Stirring up the stacks #9: two for the price of one! Macaroni soup and ginger pudding

Sunday, October 10th, 2021 | Hocken Collections | No Comments

Post cooked up by Eilish McHugh-Smith, Collections Assistant – Publications

Our recent return to Covid alert level 4 prompted Hocken Staff to fish through their camera rolls and personal bookshelves in search of historical culinary delights to tantalise their bubble’s taste buds. In the preceding weeks, I had been on a mission to find a selection of the most peculiar and delicious sounding recipes within our cookbook collection, so had an array of delights to choose from.

One of my favourite finds is a well-loved copy of New Zealand women’s household guide: containing recipes and general hints, dating from 1934 or 1935.[1] This was published by the Women’s Division of the New Zealand Farmers’ Union, an organisation established in 1925 by the wives of members of the Farmers’ Union to help combat the isolating nature of farm life, advocate for the needs of rural women and children, and of course, provide support to the Farmers’ Union.[2] As part of this the Women’s Division also emphasised and advocated for enhanced home science education, which appears to have been a motivating factor behind this book and its other iterations, some of which the Hocken is fortunate to hold.[3]

Notable recipes within the 1934/1935 edition include milk soup (containing a mere 5 ingredients: milk, onions, vermicelli, salt and pepper), mock whitebait (potato flavoured with anchovy sauce), stewed lettuce, a Marmite omelette, gingerbread cookies and currant buns.[4] However, with week one of lockdown over my bubble was craving comfort food. This led me to the recipes for macaroni soup and ginger pudding, akin to modern day macaroni cheese and a ginger cake- surely these would satisfy.

The macaroni soup recipe [New Zealand women’s household guide: containing recipes and general hints] ([Wellington]: Women’s Division of the New Zealand Farmers’ Union (Inc.), [1934-1935?]), p.12.

The ginger pudding recipe [New Zealand women’s household guide: containing recipes and general hints] ([Wellington]: Women’s Division of the New Zealand Farmers’ Union (Inc.), [1934-1935?]), p.187.

So, I broke down the recipes into step-by-step instructions, converted the measurements into metric and estimated some of the grey areas (noted in square brackets).

First up was the batter of the Ginger Pudding:

Ginger Pudding

Ingredients

  • 3 eggs
  • 1 cup sugar
  • ½ cup (115 grams) of butter or dripping
  • 3 cups of flour
  • 1 tablespoon of ginger
  • 1 cup milk
  • 1 teaspoon soda
  • 2 teaspoons of cream of tartar

Method

  • Mix all ingredients together
  • Bake in a flat dish for ¾ of an hour [Assumed a similar temperature to most cakes (160 degrees Celsius in a fan bake oven)]
  • Original recipe included the note: “What is left from dinner makes a nice plain cake for afternoon tea if a little chocolate icing is put on top”

Interestingly, the resulting mixture was more akin to dough than a typical modern-day cake batter, as the mix was so dry, I struggled properly combine the flour. I also decided to use a large cake pan rather than a small flat dish, out of fear of the mess an overflow would make. Upon baking I found this meant the pudding was still liquid in the centre after 45 minutes and required a further 20 minutes to cook fully. However, as the cake doubled in size, I was relieved to have made the right dish decision.

The batter as it was combined, the batter in the tin, and the final product.

Meanwhile, preparations for the soup began:

Macaroni soup

Ingredients:

  • 1 pound (454 grams) broken up macaroni [I used spiral pasta as macaroni was out of stock]
  • Salted water [I assumed this would be enough to cover the macaroni by about a couple of centimetres]
  • Sufficient stock [I used about 2 cups of chicken stock]
  • ½ pint (284 millilitres) of milk or cream [I assumed that this was referring to an imperial pint]
  • 5oz (142 grams) grated cheese

Method

  • Break up macaroni and boil in salted water until tender
  • Remove half the macaroni from the pot and hold aside
  • Continue boiling the remainder in to pot until it turns to pulp
  • Add stock, milk or cream, cheese and return the held-aside macaroni to the pot
  • Warm without boiling and serve with toast

This was relatively smooth sailing, aside from the requirement to boil half the pasta to a pulp. With an image of wallpaper paste like gloop in my head I set about boiling it for an hour and a half, by which point the pasta remained relatively intact but swollen. With stomachs growling and one bubble member telling me it “looks pulpy to me”, I made the decision to carry on with the remaining steps.

The ‘pulpy’ pasta after one and a half hours of boiling.

All plated up: the final products

A close-up to show the soup’s true soupiness.

 

First up for the taste test was the Macaroni Soup, which received comments such as: “rather flavourless”, “kind of like those quick pasta packet things” and “this is just pasta in salty water”. It was awarded an average rating of 2.5/10 from our bubble, with the consensus being that the wateriness was its biggest shortfall. Personally, I found its indescribable texture a bit challenging and could not find a discernible flavour to it. However, everyone finished their bowl, so it was certainly edible.

In contrast, the Ginger Pudding received slightly more favourable comments like “would be nice with custard”, “better than dinner” and “a lot like steam pudding”. However, its dry stodginess and a desire for a stronger ginger flavour were certainly noted. Overall, it received an average rating of 5/10, but 24 hours later remained untouched on the kitchen bench. Interestingly, the remaining pasta was snaffled before I ate lunch the following day, but I suspect some extra goodies were added to boost its flavour.

Overall, the meal was edible and filling, with the bonuses of being budget friendly and simple to prepare. These would likely have been key considerations for the Women’s Division in their mission to advance home science education for rural women. However, macaroni would likely have been more expensive than today, as it was not until 1941 that The Timaru Milling Company became the first company in New Zealand licensed to produce pasta under the brand name “Diamond” and not until the 1970s and 1980s that pasta became common place on New Zealand dinner tables.[5] Nevertheless, today pasta in all its forms holds a dear place as a staple comfort food in the hearts of many Kiwis, including my bubble’s.

 

[1] [New Zealand women’s household guide: containing recipes and general hints] ([Wellington]: Women’s Division of the New Zealand Farmers’ Union (Inc.), [1934-1935?]).

[2] Rosemarie Smith, ‘Rural Women New Zealand’, New Zealand History, www.nzhistory.govt.nz; accessed 24 August 2021.

[3] Rosemarie Smith, ‘Rural Women New Zealand’, New Zealand History, www.nzhistory.govt.nz; accessed 24 August 2021.

[4] [New Zealand women’s household guide: containing recipes and general hints] ([Wellington]: Women’s Division of the New Zealand Farmers’ Union (Inc.), [1934-1935?]), pp. 6,17,93,103,232.

[5] Sarah Wilcox, ‘Story: Food and beverage manufacturing – Changing technology and tastes’, Te Ara – the Encyclopaedia of New Zealand; www.teara.govt.nz; accessed 27 August 2021; ‘About us’, Diamond, www.diamondmeals.co.nz; accessed 26 August 2021.

References

‘About us’, Diamond, www.diamondmeals.co.nz; accessed 26 August 2021.

[New Zealand women’s household guide: containing recipes and general hints] ([Wellington]: Women’s Division of the New Zealand Farmers’ Union (Inc.), [1934-1935?]).

Smith, Rosemarie, ‘Rural Women New Zealand’, New Zealand History, www.nzhistory.govt.nz; accessed 24 August 2021.

Wilcox, Sarah, ‘Story: Food and beverage manufacturing – Changing technology and tastes’, Te Ara – the Encyclopaedia of New Zealand; www.teara.govt.nz; accessed 27 August 2021.

 

What else have we cooked up?

Stirring up the stacks #8: Xmas Cake Recipe Recommended by “Buckhams”

Stirring up the stacks #7: Virginia pudding

Stirring up the stacks #6: Pumpkin pie

Stirring up the stacks #5: Sauerkraut roll

Stirring up the stacks #4: A “delicious cake from better times”

Stirring up the stacks #3: Bycroft party starters

Stirring up the stacks #2 The parfait on the blackboard

Stirring up the stacks #1 Variety salad in tomato aspic

In the Hocken Gallery: Pōkai Whenua, Pōkai Moana by Bridget Reweti

Monday, October 4th, 2021 | Hocken Collections | 1 Comment

Post written by Collections Assistant Nick Austin

It was the Hocken’s pleasure, and good fortune, to host the karakia whakatuwhera – opening blessing – for the exhibition Pōkai Whenua, Pōkai Moana by 2020-2021 Frances Hodgkins Fellow Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi), here in our gallery just prior to August’s lockdown. University of Otago Māori Chaplain Dr Helen Papuni led karakia through the gallery, followed by kōrero and waiata to welcome the exhibition and pay acknowledgements. It was great that so many guests from out of town were able to attend this special evening.

Bridget Reweti and Hocken Librarian Sharon Dell at Pōkai Whenua, Pōkai Moana opening. Photograph: Sharron Bennett

Professor Robert Jahnke speaks at Pōkai Whenua, Pōkai Moana opening. Photograph: Sharron Bennett

Sarah Hudson, Bridget Reweti, Erena and Unaiki Arapere, and Terri Te Tau at Pōkai Whenua, Pōkai Moana opening. Photograph: Sharron Bennett

The title of Bridget’s exhibition, Pōkai Whenua, Pōkai Moana, recognises two of the names of Tamatea, a principal ancestor of the Takitimu waka, who explored areas in Aotearoa including Tauranga Moana, the artist’s turangawaewae, and Murihiku, the southern part of Te Waipounamu (South Island). As Bridget writes in her exhibition wall text: “I use this connection to my tipuna who travelled over lands and seas to locate myself as a Tauranga Moana artist within Ngāi Tahu mana whenua.” It is this whakapapa that underpins the four series of works in the exhibition.

Bridget uses photography in ways that you have probably never seen before. In the series Kapo Wairua, she has produced photograms of x-ray-like details of migratory seabirds – tītī (sooty shearwater), toroa (albatross), kuaka (godwit) – onto stones cut flat on one side: pounamu (greenstone), onewa (basalt), kōkawa (andesite), pakohe (argillite). From an accompanying wall text by Matariki Williams we learn of the symbolism of birds’ departure and return, in the Māori world. For example: “Roimata toroa is a well-known Ngāti Porou tukutuku pattern that references the excreting of saline from the nostrils of these seafaring birds and is a constant reminder of necessary preparation when undertaking long journeys.” There is a haunting presence to these works that is potently summed up by the writer: “[T]hese birds compel us to always remember those who have gone before us, those who have made their haerenga to Rerenga Wairua, those for whom we continue to long […]”.

(L-R) through the fog it came and the silence of the sea (for Sarah), 2021, pounamu plate negatives. Photograph: Justin Spiers

Georgina May Young viewing after Fiona, 2021, toroa skull photogram on basalt. Photograph: Justin Spiers

It makes sense then that certain people from Bridget’s artistic whānui, some of whom have passed away, are paid tribute within works’ titles. On this note, the thoughts of many people in Ōtepoti Dunedin have recently been with Marilynn Webb (Ngāti Kahu, Te Roroa), a much-loved and influential artist who spent most of her artistic life in this town. Marilynn passed away just days after Bridget’s exhibition opened. As a mihi to Marilynn, when installing the exhibition Bridget chose to present three works by Webb on the mezzanine level outside the Hocken Gallery, from her 1980 Aramoana Fossil series.

Ghostly images combined with tactile materials are used again by Bridget in another series Summering on Lakes Te Anau and Manapouri. Last summer she travelled with friends into Fiordland to trace the movements, evident in landscape photographs from 1889, of Alfred Burton of the famed Dunedin-based firm Burton Brothers. She re-recorded Burton’s views with a conciousness of there being lore – placenames and histories long held by mana whenua, Ngāi Tahu whānui – that he would not have known. As a gesture to this gap in understanding of place, Bridget has coloured her photographs with the pigments of whenua from those very places, given to her by local people.

4870 – LIVING THE DREAM, 2021, whenua coloured silver gelatin photograph. Courtesy of artist

Summering on Lakes Te Anau and Manapouri series in Pōkai Whenua, Pōkai Moana. Photograph: Justin Spiers

Rauhina Scott-Fyfe viewing How to drain a swamp series in Pōkai Whenua, Pōkai Moana. Photograph: Justin Spiers

There is a strong sense of whanaungatanga – kinship – in every aspect of Bridget’s work here, from production to exhibition. Whakapapa too, not only in the sense of familial and artistic genealogies but in there being all sorts of layers of, or connections between, land and people, images and materials. An immaterial presence within the gallery is somehow articulated by the audio recording of taonga pūoro played by Alistair Fraser that accompanies the large moving image work, Like a rock against the tide. These atmospheric sounds float through the gallery’s open doors as a gentle but persistent entreaty: you should come in.

Still from Like a rock against the tide, 2021, HD Moving Image with sound

Pōkai Whenua, Pōkai Moana is open (in Level 2!) Monday – Saturday, 10am -5pm, until 30 October at the Hocken Gallery, 90 Anzac Ave, Ōtepoti Dunedin.