’ along the way, a process documented in Teka’s band arrangements. Teka’s signature song ‘E Ipo’ employs the melody of ‘Mimpi Sedih’, an Indonesian love song written by Aloysius Riyanto that became popular after it featured in the 1973 movie Akhir Sebuah Impian. The lyrics were written by the renowned te reo Māori songwriter Ngoingoi Pēwhairangi (Ngāti Porou; 1921–1985). They concern Teka’s love for Ngoingoi’s niece and Teka’s wife, Missy Kururangi. Teka’s folios include parts for ‘Mimpi Sedih’ arranged by Danny Francisco, a Filipino musician who conducted orchestras in Malaysia during the 1970s. Pencilled on one part is a later annotation indicating that it should be used for backing ‘E Ipo’, while a fresh set of charts made specifically for ‘E Ipo’ shows its emergence as a New Zealand classic.

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192

ALL-WHITE ALL BLACKS C H R I S S Z E K E LY

It’s easy to glance at pictures of the 1981 Springbok tour of New Zealand and see them as interesting moments of protest. Old photographs of thousands of angry New Zealanders bashing each other hardly compare with the gore of today’s live-streamed violence. It’s easy, therefore, to forget what it was all about: apartheid, white supremacy and the 50-year ban on Māori or any other ‘coloured’ player from South African rugby fields, dating from the first All Blacks tour of South Africa in 1928.

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The response of the New Zealand Rugby Football Union (NZRFU) in 1928 was simple: leave the Māori players at home, which is why rugby legend George Nepia was not among the team. The next All Blacks tour of South Africa was in 1949, by which time apartheid was government policy there. As a result, Johnny Smith, Ron Bryers, Ben Couch and Vincent Bevan — all Māori, all All Blacks — were excluded from selection by the NZRFU. A section of the New Zealand public was getting distinctly toey about the situation.

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193

DESCRIPTION

Publicity for a ‘No Maoris — No Tour’ protest meeting, Wellington, 1959 MAKER / ARTIST

Citizens All Black Tour Association REFERENCE

Eph-D-RACIAL-1959-01 George Nepia, one of New Zealand’s first internationally renowned sporting stars, was a member of the All Blacks touring team ‘The Invincibles’ in 1924. He was overlooked for selection for the first All Blacks tour of South Africa in 1928. He was a speaker at the meeting advertised in the handbill here. 2

DESCRIPTION

George Nepia, date unknown MAKER / ARTIST

Crown Studios Ltd REFERENCE

PA-Group-00349: 1/2-204814-F

By 1959, and with another All Blacks tour of South Africa scheduled for the following year, some New Zealanders began to mobilise. The Citizens All Black Tour Association campaigned against the expected racially based team selection. ‘No Maoris — No Tour’ became a catchcry. More than 150,000 New Zealanders signed a petition protesting the NZRFU’s compliance with South Africa’s all-white requirement. The tour went ahead anyway. A decade later, the New Zealand protest group Halt All Racist Tours (HART) was established. A scheduled All Black tour to South Africa was cancelled in 1967 in the face of increasing pressure. In 1970, the South Africans allowed a racially mixed team of All Blacks to tour, with three Māori players and one Samoan classified as ‘honorary whites’. The idea that any

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players had to be classified as ‘honorary whites’ to gain acceptance in South Africa was anathema to many Kiwis. The stage was set for the Springbok tour of New Zealand in 1981 (see page 194), with its violent division between those who felt politics had no place in sport, and those repulsed by their country’s complicit support for South African racism. Today, it is impossible to imagine a New Zealand national rugby team that deliberately excludes Māori and Pasifika or anyone else on the basis of colour or ancestry. But that’s how it was. And not that long ago. The Turnbull Library holds the HART archive, as well as the photographic archive of Crown Studios. The latter includes portraits of All Blacks and rugby luminaries dating from the 1920s to 1977.

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194

HALT THE RACIST TOUR J E N N I C H R I S ST OF F E L S & S U Z A N N E H A R DY

The 1981 Springbok rugby tour of New Zealand caused social ruptures within communities and families across the country. With the National government backing the tour, protests against apartheid sport turned into confrontations with both police and pro-tour rugby fans — on marches and at matches.

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South Africa’s race laws had spilled into sporting contacts with New Zealand from the 1920s, when Māori were first barred from All Black teams playing the Springboks. ‘No Maoris — No Tour’ was the slogan of the public campaign against the whites-only All Blacks 1960 tour to South Africa, which went ahead anyway (see page 192).

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DESCRIPTION

Anti-Springbok tour demonstrators overturning a car in Onslow Road, Kingsland, Auckland, 12 September 1981 MAKER / ARTIST

Auckland Star staff photographer REFERENCE

Courtesy of Stuff Limited Auckland Star Collection (PA-Group-00685: EP-Ethics-Demonstrations1981 Springbok tour-04) 2

DESCRIPTION

Karen Brough injured, Wellington, 29 July 1981 MAKER / ARTIST

Ian Mackley REFERENCE

Dominion Post Collection (PA-Group-00685: EP/1981/2623/21-F) Scenes of turmoil during the 1981 Springbok tour shocked New Zealanders, who were unused to disagreements leading to such widespread and sustained protest and violent encounters. Interviewed 10 years after ‘the battle of Molesworth Street’, Karen Brough recalled her horror at her treatment. She had been brought up to think that the police were there to protect her, not hurt her.

By 1981, New Zealand’s Halt All Racist Tours was taking the local lead in an international campaign against sporting links with South Africa. Tour supporters were commonly of the view that sport and politics should not mix. As the three-month Springbok tour proceeded, protest against it grew to unprecedented levels. The police response included two dedicated anti-riot groups: the Red Squad and the Blue Squad. The police donned visored helmets and carried long batons, acquired for use during the tour; protesters protected themselves with crash helmets and makeshift body armour and shields. Sixteen-year-old school student Karen Brough joined a protest outside Parliament in Wellington early on in the tour. She found herself at the front of the crowd heading up Molesworth Street for a vigil outside the South African Consul-General’s house in Wadestown. Police, with batons drawn, lined up across the street and told the crowd to stop. Brough was among those who were forced on by the crush of people behind, and

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who were then hit with batons and injured. ‘The Battle of Molesworth Street’ marked a change in the tone of the protests, with increasing expectation of violence and civil disobedience by all sides, culminating in scenes like the image opposite, taken during the third test in Auckland. One of this article’s authors was at that time living in a flat near the third test venue, Eden Park. She remembers painting ‘Stop the Tour’ slogans on cardboard with her flatmates, then the group standing around dividing up protective gear to don for the protest. They came up one motorbike helmet shy, and she drew the short straw to stay behind. At the same time, her father and other rugby fans were fuming on a bus that had been turned away from the grounds because of the protests. Many families were torn by their opposing viewpoints of the tour, and the social disruption both at home and on the streets left deep scars.

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GOING ANTINUCLEAR C H R I S S Z E K E LY DESCRIPTION

MAKER / ARTIST

REFERENCE

‘I’m gonna wash that man right out’a my hair … ’, 1985

Mark Denton (b. 1961)

Courtesy of Mark Denton and State Library Victoria, Eph-D-NUCLEAR-1985-01

Prime Minister David Lange (1942–2005) was an unlikely poster boy for anti-nuclear protest, yet he seized the role with aplomb, declaring New Zealand a nuclear-free zone and in 1987 legislating accordingly. His decision was the culmination of a story that had begun with the first nuclear disarmament protests decades earlier. France had been testing nuclear bombs in French Polynesia since the 1960s. In the 1970s, television footage of the mushroom clouds of atomic blasts on Mururoa Atoll, some 1250 kilometres southeast of Tahiti, brought the issue into New Zealand living rooms and onto the political agenda. International protests mounted, but the French ignored a cessation order from the International Court of Justice, and in 1973 Royal New Zealand Navy frigates sailed with Greenpeace vessels to Mururoa, to observe and protest the contamination of the South Pacific with radioactive fallout. Eventually, the French bowed to political pressure and changed their approach to testing. But they were not happy. On 10 July 1985, two French Secret Service agents sank the Greenpeace ship Rainbow Warrior while it was moored in Auckland, killing crew member Fernando Pereira. The agents were convicted and returned to French

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territory for incarceration. They were released early and decorated for their work. France was not the only country unhappy with New Zealand’s anti-nuclear stance. In 1985, United States warships were refused entry into New Zealand waters for declining to declare the presence of nuclear capability on board. This challenged long-standing security arrangements between the United States, Australia and New Zealand under the ANZUS Treaty, signed in 1951, and diplomatic relations turned frosty. New Zealanders took some pride in standing up to bigger and wealthier countries on matters of principle. Lange was an articulate, compelling and occasionally irreverent spokesman. In a televised Oxford Union debate on nuclear issues in early 1985, he roundly defeated American televangelist Jerry Falwell. His quip alleging he could smell uranium on his opponent’s breath brought the house down and was reported with delight around the world. It was New Zealand’s moment. Politicians are fair game in protest posters, and are often presented unfavourably. Cartoonist Mark Denton’s clever pastiche shows the opposite: a witty and irreverent homage to a job well done. The title springboards off the famed song from the 1949 hit musical South Pacific.

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198

NGĀ TAONGA REO MĀORI CELLIA JOE-OLSEN

Ko te reo te mauri o te mana Māori, Ko te kupu te mauri o te reo Māori, E rua ēnei wehenga kōrero e hāngai tonu ana ki runga i te reo Māori, Ko te reo, nō te Atua mai. TĀ HĒMI HENARE

He reo ā-ture te reo Māori ki Aotearoa nei, ā, i whakamanahia i te tau 1987. He ahakoa, kei te mōrearea tonu tana noho, ā mohoa noa nei. Ko Ngā Tamatoa rātau ko Te Reo Māori Society, ko Ngā Kaiwhakapūmau i te Reo, i whawhai mā te nohonoho, mā ngā petihana me ngā kerēme ki te Rōpū Whakamana i te Tiriti mō te ako i te reo i roto i ngā kura me ngā teihana reo irirangi. I te tau 1972 i kohia e Ngā Tamatoa ngā waitohu o ngā tāngata 30 mano ki tētahi petihana. I konei, ka tīmata te whakarauora reo i ngā tutūnga puehu o te petihana. Ka tohungia hoki e rātau he Rā mō te Reo Māori, ka haere, ka haere, ā, nō te tau 1975 i eke hei Wiki mō Te Reo. Mei kore ake ēnei rōpū mautohe, e kore pea tō tātau reo e kōrerotia whānuitia. Me titiro tātau ki ngā kohikohinga o Te Puna Mātauranga, kei kōnei te mahi a te taonga reo Māori. Inā kē te nui o ngā whakaahua tupuna, ngā whakaahua noa, ngā nūpepa reo Māori, ngā pūrongo, ngā pukapuka maheni, ngā mapi, ngā pukapuka, ngā kōrero ā-waha hoki.

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Ahakoa te hanga o ngā taonga reo Māori, ko te Kohikohinga o te Reo Irirangi o Te Upoko o te Ika tētahi o ngā taonga mīharo. I whakatūngia te teihana e Ngā Kaiwhakapūmau i Te Reo i te tau 1980. Ko Te Upoko o te Ika te teihana mātāmua hoki o ngā reo irirangi i Aotearoa. Ko ngā tino toki tonu o te ao Māori ētahi o ngā tini manuhiri ka tae ā-tinana atu ki te teihana rā. Nā Te Wharehuia Milroy te whakatauākī nei e kī ana, ‘Whakahokia te reo mai i te mata o te pene, ki te mata o te arero.’ Mēnā e ngākaunui nei koe ki tō tātau reo, me ngā kaupapa maha o te ao Māori nei, tēnā whakarongo mai. Whakarongo mai ki a kui mā, ki a koro mā. Whakarongo mai ki ngā mita o te reo, ki ngā kupu whakarei, ki ngā kupu whakanikoniko, ki ngā kupu whakarākai. Whakarongo mai ki ngā kaupapa o te wā. Whakarongo mai ki ngā toa o te ao Māori e kōrero ana mō ngā kaupapa maha, mō ngā take nunui ki a rātau. Ki te titiro koe ki ngā mauhanga, ka kite mai koe i te whānui o ngā Kohikohinga o te Reo Irirangi o Te Upoko o te Ika. He taonga puipuiaki.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Tama Te Huki (mauī) rāua ko Piripi Walker kei te teihana o Te Upoko o Te Ika i tōna rā pāpāho tuatahi, te 4 o Haratua 1987

Nā Merv Griffiths

Dominion Post Collection (PA-Group-00685: EP/1987/2071/8-F)

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Ko ngā Kohikohinga o te Reo Irirangi o Te Upoko o te Ika tētahi o ngā taonga reo Māori mīharo i roto i ā mātou kohikohinga.

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Master tape archive awaiting digitisation. The Turnbull has over 100,000 items of magnetic media, mainly comprising music and oral histories. These are digitised for preservation and the physical items stored in controlled environments where temperature, humidity and air quality are moderated.

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202

BREAK OUT THE TABS INDIR A NEVILLE

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203

DESCRIPTION

MAKER / ARTIST

REFERENCE

Orientation Tour Candidate C60 cassette, 1990

Bill Direen (b. 1957)

MS-Group-1913: MSC-021419

In the early 1990s, the Hamilton audio-cassette label Plop Recordings used the slogan ‘We break out the tabs!’, a reference to removing the two small plastic squares that sat either side of the top of cassettes, thus preventing over-recording. This was not needed when you used cassettes to record your favourite songs from the radio, but it was crucial for small labels to ensure the music of their acts was listened to and preserved. Audio-cassette labels, and the format itself, were an important part of New Zealand’s independent music scene in the 1980s and 1990s. In this era before burnable CDs and music sharing on the internet, pressing vinyl was prohibitively expensive, and so tapes allowed for the affordable capture of, and access to, all kinds of music, particularly that unavailable in the mainstream. Tape labels were distinguished by their DIY ethic. There was an emphasis on underground music, small title runs (now worth substantial money among collectors), home-made covers, a lo-fi sound and a sense of community. They existed all over New Zealand, often in small provincial towns. They had paper catalogues, and titles were sent throughout the country and the world. Many influential acts were originally released on cassette, Bill Direen (b. 1957) being one of these. His early band the Bilders (or the Builders) had its own label, selfreleasing before being picked up by Flying Nun Records

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This Bill Direen cassette was sent to RadioActive 89FM in Wellington ahead of his 1990 Orientation tour of New Zealand universities.

in Christchurch in 1982 (the Bilders’ album Beatin Hearts was one of Flying Nun’s first albums). A large number of other, now acclaimed, musicians were also associated with the Bilders. Direen has since gone on to form numerous other bands and collectives. He continues to tour Aotearoa and the world extensively, has been released by numerous overseas labels, has directed theatre productions and become a lauded spoken-word poet, and in 2010 was the Writer in Residence at Auckland’s Michael King Writers Centre. He is also the subject of film-maker Simon Ogston’s 2017 documentary Bill Direen: A memory of others. In the early 2000s, many tape labels began to release on CDs and then via the internet. Blank cassette makers ceased production and the format appeared obsolete. Recently, however, tapes have enjoyed a revival, used by artists like Lady Gaga, Billie Eilish and Wu-Tang Clan. By July 2020, cassette sales had topped 100,000 in the UK alone, their highest numbers in 15 years, and blank tape manufacturing was again a viable business. Many independent New Zealand labels, for example, Independent Woman Records and Dubbed Tapes, are issuing titles simultaneously on tape and the internet. This offers the advantages of both — the convenience of the download and the DIY aesthetic of the audio cassette.

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DIVINE ILLUMINATION ANTHONY TEDESCHI

By the Manifest Book! We have revealed it as an Arabic Qur’ān: perhaps you will understand. It is in the Mother of the Book, with Us, Exalted, All-Wise.

Among the rich holdings of the Alexander Turnbull Library are 15 Islamic manuscripts written in Arabic, Persian and Ottoman Turkish. The majority of these are copies of the Qur’ān, the holy book of Islam believed by Muslims to have been revealed to the Prophet Muhammad in the seventh century CE. ‘The Mother of ̇ the Book’ in the verse quoted above refers to a celestial book or tablet kept by Allah. The text of the Qur’ān is organised into 30 ajzā (parts) of different lengths, and further divided into 114 sūra (chapters) composed of āyāt (verses). With one exception, these chapters open with the Basmala, the Islamic phrase meaning ‘in the name of God, the Most Gracious, the Most Merciful’. As in some other Semitic languages, the text is read from right to left. This particular Qur’ān was deposited in the Turnbull Library on permanent loan as part of the Bible Society in New Zealand collection in 1991. Its text is written on paper using the calligraphic script known as naskh.

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Defined by its smaller, more rounded style, and notable for its clarity and readability, naksh is one of the ‘six pens’ of Islamic calligraphy standardised by the Persian official Ibn Muqla during the tenth century CE. While this Qur’ān is not nearly as old, it is one of the oldest Islamic manuscripts in the collection and one with a precise year of completion. This date is known because the year 1016 in the Islamic calendar was added towards the end by the scribe who copied the manuscript. The date converts to the year 1607 in the Gregorian calendar, making this Qur’ān more than 400 years old. Although the scribe did not record his name or where he lived and worked, decorative elements may provide clues. The style of the lavishly illuminated unwān (headpieces) above the first two pages of the text, embellished with geometric and floral patterns, suggests the manuscript was possibly copied in Turkey during the reign of the Ottoman Sultan Ahmed I (1590–1617).

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Qur’ān, copied c. 1607 Binding, leather on pasteboard, paper, 248 leaves; 170 × 120 mm

Maker unknown

MS-Group-1776: MSR-34

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MAKER / ARTIST

Maker unknown

DESCRIPTION

Qur’ān, copied c. 1607 Binding, leather on pasteboard, paper, 248 leaves; 170 × 120 mm

MS-Group-1776: MSR-34

REFERENCE

The opening pages of the Qur’ān: on the right, the first chapter, ‘Al-Fātih�ah’ (‘The Opening’ or ‘The Opener’); on the left, the beginnings of the second chapter, ‘Al-Baqarah’ (‘The Heifer’ or ‘The Cow’).

208

NEW BREATH FOR ANCIENT VOICES A R I A NA T I K AO

Music has always been an integral part of life in te ao Māori. However, colonisation led to the near extinction of taonga puoro, the customary musical instruments whose voices accompanied the lives of our tīpuna. The archival collection of Richard Nunns (1945–2021), now in the Turnbull’s care, is a record of the remarkable revival of their making and playing. Nunns spent more than 30 years researching taonga puoro, helping to bring the knowledge of these instruments back into te ao mārama. The collection documents the role Nunns played in Haumanu, the organisation of instrument players and makers that spearheaded the revival of taonga puoro. He was just one of many people involved, but he became a key public figure, particularly in the realm of performance. I was fortunate to be mentored by him after starting to play taonga puoro in the mid-2000s. These images are from a series of photographs that Nunns took of Mauri Tirikatene (Ngāi Tahu) posing in various stances as he held and played a pūtōrino, the wooden flute that symbolically represents the cocoon of Hineraukatauri, the atua of flute music. Tirikatene was taught to play by Herewini Hikanui, his maternal grandfather, one of a few people then who

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knew the art from customary times. In Nunns’ 2014 book Te Ara Puoro, Tirikatene spoke about the process of learning to play pūtōrino: ‘My grandfather would take me to the bush and demonstrate its use and then I would be expected to emulate what I had just been shown.’ Sir Apirana Ngata (Ngāti Porou; 1874–1950) once described the nuances he was able to glean from learning mōteatea chants directly from his elders, part of the richness of performance-based artforms passed on through intergenerational transmission — body language, expression and even humour — which is otherwise lost. This is what I find so compelling about these images of Tirikatene. The sequence of movement in his stances entices me to want to know more. Does each stance have a name? What does each one mean? Did anyone else learn these stances, or is this the only record of them, physically encapsulated in nine 35 millimetre film negatives, now held in the basement of the Alexander Turnbull Library? These questions now need to be explored by the next generation of Haumanu members, as the revival of these remarkable taonga continues.

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The form of the pūtōrino is unique among musical instruments. It is carved in two hollow parts, like miniature waka, which are then bound together to make the playing cylinder.

DESCRIPTION

MAKER / ARTIST

REFERENCE

Mauri Tirikatene in various poses playing the pūtōrino, [1990s?]

Richard Nunns (1945–2021)

ATL-Group-00247: 35mm-85525-1; 35mm-85525-2; 35mm-85525-3; 35mm-85526-4

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HE KIRIATA NUI: MĀORI ON SCREEN CAT H E R I N E BI S L E Y DESCRIPTION

MAKER / ARTIST

REFERENCE

Communicado Features Limited: Once Were Warriors production photographs, c. 1993

Kerry Brown or Ann Shelton

PA-Group-00887 (PA1-q-1172-17-2RA58/13; PA1-q-1174-046-R55/1)

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Below: Beth Heke (Rena Owen) is framed in a grey urban environment that contrasts with the mountain vista on the billboard above her head. Opposite: Nig Heke (Julian Arahanga) becomes a patched member of the fictional Toa gang. Here, the crew films from the back of a ute while a gang car is mounted on a low-loader rig towed behind.

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In 2013, producer Robin Scholes, founding partner of the production company Communicado, donated four binders of material to the Turnbull Library. They contained a pictorial history of the making and marketing of Once Were Warriors (1994), the debut feature of director Lee Tamahori (Ngāti Porou), which Communicado had produced. The collection takes us behind the scenes to reveal the creative and practical forces behind the film. Māori stories were being brought to the screens of Aotearoa from the early days of our national cinema, including Hinemoa (1914) and Rewi’s Last Stand (1925). But Māori had to fight to direct their own stories. Merata Mita (Ngāti Pikiao, Ngai Te Rangi; 1942–2010), whose work included Patu! (1983) and Mauri (1988), and Barry Barclay (Ngāti Apa; 1944–2008), who directed Ngāti (1987), were two key trailblazers who became champions of indigenous filmmakers both at home and abroad. In 1994, Once Were Warriors, with a screenplay adapted by Riwia Brown (Ngāti Porou, Te Whānau-āApanui) from the 1990 bestselling novel of the same name by Alan Duff (Ngāti Rangitihi, Ngāti Tūwharetoa), broke box-office records and met with critical success worldwide. Over the years, an increasing diversity of Māori voices, from Taika Waititi’s wildly popular Boy (2010) to Waru (2017), in which a single story is told from the perspectives of eight wāhine Māori directors, have continued to pump the heart of our national cinema.

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The contents of Communicado’s binders not only form a unique record of a major New Zealand film, but also create a comprehensive picture of how a movie was — and largely still is — made. The collection documents the people involved, from key players to extras, along with the creative processes, from location scouting and working with actors to costume design and make-up tests. The images, taken by Kerry Brown and Ann Shelton, are striking in themselves. The image opposite is from the iconic opening moments of Once Were Warriors, in which cinematographer Stuart Dryburgh’s camera pulls out from a pastoral utopia on a billboard to show South Auckland, the motorway and high fences, and Beth Heke (Rena Owen, Ngāti Hine, Ngāpuhi) pushing a supermarket trolley. It is Beth who carries us through this story and offers the film’s sense of hope. The film also starred Temuera Morrison (Te Arawa) and Cliff Curtis (Ngāti Hauiti, Te Arawa). Tamahori’s cinematic voice is distinctive. A mixture of realism and 1990s stylisation, Once Were Warriors gave a grim depiction of the plight of many urban Māori, disconnected from their tūrangawaewae and suffering from the impact of colonisation. The film, with its portrayals of domestic violence, poverty, rape and suicide, generated considerable controversy within Māoridom itself.

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WRITING THE MOVES KEITH MCEWING

DESCRIPTION

MAKER / ARTIST

REFERENCE

Two pages from a dance workbook, 1708

Kellom Tomlinson (c. 1693–c. 1753)

Ms-Group-1914: MSX-2866_060; MSX-2866_061

The Turnbull has a dance manuscript dating back to 1708, a workbook penned in his youth by Kellom Tomlinson (c. 1693–c. 1753), a famed English dancing master and choreographer. It is the oldest volume in a substantial collection of dance resources that belonged to Joseph Lowe (1797–1866), one of four brothers who were all dancing masters, as their father had been. Lowe’s son, Joseph Eager Lowe, travelled to New Zealand from Edinburgh in 1853 with these resources to help him establish a dancing school in Dunedin and then Melbourne. Tomlinson was born in London and lived and worked there throughout his life. He is most noted today for his 1735 publication The Art of Dancing, and for a series of dances he composed, published and sold during his lifetime. As an apprentice dancing master, he had started a workbook that included exercises and notations copied from published baroque dance treatises of the time. Its greatest significance, however, is the six dances composed by Tomlinson himself that had not been published previously. In 1988, Lowe’s collection came into the Turnbull’s care via his New Zealand descendants and extended family (among them the celebrated dancer Sir Jon Trimmer). Here, dance scholar Jennifer Shennan prepared and edited the workbook for publication in facsimile in 1992

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by Pendragon Press in New York. Dance historians worldwide were agog. In addition to the Tomlinson manuscript, the Lowe collection includes a rare and beautiful nineteenth-century dance manual and Joseph senior’s journal of the years he had spent teaching dance at Queen Victoria’s court.

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Two pages from the workbook of Kellom Tomlinson (known also as ‘Kenelm Tomlinson’). On the left is the concluding page of ‘Canary for a Man and a Woman’. On the right is the first of two pages of ‘Saraband for a Man’. Both dances were created by Tomlinson, with the music to ‘Saraband’ also composed by him.

Reading the dance manuscript is beyond most of us. Just as many of us don’t read music, so deciphering dance notation — where the steps are transcribed into stylised symbols — is a skill known to only a few. To those who do know that mysterious code, the repertoire of dance history expands to reclaim forgotten dances.

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Dance in New Zealand draws on many traditions, including those documented and encoded in centuriesold manuscripts. Dance resources in the Turnbull collections are relatively modest, but a determined search by dance performers, teachers and researchers yields treasures like the Tomlinson workbook.

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SOMALI PACIFIC STAR JENNI CHRISSTOFFELS

DESCRIPTION

MAKER / ARTIST

REFERENCE

Sarah Said with her daughters practising steps for a dance routine at their Somali Pacific Stars gig, 1999

Craig Simcox

Dominion Post Collection (PA-Group-00685: EP/1999/3048/15)

Since the catastrophe of the Second World War, New Zealand has been part of a network of countries providing a haven for refugees — those displaced by, or fleeing from, war, conflict or oppression in their own countries. In return, refugees arriving in New Zealand have helped create an increasingly vibrant and diverse national culture. This photograph of Sarah Said and her daughters comes from the Turnbull Library’s Dominion Post Collection, an invaluable documentation of people’s lives and activities in the Wellington region. Said is one of many refugees who have found new homes here, in the process often sacrificing much of what they built in their lives before. In the 1970s, Said was a pop star in Somalia, with a string of hits behind her, including her biggest, a love song recorded in 1973 when she was just 13 and that launched her career. Seventeen years later, war disrupted her life and she fled her homeland. When interviewed by the Evening Post in Lower Hutt in 1997, Said was living with her six children and surviving on a part-time cleaning job. Her singing consisted mainly of requests from friends at parties. The 1999 photo was a publicity shot for a Lower Hutt fundraising concert in

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Sarah Said was a pop star in Somalia before coming to Aotearoa New Zealand as a refugee from that war-torn country in 1990.

which she was performing, her first professional gig with her seven-piece band, the Somali Pacific Stars. In the 1940s and 1950s, New Zealand took in refugees mostly from European countries. In the 1970s, refugees began coming from Southeast Asia, as well as Iran and Chile. Between 1993 and 1999, around 80 per cent of the refugees accepted under the Refugee Quota Programme came from Iraq, Somalia, Vietnam and Ethiopia, with more than 20 per cent from Somalia. Since 1988, Somalia had been torn apart by civil war and factional fighting. Many civilian Somalis fled to Kenya, where they often spent years in a refugee camp waiting to be resettled in a new country. Initially, in 1993, New Zealand had agreed to take 94 refugees, but many had left children and other family behind, assuming that once they were settled in their new homes, the rest of their families could follow. Partners, parents and children were often separated for years before they were finally able to reunite. The Sarah Said photograph is part of a ‘refugees’ file in the Dominion Post Collection. It documents the arrival and settling of refugees from Czechoslovakia, Yugoslavia, Uganda, Chile, Vietnam, Cambodia, Laos, Russia, Sri Lanka, Iran, Iraq and Ethiopia, as well as Somalia.

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COLOUR, MOVEMENT AND MUSIC C H R I S S Z E K E LY DESCRIPTION

MAKER / ARTIST

REFERENCE

Men from Bellona, Solomon Islands, perform at the Tenth Festival of Pacific Arts, Pago Pago, American Sāmoa, 31 July 2008

Julia Brooke-White (b. 1942)

PA-Group-00421: PA12-8331-15

Colour, movement and music: a taste of the sights and sounds of the four-yearly Festival of Pacific Arts can be savoured in the photographs of Julia Brooke-White (b. 1942). Now living in Wellington, Brooke-White spent a decade immersed in Pacific cultures while living in Fiji in the 1970s and 1980s. From 1992 to 2008, she photographed four festivals hosted in turn by the Cook Islands, Sāmoa, Nouméa and American Sāmoa, depositing a selection of these images with the Turnbull Library in 2009. The collection now comprises more than 2200 colour transparencies, stored in environmentally controlled conditions and findable through the library’s catalogue. The first festival took place in Fiji in 1972, with support from the South Pacific Commission. BrookeWhite heard people still talking about the event when she arrived in the islands five years later, having sailed across the Pacific with her partner and young daughter,

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and pregnant with her second daughter. While working as a photographer for the Fiji Museum, she wondered about photographing the festival. The opportunity came in 1992 when the event was held on Rarotonga. There, she recalls riding a scooter with a pack full of camera gear and a heavy tripod strapped to her body. She couldn’t be at several venues at once, but BrookeWhite tried to ensure there was a record of each participating nation. In the earlier festivals it was unusual

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The Festival of Pacific Arts is held in a Pacific Islands nation once every four years and attracts performers from over 25 Pacific countries.

for performers to have their own cameras, and BrookeWhite later provided prints to performers on request. She also photographed the festival in the Solomon Islands in 2012 using a digital camera. By then, however, smartphones were more commonly available and people could take their own pictures. It was the last festival the photographer attended. The Festival of Pacific Arts has grown to become one of the longest-running and largest events of its kind,

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attracting hundreds of participants from more than 25 Pacific nations. The festival serves to support and celebrate indigenous arts in the Pacific, especially dance. Conveying the full sensory experience of dance performance for retrospective appreciation is impossible; the experience of each moment is unique to those who were there. However, the photographs housed at the Turnbull offer partial glimpses of four of these events through the lens of a New Zealander in attendance.

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COLOSSUS OF SCIENCE DY L A N OW E N DESCRIPTION

MAKER / ARTIST

REFERENCE

Sir Paul Callaghan, 2012

Murray Webb (b. 1947)

New Zealand Cartoon and Comics Archive (DC-Group-0003: DCDL-0020679)

This caricature of the eminent physicist Sir Paul Callaghan (1947–2012) by cartoonist Murray Webb portrays him as a polymath astride Aotearoa, juggling his extraordinary range of scientific interests and experiences. It is a fitting tribute to one of New Zealand’s most recognisable and prominent scientists. Well known for his work ethic, boundless enthusiasm and curiosity, Callaghan focused his scientific research on the fields of magnetic resonance and nanotechnology. Among his string of awards and achievements were 2011 New Zealander of the Year and the Royal Society of New Zealand’s Rutherford Medal in 2005, given for ‘preeminent research, scholarship or innovation by a person, or team’. Callaghan’s legacy included helping establish the MacDiarmid Institute for Advanced Materials and Nanotechnology, of which he was director from 2002 to 2008. Today, this centre for scientific research excellence is focused on a sustainable future through the development and adoption of new and innovative technologies and materials. As an energetic and articulate public science communicator, Callaghan both celebrated and demystified science with an enthusiasm equal to his vision for a prosperous future New Zealand, one he detailed in his

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2009 book Wool to Weta: ‘If we are sufficiently bold and determined we can make New Zealand a place where our young people see their best future.’ Callaghan was also an environmentalist and an ardent supporter of both Wellington’s Zealandia (the world’s first fully fenced urban ecosanctuary) and a pest-free New Zealand. He outlined both of these initiatives in his last public speech, delivered a month before he died. Born in the same year as Callaghan, caricaturist Murray Webb has been described not only as New Zealand’s most underrated caricaturist, but also as one of the ‘three best caricaturists in the world’. For more than three decades his caricature portraits have captured famous (and some infamous) New Zealanders and international personalities. Webb’s skill lies in his ability not only to capture someone’s likeness, but also to seamlessly encapsulate their persona. Here, his caricature of Callaghan cleverly identifies his subject’s huge range of scientific interests despite their complexity, along with his congenial nature, giant stature, and passion for Aotearoa New Zealand and physics. Webb’s own observations about drawing (and drawing out character) has scientific parallels with his subject here. ‘It is pure physics,’ he once wrote. ‘While being artists, we are scientists specialising in the nature of light and substance.’

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Murray Webb’s images can be found in the Turnbull’s New Zealand Cartoon and Comics Archive, with most available online.

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WRITERS ON RECORD PAU L D I A M O N D

Improving the lot of local writers, many of whom struggle to make a living from writing, has been the aim of the New Zealand Society of Authors (NZSA) since it was founded in 1934. Known as PEN New Zealand until 1994, and still affiliated to PEN (Poets, Essayists and Novelists) International today, the NZSA is the country’s oldest arts organisation. The society was responsible for establishing the Authors’ Fund, which recompenses authors for the use of their books in libraries. When this was launched in 1973, New Zealand was the first English-speaking country to have a ‘public lending right’ system. The campaign for the fund was led by writer and broadcaster Ian Cross (1925–2019) at the request of PEN’s then president, Marie Bullock. Initially sceptical, Cross discovered ‘that the library system was truly expropriating the potential earnings of writers, because most of the writers’ readership came from books borrowed from libraries’. Cross was among the authors interviewed as part of an oral history project commissioned by the society in 1999 to record its story. The NZSA also wanted to document the writers’ own careers, and their memories of New Zealand’s literary history. The interviews, held in the Turnbull’s Oral History and Sound Archive, were carried out by the historian and biographer Michael

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King, together with writers Alison Gray and Sarah Gaitanos. As King explained in a letter to one of the interviewees, the poet and children’s author Ruth Dallas, the interviews were ‘an opportunity to document the history of writerly connections’. In his interview with Gaitanos in 2004, Cross spoke about how he had commissioned research firm McNair to do the first-ever survey of authors’ incomes. The survey, which showed that authors were earning on average $4.50 per week for their books, helped win public support and convince politicians to act. ‘We were not seeking a state subsidy, we were seeking recompense for the earnings which writers lost through the free library use of their books,’ Cross recalled. Now known as the Public Lending Right for New Zealand Authors and administered by the National Library, the fund is currently worth $2.4 million. The NZSA continues to advocate ‘for the inclusion of digital lending, an Educational Lending Right … and to ask for further cash injection to fund compensation for these copyright exceptions’. Extracts from the 20-plus interviews of the original oral history project are now available as podcasts on the NZSA website. Along with Cross, interviewees include Gordon McLauchlan, Lauris Edmond, Kevin Ireland, Tessa Duder, Witi Ihimaera and Joy Cowley.

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Ian Cross, journalist, novelist, editor, and campaigner for recompensing authors for the free use of their books in libraries, 1985.

Kenneth Quinn (1920–2013)

Portraits of prominent New Zealanders (ATL-Group-00559: 1/4-089233-F)

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A CHANCE TO DREAM PAU L D I A M O N D DESCRIPTION

MAKER / ARTIST

REFERENCE

Tina Cross performing at the National Library, 2019

Kristin de Sousa

Courtesy of Kristin de Sousa

Growing up in Ōtara, South Auckland, in the 1970s, a certain young schoolgirl planned to study social sciences at university and become a social worker. That all changed when she was given a role in a television music show while in the seventh form at Penrose High School. Tina Cross (Te Aupōuri, Ngāti Porou; b. 1959) became a household name after winning the 1979 Pacific Song Contest, singing Carl Doy’s ‘Nothing but Dreams’. At a time when light entertainment was huge in this country, the competition was also notable as the first time singers actually sang live on New Zealand television. Until then, vocal tracks were recorded beforehand, and broadcast as if live while singers lip-synced on stage. Keen to gain more experience, Cross moved to Sydney in 1981 and spent nearly a decade in Australia, singing in cabarets, on television shows and as part of the pop group Koo Dé Tah. After returning to New Zealand with her family in 1990, she transitioned into musical theatre, taking on lead roles in productions such as Cats, The Rocky Horror Picture Show and Chicago. In 1992, she voiced the theme song that introduced New Zealand’s longestrunning soap, Shortland Street.

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To the surprise of her family, Cross took on the role of Beth Heke in the 2004 stage production of Once Were Warriors. This brought her more into the Māori performing world, and she learnt how to perform kapa haka and hold a patu. In 2008, Cross was made an Officer of the New Zealand Order of Merit. In an interview in Plenty magazine at that time, she spoke about moving into another chapter of her career: ‘I’ve done the early days on New Zealand television, been in a pop band in Australia, had children, done musical theatre and now it’s time for the next phase. I need to go back to my roots. I need to fulfil the Māori in me.’ Cross began learning te reo Māori when she was in her fifties, and has also helped run workshops with Māori inmates in prison. Although not known as a Māori performer until later in her career (overseas audiences thought she was Eurasian), Cross is clear about the grounding her Māori background gave her as a musician. ‘We as a people are really natural musicians, natural singers,’ she said in an oral history interview for the Turnbull. ‘Everybody in our family was musical,’ she told Mana magazine in 2002. ‘We could all hold a tune and harmonise.’

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On the fortieth anniversary of her Pacific Song Contest win, Cross performed at the National Library with Carl Doy, and completed an interview about her life and career for the Oral History Archive.

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GAME OF THE PEOPLE J O H N S U L L I VA N DESCRIPTION

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REFERENCE

First New Zealand rugby league team, 1907

Photographer unknown

PA-Coll-3060: MNZ-1030-1/4-F

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DESCRIPTION

MAKER / ARTIST

Match between Brunner and Waro-Rakau rugby league clubs, West Coast, South Island, 2000–05

Damer Farrell (b. 1943) REFERENCE

PA-Group-00329: PADL-000438/DSC_923

From the time the first rugby league match was played on New Zealand soil in 1908, the sport has had an important role in the life of working-class communities throughout the country. Strongly centred on whānau, family and community, the code has always held great appeal for Māori and Pasifika players, many of whom have represented this country at an international level. The photograph above shows a game in progress between the Brunner (blue jerseys) and Waro-Rakau (red jerseys) clubs, and was taken sometime in the early 2000s by Damer Farrell (b. 1943), a commercial photographer based in Greymouth who freelanced for the Greymouth Star. It is part of a collection of West Coast images acquired by the Turnbull Library from Farrell in 2008. Rugby league was founded in England in 1890s, when rugby union clubs in Lancashire and Yorkshire broke away from the London-based Rugby Football Union. The northern clubs, composed mostly of working-class

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players, had long chafed against the restrictions on compensation for injury and time off work imposed by the amateur code. This was not an issue for the more affluent players predominant in the south of England, but it was a major obstacle for the miners and millworkers of the north, for whom any loss of wages meant significant financial hardship. The game was introduced to New Zealand in 1907, when Albert Henry Baskerville (1883–1908), a Wellington postal worker, rugby player and author, organised a team of New Zealanders to play against clubs in the north of England that had been banned from meeting the 1905 All Blacks. Baskerville died of pneumonia in Brisbane at the end of the tour, and the first match in New Zealand was a benefit event for his widowed mother, played between the returning tourists and a local side at Athletic Park, Wellington, on 13 June 1908. Rugby league took root here in working-class communities and was particularly strong in urban centres and in mining areas such as Huntly and the West Coast. The clubs have a strong family emphasis, and it is not uncommon to see three or more brothers playing for the same team. The Brunner Rugby League Club was founded in 1919 in the mining town of the same name, and the West Coast Waro-Rakau club has been in existence since 1969.

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DISASTER AND CARTOONS C H R I S S Z E K E LY DESCRIPTION

MAKER / ARTIST

REFERENCE

Rescuing New Zealand flag’s lost star, published 26 February 2011

Malcolm Evans (b. 1945)

Digital cartoons (DC-Group-0039: DCDL-0017177)

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DESCRIPTION

MAKER / ARTIST

REFERENCE

Hands joining over the Christchurch and Pike River Mine disasters, published 24 March 2011

Malcolm Evans (b. 1945)

Digital cartoons (DC-Group-0039: DCDL-0017166)

As the first decade of the new millennium ended, two terrible events took place in New Zealand. On 19 November 2010, there was a massive explosion at the Pike River Mine north of Greymouth. Twenty-nine coal miners were underground and unaccounted for as rescue efforts commenced. Subsequent explosions over the following days dashed all hopes of their survival. Ten years on, their bodies remained unrecovered. Three months later, on 22 February, tragedy struck in Christchurch when a 6.3-magnitude earthquake devastated the city, causing massive destruction, heavy casualties and the loss of 180 lives. There had been a precursor six months earlier, on 5 September 2010, when the region was rocked by a 7.1 quake. The damage caused by that event was significant and widespread, but

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Opposite: Rescue workers haul a lost star from the New Zealand flag out of the rubble of Christchurch after the February quake. Above: Two hands, representing people affected by the two separate disasters in Christchurch and the Pike River Mine, join in mutual despair and kindness.

miraculously there were no fatalities. Cantabrians were thankful for their good fortune — and unaware that catastrophe was on the way. More than a decade later, the rebuild of Christchurch continues. Sometimes less is more when expressing grief and loss visually on a page or screen. A good cartoon can pivot on a simple concept to make a powerful point. The awardwinning veteran cartoonist Malcolm Evans (b. 1945), who drew many cartoons relating to the Canterbury earthquakes and ensuing issues, is well represented in the Turnbull’s Cartoon and Comics Archive, alongside other leading New Zealand cartoonists. Disasters, both national and international, are a recurring if inevitable theme within the collection.

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JAMMERS AND BLOCKERS VA L E R I E L O V E DESCRIPTION

MAKER / ARTIST

REFERENCE

Richter City Roller Derby poster, Wellington, 2011

Richter City Roller Derby

Eph-D-SKATING2011-01

The Richter City Roller Derby league was established in Wellington in 2007. Roller derby is a full contact sport played on quad skates on an indoor track, and features two five-person teams (from their quota of 15 players) on the track at the same time. A team scores points when the skater identified as the ‘jammer’ passes the hips of members of the other team. The other members of the team, the ‘blockers’, try to block the opposing team’s jammer from passing them, while making space for their own jammer to skate through. Roller derby traces its origins to competitive walkathons around indoor tracks. These were popular spectator sports in Britain, North America, Australia and New Zealand in the late nineteenth century, when they were one of the few activities in which men and women could openly compete against each other. Women ‘pedestrians’ could set aside corsets or heavy, structured dresses and wear costumes that allowed for greater freedom of movement. The most famous competitive walker in New Zealand was Kate Wiltshire, the great-great-grandmother of Prime Minister Jacinda Ardern. She walked 100 miles (160 kilometres) around an indoor track in Auckland’s City Hall in 1876 in under 24 hours, earning her the title of ‘The Greatest Female Pedestrienne in the World’.

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By the 1930s, the novelty of competitive walking had worn off; however, roller skating enjoyed steady popularity. ‘Roller derby’, which combined competitive track walking with roller skating, was established as a unisex sport in 1935 in Chicago and continued through to the early 1970s. In the early twenty-first century, it had a resurgence as a women’s sport, with the first teams being established in Austin, Texas, in 2001 and spreading internationally from there. This poster for a Wellington league ‘bout’ demonstrates both the athleticism and counterculture aesthetics of the contemporary sport of roller derby. The two teams featured here, along with Comic Slams, make up the league’s three home season teams. The Brutal Pageant player’s uniform of feminine singlet, short shorts and pageant sash spoofs the concept of traditional femininity and beauty pageants. The Smash Malice team’s name refers to the 1981 Roger Donaldson film Smash Palace. The poster’s bold visual design showcases the signature colour of each team. Rather than playing under their own name, each player has a unique pseudonym. This is usually based on a pun or other cultural reference, as in the poster where Ms Savage faces off against Tuff Bikkies.

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The Turnbull’s collection of ephemera, including posters like this, is a rich source of information about the diverse cultures and social life of Aotearoa New Zealand.

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MAHY MAGIC INDIR A NEVILLE

My main memory of Margaret Mahy (1936–2012) comes from when she visited my school. She was an enthusiastic — even boisterous — woman, resplendent in rainbow wig, reading loudly and expressively, and championing books. As an adult, I continue to think that this is who she was. But as Mark Winter’s cartoon illustrates, it is not all that she was. To be the outspoken entertainer described above, Mahy needed time to recharge her batteries and, more importantly, to write new stories. The quote in this

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cartoon describes that time, one crucial to her writing process. Here, she speaks about the need to escape from the ‘real world’ and submerge herself in the world of the story. Her words echo that of many other writers: the idea that literary characters are living creatures, or at least realities in the mind of the author, and that in order to make good work this is necessarily so. And Margaret Mahy undoubtedly made good work. A Lion in the Meadow (1969) and The Man Whose Mother Was a Pirate (1972) are considered national classics.

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DESCRIPTION

Cartoon obituary for Margaret Mahy, published in the Southland Times, 25 July 2012 MAKER / ARTIST

Mark Winter (Chicane) (b. 1958) REFERENCE

Digital cartoons (DC-Group0009: DCDL-0022443) 2

DESCRIPTION

Margaret Mahy leads a procession at the start of a fortnight of children’s literature activities, Wellington, April 1992 MAKER / ARTIST

Phil Reid REFERENCE

Dominion Post Collection (PA-Group-00685: EP/1992/2237/9)

But many of her 100 picture books, 40 novels and 20 collections of short stories hold similar status. Among Mahy’s many accolades are two Carnegie Medals for the Commonwealth’s best annual children’s book (in 1982 and 1984), her appointment as Member of the Order of New Zealand in 1993 for her ‘lasting contribution to children’s literature’, and the international Hans Christian Andersen Award, presented to Mahy in 1986 and acknowledged as the highest recognition for a writer or illustrator of children’s books. Outside of this ‘official’ recognition, Mahy’s works are also generally revered. For many of us in Aotearoa New Zealand, her books were an integral part of our

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childhoods, made with an imagination that inspired our play and the writing of our own stories. Their fantastical elements, though, were always entwined with those of human relationships and growing up. Her stories were formative, helping us to become the people we are now. They continue to do the same for children and young people today. I think the characters and worlds Mahy created are not only real for her as she describes, but also for her readers. Her stories transport us; they take us away from the real world and then return us to it. When we do come back, we are always slightly changed, with a little more magic inside.

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FROM LILBURN TO VAPORWAVE M I C H A E L B R OW N & C H R I S S Z E K E LY

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DESCRIPTION

Performance by Disasteradio at Bar Bodega, Wellington, 14 March 2012 MAKER / ARTIST

Wendy Colling REFERENCE

PA-Group-00914: PADL-000958_038_20120314 2

DESCRIPTION

LP album cover for Charisma by Disasteradio, 2010 MAKER / ARTIST

Cover design by Christina Hroch. Cover photography by Simon Ward, Don Brooker, and Ian Jorgensen REFERENCE

Phono q6671 Disasteradio distributes his work via websites such as Bandcamp and YouTube, but it has also been released on analogue vinyl, which is experiencing a resurgence in popularity.

Whatever the genre — techno, house, dubstep — electronic dance music is ubiquitous, served up at clubs and festivals, streamed online, and layered into computer games, social media and online interactives. Of course, there are New Zealanders who excel in this global scene, which means their work has a place in the Turnbull Library collections. The library holds the largest trove of New Zealand music in the world, including every commercial recording produced and every musical score published within Aotearoa. Thanks to the initiative and donations of composer Douglas Lilburn (1915–2011), elder statesman of New Zealand music, there is also an extensive music archive of papers, photographs and unpublished recordings. This archive has recently expanded to include master tapes, like those of pioneering labels such as Ode, Viking Sevenseas and Flying Nun. But how do you archive the myriad digital threads that comprise electronic dance music? Answer: with difficulty. Enter Disasteradio, the performance alias of New Zealand musician Luke Rowell (b. 1983), who, with more than a dozen albums to his name, is a veteran of the scene. The Turnbull holds all his albums but wanted to explore how to preserve a digital music production in its entirety. Rowell offered his albums Charisma (2010) and Buy Now (2015, released under another alias, Eyeliner) as experiments.

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Charisma and Buy Now are very much twenty-firstcentury cultural artefacts. Aside from the vocals, they were created entirely on a home computer in Wellington, their synth-pop and vaporwave styles reflecting Rowell’s global influences and networks. For every track of these albums, the Turnbull Library has preserved the constituent parts: stems (audio tracks) for each digital instrument, MIDI (digital instrument encoding) and mixes. Music is an iterative artform, and archiving these elements will expand the palette for future reworking, remixing and resampling. Researchers can delve into screencasts, spreadsheets and screenshots that document how Rowell used software to create the music. Charisma and Buy Now are released under a Creative Commons licence: a form of copyright licensing that assists propagation and reuse of digital culture. This enables anyone to download the archived materials from the National Library website to remix, learn from and play with. And there’s even a connection, of sorts, between Luke Rowell and Douglas Lilburn. In 1966, Lilburn established the electronic music studios at the School of Music at Victoria University of Wellington. They are still used today, renamed in his honour in 2015, and were where Rowell developed his craft when studying music at Victoria.

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3.5-inch floppy disks awaiting digitisation. To preserve digital content, the Digital Collections team transfers digital files from their physical media carriers to the National Digital Heritage Archive (NDHA). The library has a variety of hardware, software, and tools available to accommodate the wide array of digital files they receive.

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DESCRIPTION

UNITED IN GRIEF GAIL COCHRANE & SHA NNON WELLINGTON

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One of the collection of public tributes left at the Wellington Islamic Centre after the Christchurch mosque shootings, March 2019 MAKER / ARTIST

Makers unknown REFERENCE

International Muslim Association of New Zealand (ATL-Group-00466: Curios-056-11_006) The large three-dimensional flower was one of many public tributes left at the Wellington Islamic Centre in Kilbirnie after the Christchurch mosque shootings. It features messages of solidarity and hope handwritten in English and te reo Māori. The centre of the flower can be lifted, so that the flower stretches vertically.

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DESCRIPTION

MAKER / ARTIST

Crying Kiwi, 15 March 2019

Shaun Yeo (b. 1974) REFERENCE

DC-Group-0056: DCDL-0038997

On 15 March 2019, a gunman carrying semi-automatic weapons entered the Christchurch Masjid al-Noor and Linwood Islamic Centre during Friday midday prayers. At both he opened fire, killing 51 people and injuring another 40. There was immediate national and international condemnation of the terror attacks. Prime Minister Jacinda Ardern described the shootings as ‘our darkest of days … they were New Zealanders … they are us and because they are us, we, as a nation, mourn them’. Ardern’s words ‘they are us’ echoed around the world. Finding words to express your reaction to tragedy can be difficult. Invercargill cartoonist Shaun Yeo watched news of the atrocity on television that evening, then drew his ‘crying kiwi’ cartoon and posted it on

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social media. The image touched the hearts of millions of people globally. In the aftermath of the shootings, tributes and messages of support for New Zealand’s Muslim communities appeared online and in many public places, including the Wellington Islamic Centre in Kilbirnie. Over the following days, individuals, schools, organisations, Ardern and Governor-General Dame Patsy Reddy visited the mosque to lay their own tributes and offer their support to the Muslim communities. The tributes included flowers, condolence cards and books, posters and banners, paper chains, paper dolls, woven items, toys and works of art. Their messages reflected the diversity of New Zealand’s people and the voice of a country united in grief and disbelief at the attacks and in condemnation of them. Representatives from the Wellington Islamic community worked with the Museum of New Zealand Te Papa Tongarewa and the Turnbull Library to preserve many of the tributes. The library acquired a collection of these items to hold in perpetuity on behalf of the people of New Zealand.

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FOR GENERATIONS TO COME U L U A FA E S E

DESCRIPTION

MAKER / ARTIST

REFERENCE

Pacific Climate Warriors lead the way during the School Strike 4 Climate protest in Wellington, September 2019

Dylan Owen (b. 1958)

Photographs of School Strike 4 Climate protest, Wellington, September 2019

Aotearoa New Zealand has a rich history of activism and protest, focusing on causes ranging from women’s suffrage and Māori land rights to nuclear weapons, racism and marriage equality. In 2019, the viability of the planet itself became a focus as several large-scale climate strikes urged action on climate change. Uniquely, these protests were organised mainly by school students on behalf of the rangatahi, the coming generation, which would be most affected by the consequences of inaction. The September climate strike, the third of the year, was coordinated and co-hosted by School Strike 4 Climate and 350 Pacific, aka Pacific Climate Warriors. The groups’ collaboration aimed to highlight how climate change affects the Pacific Islands, and New Zealand’s responsibility as a Pacific country to take urgent action on the issue. Their protest illustrated the hope of our rangatahi for their future and their courage to face it, a resilience summed up by the Pacific Climate Warriors’ motto: ‘We are not drowning! We are fighting!’ Protesters marched from Wellington’s Civic Square to the steps of Parliament, chanting demands and singing songs and hymns from the Pacific. At Parliament,

children, students and activists made speeches, and the Pacific Climate Warriors performed a fatele, a Tokelauan action song. The protest was part of an international series that took place across 150 countries during Global Week for Future. Some 40,000 people attended the Wellington march, part of an estimated 170,000 protesters in cities and towns throughout the country and some 6 million throughout the world. The demand for climate action for New Zealand and its Pacific neighbours was reinforced on the morning of the strike by a letter presented to Parliament that called on the government to declare a climate emergency. A little over a year after the protests, the newly re-elected Labour government did just that. Images such as this help embroider protest in the tapestry of New Zealand’s history, a reminder of issues that are important to our people and the struggle to get action taken on them. The image is part of a collection being made by photographer Dylan Owen to document public events in Wellington, often just a stone’s throw from his workplace in the National Library.

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Critical to the impact of this large-scale protest were the efforts of the organisers. It was co-ordinated and co-hosted by School Strike 4 Climate, led by Sophie Handford and Raven Maeder, and 350 Pacific (aka Pacific Climate Warriors), led by Mary Moeono-Kolio and Kalo Afeaki.

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WE ARE BENEFICIARIES VA L E R I E L O V E DESCRIPTION

MAKER / ARTIST

REFERENCE

Artwork from the We Are Beneficiaries archive, 2017–19

Above: Bernadette; art by Semira Davis Below: Anon.; art by Fu Fighter Arts

We Are Beneficiaries: Project archive (ATL-Group-00328: DPDL-0005_060; DPDL-0005_029)

The We Are Beneficiaries archive of digital artwork and online posts demonstrates how social media can raise awareness of issues of concern in the community and help work towards change. The fully digital collection records a project that amplifies the voices of social welfare beneficiaries, who often struggle to have their experiences recognised or understood by those with greater privilege in their lives. The project was initiated by the Auckland-based cartoonist and artist Sam Orchard in response to Metiria Turei’s resignation as Green Party co-leader ahead of the 2017 general election. Turei had given a speech in which she had spoken candidly about the difficulty of being a single mother living on social welfare payments in the 1990s while she was studying for a law degree. Following her speech, the hashtag #IamMetiria began trending on Twitter as New Zealanders expressed support and shared their own experiences. However, there was also a strong backlash in the media, and three weeks later Turei resigned her Green Party position, citing ‘unbearable’ scrutiny on her family. In the wake of Turei’s resignation, Orchard mobilised a group of artists to create art to share their own experiences as beneficiaries, hoping to continue the conversation

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Examples of artwork from the We Are Beneficiaries archive: one highlights the bureaucracy that disabled people face in order to receive essential services and support. The other recounts the support the beneficiary received from the welfare system, helping her transform her life as a sole parent.

that Turei had started. The artists depicted themselves along with a few sentences about their experience and posted it online. This developed into the We Are Beneficiaries project, which shared these visual stories via Facebook, Instagram and Twitter. Soon after, the artists invited members of the public to share their stories, to send in a picture of themselves if they wished, and to write three to five sentences about their time in the welfare system, how they’d been treated and what they wished the welfare system was like. Various themes emerged from these real-life stories: inadequate benefits, dehumanising policies, public stigma, and bias against Māori, people of colour, single mothers and disabled people in particular. However, there were also stories of positive interactions with the system, and ideas and aspirations for changes the beneficiaries would like to see. The collection of more than 250 stories published from August 2017 to August 2019 captures a significant development in contemporary artistic practice and an important moment in social and political history. Digital tools and social media are changing the ways in which art and stories are created, shared and understood as people explore the power of art and the internet to bring about beneficial change in society.

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‘I SEE YOU’ VA L E R I E L O V E

‘ I see you in your schools and workplaces, on the streets and in the world. Your existence brings joy to my world.’

This comic was created by queer trans illustrator and comic artist Sam Orchard as part of his Rooster Tails online comic series. Orchard began this autobiographical comic in 2010 at the age of 25 to chronicle his life and experiences as a trans man and transitioning in Aotearoa New Zealand. Transgender Awareness Week is held in November each year to raise visibility around transgender people and the issues that members of the community face. The comic begins with Orchard addressing the transgender community directly, thanking them for being themselves, and acknowledging the complexities around how trans and gender diverse individuals are perceived. Standing in front of the rainbow street crossing at the intersection of Cuba and Dixon Streets, Orchard says, ‘Sometimes your gender is not seen or understood, other times it’s unable to be ignored. Whatever the case: I see you. I see you in our schools and workplaces, on the streets, and in the world. Your existence brings joy to my world. Thank you.’ The comic also acknowledges the rich LGBTQI+ history in Aotearoa, including a sign for the Evergreen Coffee House, run by ‘Queen of Wellington’ Chrissy Witoko from 1984 to 1998, as well as a poster with an image of Carmen Rupe (see page 186), reading ‘Carmen

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for Mayor’, and trans flags with slogans such as ‘trans rights now’ and ‘waitlists are painful’ in front of the Beehive building at Parliament. In addition, the comic references the Takatāpui TV series, which aired from 2004 to 2008 on Māori Television, and several reports about transgender and gender diverse experience in Aotearoa New Zealand: the 2007 Human Rights Commission report To Be Who I Am, the 2019 Transgender Health Research Lab community report Counting Ourselves, and a 2018 poster from Gender Minorities Aotearoa that says ‘Indigenous genders are real’. The final scenes of the comic speak to those who are not yet ready or able to be fully themselves, as well as to the transgender community, past, present and future: I see you too. You’re important, and loved, and I wish the world was an easier place to be yourself. I see you. And I want you to know that we’re here in the quiet places, ready for you in whatever way you’re able to be. Thank you. To the ones that came before, and the many that will come after … I see you too, and I thank you for all that you are, and will be.

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DESCRIPTION

Trans Week of Awareness, Rooster Tails comic strip, 17 November 2020 MAKER / ARTIST

Sam Orchard (b. 1984) REFERENCE

Digital comics created for the Rooster Tails website (ATL-Group-00437: DCDL-0040197) The Rooster Tails comic series chronicles Sam Orchard’s life as a trans man and addresses the transgender community directly.

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CLOSING THE GENDER PAY GAP VA L E R I E L O V E

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‘ Those events do strike me in a way that they may not strike a man.’

DESCRIPTION

MAKER / ARTIST

REFERENCE

‘Women Performing an Interpretive Dance About the Gender Pay Gap’, 2019

Sharon Murdoch (b. 1960)

New Zealand Cartoon and Comics Archive (DCDL-0040018)

In 2019, a report by the New Zealand Council of Trade Unions highlighted the discrepancy in wages between men and women in Aotearoa New Zealand. It estimated that closing the pay gap at the current rate of action would take 100 years, leaving women to wait to earn the same as their male counterparts until 2119. Sharon Murdoch’s cartoon ‘Women Performing an Interpretive Dance About the Gender Pay Gap’ was published in response to the report. It depicts four women contorting themselves to spell out the number 2119. The cartoon notes that the 11.9 per cent pay imbalance of men over women in 2019 meant women were essentially working for free from 18 November through to the end of the year. The pay inequity is even worse for Māori and Pasifika women, with Māori women working for free from 12 October (22.1 per cent pay gap), and Pasifika women from 29 September (25.5 per cent pay gap). By showing the four women twisting themselves into various uncomfortable postures to spell out the year 2119, the cartoon illustrates the often untenable positions in which women find themselves in the workplace.

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This digital cartoon is from the New Zealand Cartoon and Comics Archive, one of the Turnbull Library’s treasuries of graphic art.

Murdoch (Ngāi Tahu, English) is the first woman to regularly produce political cartoons for New Zealand mainstream media. She has won the New Zealand Cartoonist of the Year award three times, in 2016, 2017 and 2018. Her cartoons regularly feature social justice themes and highlight inequality in contemporary Aotearoa. As a satirist, she aims to focus on injustice as well as the absurd to draw attention to societal issues that are otherwise easily ignored. Murdoch’s first cartoon was published in the Waikato Times in 2013. She specifically used her masculinesounding surname as a moniker for her cartoons to break into New Zealand’s male-dominated cartooning landscape. She is also the creator of the Munro the Cat cartoon puzzles. In her 2016 book Murdoch: The Cartoons of Sharon Murdoch, she says, ‘One of the most important decisions that a political cartoonist makes is their choice of subjects. I don’t always choose events that specifically affect women, but those events do strike me in a way that they may not strike a man.’

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‘TAKE SAGE OF VIRTUE’ SEÁN MCMAHON DESCRIPTION

MAKER / ARTIST

REFERENCE

Page from Booke of Soveraigne Medecines Against the Most Common and Known Deseases of Man and Women, copied 1665–75

John Feckenham (c. 1515–1584)

Donated by Royal Australasian College of Physicians History of Medicine Library, 1956 (MSX-3346-front-inside-cover; MSX-3346-001)

Global pandemics are not new. They have occurred sporadically around the world for centuries, with appalling death tolls and desperate searches for cures. Bubonic plague is a case in point — the Turnbull Library holds a rare manuscript detailing a sixteenth-century herbal remedy for the Black Death. Bubonic plague killed as many as 200 million people in Europe between 1347 and 1351, and it took more than 200 years for the population to return to pre-plague levels. The Black Death, as it was known, remained at the forefront of many minds, including that of John Feckenham (c. 1515–1584), an English monk and Doctor of Divinity, who became the last Abbot of Westminster. Known as an articulate, clear thinker, he served as confessor to Queen Mary I. As the religious tensions of the Tudor era played out, the abbot was sent to the Tower of London in 1560 and spent much of the remainder of his life imprisoned. During this time, he compiled a book of medical remedies, accumulated from various sources, including other manuscript texts. Nearly a century after Feckenham’s death in prison, his book was copied by hand. The different handwriting

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throughout the volume indicates that it was written by different scribes at varying times. The period of writing is early modern English, with some examples of medieval English. The volume also includes an index. This copy is one of only five known to exist, and was placed into the Turnbull’s care by the Royal Australasian College of Physicians History of Medicine Library in 1956.

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Feckenham’s remedies address a range of ailments, including stinking breath, broken limbs, wounds, yesking (the hiccups) and belching of the stomach. As for bubonic plague, here is his advice: ‘Take sage of virtue, herb-grace, elder leaves and red bramble leaves, of each one handful. Stamp them together and strain them through a cloth with a quart of white wine; and take a

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quantity of ginger and mingle them together, and drink thereof, evening and morning, a spoonful.’ Did the tonic work? Probably not, at least not for the plague. But the abbot’s Booke of Soveraigne Medecines offers a glimpse into centuries-old medicinal thinking in the wake of the darkest pandemic on record.

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DIGITAL DIARIES VA L E R I E L O V E & A B I B E A T S O N DESCRIPTION

MAKER / ARTIST

REFERENCE

National Library Wellington Covid Tracer QR code poster, signed by Director-General of Health, Dr Ashley Bloomfield, 9 June 2020

Ministry of Health Manatū Hauora

ATL-Group00495: Eph-C-JUNEJULY-2020/2

The Turnbull Library’s ephemera collection has a significant amount of material relating to New Zealand’s public health history. Posters, pamphlets and other publications provide public health information, and include items relating to the 1918 influenza pandemic, HIV/AIDS, the 2009 H1N1 ‘swine flu’ outbreak and the Covid-19 pandemic. The Covid-19 pandemic has some similarities to past public health emergencies in Aotearoa history, but is unique in being the first worldwide pandemic experienced and witnessed through a rapidly changing landscape of networked information communication technologies. One item within the National Library’s Covid-19 collection that helps us to explore this technological moment is a NZ Covid Tracer QR code poster. Following the establishment of the government’s Covid-19 Alert Level system in March 2020, all businesses and workplaces were required to display this type of poster at Alert Level 1 or higher (or offer a manual sign-in option), each with a QR code that uniquely identified the building or workplace and that could be scanned via the NZ Covid Tracer mobile app. This network of posters was then used to create a private digital diary of all places visited by an individual.

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If a person tested positive for Covid-19, their digital diary became part of a contact-tracing process designed to identify all of the places they had visited and when. People who were at the same place at the same time as an infected individual were then alerted to the risk of potential virus exposure and advised to get tested and selfisolate in order to break the chain of disease transmission. These posters, combined with the NZ Covid Tracer app, were the basis for a collective form of diary-keeping never before seen in New Zealand’s history. Their design and application invite us to reflect on how diary-keeping has been repurposed from the deeply personal choice of recording our actions and reflections, to a practice of collective responsibility that can save lives. The poster’s signature design of bold yellow and white diagonal stripes became integral with the Unite Against Covid-19 public health campaign established by the country’s Ministry of Health Manatū Hauora. The poster is now an item within the Turnbull Library’s Covid-19 collection. It was originally placed at the front entrance of the National Library’s Wellington building and was signed by Ashley Bloomfield, New Zealand’s Director-General of Health. Dr Bloomfield gained a high public profile through his regular televised briefings on the pandemic, some of which were held in the library’s auditorium.

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REFERENCES AND SOURCES INTRODUCTION

Curnow, Jenifer. ‘Hinerangi, Sophia’. Te Ara — The Encyclopedia of New Zealand. Story published 1993. https://teara.govt.nz/en/biographies/2h37/ hinerangi-sophia Gray, John. Raise it up! Highlights report 2014. Washington, D.C.: National Museum of American History, 2014. Kerry-Nicholls, J. H. The King Country; or, Explorations in New Zealand. London: Sampson Low, Marston, Searle & Rivington, 1884. New Zealand Times, 1 July 1918, p 4. WAKA SAIL

Starzecka, Dorota C., Roger Neich and Mick Pendergrast. Taonga Māori in the British Museum. Wellington: Te Papa Press, 2010. PORTRAIT OF AN ALLIANCE

Salmond, Anne. The Trial of the Cannibal Dog: Captain Cook in the South Seas. London: Allen Lane, 2003. MINIATURE WORLD

Sumira, Sylvia. The Art and History of Globes. London: The British Library, 2014. DRAWN TO TE AO MĀORI

Binney, Judith. ‘Nukutawhiti: Thomas Kendall’s drawing’, Turnbull Library Record XIII, no. 1 (May 1980): pp. 33–38. https://paperspast.natlib.govt.nz/periodicals/ TLR19800501.2.7 — —. The Legacy of Guilt: A life of Thomas Kendall. Wellington: Bridget Williams Books, 2005. YOUNG EMISSARIES

Jones, Alison and Kuni Jenkins. He Kōrero: Words between us — First Māori–Pākehā conversations on paper. Wellington: Huia, 2011. — —. Tuai: A traveller in two worlds. Wellington: Bridget Willliams Books, 2017. LETTER FROM ERUERA

Derby, Mark. ‘Cultural Go-Betweens: Eruera Pare Hongi’. Te Ara — The Encyclopedia of New Zealand. Revised 22 May 2018. https://teara.govt.nz/en/photograph/46839/ eruera-pare-hongi

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‘Eruera Pare Hongi’. New Zealand History, Ministry for Culture and Heritage. https://nzhistory.govt.nz/politics/ declaration/signatory/eruera-pare-hongi Jones, Alison and Kuni Jenkins. He Kōrero: Words between us — First Māori–Pākehā conversations on paper. Wellington: Huia, 2011. MEETING HONGI HIKA

Bell, Leonard. The Maori in European Art: A survey of the representation of the Maori by European artists from the time of Captain Cook to the present day. Wellington: A. H. & A. W. Reed, 1980. Earle, Augustus. A Narrative of a Nine Months’ Residence in New Zealand in 1827: Together with a journal of a residence in Tristan D’Acunha, an island situated between South America and the Cape of Good Hope. London: Longman & Co., 1832. ANOTHER VIEW OF WAITANGI

Colenso, William. The Authentic and Genuine History of the Signing of the Treaty of Waitangi, New Zealand, February 5 and 6. 1840. www.enzb.auckland.ac.nz/ document/?wid=121&page=0&action=null Lineham, Peter J. ‘Haddon, Ōriwa Tahupōtiki’. Te Ara — The Encyclopedia of New Zealand. Story published in 1998. https://teara.govt.nz/en/biographies/4h2/ haddon-oriwa-tahupotiki WHALING IN THE BAY

Alexander, Lindsay. ‘Chasing the White Whale: The mystery of the missing Whangamumu whaling film’. Ngā Taonga Sound & Vision. 19 November 2014. https://ngataonga. org.nz/blog/film/chasing-the-white-whale-the-mysteryremains/ Cawthorn, Martin William. Maori, Whales and ‘Whaling’: An ongoing relationship. Wellington: Department of Conservation, 2000. www.researchgate.net/ publication/237406305_Maori_whales_and_whaling_an_ ongoing_relationship Department of Conservation Te Papa Atawhai. ‘Whangamumu Whaling Station’. Updated 7 January 2010. www.doc.govt.nz/parks-and-recreation/ places-to-go/northland/places/cape-brett-andwhangamumu-area/heritage-sites/whangamumuwhaling-station/

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Meduna, Veronika. ‘A World with Whales’. Radio New Zealand. 25 December 2014. www.rnz.co.nz/national/programmes/ ourchangingworld/audio/20162153/a-world-with-whales Phillips, Jock. ‘Whaling’. Te Ara — The Encyclopedia of New Zealand. Story published 12 June 2006. www.teara.govt. nz/en/whaling BIRD TRADE

Brunner, Bernd. ‘How Birds Bedazzled Early European Explorers’. Nature (blog). 21 November 2017. www.pbs.org/wnet/nature/blog/birds-bedazzledearly-european-explorers/ Harvei, Will. ‘Flashback: The dead bird trade’. Stuff. 4 November 2018. www.stuff.co.nz/the-press/ news/108106620/flashback-the-dead-bird-trade Hunter, Kate. ‘A Bird in the Hand: Hunting, fashion and colonial culture’. The Journal of New Zealand Studies 12 (2011): pp. 91–105. https://doi.org/10.26686/jnzs.v0i12.491 Sagar, Paul. ‘Albatrosses’. Te Ara — The Encyclopedia of New Zealand. Story revised 17 February 2015. www.teara.govt.nz/en/albatrosses Te Papa Tongarewa Museum of New Zealand. ‘Bird Collection’. https://collections.tepapa.govt.nz/topic/2640 MOKO OF KAWEPŌ

Hogan, Helen M. Renata’s Journey / Ko te Haerenga o Renata. New Zealand: Canterbury University Press, 1984. HĀKARI

Box, Sheila. ‘Cuthbert Clarke: A biographical note’. Turnbull Library Record 24, no. 1 (May 1991). https://paperspast. natlib.govt.nz/periodicals/TLR19910501.2.10 Brown, Deirdre. Māori Architecture. Auckland: Penguin, 2009. Treadwell Sarah. ‘Categorical Weavings: European representations of the architecture of Hakari’. In Voyages and Beaches: Pacific encounters, 1769–1840, edited by Alex Calder, Jonathan Lamb and Bridget Orr, pp. 265–84. Honolulu: University of Hawai‘i Press, 1999. TRANSITION IN TAHITI

South Australian Maritime Museum. ‘Harpley’. Updated 31 January 2018. https://passengers.history.sa.gov.au/ node/927310 Chambers, Don. ‘The Controversial Ship “Harpley”: Seaworthiness, timber and Tasmanian shipbuilders.’ The Great Circle 31, no. 1 (2009): pp. 3–28. www.jstor.org/stable/41563282 EIGHT-HOUR-DAY CHAMPION

Roth, Herbert. ‘Parnell, Samuel Duncan’. Te Ara — The Encyclopedia of New Zealand. Story published 1990. https://teara.govt.nz/en/biographies/1p7/parnellsamuel-duncan ‘Samuel Parnell’. New Zealand History, Ministry for Culture and Heritage. Updated 8 November 2017. https://nzhistory.govt.nz/people/samuel-parnell Wikipedia. ‘Eight-hour Day’. Last edited 3 May 2021. https://en.wikipedia.org/wiki/Eight-hour_day

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—. ‘Samuel Duncan Parnell’. Last edited 18 November 2020. — https://en.wikipedia.org/wiki/Samuel_Duncan_Parnell. FIRST NEW ZEALAND ATLAS

Marshall, Brian. ‘Justus Perthes and August Petermann: Some 19th century New Zealand maps produced in Germany’. Turnbull Library Record 31, 1998. https://paperspast. natlib.govt.nz/periodicals/TLR19980101.2.10 TWO MĀORI IN VIENNA

Hogan, Helen. Bravo Neu Zeeland: Two Māori in Vienna 1859–60. Christchurch: Clerestory Press, 2003. Te Hokioi o Nui Tireni e rere atu na. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ hokioi-o-nui-tireni-e-rere-atuna Te Pihoihoi Mokemoke i runga i te tuanui. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ pihoihoi-mokemoke-i-runga-i-te-tuanui SHIPBOARD DIARY

Hawkins, William Webster. Diary, transcribed by Helen Loftus. Alexander Turnbull Library (MS-Papers-10710). — —. Diary (qMS-0934) digitised. National Library of New Zealand. https://ndhadeliver.natlib.govt.nz/delivery/ DeliveryManagerServlet?dps_pid=IE6599793&dps_ custom_att_1=emu Loftus, Helen J. The Tetley Affair, or, Colonial Dreams and Nightmares: Being an account of the career of Joseph Dresser Tetley, M.L.C. from 1858 to 1869 at Kekerengu, Starborough, Te Tatua and elsewhere. Waikanae: Heritage Press, 1997. NZ Spectator & Cook Strait Guardian. 21 January 1865, p. 2. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/NZSCSG18650121.2.6.3 HE WAHINE TOA

Oliver, Steven. ‘Te Kiri Karamū, Hēni’. Te Ara — The Encyclopedia of New Zealand. Story published 1990. https://teara.govt.nz/en/biographies/1t43/ te-kiri-karamu-heni Pore, Hēni. ‘Handwritten account by Heni Pore about her involvement in the NZ Wars’. Alexander Turnbull Library (MS-Papers-11310-141) HE HONONGA TĀNGAENGAE

de Graaf, Peter. ‘Godson to the Queen’. 21 May 2018. Ramblings. https://ramblings.nz/godson-to-the-queen/ — —. ‘Little Albert, Queen Vic’s Ngāpuhi Godson’. 13 Dec 2015. Northern Advocate. www.nzherald.co.nz/northernadvocate/news/little-albert-queen-vics-ngapuhi-godson/ B6PKWEFO6NN24B3MVEQ3FDWLIU/ Oliver, Steven. ‘Pōmare, Hare; Pōmare, Hariata’. Te Ara — The Encyclopedia of New Zealand. Story published 1990. https://teara.govt.nz/en/biographies/1p21/pomare-hare SELLING A FARMING DREAM

Swarbrick, Nancy. ‘Krippner, Martin’. Te Ara — The Encyclopedia of New Zealand. Updated November 2010. https://teara.govt.nz/en/ biographies/1k16/krippner-martin

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Wikipedia. ‘Ishbel Hamilton-Gordon, Marchioness of Aberdeen and Temair’. Last edited 25 January 2021 https://en.wikipedia.org/wiki/Ishbel_Hamilton-Gordon,_ Marchioness_of_Aberdeen_and_Temair ‘I SHALL NOT DIE’

Belich, James. ‘Tītokowaru, Riwha’. Te Ara — The Encyclopedia of New Zealand. Updated April 2011. https://teara.govt.nz/en/biographies/1t101/ titokowaru-riwha Sole, Tony. Ngāti Ruanui: A history. Wellington: Huia, 2005. — —. ‘Ngāti Ruanui — A New Order Emerges: Titokowaru’s letter’. Te Ara — The Encyclopedia of New Zealand. Updated 22 March 2017. https://teara.govt.nz/en/ document/497/titokowarus-letter KEREOPA TE RAU

Ngāti Rangiwewehi Claims Settlement Act 2014. Section 11, Pardon. www.legislation.govt.nz/act/public/2014/0014/ latest/DLM5992417.html Oliver, Steven. ‘Te Rau, Kereopa’. Te Ara — The Encyclopedia of New Zealand. Updated June 2014. https://teara.govt. nz/en/biographies/1t72/te-rau-kereopa WĀHINE MĀORI, WHENUA MĀORI

Binney, Judith. ‘Portrait of a Māori Woman, 1887’. In Stories Without End. Wellington: Bridget Williams Books, 2016. http://storieswithoutend.bwb.co.nz/Chapter-19-Portraitof-a-M%C4%81ori-woman-1887.html#rw-bodyChapter_335956-558025123 ‘Maraea Moana Morris’. The Salvation Army New Zealand. https://maori.salvationarmy.org.nz/research-policy/ heritage-centre-archives/article/maraea-moana-morris McAloon, Jim. ‘Land Ownership’. Te Ara — The Encyclopedia of New Zealand. Story published 24 November 2008. www.TeAra.govt.nz/en/land-ownership ‘Native Land Court Created’. New Zealand History, Ministry for Culture and Heritage. Updated 16 March 2021. https:// nzhistory.govt.nz/page/native-land-court-created Paterson, Lachy and Angela Wanhalla. He Reo Wāhine: Māori women’s voices from the nineteenth century. Auckland: Auckland University Press, 2017. ‘The Power of Forgiveness’. The Salvation Army New Zealand. www.salvationarmy.org.nz/article/power-forgiveness Soutar, Monty. ‘East Coast Region — Māori and Pākehā, 1870 to 1940’. Te Ara —The Encyclopedia of New Zealand. Updated 1 March 2015 https://teara.govt.nz/en/ east-coast-region/page-7 TELEGRAPHIC TWEETS

Bulovic, Annette. ‘New Zealand’s First Telegraph Line — 1st July 1862’. Peeling Back History (blog). 14 October 2014. www.peelingbackhistory.co.nz/new-zealandsfirst-telegraph-line-1st-july-1862/

Derby, Mark. ‘Newspapers — First Newspapers, 1839–1860’. Te Ara — The Encyclopedia of New Zealand. Story published 22 October 2014. www.teara.govt.nz/en/ newspapers/page-1 Grant, Ian F. Lasting Impressions: The story of New Zealand’s newspapers, 1840–1920. Masterton: Fraser Books, 2018. Lee, Karen. ‘Social Media for the 19th Century Dummy’. Fishwrap (blog). 7 June 2018. https://blog.newspapers. com/social-media-for-the-19th-century-dummy/ Scholefield, Guy H. Newspapers in New Zealand. Wellington: A. H. & A. W. Reed, 1958. University of Minnesota. ‘History of Newspapers’. Chap. 4.2 in Understanding Media and Culture: An introduction to mass communication. Minneapolis, MN: University of Minnesota Libraries Publishing, 2016. www.doi. org/10.24926/8668.2601 ACTIONS AT PARIHAKA

Day, Kelvin, ed. Contested Ground Te Whenua i Tohea: The Taranaki Wars, 1860–1881. Wellington: Huia, 2010. ‘The Invasion of Parihaka, 5 November 1881: An eyewitness account’. The Meeting Place — A New Zealand History Blog. 5 November 2012. www.meetingplace.nz/2012/11/ the-invasion-of-parihaka-5-november.html Hutchison, William. Political Caricatures. Wellington: Whitcombe and Tombs, 1880. Riseborough, Hazel. ‘Parihaka and the Historians’. Parihaka Seminars, 1993. — —. Days of Darkness: Taranaki, 1878–1884. Auckland: Penguin, 2002. FARM OF THE SOUTH

Blackley, Roger. Two Centuries of New Zealand Landscape Art. Auckland: Auckland City Art Gallery, 1990. Eldred-Grigg, Steven. People, People, People: A brief history of New Zealand. Auckland: David Bateman, 2011. Keith, Hamish. The Big Picture: A history of New Zealand art from 1642. Auckland: Godwit, 2007. McLauchlan, Gordon. A Short History of Farming in New Zealand. Auckland: David Bateman, 2020. Platts, Una. Nineteenth Century New Zealand Artists: A guide & handbook. Christchurch: Avon Fine Prints, 1980. http://nzetc.victoria.ac.nz/tm/scholarly/ tei-PlaNine-t1-body-d1-d427.html Wikipedia. ‘Colonial and Indian Exhibition’. Last edited 19 March 2021. https://en.wikipedia.org/wiki/Colonial_and_ Indian_Exhibition FLOWERING ART OF SCIENCE

Dawson, Bee. Lady Painters: The flower painters of early New Zealand. Auckland: Penguin, 1999. Featon, E. H. and S. F. Featon. The Art Album of New Zealand Flora: Being a systematic and popular description of the

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native flowering plants of New Zealand and the adjacent islands. Wellington: Bock & Cousins, 1889. Sampson, Bruce F. Early New Zealand Botanical Art. Auckland: Reed Methuen, 1985. HE WHAKAAHUA RANGATIRA

‘Hēni Materoa Carroll’. New Zealand History, Ministry for Culture and Heritage. https://nzhistory.govt.nz/people/ heni-materoa-carroll Huata, Ngatai. Ngā Taumata: A portrait of Ngāti Kahungunu 1879–1906. Wellington: Huia Publishers, 2003. Robinson, Sheila. ‘Carroll, Hēni Materoa’. Te Ara — The Encyclopedia of New Zealand. Story published 1996. https://teara.govt.nz/en/biographies/3c5/carroll-henimateroa A MORIORI GROUP

Lyttleton Times. ‘Town & Country’. 31 October 1889. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ LT18891031.2.27 — —. ‘Gerstenkorn and Eden George’. 18 October 1890. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ LT18901018.2.7 Wikipedia. ‘Chatham Islands’. Last edited 3 April 2021. https:// en.wikipedia.org/wiki/Chatham_Islands. ADVENTURE, LOVE AND KEEPSAKES

Grenier, Katherine and Amanda R. Mushal. Cultures of Memory in the Nineteenth Century: Consuming commemoration. New York: Palgrave Macmillan, 2020. Ofek, Galia. Representations of Hair in Victorian Literature and Culture. Farnham: Ashgate, 2009. Ricker, Lisa Reid. ‘Albums as Sites of Rhetorical Invention’. Rhetoric Review 29, no. 3, 2010. www.jstor.org/stable/27862432 LAGMHOR SONG BOOK

Brown, John. Ashburton, New Zealand: Its pioneers and its history, 1853–1939. Dunedin: A. H. & A. W. Reed, 1940. May, Judith. ‘Alice Mackay Mus. Bac.: A composer of song’. Music in New Zealand 24 (Autumn 1994): pp. 35–37. Moffat, Kirstine. Piano Forte: Stories and soundscapes from colonial New Zealand. Dunedin: Otago University Press, 2011. Patterson, Brad, Tom Brooking and Jim McAloon. Unpacking the Kists: The Scots in New Zealand. Dunedin: Otago University Press, 2013. LAST OF THE LAUGHING OWLS

Buller, Walter L. ‘Further Notes on the Birds of New Zealand. Transactions of the New Zealand Institute 25 (1892): pp. 63–88. https://paperspast.natlib.govt.nz/periodicals/ TPRSNZ1892-25.2.5.1.10 — —. A History of the Birds of New Zealand, 2 volumes, second edition, 1888. https://natlib-primo.hosted. exlibrisgroup.com/permalink/f/1s57t7d/NLNZ_ ALMA21254475530002836

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Galbreath, Ross. Walter Buller, The Reluctant Conservationist. Wellington: GP Books, 1989. ‘Laughing Owl’. New Zealand Birds Online. www.nzbirdsonline.org.nz/species/laughing-owl Sullivan, John ‘The Henry Wright Collection of Photographic Negatives’. Turnbull Library Record XII, no.1 (May 1979): pp. 37–44. https://paperspast.natlib.govt.nz/periodicals/ TLR19790501.2.7 Worthy, T. H. ‘A Survey of Historical Laughing Owl (Sceloglaux albifacies) Specimens in Museum Collections’. Notornis 44 (1997): pp. 241–52. http://notornis.osnz.org.nz/system/ files/Notornis_44_4_241.pdf A TAXING IMPOSITION

Murphy, Nigel. Guide to Laws and Policies Relating to the Chinese in New Zealand 1871–1997. Wellington: New Zealand Chinese Association, 2008. — —. The Poll-tax in New Zealand. Wellington: Office of Ethnic Affairs, 2002. KIRIKI HORI

Parkinson, Philip and Penelope Griffith. Books in Māori, 1815–1900: An annotated bibliography / Nga Tanga Reo Māori: Nga kohikohinga me ona whakamarama. Auckland: Reed, 2004. Maaka, Roger, speech at He Rau Tumu Kōrero hui, EIT, Hastings, 2012. Otago Daily Times, 13 July 1899, p. 4. Stephens, Māmari. ‘A House with Many Rooms: Rediscovering Māori as a civil language in the wake of the Māori Language Act (1987)’. In The Value of the Māori Language: Te hua o te reo Māori, edited by Rawinia Higgins, Poia Rewi and Vincent Olsen-Reeder, pp. 53–84. Wellington: Huia, 2014. PEACE ON THE WATERS

Boating New Zealand. ‘River Boat Queen’. 18 September 2019. https://boatingnz.co.nz/river-boat-queen/ Ngā Tāngata Tiaki o Whanganui. ‘The Whanganui River’. https://ngatangatatiaki.co.nz/our-story/historical-journey/ Wanganui Herald. 5 May 1903. https://paperspast.natlib.govt. nz/newspapers/wanganui-herald/1903/05/05 TAKING MĀORI TO THE WORLD

Diamond, Paul. Makereti: Taking Māori to the world. Auckland: Random House, 2007. Papakura, Makereti. The Old-Time Māori. London: Victor Gollancz, 1938. http://nzetc.victoria.ac.nz/tm/scholarly/ tei-MakOldT.html DIGGING FOR LIVELIHOODS

Hayward, Bruce W. Kauri Gum and the Gumdiggers: A pictorial history of the kauri gum industry in New Zealand. Auckland: Bush Press, 1989. ‘Kauri-gum Industry (Report and evidence of the royal commission on)’. Appendices to the Journals of the House of Representatives, 1898, H–12, p. 31.

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Read, Alfred. The Kauri Gumdiggers. Third edition. Auckland: Bush Press, 2006. Walrond, Carl. ‘Kauri Gum and Gum Digging’. Te Ara — The Encyclopedia of New Zealand. Story published 24 September 2007. www.teara.govt.nz/en/ kauri-gum-and-gum-digging Waterman, Steve. Gum Seekers. Wellington: Price Milburn, 1981. CHAMPION OF WOMEN IN MEDICINE

Manson, Cecil and Cecilia Manson. Doctor Agnes Bennett. London: Michael Joseph, 1960. COLLECTIVE MIGHT

The Cyclopedia Company. The Cyclopedia of New Zealand (Wellington Provincial District). 1897. http://nzetc.victoria. ac.nz/tm/scholarly/tei-Cyc01Cycl.html Roth, Herbert. ‘Parnell, Samuel Duncan’. Te Ara — The Encyclopedia of New Zealand. Story published 1990. https://teara.govt.nz/en/biographies/1p7/parnell-samuelduncan

The New Zealand Sexual Health Society. ‘Celebrating Ettie Rout, Sexual Health Pioneer’. 2013. www.nzshs.org/ images/History/Celebrating_Ettie_Rout_tribute_for_ NZSHS.PDF Tolerton, Jane. Ettie: A life of Ettie Rout. Auckland: Penguin, 1992. — —. ‘Rout, Ettie Annie’. Te Ara — The Encyclopedia of New Zealand. Story published 1996. https://teara.govt.nz/en/ biographies/3r31/rout-ettie-annie CHATHAM ISLAND JOCKEY CLUB

Evening Post. ‘Chathams’ Jubilee’. 22 November 1934. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/EP19341122.2.25.6 Hawke’s Bay Herald. ’Chatham Islands’. 13 March 1869. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/HBH18690313.2.11 New Zealand Herald. ‘Chatham Islands’. 5 March 1872. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/NZH18720305.2.30

‘IT’S JUST HELL HERE’

MANSFIELD’S TYPEWRITER

Colquhoun, David. ‘It’s Just Hell Here Now’. National Library Blog. 24 April 2013. https://natlib.govt.nz/blog/posts/ it-s-just-hell-here-now

Scott, Margaret. Recollecting Mansfield. Auckland: Random House, 2001.

‘Mounted Rifles Units: Canterbury Mounted Rifles Regiment’. New Zealand History, Ministry for Culture and Heritage. Updated 30 October 2017. https://nzhistory.govt.nz/war/ canterbury-mounted-rifles New Zealand Herald. ‘Artist Followed in Soldier’s Footsteps’. 24 April 2015. www.nzherald.co.nz/nz/ artist-followed-in-soldiers-footsteps/ XW2XKVRH6GOG73LJTQOF6B6ZBQ/ Tauranga Art Gallery. ‘Bob Kerr: “Hell Here Now”: The Gallipoli diary of Alfred Cameron’. www.artgallery.org.nz/bob-kerr-hell-here-now SAFE SEX PIONEER

‘Ettie Rout’. New Zealand History, Ministry for Culture and Heritage. Updated 8 November 2017. https://nzhistory. govt.nz/people/ettie-rout ‘Ettie Rout, Safe Sex Campaigner’. New Zealand History, Ministry for Culture and Heritage. Updated 29 July 2014. https://nzhistory.govt.nz/media/photo/ettie-rout Evening Post. ‘Obituary: Mr. Alexander Burns’. 18 September 1936. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/EP19360918.2.151 Gush, Nadia. ‘Negotiating Fraternal Gender Lines in World War I: Ettie Rout, venereal disease, and the female brother’. Women’s Studies Journal 30, no. 1 (July 2016): pp. 47–61. www.wsanz.org.nz/journal/docs/ WSJNZ301Gush47-61.pdf Rout, Ettie A. Two Years in Paris. London: Ettie A. Rout, 1923. https://archive.org/details/twoyearsinparis1934horn/ page/n3/mode/2up

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Woods, Joanna, et al. The Material Mansfield: Traces of a writer’s life. Auckland: Random House, 2008. O’Sullivan, Vincent and Margaret Scott, eds. The Collected Letters of Katherine Mansfield. Oxford: Clarendon Press, 1984–2008. VILLAIN OR VICTIM?

Broughton, William. ‘Cresswell, Walter D’Arcy’. Te Ara — The Encyclopedia of New Zealand. Story published 1998. https://teara.govt.nz/en/biographies/4c42/ cresswell-walter-darcy — —. ‘Mackay, Charles Ewing’. Te Ara — The Encyclopedia of New Zealand. Story published 1996. https://teara.govt.nz/ en/biographies/3m14/mackay-charles-ewing SĀMOA MŌ SĀMOA!

‘Black Saturday’. New Zealand History, Ministry for Culture and Heritage. Updated 2 September 2010. https://nzhistory.govt.nz/politics/samoa/black-saturday Field, Michael. Samoa mo Samoa: Black Saturday 1929. Wellington: Bridget Williams Books, 2019. ‘Influenza in Samoa’. New Zealand History, Ministry for Culture and Heritage. Updated 22 April 2020. https://nzhistory.govt.nz/culture/1918-influenzapandemic/samoa#:~:text=Bodies%20were%20 wrapped%20in%20mats,%2C%2022%25%20of%20 the%20population New Zealand Herald. ‘Full Text: Helen Clark’s apology to Samoa’. 4 June 2002. www.nzherald.co.nz/nz/ full-text-helen-clarks-apology-to-samoa/ 65TV2LDV6S7HHIYRDCFSC5YOZI/

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Tahana, Jamie. ‘How NZ Took Influenza to Samoa, Killing a Fifth of Its Population’. Radio New Zealand. 7 November 2018. www.rnz.co.nz/international/pacific-news/375404/

Watling, Amy and Jenni Chrisstoffels. ‘The View from Above’. National Library of New Zealand. Published 19 June 2019. https://natlib.govt.nz/blog/posts/the-view-from-above

‘COME ON, JACK!’

SIGNING THE TREATY

Colquhoun, David, ed. As if Running on Air: The journals of Jack Lovelock. Nelson: Craig Potton Publishing, 2008.

Alsop, Peter and Warren Feeney. Marcus King: Painting New Zealand for the world. Nelson: Potton and Burton, 2015.

McNeish, James. Lovelock. Auckland: Vintage, 1999. Woodfield, Graeme. Jack Lovelock: Athlete and doctor. Wellington: Trio Books, 2007. CAPTURING THE SPIRIT OF THE AGE

McCracken, Joan. ‘Kent, Thelma Rene’. Te Ara — The Encyclopedia of New Zealand. Story published 1998. https://teara.govt.nz/en/biographies/4k9/ kent-thelma-rene Prebensen, Maree. ‘A Pictorialist Practice: The life and times of Thelma Kent’. Master’s Thesis. Victoria University of Wellington, 2011. https://researcharchive.vuw.ac.nz/xmlui/ handle/10063/2439 CURIOS

‘Burt Munro’s pistons’. National Library of New Zealand (blog). 12 July 2013. https://natlib.govt.nz/about-us/media/ burt-munros-pistons Ogilvie, Gordon. ‘Wigley, Rodolph Lysaght’. Te Ara — the Encyclopedia of New Zealand. Story published 1996. https://teara.govt.nz/en/biographies/3w13/ wigley-rodolph-lysaght THE DRAW OF HAINING STREET

Matthews, Joy. Interview 4 May 1998, Haining Street oral history project. Alexander Turnbull Library OHColl-0455 (OHC-018710) Murphy, Nigel. Guide to Laws and Policies Relating to the Chinese in New Zealand 1871–1997. Wellington: New Zealand Chinese Association, 2008. HIGHER MOUNTAINS

Cook, Walter. ‘New Zealand’s first mountaineering expedition abroad: The Dora de Beer Collection’. Turnbull Library Record 2013, pp. 26–43. Crookston, Mark. ‘The Earle Riddiford Collection’. ATL100 New collections (blog). December 2019. https://natlib. govt.nz/blog/posts/atl100-new-collections McKinnon, Lyn. Only two for Everest: How a first ascent by Riddiford and Cotter shaped climbing history. Dunedin: Otago University Press, 2016. AOTEAROA FROM THE AIR

Alsop, Peter. Whites Hand-coloured New Zealand. Nelson: Potton and Burton, 2016. Strange, Mark. ‘The Vice Inherent in Photographic Film’. National Library of New Zealand. Published 25 February 2012. https://natlib.govt.nz/blog/posts/the-vice-inherentin-photographic-film Sullivan, John, Ross Ewing, Sarah Ell, and Whites Aviation Limited. Whites Aviation: Classic New Zealand aerial photography. Auckland: Godwit, 2009.

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King, Michael. The Penguin History of New Zealand Illustrated. Auckland: Penguin, 2007. AUSWANDERUNG

Beaglehole, Ann. A Small Price to Pay: Refugees from Hitler in New Zealand, 1936–46. Wellington: Allen & Unwin, 1988. Ester and Helmut Einhorn: Papers (MS-GROUP-1852, specifically MS-Papers-11756-5); Interview OHA-1612 (printed transcript); full Einhorn interview OHInt-0009/05 Einhorn, Ester and Helmut. Interview by Ann Beaglehole. 18–21 December 1984. Interview OHA-1612. Transcript. European Refugees to New Zealand — Oral History Interviews. Turnbull Collections. The National Library of New Zealand. A JAPANESE SONGBOOK

‘49 Killed in Featherston POW incident’. New Zealand History, Ministry for Culture and Heritage. Updated 7 October 2020. https://nzhistory.govt.nz/49-killed-during-riot-atfeatherston-pow-camp Copland, Tessa. ‘Japanese — Contact 1900–1945: Featherston Prisoner of War Camp’. Te Ara — The Encyclopaedia of New Zealand. Updated 1 Mar 2015. https://teara.govt.nz/en/photograph/1216/ featherston-prisoner-of-war-camp ‘Featherston’s Camp — Roadside Stories’. New Zealand History, Ministry for Culture and Heritage. Updated 8 January 2016. https://nzhistory.govt.nz/media/video/ featherstons-camp-roadside-stories Translation advice: Nelly Bess, Collection Description Librarian, National Library of New Zealand Additional material on prisoners’ artistic and craft productions contributed by Erena Williamson WAR, REFUGE AND LEARNING

Bay of Plenty Beacon. ‘Books for Soldiers’. 1 December 1939. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/BPB19391201.2.29 Bennett, Kate D. ‘How Libraries Served Soldiers and Civilians During WWI and WWII’. OUP Blog (blog). 8 May 2017. https://blog.oup.com/2017/05/libraries-soldiers-world-war/ Evening Star. ‘Soldiers’ Gift Parcels’. 3 October 1944. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ ESD19441003.2.34 Gillespie, Oliver A., ed. Base Wallahs: Story of the units of the Base Organisation, NZEF IP. Dunedin: A. H. & A. W. Reed, 1946.

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McGibbon, Ian, ed. The Oxford Companion to New Zealand Military History. Auckland: Oxford University Press, 2000. Nelson Evening Mail. ‘Soldiers’ Magazines’. 18 October 1922. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/NEM19221018.2.13 New Zealand Herald. ‘Books for Forces’. 31 March 1942. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/NZH19420331.2.92 Rosales Jr, Romeo. ‘The Library War Service’. Public Libraries Online. 13 April 2016. http://publiclibrariesonline. org/2016/04/the-library-war-service/ ‘Supporting the War Effort: 1914–1919’. New Zealand History, Ministry for Culture and Heritage. Updated 22 December 2014. https://nzhistory.govt.nz/war/supporting-war-effort Vincent, John. ‘The Role of Libraries in Times of Crisis’. CILIP: The Library and Information Association. 13 October 2015. www.cilip.org.uk/news/482443/The-role-oflibraries-in-times-of-crisis.htm CUSTOM MEETS COLONISATION

Galbreath, Ross. ‘Displacement, Conservation and Customary Use of Native Plants and Animals in New Zealand’. New Zealand Journal of History 36, no. 1 (2002): pp. 36–50. www.nzjh.auckland.ac.nz/ docs/2002/NZJH_36_1_04.pdf Geary, Amelia F., Nicola J. Nelson, Glenice Paine, Waihaere Mason, Dawson L. Dunning, Steve E. Corin and Kristina M. Ranstad. ‘Māori Traditional Harvest, Knowledge and Management of Sooty Shearwaters (Puffinus griseus) in the Marlborough Sounds, New Zealand. New Zealand Journal of Ecology 43, no. 3 (2019). https://dx.doi. org/10.20417/nzjecol.43.29 Keane, Basil. ‘Te Tāhere Manu — Bird Catching: Hunters with kererū’. Te Ara — The Encyclopedia of New Zealand. Story published 24 September 2007. https://teara.govt. nz/en/te-tahere-manu-bird-catching Miskelly, Colin M. ‘Legal Protection of New Zealand’s Indigenous Terrestrial Fauna — An Historical Review’. Tuhinga 25 (2014): pp. 25–101. www.tepapa.govt.nz/sites/ default/files/tuhinga.25.2014.pt3_.p25-101.miskelly_1.pdf Morrison, Bruce (director). Landscape: Muttonbirders. First aired 1969. www.nzonscreen.com/title/ landscape-muttonbirders-1969 Northern Advocate. ‘No Kereru for Maori Battalion’. 7 August 1943. Papers Past. https://paperspast.natlib.govt.nz/ newspapers/NA19430807.2.24?items_per_ page=10&query=maori+kereru&snippet=true The Press. ‘The Maori Pigeon.’ 28 May 1943. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ CHP19430528.2.68.7?items_per_ page=10&query=maori+kereru&snippet=true

HEALTH IN BODY AND MIND

McEldowney, Dennis. ‘Smithells, Philip Ashton’. Te Ara — The Encyclopedia of New Zealand. Story published 2000. https://teara.govt.nz/en/biographies/5s30/ smithells-philip-ashton ‘Schools and the First World War’. New Zealand History, Ministry for Culture and Heritage. Updated 22 December 2014. https://nzhistory.govt.nz/war/children-and-firstworld-war Schrader, Ben. ‘Children and Sport’. Te Ara — The Encyclopedia of New Zealand. Story published 5 September 2013. https://teara.govt.nz/en/ children-and-sport/sources Smithells, Philip. ‘A Philosophy for Physical Education.’ Australian Journal of Education 16, no. 1 (March 1972): pp. 48–55. https://doi.org/10.1177/000494417201600106 Thomson, Rex. ‘History, Events and People of the School’. School of Physical Education, Sport and Exercise Sciences, University of Otago. Updated 7 December 2018. www.otago.ac.nz/sopeses/about/history/index.html GIFT OF FIRE

Mackle, Tony. ‘Taylor, Ernest Mervyn’. Te Ara — The Encyclopedia of New Zealand. Story updated June 2015. https://teara.govt.nz/en/biographies/5t3/ taylor-ernest-mervyn Solander Gallery. ‘E. Mervyn Taylor’. https://solandergallery. co.nz/artist/e-mervyn-taylor/ Tikao, Teone Taare and Herries Beattie. Tikao Talks. Auckland: Penguin, 1990. ANCIENT DOCUMENTS

British Museum. ‘How to Write Cuneiform’. 21 January 2021. Curator’s Corner. https://blog.britishmuseum.org/ how-to-write-cuneiform/ Gordin, Shai, Gai Gutherz, Ariel Elazary, Avital Romach, Enrique Jiménez, Jonathan Berant and Yoram Cohen. ‘Reading Akkadian Cuneiform Using Natural Language Processing’. PLOS ONE 15, no. 10 (October 2020). https:// doi.org/10.1371/journal.pone.0240511 HUTU AND KAWA

Acres, Avis. The Adventures of Hutu and Kawa. Wellington: Reed, 1955. —. Hutu and Kawa Meet Tuatara. Wellington: Reed, 1956. — — —. Hutu and Kawa Find an Island. Wellington: Reed, 1957. Gilderdale, Betty. A Sea Change: 145 years of New Zealand junior fiction. Auckland: Longman Paul, 1982. Ireton, Olwen. I Saw a Flower Move: A biography of Avis Acres. Tauranga: Olwen Ireton, 1993. KOROUA, MOKOPUNA

Skinner, Damian. ‘The Eye of an Outsider: A conversation with Ans Westra’. Art New Zealand 100 (Spring 2001). www.art-newzealand.com/Issue100/ans.htm Stephenson, Sharon. ‘Through the Lens’. Woman (23 November 2020): pp. 54–57.

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Walton, A. ‘Settlement Patterns in the Whanganui River Valley, 1839–1864’. New Zealand Journal of Archaeology 16, 1994. MEAN MONEY

‘1973 — Key Events’. New Zealand History, Ministry for Culture and Heritage. Updated 9 May 2018. https:// nzhistory.govt.nz/culture/the-1970s/1973 Bedford, Richard and Katherine Gibson. Migration, Employment and Development in the South Pacific: New Zealand. Noumea: South Pacific Commission, 1986. Cougar Boys. ‘Things Islanders Say …’ 15 May 2018. YouTube. www.youtube.com/ watch?app=desktop&v=cHJ5mmF1OUM de Bres, Joris and Rob Campbell. The Overstayers: Illegal migration from the Pacific to New Zealand. Auckland: Auckland Resources Centre for World Development, 1976. Fepulea‘i, Damon (director). Dawn Raids. Isola Productions, 2005. www.nzonscreen.com/title/dawn-raids-2005 The Islanders. Auckland: Shortland Educational Publishers, 1976. Ministry for Pacific Peoples. ‘The Precious Story of Our Pacific Migration to Aotearoa, NZ’. 5 October 2017. YouTube. www.youtube.com/watch?v=2ymn48QVcEg THE GOLDEN AGE OF WOOLCRAFT

Milburn, Katherine. ‘Patterns of Behaviour’. Otago Daily Times. 28 September 2020. www.odt.co.nz/lifestyle/ magazine/patterns-behaviour Nicholson, Heather. Look Back in Stitches: A story of knitters and hand knitting in New Zealand from 1815. North Shore: Author, 1994. — —. The Loving Stitch: A history of knitting and spinning in New Zealand. Auckland: Auckland University Press, 1998. Nicol, Alistair and Caroline Saunders. ‘Meat and Wool — Wool Production and Processing’. Te Ara — The Encyclopedia of New Zealand. Story published 24 November 2008. www.teara.govt.nz/en/meat-and-wool/page-6 Pollock, Kerryn. ‘Sewing, Knitting and Textile Crafts — Knitting, Spinning and Weaving’. Te Ara — The Encyclopedia of New Zealand. Story published 5 September 2013. www.teara.govt.nz/en/sewingknitting-and-textile-crafts/page-3 Stewart, Peter J. Patterns on the Plain: A centennial history of Mosgiel Woollens Limited. Dunedin: Mosgiel Limited, 1975. Turner, Dorothea. Episodic Memoirs. Wellington: Dorothea Turner, 1993. THEATRE LANDMARK

Derby, Mark and Briar Grace-Smith. ‘Māori Theatre — Te Whare Tapere Hōu’. Te Ara —The Encyclopedia of New Zealand. Story published 22 October 2014. https:// teara.govt.nz/en/maori-theatre-te-whare-tapere-hou

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‘Porgy and Bess’. The National Library of New Zealand. https://natlib.govt.nz/visiting/wellington/pukanaexhibition/pukana-curators-talk/porgy-and-bess ‘Porgy and Bess — 50 Years Since NZ Performance’. Radio New Zealand. 20 September 2015. www.rnz.co.nz/ national/programmes/teahikaa/audio/201771047/ porgy-and-bess-50-years-since-nz-performance Heikell, Vicki-Anne. ‘The Most Exciting, the Most Spectacular Production in the Show History of New Zealand’. National Library Blog. June 12 2020. https://natlib.govt.nz/blog/ posts/the-most-exciting-the-most-spectacularproduction-in-the-show-history-of-new-zealand Royal, Te Ahukaramū Charles. ‘Whare Tapere’. www.charles-royal.nz/whare-tapere Te Ao Hou. ‘People and Places’. December 1964. https://paperspast.natlib.govt.nz/periodicals/ te-ao-hou/1964/12/00/32 FROM TOKELAU TO WELLINGTON

Angelo, Tony and Talei Pasikale. Tokelau — A History of Government: The constitutional history and legal development of Tokelau. Apia: Council for the Ongoing Government of Tokelau, 2008. www.tokelau.org.nz/site/ tokelau/files/Tokelau%20A%20History%20of%20 Government%20FINAL.pdf Edwards, Simon. ‘Hutt Woman Susana Lemisio Honoured for Her Work for Tokelau Community’. Stuff. 6 June 2016. www.stuff.co.nz/dominion-post/80771756/hutt-womansusana-lemisio-honoured-for-her-work-for-tokelaucommunity McQuarrie, Peter. Tokelau: People, atolls and history. Wellington: Peter McQuarrie, 2007. Tauafiafi, Lealaiauloto Aigaletaule‘ale‘a F. and Paula Faiva. ‘London to Nukunonu: Queen Elizabeth honours Susana Lemisio (nee Perez)’. Government of Tokelau. 15 June 2016. www.tokelau.org.nz/Bulletin/June+2016/ Susana+Lemisio+honoured.htm Tokelau Government. ‘About Us: Culture’. www.tokelau.org.nz/About+Us/Culture.html Walrond, Carl. ‘Tokelauans’. Te Ara — The Encyclopedia of New Zealand. Story updated 25 March 2015. www.teara.govt.nz/en/tokelauans Wright, Derek (director). Atoll People. 1970. www.nzonscreen.com/title/atoll-people-1970 Acknowledging also Vaka Lemisio for confirmation of family information. WHETU — STYLE ICON

Brown, Helen. ‘Tirikatene-Sullivan, Tini Whetu Marama’. Te Ara — The Encyclopedia of New Zealand. Story published 2018. https://teara.govt.nz/en/biographies/6t6/ tirikatene-sullivan-tini-whetu-marama

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Elsdon Craig Collection: Letter from Whetu TirikateneSullivan, MS-papers-7888-240 Reference to whakataukī: Kaua e mate wheke, mate ururoa. Do not die like an octopus, die like a hammerhead shark. ‘EDUCATE TO LIBERATE’

Anae, Melani. The Platform: The radical legacy of the Polynesian Panthers. Wellington: Bridget Williams Books, 2020. Anae, Melani, ed., with Lautofa Iuli and Lailani Tamu. Polynesian Panthers: Pacific protest and affirmative action in Aotearoa New Zealand 1971–1981. Wellington: Huia, 2015. — —. Polynesian Panthers: The crucible years, 1971–74. Auckland: Reed Publishing, 2006. Salmon, Dane (director). Polynesian Panthers. Tūmanako Productions, 2010. www.nzonscreen.com/title/ polynesian-panthers-2010 THE DAWN RAIDS

‘The 1970s: 1973 — key events’. New Zealand History, Ministry for Culture and Heritage. Updated 9 May 2018. https:// nzhistory.govt.nz/culture/the-1970s/1973

TOITŪ TE WHENUA

Boast, Richard. ‘Te Tango Whenua — Māori Land Alienation’. Te Ara — The Encyclopedia of New Zealand. Story updated 2015. https://teara.govt.nz/en/te-tango-whenuamaori-land-alienation/page-1 Keane, Basil. ‘Ngā Rōpū Tautohetohe — Māori Protest Movements’. Te Ara — The Encyclopedia of New Zealand. Story published in 2012. https://teara.govt.nz/ en/nga-ropu-tautohetohe-maori-protest-movements ‘Whina Cooper Leads Land March to Parliament’. New Zealand History, Ministry for Culture and Heritage. Updated 7 September 2020. https://nzhistory.govt.nz/ whina-cooper-led-land-march-te-ropu-o-te-matakitereaches-parliament CAMBODIAN JOURNEYS

Young, Niborom. Cambodian women in New Zealand oral history project, 1993. Alexander Turnbull Library, OHColl-1185. Young, Niborom. Cambodian Women Oral History Project. UNESCO Memory of the World, New Zealand Register, 2018. https://unescomow.nz/inscription/cambodianwomen-oral-history-project

Anae, Melani, ed., with Lautofa Iuli and Lailani Tamu. Polynesian Panthers: Pacific protest and affirmative action in Aotearoa New Zealand 1971–1981. Wellington: Huia, 2015.

Young, Niborom. I Tried Not to Cry: The journeys of ten Cambodian refugee women. Wellington: Steele Roberts, 2015.

de Bres, Joris and Rob Campbell. The Overstayers: Illegal migration from the Pacific to New Zealand. Auckland: Auckland Resources Centre for World Development, 1976.

Hunt, Janet. Hone Tuwhare: A biography. Auckland: Godwit, 1998.

Fepulea‘i, Damon (director). Dawn Raids. Isola Productions, 2005. www.nzonscreen.com/title/dawn-raids-2005 The Islanders. Auckland: Shortland Educational Publishers, 1976. Salmon, Dane (director). Polynesian Panthers. Tūmanako Productions, 2010. www.nzonscreen.com/title/ polynesian-panthers-2010 Spoonley, Paul. ‘Ethnic and Religious Intolerance: Intolerance towards Pacific migrants’. Te Ara — The Encyclopedia of New Zealand. Story updated 7 June 2018. www.TeAra. govt.nz/en/ethnic-and-religious-intolerance/page-4 ‘NOT ONE MORE ACRE’

Gibson, Stephanie, Matariki Williams and Puawai Cairns. Protest Tautohetohe: Objects of resistance, persistence and defiance. Wellington: Te Papa Press, 2019. Poata, Tama Te Kapua. Poata: Seeing beyond the horizon: A memoir, edited by Prue Poata. Wellington: Steele Roberts, 2012. Steven, Geoff (director). Te Matakite o Aotearoa — The Māori Land March. First aired 1975 on TV2. www.nzonscreen.com/title/te-matakite-o-aotearoa-1975

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PEOPLE’S POET

Tuwhare, Hone. Small Holes in the Silence: Collected works. Auckland: Godwit, 2011. THE LIFE SHE WAS BORN TO LEAD

Rupe, Carmen and Paul Martin. Carmen: My life: As told to Paul Martin. Auckland: Benton Ross, 1988. Townsend, Lynette. ‘Rupe, Carmen Tione’. Te Ara — The Encyclopaedia of New Zealand. Story published 2018. https://teara.govt.nz/en/biographies/6r6/ rupe-carmen-tione Grant, Jacqui. ‘Carmen Recalls Coffee Lounge Glory Days’. Queer News Aotearoa, 23 April 2006. www.qna.net.nz/ news/696.html VISITING FOOTROT FLATS

Ball, Murray (director). Footrot Flats. 1986. New Zealand Film Commission. www.nzfilm.co.nz/films/footrot-flats Footrot Flats. www.footrotflats.com/ Neville, Indira. ‘Murray Ball Gave NZ Footrot Flats. He Gave Me Pongo, a Surprising Feminist Role Model. The Spinoff. 15 March 2017. https://thespinoff.co.nz/society/ 15-03-2017/murray-ball-gave-nz-footrot-flats-he-gaveme-pongo-a-surprising-feminist-role-model A VOLCANIC CAREER

Baysting, Arthur (director). E Ipo: The Tui Teka story. Auckland: Sony/BMG, 2007.

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Peters, Mahora and James George. Showband! Mahora and the Māori Volcanics. Wellington: Huia, 2005. Spittle, Gordon. Counting the Beat: A history of New Zealand song. Wellington: GP Publications, 1997. ALL-WHITE ALL BLACKS

Foster, Niumata. ‘All Blacks v Springboks: Drama on field and off in classic history’. Stuff. 24 October 2015. www.stuff. co.nz/sport/rugby/all-blacks/73348615/all-blacks-vspringboks-drama-on-field-and-off-in-classic-history Keane, Basil. ‘Ngā Rōpū Tautohetohe — Māori protest movements’. Te Ara — The Encyclopedia of New Zealand. Story published 2012. https://teara.govt.nz/en/ nga-ropu-tautohetohe-maori-protest-movements Pinksty, Simon. ‘The Early History of Rugby in South Africa’. South African History Online. www.sahistory.org.za/ article/early-history-rugby-south-africa Smith, Tony. ‘Our Truth, Tā Mātou Pono: Māori All Blacks’ hurtful and racist exclusion from South African rugby tours’. Stuff. 25 March 2021. www.stuff.co.nz/pou-tiaki/ our-truth/124509693/our-truth-t-mtou-pono--mori-allblacks-hurtful-and-racist-exclusion-from-south-africanrugby-tours HALT THE RACIST TOUR

Calder, Kaye and Gail Novelle. ‘Batons and Blood: Police charge city marchers’. Evening Post, 20 July 1981, p. 1. Coughlan, Kate. ‘When Batons Struck in Molesworth Street’. Evening Post, 11 July 1991, p. 7. Moon, Paul. Turning Points: Events that changed the course of New Zealand history. Auckland: New Holland, 2013. Newnham, Tom. By Batons and Barbed Wire: A response to the 1981 Springbok tour of New Zealand. Auckland: Graphic Publications, 2003. White, Margo. ‘Bastion Point Flashpoint’. New Zealand Geographic. Updated 24 May 2018. www.nzgeo.com/ stories/bastion-point-flashpoint/ GOING ANTI-NUCLEAR

‘Nuclear-free New Zealand’. New Zealand History, Ministry for Culture and Heritage. Updated 2 October 2014. https://nzhistory.govt.nz/politics/nuclear-free-nz ‘Nuclear Testing in the Pacific’. New Zealand History, Ministry for Culture and Heritage. Updated 3 July 2017. https://nzhistory.govt.nz/politics/nuclear-free-newzealand/testing-in-the-pacific NGĀ TAONGA REO MĀORI

Royal, Te Ahukaramū Charles. ‘Māori’. Te Ara — The Encyclopedia of New Zealand. Story published 1996. https://teara.govt.nz/en/maori Te Taura Whiri i Te Reo Māori Māori Language Commission. www.tetaurawhiri.govt.nz/ ‘Te Upoko o Te Ika — Māori Radio Collection’. National Library of New Zealand Te Puna Mātauranga o Aotearoa. https:// natlib.govt.nz/collections/a-z/te-upoko-o-te-ika-maoriradio-collection

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‘Te Wiki o Te Reo Māori’. New Zealand History, Ministry for Culture and Heritage. Updated 17 September 2020. https://nzhistory.govt.nz/culture/maori-language-week BREAK OUT THE TABS

Bill Direen. http://william.direen.online.fr/ New Zealand International Film Festival. Bill Direen: A memory of others. www.nziff.co.nz/2017/auckland/ bill-direen-a-memory-of-others/ Under the Radar. ‘Interview: Bill Direen/Ferocious’. Updated 24 February 2020. www.undertheradar.co.nz/ news/16966/Interview-Bill-Direen--Ferocious.utr DIVINE ILLUMINATION

Ekhitar, Maryam D. How to Read Islamic Calligraphy. New York: The Metropolitan Museum of Art, 2018. Olson, Carl. ‘The Sacred Book’. In The Oxford Companion to the Book, vol 1.1, edited by Michael F. Suarez, S. J. and H. R. Woudhuysen. Oxford: Oxford University Press, 2010. The Qur’ān, translated by Tarif Khalidi. London: Penguin Books, 2009. NEW BREATH FOR ANCIENT VOICES

Nunns, Richard and Alan Thomas. Te Ara Puoro: A journey into the world of Māori music. Nelson: Craig Potton Publishing, 2014. HE KIRIATA NUI: MĀORI ON SCREEN

Bisley, Catherine. ‘Ngāti — A Perspective’. New Zealand on Screen, 23 January 2013. www.nzonscreen.com/title/ ngati-1987/background ‘Communicado Features Limited: Once Were Warriors photographs’. Alexander Turnbull Library, PAGroup-00887. ‘Merata Mita’. New Zealand on Screen, 13 August 2018. www.nzonscreen.com/profile/merata-mita/biography New Zealand on Screen. Once Were Warriors. 24 January 2013. www.nzonscreen.com/title/ once-were-warriors-1994 WRITING THE MOVES

Aldrich, Elizabeth, Sandra Noll Hammond and Armand Russell, eds. The Extraordinary Dance Book T B. 1826: An anonymous manuscript in facsimile. Stuyvesant, NY: Pendragon Press, 2000. Hilton, Wendy. Dance and Music of Court and Theater: Selected writings by Wendy Hilton. Stuyvesant, NY: Pendragon Press, 1997. Thomas, Allan. ‘The Lowe Family: Five generations of dance teachers in New Zealand, Australia and Scotland’. Stout Centre Review 3, no. 1 (November 1992): pp. 5–7. www.doi.org/10.26686/jnzs.v3i1.277 Thomas, Allan, ed. A New Most Excellent Dancing Master: The journal of Joseph Lowe’s visits to Balmoral and Windsor (1852–1860) to teach dance to the family of Queen Victoria. Stuyvesant, NY: Pendragon Press, 1992. (ATL ref. to the original manuscript: MSX-2865).

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Tomlinson, Kellom. The Art of Dancing Explained by Reading and Figures. London: Author, 1735. Shennan, Jennifer, ed. A Work Book by Kellom Tomlinson: Commonplace book of an eighteenth-century English dancing master: A facsimile edition. Stuyvesant, NY: Pendragon Press, 1992. SOMALI PACIFIC STAR

Department of Statistics. New Zealand Official Yearbook. Wellington: Department of Statistics, 1990. www3.stats. govt.nz/New_Zealand_Official_Yearbooks/1990/ NZOYB_1990.html

WRITERS ON RECORD

Alexander Turnbull Library. Letter from Michael King to Ruth Dallas, 1 February 2000, MS-Papers-8752-251 New Zealand Society of Authors/Alexander Turnbull Library. Extracts from NZSA oral history project archive: OHColl-0698 ‘Public Lending Right for New Zealand Authors.’ The National Library of New Zealand. https://natlib.govt.nz/ publishers-and-authors/public-lending-right-for-newzealand-authors A CHANCE TO DREAM

Evening Post. ‘Somali Refugee to Relaunch Career’. 9 October 1999.

Cross, Tina. Interview with Paul Diamond, 2019. Alexander Turnbull Library, OHColl-1213.

Labour and Immigration Research Centre. New Land, New Life: Long-term settlement of refugees in New Zealand. Wellington: Ministry of Business, Innovation and Employment, 2012. www.mbie.govt.nz/ dmsdocument/2688-new-land-new-life-longtermsettlement-refugees-main-report-pdf

Bollard, Graham (composer). ‘Is It You or is It Me?’, performed by Tina Cross. TVNZ. www.tvnz.co.nz/shows/ shortland-street/features/theme-song

Pennington, Phil. ‘Talented immigrants play mix and match’. Evening Post, 25 June 1997. COLOUR, MOVEMENT AND MUSIC

Brooke-White, Julia. Personal communication, 2021. ‘Festival of Pacific Arts and Culture’. Pacific Community Social Development Programme. www.spc.int/sdp/pacfest COLOSSUS OF SCIENCE

Callaghan Innovation. ‘About Us: Our name — Sir Paul Callaghan’. Updated 11 March 2019. www.callaghaninnovation.govt.nz/about-us/ our-name-sir-paul-callaghan Callaghan, Paul. Wool to Weta: Transforming New Zealand’s culture and economy. Auckland: Auckland University Press, 2009. — —. ‘The Zealandia Vision for a Predator-Free New Zealand’. Public lecture. Victoria University of Wellington, 13 February 2012. YouTube. www.youtube.com/ watch?v=noIP5lbuJHk&ab_ channel=ZealandiaEcosanctuary Dominion Post. ‘Inside the Mind of Murray Webb’. 23 November 2013. www.stuff.co.nz/dominionpost/9421855/Inside-the-mind-of-Murray-Webb Kelly, Michael J. ‘Sir Paul Terence Callaghan FRS PCNZM. 19 August 1947–24 March 2012’. Biographical Memoirs of Fellows of the Royal Society 63 (May 2017): pp. 79–98. www.doi.org/10.1098/rsbm.2017.0006 New Zealand International Film Festival. ‘Paul Callaghan: Dancing with atoms’. www.nziff.co.nz/2018/film/ paul-callaghan-dancing-with-atoms/

Misa, Tapu. ‘The Sound and the Look’. Mana, August–September, 2002. Nealon, Sarah. ‘Tina Still on Song’. Plenty, Summer, 2008. GAME OF THE PEOPLE

Coffey, John. ‘Rugby League: Origins of rugby league’. Te Ara — The Encyclopedia of New Zealand. Story published 5 September 2013. www.teara.govt.nz/en/ rugby-league/page-2 DISASTER AND CARTOONS

‘Pike River Mine Disaster’. New Zealand History, Ministry for Culture and Heritage. Updated 17 February 2021. https://nzhistory.govt.nz/culture/pike-river-mine-disaster Wilson, John. ‘Canterbury Earthquakes and Rebuild’. Te Ara — the Encyclopedia of New Zealand. Story reviewed and revised 6 July 2015. www.TeAra.govt.nz/en/canterbury-region/page-17 JAMMERS AND BLOCKERS

New Zealand Herald. ‘Pedestrianism’. 6 May 1876. Papers Past. https://paperspast.natlib.govt.nz/newspapers/ NZH18760506.2.19 Wikipedia. ‘Roller Derby’. Last edited 11 February 2021. https://en.wikipedia.org/wiki/Roller_derby MAHY MAGIC

Read NZ Te Pou Muramura. ‘Mahy, Margaret’. www.read-nz.org/writer/mahy-margaret/ Duder, Tessa. ‘Mahy, Margaret May’. Te Ara — The Encyclopedia of New Zealand. Story published 2018. https://teara.govt.nz/en/biographies/6m3/ mahy-margaret-may The Arts Foundation Te Tumu Toi. ‘Margaret Mahy Biography’. www.thearts.co.nz/artists/margaret-mahy FROM LILBURN TO VAPORWAVE

Gooding, Sarah. ‘The New Zealand Artists Taking Vaporwave in New Directions’. Bandcamp Daily, 3 December 2018. https://daily.bandcamp.com/scene-report/ new-zealand-vaporwave-list.

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Norman, Philip. Douglas Lilburn: His life and music. Christchurch: Canterbury University Press, 2006.

Orchard, Sam. Rooster Tails Comic. www.roostertailscomic.com/

Pepperell, Martyn. ‘Luke Rowell’. AudioCulture. www. audioculture.co.nz/people/disasteradio

Human Rights Commission. To Be Who I Am. Kia noho au ki tōku anō ao. Report of the Inquiry into Discrimination Experienced by Transgender People. He Pūrango mō te Uiuitanga mō Aukatitanga e Pāngia ana e ngā Tangata Whakawhitiira. January 2008. www.hrc.co.nz/ files/5714/2378/7661/15-Jan-2008_14-56-48_HRC_ Transgender_FINAL.pdf

Rowell, Luke. Disasteradio. https://disasteradio.bandcamp.com UNITED IN GRIEF

Prime Minister Jacinda Ardern’s Quote: New Zealand Parliament: Ministerial Statements: Mosques Terror Attacks — Christchurch, 19 March 2019. www.parliament. nz/en/pb/hansard-debates/rhr/combined/ HansDeb_20190319_20190319_08 Searle, Jamie. ‘Shaun Yeo’s Cartoon of Crying Kiwi Touches the Hearts of Millions Globally.’ Southland Times. 17 March 2019. www.stuff.co.nz/southlandtimes/111347867/shaun-yeos-cartoon-of-crying-kiwitouches-the-hearts-of-millions-globally FOR GENERATIONS TO COME

A call to action from School Strike 4 Climate and the Pacific Climate Warriors. https://fb.watch/5AczWpIu5X/ Feast, Jess (director) and Ruth Korver (producer). RISE: The school students leading New Zealand’s climate strikes. Documentary. 31 July 2020. https://thespinoff.co.nz/ videos/rise-the-school-students-leading-new-zealandsclimate-strikes/ Handford, Sophie and Raven Maeder. ‘The Origins of School Strike 4 Climate NZ’. In Standing up for a Sustainable World, edited by Claude Henry, Johan Rockström and Nicholas Stern, pp. 219–231. Cheltenham: Edward Elgar, 2020. www.doi.org/10.4337/9781800371781 Pacific Climate Warriors Wellington. www.facebook.com/PCWWLG School Strike 4 Climate NZ (SS4C). www.facebook.com/schoolstrike4climatenz Tahana, Jamie. ‘“We’re Not Drowning, We’re Fighting”: Pacific youth lead climate march’. Radio New Zealand. 27 September 2019. https://fb.watch/5AczWpIu5X/

Veale J., J. Byrne, K. Tan, S. Guy, A. Yee, T. Nopera and R. Bentham. Counting Ourselves: The health and wellbeing of trans and non-binary people in Aotearoa New Zealand. Hamilton: Transgender Health Research Lab, University of Waikato, 2019. https:// countingourselves.nz/wp-content/uploads/2020/01/ Counting-Ourselves_Report-Dec-19-Online.pdf CLOSING THE GENDER PAY GAP

Murdoch, Sharon and Melinda Johnston. Murdoch: The political cartoons of Sharon Murdoch. Nelson: Potton & Burton, 2016. Welton, Huia. New Zealand Council of Trade Unions Te Kauae Kaimahi press release, 17 November 2019. www.union.org. nz/kiwi-women-are-working-for-free/ ‘TAKE SAGE OF VIRTUE’

Lalor, Daphne E. ‘An Edition of the Book of Sovereign Medicines MS X3346’. Doctoral Thesis. The University of Auckland, 1995. https://researchspace.auckland.ac.nz/ handle/2292/2281 DIGITAL DIARIES

Ministry of Health — Manatū Hauora. ‘NZ COVID Tracer App’. Updated 22 April 2021. www.health.govt.nz/our-work/ diseases-and-conditions/covid-19-novel-coronavirus/ covid-19-resources-and-tools/nz-covid-tracer-app Spinney, Laura. ‘What are COVID Archivists Keeping for Tomorrow’s Historians?’ Nature. Updated 23 December 2020. www.nature.com/articles/d41586-020-03554-0

WE ARE BENEFICIARIES

Turei, Metiria. ‘Mending the Safety Net’. Speech to the Green Party 2017 AGM, 15 July 2017. www.scoop.co.nz/ stories/PA1707/S00237/speech-turei-mending-thesafety-net.htm Davidson, Isaac. ‘Green Party Co-leader Metiria Turei Resigns’. 9 August 2017. New Zealand Herald. www.nzherald.co.nz/nz/green-party-co-leader-metiriaturei-resigns/4FBMEPBHT5D5O2TQNFIOYVVZWE/ ‘I SEE YOU’

Ariki Arts. Gender Minorities Aotearoa. Posters, 2018. https://genderminorities.com/2018/05/18/ transgender-posters-new-zealand/

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ABOUT THE EDITORS

MICHAEL KEITH

C H R I S S Z E K E LY

Michael Keith cut his teeth in publishing as editor of the School Journal with the Department of Education. Since 1990, he has been the principal of Shearwater Associates, a company engaged in numerous publishing, writing, editorial and educational projects in New Zealand and the Pacific. This has included multiple exhibition and visitor experience developments at Te Papa Tongarewa and many other museums, historic places and environmental and recreational sites throughout Aotearoa.

Chris Szekely has held the statutory position of Chief Librarian of the Alexander Turnbull Library since 2007. He began his library career at the Auckland School Library Service, and for a time led library services in the South Auckland city of Manukau. He is a founding member of the Māori Information Professionals’ Association Te Rōpū Whakahau and a Fellow of the Library & Information Association of New Zealand Aotearoa. He is also an award-winning children’s author with works published in te reo Māori and English.

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ABOUT THE CONTRIBUTORS U L U A FA E S E

DR A BI BE AT S O N

Ulu Afaese is of Samoan descent and hails from the villages of Falealili Mata‘utu and Sagone. He is currently the Pacific Virtual Museum Content Analyst, involved in a joint project between the National Library of New Zealand and the National Library of Australia.

Dr Abi Beatson is the Covid-19 Digital Archivist. Her work focuses on building the Turnbull’s Covid-19 collection to ensure that the historical record of this unprecedented time in Aotearoa New Zealand’s history is collected and preserved to support future understanding and research.

LISA ALLCOTT Lisa Allcott has been a Facilitator National Capability, Services to Schools, since 2001. She currently works with schools in South Auckland, Manurewa and Franklin, running face-to-face and online professional development for school library teams in the areas of reading engagement, digital resources and school library development.

DR NATA S H A B A R R E T T Dr Natasha Barrett is currently Research Librarian Digital Materials in the Arrangement and Description team and serves on the National Digital Forum Board. She has a PhD in Museum Studies (University of Leicester) on the meanings and uses of colonial-era photographs of Māori and their taonga in British museum collections.

TRISH BEAMSLEY Trish Beamsley (Te Ati Haunui-a-Papārangi, Te Āti Awa) is Research Librarian Māori and has worked for the Turnbull and its clients for two decades. One of her favourite aspects of her job is introducing and reuniting Māori with their ancestors’ taonga held in the library.

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CAT H E R I N E BI S L E Y Catherine Bisley (Ngāpuhi) is a part-time Arrangement and Description Librarian with a special interest in photographic collections. Outside of her work at the Turnbull she works in film as a writer and director. Kia whakarite, kia whakamārama, kia tauhere ki te ao.

DR M IC H A E L BROW N Dr Michael Brown is the Curator Music. He has published on various aspects of New Zealand music and music archiving practice and co-edited Searches for Tradition: Essays on New Zealand music, past and present (Victoria University Press, 2017).

R ENE BURTON Rene Burton is the National Manager Online, Services to Schools. Burton provides strategic leadership and direction relating to online services, content, and resources that support educators and learners to access taonga in an ever-increasingly digital world.

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JENNI CHRISSTOFFELS

VA L E R I E L O V E

Jenni Chrisstoffels is the Research Librarian, Pictorial, and has worked at the National Library and Alexander Turnbull Library for over 30 years. Since 2011 she has specialised in assisting researchers to find and use relevant images from the Turnbull’s vast pictorial collections.

Valerie Love is Kaipupuri Pūranga Matihiko Matua Senior Digital Archivist. They are responsible for the transfer, ingest and management of born-digital heritage collections, including social media material. Through their work, Valerie continually strives for inclusive and respectful contemporary collecting for the Library.

GAIL COCHRANE Gail Cochrane is the Facilitator National Capability (Priority Learners) within Services to Schools. She provides advice to schools and kura to support enquiry learning, digital literacy, reading engagement, and the development of their libraries’ physical and online services.

PAU L D I A M O N D Paul Diamond (Ngāti Hauā, Te Rarawa, Ngāpuhi) was appointed as Curator Māori in 2011. He is the author of A Fire in Your Belly (Huia, 2003), Makereti: Taking Māori to the world (Random House, 2007) and Savaged to Suit: Māori and cartooning in New Zealand (Fraser Books, 2018), and has also worked as an oral historian and broadcaster. In 2017 he was awarded Creative New Zealand’s Berlin Writer’s Residency to complete a book about Charles Mackay, a former mayor of Whanganui who was killed in Berlin in 1929.

S U Z A N N E H A R DY Suzanne Hardy is a Reading Services Librarian for Services to Schools in the Literacy and Learning Directorate of the National Library of New Zealand.

CELLIA JOE-OLSEN Cellia Joe-Olsen (Nō Ngāti Kahungunu ki Te Wairoa, Ngāti Pahauwera, Tūwharetoa) ko te Heritage Advice Coordinator tōna tūranga i roto i te ranga Outreach Services. Ahakoa he tūranga whānui tāna, e ngākaunui ana ia ki te reo Māori, ki ngā tikanga Māori, ā, ki tōna ao Māori anō hoki.

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PA M E L A L OV I S Pamela Lovis is Librarian Research Enquiries, part of a team that facilitates access to the library’s collections and information for researchers in the reading rooms and responds to distance enquiries. She has an interest in New Zealand’s extinct birds, particularly the huia, from many years working in New Zealand museums with natural history collections.

JOA N MC C R AC K E N Joan McCracken has been the Outreach Services Leader since 2011, heading a team that supports the library’s public events programme, and providing advice and training in oral history and care of collections. She first worked at the Turnbull from 1972 to 1976 and returned in 1984 to provide research services to the pictorial collections.

KEITH MCEWING Keith McEwing is Assistant Curator Music for the Archive of New Zealand Music and Secretary for the Lilburn Trust. He completed a Bachelor of Music and a Master of Arts at Victoria University of Wellington. His interests include Baroque dance, and he teaches Ballroom and Latin dance, and Taiji Quan.

SEÁN MCMAHON Seán McMahon is Assistant Manuscripts Curator Kairaupī Tuhinga Taketake Tuarua and he manages the Manuscripts and Archives Collection at the Turnbull. His special interests are shipboard diaries and First World War manuscripts.

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INDIR A NEVILLE

M A RY SK A ROT T

Indira Neville is the Principal Advisor National Programmes and Strategy, Services to Schools. She develops high-level advice, strategy and policy related to school libraries in Aotearoa and the curriculum generally. She is a practising cartoonist and musician and a prolific writer in the fields of both education and pop culture.

Mary Skarott is Research Librarian Children’s Literature and has worked with the Turnbull’s children’s collections since 1991. Her role is to connect researchers with the library’s substantial children’s literature resources and to contribute to building the National Children’s Collection and the Dorothy Neal White Collection.

DR SASCHA NOLDEN

JEANNIE SKINNER

Dr Sascha Nolden is a Research Librarian who joined the Turnbull’s Arrangement and Description team in 2015 and works across all the analogue formats of the unpublished collections. His research interests in history and biography include the transcription, translation and editing of primary sources.

Jeannie Skinner is Facilitator National Capability (Priority Learners), Services to Schools, and provides leadership and advice around learning, literacy and libraries. She is passionate about the importance of engaging children with reading for pleasure, the power of story to enrich their lives, and the role of libraries to help this happen.

DY L A N OW E N Dylan Owen works as an Online Content Services and Product Developer (Curriculum), Services to Schools. His role is to research, develop and provide online curriculum resources for Aotearoa New Zealand schools. He has also been documenting New Zealand society over the last three decades through photography.

DENISE ROUGHA N Denise Roughan is a former Assistant Curator Drawings Paintings and Prints. She worked at the library for 13 years and now resides in her hometown of Dunedin.

LY N E T T E S H U M 沈寶蓮 Lynette Shum 沈寶蓮 is an Oral History Advisor and has been with the Turnbull for 14 years. Her role is primarily to advise, train, support and advocate for oral history. She has a passion for the history of Chinese in New Zealand, particularly the historic Chinatown that was in central Wellington.

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T E W H A I M ĀTAU R A N G A S M I T H Te Whai Mātauranga Smith is National Capability Services Facilitator Māori in the Literacy and Learning Directorate of the National Library of New Zealand.

DR OLIVER STEAD Dr Oliver Stead is Curator, Drawings, Paintings and Prints. Oliver trained in art history and information studies, specialising in the arts of New Zealand and the South Pacific. His PhD research focused on the New Zealand-born art dealer and collector Sir Rex Nan Kivell.

J O H N S U L L I VA N John Sullivan was Curatorial Services Leader at the Turnbull from 2011 to 2021. Prior to taking up this role he had worked for 37 years with the library’s photographic collections; the last 26 of them as Curator.

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A M A N DA S Y K E S

SULIANA VEA

Amanda Sykes is the Collections Registrar. She manages the Turnbull’s loans programme, the storage and movement of its many varied collections, and is responsible for a team of library assistants. Her specialties lie in collection storage and logistics; making sure the collections remain as safe as possible to ensure they can be accessed by future generations of New Zealanders.

Suliana Vea is the Research Librarian for the Pacific. She grew up in Te Whanganui-a-Tara Wellington, which she proudly calls home. She is of Tongan descent and hails from the villages of Faleloa in Ha‘apai and ‘Ahau in Tongatapu.

ANTHONY TEDESCHI Anthony Tedeschi MRSNZ is Curator Rare Books and Fine Printing. He holds an MLS with a Rare Books and Manuscripts Librarianship Specialisation from Indiana University and an MA with Distinction in English Literature from the University of Otago. His areas of specialty include book history and collecting, provenance evidence, and European history and literature.

A R I A NA T I K AO Ariana Tikao (Kāi Tahu, Kāti Irakehu) is a former Research Librarian, and a writer, singer, composer and leading player of taonga puoro. She was awarded an Arts Foundation Laureate Award in 2020. Her writing explores themes relating to her Kāi Tahu identity and mana wahine and draws upon historical kōrero from her ancestors.

A U D R E Y WA U G H Audrey Waugh is Assistant Curator in the Contemporary Voices and Archives team and has worked at the library since 2015 in the Collection Care, Research Access and Curatorial Services teams.

DR SHA N NON WELLINGTON Dr Shannon Wellington is Curator Archives. Her research interests include the intersections of theory and practice between galleries, libraries, archives and museums. Prior to her role at the library, she was a lecturer in Archival Systems and Preservation Management at Victoria University of Wellington.

ER ENA WILLIA MSON Erena Williamson (Ngāpuhi) is the Senior Specialist Online Services and Learning Resources at Services to Schools. She contributes thought leadership relating to online content, including teaching and learning resources, blog posts, partnership projects and professional learning development.

RU K I TOBI N Ruki Tobin (Ngāpuhi, Ngāti Kahu, Ngāti Whātua) is Poutiaki Rauemi, Ngā Ratonga ki ngā Kura Services to Schools.

ROB TU WHAR E

C A M U S W YAT T Camus Wyatt is an Imaging Technician/Photographer and artist. He was first contracted by the library as a photographer during the digitisation of the Flying Nun Records archive.

Rob Tuwhare is executor of the Hone Tuwhare Estate and founding member of the Hone Tuwhare Charitable Trust. He teaches carpentry to South Auckland secondary school students at the Manukau Institute of Technology.

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ACKNOW LEDGEMENTS

There are many people, teams and organisations to thank for Te Kupenga. The Alexander Turnbull Library Endowment Trust, and trustees John Meads (Chair), Suzanne Snively (Deputy Chair), Margaret Kawharu, Neil Plimmer, Emeritus Professor Erik Olssen and Associate Professor Kerry Taylor, have supported and, through the New Zealand Lottery Grants Board, helped finance the development and publishing of this book. The project would not have got off the ground without their backing. Our writers: the contributors to Te Kupenga represent a collaboration between two households in the National Library whānau: the Alexander Turnbull Library and the Services to Schools directorate. We are hugely grateful for their willingness to participate and for the initiative and effort behind their contributions. Thanks, too, to their managers and workmates who enabled thinking space for them to research and write. The indefatigable Jessica Gray has done magnificent work in managing the project in house, including coordinating and liaising with writers, photographers, editorial advisers, rights holders, content creators and the publishers. The Turnbull Library Imaging Services Team has gone all out to accommodate the demands of the illustrations for Te Kupenga: special thanks to Alicia Tolley, Claire Viskovic, Llewelyn Jones and Mark Beatty. We have called on the knowledge and expertise of many people in various editorial, governance, selection, advisory, reader or fact-checking capacities. Special mention is due to Amanda Sykes, Aneeshla Prasad, Arapine Walker, Basil Keane, Bob Weston, Carolyn Carr,

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Charlotte Macdonald, Elizabeth Jones, Erena Williamson, Eva Gregory-Hunt, Fran McGowan, Hamish Ansley, Jennifer Shennan, Dr Jocelyn Powell, Jock Phillips, John Meads, Kerry Taylor, Associate Professor Leonard Bell, Majid Daneshgar, Melanie Lovell-Smith, Nelly Bess, Niborom Young, Paul Diamond, Paula MacLachlan, Stephanie Gibson, Susan Thorpe, Rhys Richards, Rene Burton, Robert Holmes, Ruki Tobin, Susi Bailey, Samuel Beyer and Vaka Lemisio for the parts they have played. Nicola Legat and Emily Goldthorpe of Massey University Press have anchored the publication process for us. Special thanks to Nicola for her incisive editorial critique and overview of the book’s development. Maintaining connections with donors and rights holders of our collections, either directly or through their families and representatives, is of key importance to the Library. For essay input, advice and permissions, thanks go to Ans Westra, Barbara Einhorn, Christian Heinegg, Damer Farrell, Dylan Owen, the Earle Riddiford family, Fu Fighter Arts, Gareth Ball/Diogenes Designs Ltd., Jim Hubbard, Jule Einhorn, Julia Brooke-White, Kilbirnie Mosque community, Kristin de Sousa, Luke Rowell, Malcolm Evans, Mark Winter, Mark Denton, Matthew McIntyre Wilson, Max Oettli, Murray Webb, Natalie Jones, Niborom Young, Nina Kurzmann, Piripi Walker, the Nunns family, Rob Cross, Rob Tuwhare and the Hone Tuwhare Charitable Trust, Robert Holmes, Sam Orchard, Sandy Callister, Sascha Nolden, Semira Davies, Sharon Murdoch, Shaun Yeo, State Library Victoria, Stephanie Gibson, Stuff Ltd, Suite Gallery, Susan Thorpe, Terence O’Neill Joyce, Victor Young, Wendy Colling, Wendy Pond, and William Direen.

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INDEX Page numbers in bold refer to images. 0–9 28th (Māori) Battalion men with a gift of preserved tītī for Christmas (Kaye) 150–51, 151 350 Pacific protest 238, 239 A Acres, Avis 160–61 Adsett, Sandy 172 Afeaki, Kalo 239 Akoga Kamata 170 – Alexander Turnbull Library 8–11, 10, 15 – 3.5-inch floppy disks awaiting digitisation 234–35 – Boxed photographic prints store 158–59 – Drawings, paintings and prints store 12–13 – Framed painting store 106–07 – Master tape archive awaiting digitisation 200–01 – Rare books cage 2 All Blacks tours of South Africa 192–93, 194 – see also Springbok tour of New Zealand, 1981 Amalgamated Society of Carpenters and Joiners, Wellington Branch 108, 109 Amnesty Aroha 176 Anae, Melani 174 Andersen, Johannes Carl 9 Andrew, Stanley Polkinghorne 112–13 Anson, George 21 Aotea Knitting Pattern 7256 (Mosgiel Woollens Ltd) 166, 167 Arahanga, Julian 211 Ardern, Jacinda 228, 237 Armed forces library, probably in the Western Pacific region 148, 149 The Art Album of New Zealand Flora 76 Auckland Committee on Racial Discrimination 176 audio-cassette labels 202, 203 ‘Auswanderung’ (Einhorn family papers re emigration from Germany) 140–43, 140–43 Autograph album (Joanna Elizabeth Turnbull) 82, 83–85

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B Baker, Ianeta (née Tinielu) 171 Baker, Ida 118, 119 Ball, Murray 188–89 Barclay, Barry 211 Barry, James 24–25 Bennett, Agnes 104, 105 Bible Society in New Zealand 204 Bilders (Bill Direen band) 203 Binney, Judith 23 Bishop, Thomas 54 Bligh, William 18 Bloomfield, Ashley 248, 249 Booke of Soveraigne Medecines Against the Most Common and Known Deseases of Man and Women (Feckenham) 246–47, 246–47 Books in Māori 1815–1900 Ngā Tānga Reo Māori 96 British Museum, drawing of the rā 16, 17 Brooker, Don 233 Brooke-White, Julia 216–17 Brough, Karen 195, 195 Brown, Kerry 210, 211 Brunner Rugby League Club 225, 225 Brutal Pageant roller derby team 228, 229 bubonic plague 246, 247 Buck, Sir Peter (Te Rangi Hiroa) 16 Buller, Walter 90 Busby, James 33, 138 Byles, Marie 135 C Cabot, Charles Henry 168 Callaghan, Sir Paul 218, 219 Cambodian oral history project 182, 183, 183 Cameron, Alfred, war diary 110, 111 Carmen’s International Coffee Lounge, Wellington 186, 187 Carnell, Samuel 39, 66–67, 78–79 Carroll, Hēni Materoa 78 Carte de visite portrait of Maraea Mōrete 68, 69 Carte de visite portrait of Rēnata Kawepō Tama-ki-Hikurangi, Napier (Carnell) 39 Champion Shorthorn Cows and Bulls (Fodor) 74–75, 74–75 Chapman, Cyril 178 Chatham Island Jockey Club 114, 115–17 Chatham Islands (Rēkohu, Wharekauri) 80, 81

Chhay San 183 Chinese Immigrants Act 1881 93 Christchurch earthquake, February 2011 226, 227, 227 Christchurch mosque shootings 236, 237, 237 Church Missionary Society 22, 24, 25, 26 – Letter written to Church Missionary Society leaders by a 10-year-old pupil at the CMS school, Kerikeri (Hongi) 26, 28–29 Citizens All Black Tour Association 192, 193 Clark, Helen 125 Clarke, Cuthbert 40–41 Clarke, George 26 Claudet, Antoine 52–53 climate change protest 238–39 Colenso, William 33 Colling, Wendy 233 Collis, William 73 Communicado Features Limited 210–11 Cook, James 16, 18, 131 – track of first voyage (1768–71) 20 Cooper Whina 178, 180, 181 Cotter, Ed 135 Cotton, William Charles 39 Covid Tracer QR code poster, signed by Dr Ashley Bloomfield (Ministry of Health Manatū Hauora) 248, 249 Cresswell, Walter D’Arcy 122, 122–23 Cross, Ian 220, 221 Cross, Tina 222, 223 Crown Studios Ltd 193 Crying Kiwi cartoon (Yeo) 237, 237 cuneiform tablets 156, 157 curios 130, 131, 131 D Dadson, Phil 178 Dalgety & Co. Ltd 74, 75 dance workbook of Kellom Tomlinson 212–13, 212–13 Davis, Semira 240, 241 dawn raids 174, 176 ‘Dawn raids: The ugly reality’ information sheet (Auckland Committee on Racial Discrimination) 176, 177 De Beer, Dora 134, 135 De Sousa, Kristin 222 Declaration of Independence, He Whakaputanga, 1835 26 DeLatte, Theodore 46 Denton, Mark 196

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Department of Māori Affairs 33 Depot Theatre (later Taki Rua) 169 ‘Diary from leaving England Octr 8th to November 8th 1866’ [page 8] (Hawkins) 54, 55 Dickson, Euan 131 Direen, Bill 202, 203 Disasteradio (Luke Rowell) 232, 233, 233 Diver, Henry 73 Dryburgh, Stuart 211 E ‘E Ipo’ (‘My Darling’, song by Prince Tui Teka) 191 Earle, Augustus 30–31 Einhorn, Ester and Helmut 140–43, 143 Evans, Malcolm 226–27 F Farrell, Damer 225 Featherston prisoner-of-war camp 144, 145, 145, 146–47 Featon, Sarah Anne 76–77 Feckenham, John 246–47 Festival of Pacific Arts 216–17, 216–17 Finau, Nimilote 165 Firth, Raymond 16 Fischer, Carl Frank 46 Fodor, George Ferdinand 74–75 Footrot Flats (Ball) 188, 189 ‘For Diver’s Reasons’, cartoon, Wellington Advertiser, 19 November 1881 72, 72–73 French nuclear tests, Mururoa Atoll 196 Frizzell, Dick 138 Fu Fighter Arts 240, 241 Furneaux, Tobias 18 G Gaitanos, Sarah 220 Gallipoli campaign 110, 111 gender pay gap 244–45 Geological and Topographical Atlas of New Zealand [three plates] (Hochstetter and Petermann) 46, 47–49 George IV, King 31 German Jewish Aid Committee 141 Gerstenkorn, Karl Andreas 80–81 Globe and case, 1776 20, 21 A Grammar and Vocabulary of the Language of New Zealand (Kendall) 22 Gray, Alison 220 Grey, George 41, 87 Griffiths, Merv 199 Guest, Ernest 115 Guest, J. J. 115 gumfields, Te Tai Tokerau 102, 103 H Haast, Julius von 46, 49 Haddon, Oriwa Tahupōtiki 32, 33, 33

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Haining Street (Tong Yan Gai), Wellington 132 hākari 40–41, 40–41 Halt All Racist Tours (HART) 193, 195 Hamilton, Augustus 16 Hamilton-Gordon, Ishbel Maria 60–61 Handford, Sophie 239 ‘Handwritten account by Heni Pore about her involvement in the NZ Wars’ [page 4] 56, 57 Harpley (ship) 43 Hatzopulos, John Theo (Kiriki Hori) 96, 97 Hawkins, William Webster 54–55 Heinegg, Christian F. 178–81 Herring, Harry 86 Hikanui, Herewini 208 Hillary, Edmund 135 Hinerangi, Te Paea (Sophia Gray; Guide Sophia) 11, 11 Hobson, William 33, 138 Hochstetter, Ferdinand von 46–49 Hongi, Eruera Pare 26, 27, 28–29 Hongi Hika 22, 30, 31 Hroch, Christina 233 Hutchinson, Vivian 178 Hutton, Thomas Biddulph 38, 39 Hutu and Kawa books (Acres) 160, 161 I Ihaia, Rakera 100 Iles, Arthur 101 ‘Ilolahia, Will 174 ‘I’m gonna wash that man right out’a my hair …’ (poster, Denton) 196, 197 immigrants – see also refugees – Chinese 92, 93 – Jewish 140–43, 143 – Pacific Island workers and families 164–65, 165, 176 – Syrian 93, 94–95 – Tokelauan 165, 170, 171 J Japanese songbook, crafted at the Featherston prisoner-of-war camp 144, 145, 146–47 Jones, Marjorie Edgar 135 Jorgensen, Ian 233 K kaitiakitanga 150–51 Kara, Timi (James Carroll) 78 Karaka — Corynocarpus laevigata (Featon) 76, 77 Kawepō, Rēnata Tama-ki-Hikurangi 38, 38, 39, 39 Kaye, George Frederick 150, 151 Kebbell, Mr 9 Kendall, Thomas 22–23 Kent, Thelma 128–29 Kerry-Nicholls, James 11

‘Kevin diving’, Fairfield College, Hamilton (Oettli) 152, 153 Khouri family, from Syria 93, 94–95 Khumbu Icefall, Nepal (Riddiford) 135, 135 Khun, Neary 183 ‘Ki a Puano ma’ (letter by Tītokowaru) 62, 63–65 The King Country; or, Explorations in New Zealand (Kerry-Nicholls) 11 King, James 18 King, Marcus 33, 138–39 King, Michael 220 Kiriki Hori (Greek George; John Theo Hatzopulos) 96, 97 knitting patterns 166, 167 Kohikohinga o te Reo Irirangi o Te Upoko o te Ika 198, 199 Koriniti, Whanganui River 162 Koroua and baby, Koriniti (Westra) 162, 163 Krippner, Martin 61 L Labour Day 44, 108 ‘The Lagmhor Song Book’ (McLean) 86, 88–89 Lane, Nicholas 20, 21 Lange, David 174, 196, 197 Lee, Samuel 22, 24 Leigh-Wood, James 82 Lemisio, Susana (née Perez) 170, 171 libraries for the armed forces 148, 149 Lilburn, Douglas 131, 154, 233 Logan, Robert 124 Lomano, Savelio 171 Lovelock, Jack 126, 127, 127 Lowe, George 135 Lowe, Joseph Eager 212 M Mackay, Charles 122–23, 123 Mackley, Ian 195 Maeder, Raven 239 Mahuika, Goddess of Fire 154, 155 Mahy, Margaret 230–31, 231 – cartoon obituary 230 Maka, Hinalagi 171 Malietoa Tanumafile II 125 Mansfield, Katherine 131 – Corona 3 typewriter 118, 119 – Notebook 39, page 42, from the draft of ‘The Story of Pearl Button’ (Example of handwriting) 118, 120–21 manu (bird) trade 36 Manuele, Akileo 171 Māori (28th) Battalion men with a gift of preserved tītī for Christmas (Kaye) 150–51, 151 Māori design in clothing 172, 173

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Māori Land March 178, 184 – Ko te Hīkoi mō te Whenua kei Kirikiriroa (Heinegg) 180, 181 – Māori Land March leaving Te Reo Mihi Marae, Te Hāpua (Heinegg) 178, 179 Māori showbands 191 Māori stories in films 210–11 Māori Theatre Trust 169 Māori Writers and Artists Conference 184 Marsden, Samuel 24 Matthews, Joy 132 Mau parade along Beach Road in Apia, Sāmoa, on Black Saturday, 28 December 1929 124–25, 124–25 Maui Fleeing from Mahuika, Goddess of Fire (Taylor) 154, 155 Maynall Studio 58–59 McCormack, Jean 185 McLean, Alice (later Mackay; née Rowley) 86, 87, 88–89 McLean, Donald 86 Meeting of the Artist and Hongi at the Bay of Islands, November 1827 (Earle) 30, 31 ‘Mimpi Sedih’ (song) 190, 191 Ministry of Health Manatū Hauora 248–49 Mita, Merata 211 Moeono-Kolio, Mary 239 ‘The moko of Renata Kawepo, drawn by himself ’ 38, 38 Mōrete, Maraea (Maria Morris) 68, 69 Moriori group, Wairua, Chatham Island (Gerstenkorn) 80, 81 Mortimer, George 24 Munro, Bert 130, 131 Murdoch, Sharon 244–45 Murry, John Middleton 118 music 232, 233, 233 – digital music preservation 233 N Narbey, Leon 178 National Library of New Zealand 9, 10 Native Land Court 68 Naxi women washing laundry, Lijiang, Yunnan, China (de Beer) 134, 135 Nene, Tāmati Wāka 138 Nepia, George 192, 193 New Zealand Army Education and Welfare Service 149 New Zealand Opera Company 168–69 New Zealand Society of Authors (NZSA) 220 New Zealand Wars 40–41, 56–57, 62–65, 66 ‘News of the Week’, Otago Witness, issue 1104, 26 January 1873 70, 71 Ngoc Chou Tran 183

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Nias, Joseph 138 ‘No Maoris — No Tour’ protest meeting, Wellington, 1959 192, 193, 194 Northwood, Arthur James 102–03 ‘Notes on Trip to Vienna by Wiremu Toetoe and Te Hemara Rerehau’ [two pages] 50, 51 Novara expedition 46, 51 nuclear-free policy 196, 197 Nuku Tawiti, a Deity in the First State (Kendall) 22, 23 Nunns, Richard 208–09 O Oettli, Max Christian 152–53 ‘On the ice fall’, Khumbu Icefall, Nepal (Riddiford) 135, 135 Once Were Warriors – film 210, 211, 211 – stage production 222 Orchard, Sam 240, 242–43 Orientation Tour Candidate C60 cassette (Direen) 202, 203 Otago Witness, issue 1104, 26 January 1873 70, 71 Owen, Dylan 238, 239 Owen, Rena 210, 211 P Pacific Climate Warriors protest 238, 239 Pacific Island workers at a plywood factory, Auckland (Westra) 164–65, 165 Pacific Song Contest 222 Pai Mārire 57, 66 pakapoo ticket 132, 133 Papakura, Maggie (Mākereti) and Bella 100, 101 Parihaka 62, 72, 72–73, 73 Parnell, Samuel Duncan 44, 45, 108 Pascoe, John 145 Petermann, A. 46–49 Peth Soun 183 Phalla Chok 183 Pharazyn, Edward (attributed) 72 physical education 152 Pike River Mine explosion 227, 227 Pink and White Terraces 11, 11, 48 Pocket globe and case, 1776 20, 21 Poll tax certificate for Yong Sai Sue, Canton (Guangzhou) 92, 93 Polynesian Panther Party (PPP) 174, 176 – legal aid handbook 174, 175 Polynesian sailing technology 16 Pōmare, Albert Victor 58, 59 Pōmare, Hāre 58, 59 Pomare Queen of Otaheite with her husband Tamatoa in full dress, also in their usual walking costume with Aritaue their eldest son 42–43, 43 Pompallier, Jean-Baptiste 33 Pore, Hēni 56–57, 57

Porgy and Bess, New Zealand Opera Company 168–69, 169 Prince Tui Teka, cover from The Maori Album (detail) 191 Public Lending Right for New Zealand Authors 220 Pūhoi 60–61, 61 Pukehinahina Gate Pā attack, 1864 57 pūtōrino 208, 209 Q Queenstown, Lake Wakatipu and the Remarkables (Whites Aviation hand-coloured print) 137 Quinn, Kenneth 184, 185, 221 Qur’ān 204, 205–07 R rā (waka sail) 16, 17 Rainbow Warrior 196 rangatira portraits, 1870–90 (Carnell) 78, 79 Rata, Matiu 180 Reddy, Dame Patsy 237 refugees 183, 214 – see also immigrants Reid, Phil 231 Rerehau, Te Hemara 50–51, 53 Richter City Roller Derby 228, 229 Riddiford, Earle 135 Ritchie, Thomas 114, 116 Roman Catholic Church at the Bohemian Settlement of Puhoi (HamiltonGordon) 60–61, 61 Rooster Tails online comic series 242, 243 Rosenberg, Gerhard 143 Rosenberg, Wolfgang 143 Roth, Bert 176 Rout, Ettie 112, 113, 113 Rowell, Luke (Disasteradio; Eyeliner) 233 – Charisma and Buy Now preservation by Turnbull Library 233 – LP album cover for Charisma 233 – performance at Bar Bodega, Wellington 232 Rowling, Bill 180 rugby league 225, 225 – first team, 1907 224, 225 Rupe, Carmen 186, 187, 242 Russek, Anton and Margaretha 61 S Said, Sarah 214, 215 Sāmoan independence 124–25 Sarelius, Waino 128, 129 Saxton, John Waring 36–37 Scholes, Robin 211 School Strike 4 Climate protest 238, 239 Scott, Margaret 118 Selwyn, George Augustus 39 Shelton, Ann 210, 211

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Shennan, Jennifer 212 Sichun Saingtha 183 The Signing of the Treaty of Waitangi, 6 February 1840 (King) 33, 138, 139 The Signing of the Treaty of Waitangi (Haddon) 33, 33 Simcox, Craig 214 Smash Malice roller derby team 228, 229 Smithells, Philip 152 Smoko, Featherston prisoner-ofwar camp (Pascoe) 145 Sok Vorn 183 Sokhom You 182, 183, 183 Somali Pacific Stars 214, 215 Somalia 214, 215 Springbok tour of New Zealand, 1981 192, 193, 194, 194–95, 195 – see also All Blacks tours of South Africa The stage erected to contain the food at the feast given by the native chiefs, Bay of Islands, September 1849 40–41, 40–41 Staples-Browne, Richard 100 Steven, Geoff 178 Sullivan, Denis 172 Sumerian clay tablets with cuneiform inscriptions 156, 157 T Tahiti 18 Tahitian language 16 Tamahori, Lee 211 Tanu, Lele 171 taonga puoro 208, 209 Tarawera eruption, 1886 11, 46 Tato, Filika (née Lomano) 171 Taylor, E. Mervyn 154–55 Te Awa Tupua (Whanganui River Claims Settlement) Act 2017 99 Te Hokioi o Niu-Tireni, e Rere atu na 51 Te Huki, Tama 199 Te Kooti Arikirangi Te Tūruki 68, 69 Te Matakite o Aotearoa — The Māori Land March (documentary, 1975) 178 Te Pihoihoi Mokemoke i Runga i te Tuanui 51 Te Rangi Hiroa (Sir Peter Buck) 16 Te Rau, Kereopa 66, 67 te reo Māori 16, 22, 24, 26, 34, 39, 51, 96, 169, 191, 222 – Te Upoko o Te Ika (te reo Māori radio station) 198, 199 Te Rihi, Pia Ngarotu 100 Te Rōpū o te Matakite o Aotearoa 178, 180 Te Upoko o Te Ika (te reo Māori radio station) 198, 199 Te Whareumu 31 Te Whiti-o-Rongomai III 62, 73 Te Wīata, Inia 168, 168–69

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Teilo, Kailua 171 Teka, Tumanako (Prince Tui Teka) 190–91, 191 Tetley, Joseph and Elizabeth 54 Thol Sao 183 Thom, William Arthur 100 Tirikatene, Eruera 172 Tirikatene, Mauri 208, 209 Tirikatene-Sullivan, Whetu 172, 173 Titere, 1818 24, 25 Tītokowaru, Riwha 62–65 Toetoe, Wiremu 51, 52 Tohu Kākahi 62, 73 Tokelauan migrants 165, 170, 171 Tomlinson, Kellom, dance workbook 212–13 toroa (albatross) 36, 37 tourism, Māori-led 100–01 Tovio, Eneliko 171 Trans Week of Awareness, Rooster Tails comic strip 242, 243 Treaty of Waitangi, Te Tiriti o Waitangi, 1840 32, 33, 138, 139, 150, 180 Tuai, 1818 24, 25 Tufala, Lui 171 Tūngaroa 22 Tu-nui-e-a‘a-i-te-atua (later King Pōmare I of Tahiti) 18, 19 Tupaia 16 Tupua Tamasese Lealofi III 124 Tupua Tamasese Mea‘ole 125 Turei, Metiria 240 Turnbull, Alexander Horsburgh 8, 8–9, 9, 11, 15, 82, 96 Turnbull, Alexandrina 8 Turnbull Endowment Trust 7, 9 Turnbull, Joanna Elizabeth 82–84, 85 Turnbull, Walter 8 Tutapuiti, Hariata 58, 59 Tuuta, Watson 115 Tuwhare, Hone Peneamine Anatipa Te Pona 10, 184, 184–85 – No Ordinary Sun 184, 185 – ‘Self-portrait in pen as a gift from self ’ 185 Tuwhare, Rob 10, 185

Walker, Piripi 199 Ward, Simon 233 Waro-Rakau Rugby League Club 225, 225 Waudby, A. J. 108 We Are Beneficiaries 240, 241 Webb, Murray 218–19 Webber, John 18, 19 Webster, Kenneth Athol 156 Wellington Advertiser, ‘For Diver’s Reasons’, cartoon, 19 November 1881 72, 72–73 Wellington Islamic Centre, public tributes after mosque shootings 236, 236, 237 Westra, Ans 128, 162–66 Weyde, Henry van der 8 Whangamumu whaling station (White) 35, 36 Whanganui River 98, 99 whēkau, laughing owl (Sceloglaux albifacies) (Wright) 90, 91 White, Leo 35, 36, 137 Whites Aviation 136, 137 Wigley, Rodolph Lysaght 131 Wild Duck (sailing ship) 54 Williams, Henry 33, 138 Williams, Herbert W. 96 Wiltshire, Kate 228 Winter, Mark (Chicane) 230 Witoko, Chrissy 242 ‘Women Performing an Interpretative Dance About the Gender Pay Gap’ (Murdoch) 244, 245 Wright, Henry 44–45, 90–91 Y Yate, William 26 Yeo, Sean 237 Yong Sai Sue 93–94 Young, Niborom 182, 183 Young, Victor 182, 183

V Valentine, George Dobson 11 Vancouver, George 18 Victoria, Queen of Great Britain and Ireland 58 Volkner, Carl 66 Volunteer Sisterhood (established by Ettie Rout) 112, 113 W The Waimarie below Pipiriki (Auckland Star photographer) 98, 99 waka sail (rā) 16, 17 walkathons, competitive 228

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First published in 2021 by Massey University Press Private Bag 102904, North Shore Mail Centre Auckland 0745, New Zealand www.masseypress.ac.nz Text copyright © Turnbull Endowment Trust, 2021 Images copyright © Alexander Turnbull Library and as credited Design by Area Design Cover: Matthew McIntyre-Wilson (Taranaki — Ngā Mahanga, Titahi), He Mahi Kupenga (detail), installation commissioned 2020–21 to accompany the centenary exhibition Mīharo / Wonder: 100 years of the Alexander Turnbull Library. Photography by Mark Beatty. Pages 2–3: Rare books cage, Alexander Turnbull Library The moral rights of the authors have been asserted All rights reserved. Except as provided by the Copyright Act 1994, no part of this book may be reproduced, stored in or introduced into a retrieval system or transmitted in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of both the copyright owner(s) and the publisher. A catalogue record for this book is available from the National Library of New Zealand Printed and bound in China by Everbest Printing Investment ISBN: 978-0-9951431-7-3 Published with the support of the Alexander Turnbull Endowment Trust and the New Zealand Lottery Grants Board.

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Te Kupenga

Articles inside

ACKNOWLEDGEMENTS

ABOUT THE CONTRIBUTORS

INDEX

DIGITAL DIARIES

ABOUT THE EDITORS

‘TAKE SAGE OF VIRTUE’

CLOSING THE GENDER PAY GAP

‘I SEE YOU’

WE ARE BENEFICIARIES

FOR GENERATIONS TO COME

UNITED IN GRIEF

FROM LILBURN TO VAPORWAVE

JAMMERS AND BLOCKERS

DISASTER AND CARTOONS

A CHANCE TO DREAM

COLOSSUS OF SCIENCE

GAME OF THE PEOPLE

WRITERS ON RECORD

COLOUR, MOVEMENT AND MUSIC

WRITING THE MOVES

SOMALI PACIFIC STAR

HE KIRIATA NUI: MĀORI ON SCREEN

DIVINE ILLUMINATION

BREAK OUT THE TABS

NGĀ TAONGA REO MĀORI

NEW BREATH FOR ANCIENT VOICES

GOING ANTI-NUCLEAR

THE LIFE SHE WAS BORN TO LEAD

VISITING FOOTROT FLATS

PEOPLE’S POET

TOITŪ TE WHENUA

CAMBODIAN JOURNEYS

‘NOT ONE MORE ACRE’

THE DAWN RAIDS

‘EDUCATE TO LIBERATE’

FROM TOKELAU TO WELLINGTON

THE GOLDEN AGE OF WOOLCRAFT

KOROUA, MOKOPUNA

HUTU AND KAWA

MEAN MONEY

WHETU — STYLE ICON

ANCIENT DOCUMENTS

GIFT OF FIRE

HEALTH IN BODY AND MIND

CUSTOM MEETS COLONISATION

AOTEAROA FROM THE AIR

WAR, REFUGE AND LEARNING

SIGNING THE TREATY

THE DRAW OF HAINING STREET

A JAPANESE SONGBOOK

CURIOS

COLLECTIVE MIGHT

SĀMOA MŌ SĀMOA

SAFE SEX PIONEER

MANSFIELD’S TYPEWRITER

CAPTURING THE SPIRIT OF THE AGE

‘IT’S JUST HELL HERE’

CHATHAM ISLAND JOCKEY CLUB

CHAMPION OF WOMEN IN MEDICINE

PEACE ON THE WATERS

TAKING MĀORI TO THE WORLD

DIGGING FOR LIVELIHOODS

KIRIKI HORI

A TAXING IMPOSITION

LAGMHOR SONG BOOK

LAST OF THE LAUGHING OWLS

ADVENTURE, LOVE AND KEEPSAKES

A MORIORI GROUP

HE WHAKAAHUA RANGATIRA

FLOWERING ART OF SCIENCE

ACTIONS AT PARIHAKA

FARM OF THE SOUTH

TELEGRAPHIC TWEETS

WĀHINE MĀORI, WHENUA MĀORI

KEREOPA TE RAU

SELLING A FARMING DREAM

‘I SHALL NOT DIE’

HE HONONGA TĀNGAENGAE