About Anna Blackman

I'm the Curator of Archives and Manuscripts here at the Hocken Collections and one of my tasks is to maintain this blog.

Matariki and Puaka

Tuesday, June 13th, 2017 | Anna Blackman | No Comments

Post researched and prepared by Jacinta Beckwith, Kaitiaki Mātauranga Māori.

We are getting ready for Māori New Year with a little foyer display celebrating Matariki. Down south we also celebrate Puaka (known as Puanga up north).

Matariki atua ka eke mai i te rangi e roa, e

Whāngainga iho ki te mata o te tau e roa, e.

Matariki rising in the broad heavens

Nourish those below with the first fruits.

For Māori, naturally occurring events were traditionally used as markers to indicate the end of one season and the beginning of the next. These markers included migration patterns of birds and fish, the flowering of plants and the movements of stars across the sky. Matariki is a star cluster that disappears below the horizon in April and whose reappearance in the pre-dawn sky around late May – early June marks the beginning of a new phase of life. In recent years, there has been increasing focus across Aotearoa on Māori New Year, usually celebrated in June and commonly referred to as Matariki.

Māori names for the star cluster are Matariki, Tupua-nuku, Tupua-rangi, Ururangi, Waipuna-ā-rangi, Waitī and Waitā. With revitalisation of Māori astronomy, recent research on Matariki suggests the cluster includes two more stars: Pohutakawa and Hiwa-i-te-rangi. Some iwi celebrate a different cluster of stars called Puanga or Puaka. Mōriori considered Puaka as the three poles that held up a whata (food storage platform). Different iwi have their own traditions and some of these have been recorded in accounts collected by Beattie and Shortland, in letters and in the Māori-language newspapers, providing insight into how Māori viewed Matariki, Puaka, and the significance of this time for agriculture. Te Wehi’s letter to the Editor of Te Waka o Niu Tirani acknowledges the marking of seasons by the stars which guided the planting of kūmara (sweet potato). John White’s letter to the Editor of Te Wananga details oral traditions relating to kūmara and cultivation. Te Paki o Matariki, the official newspaper of the Kīngitanga (Māori King Movement) used images of the seven stars in its masthead.

Matariki is strongly associated with the celebration of harvest, especially kūmara crops which would have been gathered and stored in specially prepared pits to ensure a year round supply. Pātaka kai (storage houses), like those illustrated by Sir William Fox, were filled with food. There was a close connection between the stars and food supplies, the visual appearance of the stars at rising were a portent of weather to come. The brighter the stars in their pre-dawn rise, the more favourable the season ahead and planting would begin in September. If the stars were hazy and closely bunched together, a cold winter was in store and planting held off until October.

Beattie, James Herries. 1920. List of vegetable foods in Record of interviews with Maori in Canterbury, Section 15. Hocken Archives Collection, MS-0181/004.

Matariki is a time for coming together in celebration, to reflect on the past and plan for the year ahead. We gift food, share stories, remember whakapapa (genealogy) and our ancestors who have passed on. It is also a time to reaffirm principles and protocols that teach us how to live in balance with the natural world.

READING

Williams, Jim. 2013. Puaka and Matariki: The Māori New Year. Journal of the Polynesian Society, 122(1), pp. 7-20. http://dx.doi.org/10.15286/jps.122.1.7-20

Rerekura, Sam. 2014. Puanga: Star of the Māori New Year. Auckland: Sam Rerekura, Te Whare Wānanga o Ngāpuhi-nui-tonu.

Mead, Sidney M. & Neil Grove. 2001. Ngā Pēpeha a Ngā Tīpuna: the sayings of the ancestors. Wellington, N.Z.: Victoria University Press.

LIST OF ITEMS ON DISPLAY

DISPLAY TABLE

  1. Te Wehi. 1874. Ki a te Kai Tuhi o Te Waka Maori. Te Waka Maori o Niu Tirani. 10:19, pp. 239-240. Māori-language newspaper published by the government. Hocken Published Collections, Williams 367.
  1. Beattie, James Herries. 1920. Record of interviews with Maori in Canterbury, Section 15 – Vegetable Foods. Hocken Archives Collection, MS-0181/004.
  1. Shortland, Edward. 1850-1855. Information passed from C. Brown to W. Martin which lists some Māori names of stars in Volume containing notes on Maori language, customs and traditional history. Hocken Archives Collection, MS-0096.
  1. Beattie, James Herries. 1920. Record of interviews with Maori in Canterbury, Section 21 – Meteorology & Astronomy. Hocken Archives Collection, MS-0181/004.
  1. Leach, Helen. 1984. 1,000 years of gardening in New Zealand. Wellington, N.Z.: Reed. Hocken Published Collections.
  1. Spooner, Judy & Maraea Aranui. 1992. The Maori kai cookbook. Havelock North, N.Z.: Kahungunu Publications. Hocken Published Collections.
  1. Maori Women’s Welfare League. 1976. Recipe calendar 1977. Wellington, N.Z.: Maori Women’s Welfare League Inc. Hocken Published Collections.

PLINTH

Te Paki o Matariki. 1894. Māori-language newspaper published by the Kīngitanga (Māori King Movement). Hocken Published Collections, Variae 18.

WALL

Fox, Sir William. Rakawakaputa, P. Cooper Plains, 1848-1851. Reproduction. Watercolour, pen & ink on paper: 175 x 250mm. Dr T. M. Hocken’s Collection. Hocken Pictures Collection. View online: http://otago.ourheritage.ac.nz/items/show/4486

Fox, Sir William. Pitoni, 1850. Reproduction. Watercolour on paper: 170 x 250mm. Dr T. M. Hocken’s Collection. Hocken Pictures Collection. View online: http://otago.ourheritage.ac.nz/items/show/4490

 

International Archives Day 2017

Friday, June 9th, 2017 | Anna Blackman | No Comments

Today (9 June) is International Archives Day. Created in 2008 to raise awareness of the importance of archives, and of what archivists do, the date was chosen to commemorate the establishment of the International Council of Archives (ICA) on 9 June 1948.

Archives and archivists across the world use the day as an opportunity to promote what they do, and to promote the use of archives.

I thought I would take the opportunity to write about an interesting archival volume I looked at recently. This volume encapsulates for me what is so interesting about working with archives and how researching the stories documented in archival items can lead us down many different narrative pathways.

The volume originally caught my attention on the Hākena catalogue because the name in the title was clearly unusual and to my eye looked just wrong! A spelling mistake maybe? Making sure the description of archives is correct or as correct as it can be is one of my responsibilities here so I decided to have a look at it.

Port Moeraki day book, Misc-MS-1513, Hocken Collections Uare Taoka o Hakena

The title was “[Tubinanini], Robert George : Port Moeraki Day Book (1858 – 1873)”. The titles of archival collections are constructed with the name of the creator of the collection first, and then a brief descriptive title. This is in accordance with the standards set by the ICA.

So in this case the archivist had (not unreasonably) taken the most obvious name that they could find on the volume, and decided to use that as the creator portion of the title. They had enclosed this portion in square brackets to show that they were unsure of the correct spelling and that this was their interpretation of the hand writing.

It is a tall 19th century volume bound in white velum, looking a bit like Harry Potter might have doodled in it with some odd notes and diagrams in one section. Some pages have been cut out towards the end of the volume.

The front of the volume, note how carefully the words Day Book have been drawn, along with the image of waves at sea.

It clearly started life in October 1858 as a day book (sometimes called a cashbook) – a book that records financial transactions in date order. The front of the volume seemed to have been labelled in a couple of different hands and at different times. The words included “Trigonometry”, “Day Book”, “Robert Geo. Tubmanini” (my reading of the problem name), “Port Moeraki”, what looks like the initials “B. F.” and a doodle of waves. Perhaps the doodler spent a lot of time at sea?

“Tubman” with the letters “ini” seemingly added later in darker ink.

Despite being acquired in 1974 the volume was not catalogued until 1998 when it was added to the online catalogue Hakena, things have changed since then and it is a lot easier to quickly research names and places by a quick “googling”.

I started with the name Robert George Tubinanini – the reason I have noticed the record on Hākena in the first place.

My googling quickly told me that a Robert George Tubman was the Head Master of the Moeraki School between 1890-1895 and that he died serving in the Boer War. There is a nice biography of Robert available from the Historic Cemeteries Conservation Trust of New Zealand website, that includes a photo of his family’s gravestone in Dunedin’s Northern Cemetery. http://www.cemeteries.org.nz/stories/tubmanrobert181012.pdf

Robert Tubman’s trigonometry notes?

It seems likely that he is the Robert Geo. Tubmanini named on the cover of the volume and that the  Harry Potter doodles are his trigonometry notes. What is not clear is why his name has the extra “ini” on the end (another idle doodle perhaps?) and why he had the day book and used it as a notebook.

Typical entries in the volume, note Hertstel shipping 3 boat loads of timber for [North Otago?]

Back to the daybook portion of the volume. This is a particularly detailed example of a day book, and list transactions in date order, with the person’s surname, the goods purchased, shipped or received and the cost. I noticed that there were regular entries under particular names, clearly the store was a key institution in this community. Some names were European but there many Maori names as well. A keen researcher of Moeraki history is sure to find much of interest.

The luxuries of life in the Moeraki in 1857

The names Wi Te Pa, Pokuku, Riruha, Pita, Hokopa, Rawiri, Ohua, Karauria all appear regularly but there are many others. European names include McGlashan, Haberfield, Hastie, Hopkinson, Adam, Thomas, Mason, Tom and more.

Several entries under local Maori names

One name that stood out was Hertslet, it is unusual and cropped up almost daily. This time I headed straight to Papers Past, the National Library website which has revolutionised access to the myriad information contained in early NZ newspapers. I found that Henry Charles Hertslet regularly advertised the services of his store at Moeraki as well as other business ventures. He was also a Justice of the Peace for a time. An entry in the Otago and Southland volume of the 1904 Cyclopedia of NZ which revealed that Hertslet had a background in the “Public Records Department London” in the early 19th century before migrating to NZ. This was a nice serendipity as the Public Records Department is now known as the Public Records Office, and is the national archives of the UK. I guess you could say he had worked as an archivist, like me!

From what I found online, Mr Hertslet clearly had a long and varied career as an early settler in several parts of NZ but is mainly associated with Oamaru, Moeraki and Naseby. According to C.W.S. Moore’s book, Northern Approaches, and Gavin McLean’s Moeraki 150 years of Net and Plough Share H.C. Hertslet was landing agent for Moeraki from 1851, and later purchased a schooner, Queen, to run a service between Moeraki and Oamaru employing Maori from Moeraki to man the boats.

Wages paid to Fitzgerald in 1867

At the back of the book are further dated lists of payments but these appears to be wages paid to a number of workers including Fitzgerald, Frederick Cockerill and Joe. Thompson. The work done was activities like delivering firewood, ploughing, harrowing and draying.

To sum up, this volume is a record of the transactions of the Moeraki store kept by either Mr Hertslet himself or one of his employees, sometime later it came into the hands of Robert Tubman, who seems to have taken advantage of some blank pages to write up his trigonometry notes. Later again it was acquired by the Hampden Historical Society which donated this volume to the Hocken along with around 40 others when the Society was wound up in 1974. In archivists jargon it has multiple provenance, it was created and used by more than one creator but is all the richer a source of history for that. It leads us to several narratives – the lives of Henry Charles Hertslet, and Robert Tubman, and to the broader social and economic history of Moeraki in the mid 19th century. Family historians may be interested to find references to the day to day dealings of their ancestors.

Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156.

Tuesday, May 30th, 2017 | Anna Blackman | 2 Comments

To celebrate Music Month in 2017, here’s a brief look at a collection of papers relating to a local Dunedin label.

Post by Amanda Mills, Hocken Liaison Librarian, Curator Music and AV

Various Xpressway tapes. Hocken Music and AV collections

Xpressway Records began life as a cassette-only label in late 1987/early 1988, run out of Bruce Russell‘s home in Port Chalmers. Russell – archivist, writer, musician (in A Handful of Dust, and The Dead C) – began Xpressway Records with help from fellow musicians Peter Gutteridge, Alastair Galbraith and Peter Jefferies following Flying Nun’s 50% acquired by Mushroom Records. Russell worked for Flying Nun in their Christchurch offices for a time in the 1980s, and saw the label was moving away from its original ideals with the merger. The acquisition by a major label meant attention was focused on more commercial Flying Nun acts, and many were let go from the label.

Russell was disillusioned by these decisions, and when artists like Jefferies and Galbraith were released from their Flying Nun contracts, he decided to in his words “show [Flying Nun] a thing or two,” as their music was just as valuable as the label’s more commercial counterparts. To give these artists and their music a home, he began Xpressway Records. In Russell’s opinion, “we should make the music available to those people that want to hear it, and if those people are a scattering of people all over the world in tiny niches within other national markets … fine… it’s just what we’ve got to do” (Russell, 2000).

Various official Xpressway releases. Hocken Music and AV collections

Xpressway started as a cassette-only record label, but expanded to include vinyl and CD releases. Overall, there were over 20 Xpressway releases, with other recordings licensed from the label. Artists on the label included

  • Peter Jefferies
  • Sferic Experiment
  • The Terminals
  • Alastair Galbraith
  • Victor Dimisich Band
  • Wreck Small Speakers on Expensive Stereos
  • Peter Gutteridge

As well as these artists with material licensed from Xpressway to other labels

  • DoubleHappys
  • Sandra Bell

Mock-up of the back cover of the Terminals’ single Do the Void. Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156

In 1993, Russell wrapped up the label, and, in 1994, gave Hocken the Xpressway archives. Russell also included other items in the donation: over 100 posters of local artists, and over 50 cassettes of live recordings of acts associated (mostly) with Flying Nun or Xpressway.

Xpressway Pile-Up press release and cassette cover. Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156

The archival papers are rich in content, and include

  • Media files, drafts and correspondence
  • Newsletters
  • Financial records including receipt books and IRD records
  • Artist release files and profiles
  • Xpressway album release files
  • Correspondence with artists, other record labels and distributors
  • Mail order correspondence, both national and international

Mail-order Correspondence. Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156

Correspondence between Russell and musicians reveals the frustrations, irritants, and (in some cases) jealousies between different parties. While this is in the guise of official correspondence between artist and the label, it is often personal in nature reflecting the close knit nature of the Xpressway music community. It is also interesting to note that hand-written, typed, or faxed messages are on any blank surface: the backs of photographs, envelopes, flyers, aerograms (remember those?), newsletters from Russell’s’ place of employment – it is all used.

Correspondence between Flying Nun and Xpressway Records. Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156

Much interesting material is contained in the folder relating to Flying Nun, with business correspondence again revealing the frustrations and everyday realities of supply and distribution between labels, especially those relating to finances. The letters and faxes between Russell and Flying Nun staff running the label day-to-day in Auckland are friendly and informal; they relate personal and industry stories and reveal common frustrations with business, distribution, and (quite often), the musicians. Other folders also contain interesting – and often hilarious – exchanges between the label and correspondent.

‘Look Blue Go Purple + W.S.S.O.E.S’ poster. Hocken Posters collection.

Along with the papers are the posters and cassettes that Russell donated. The posters relate to gigs and album releases, and highlight local bands and artists (many on or associated with Xpressway), and many are hard to find. The tapes capture mostly live performances and some radio shows by local artists, but also artists from around New Zealand, in many different venues around the country. Some are recording sessions, or demos of material that may not have been released, and we are aware that these are possibly the master tapes for a number of recordings.

Various Xpressway tapes. Hocken Music and AV collections

Complementing the Xpressway papers, the Hocken also holds copies of officially released music from Xpressway:

  • Compilations Xpressway Pileup, Killing Capitalism with Kindness, and Making Loser’s Happy
  • Peter Gutteridge’s Pure
  • Peter Jeffries’ Last Great Challenge in a Dull World,
  • Plagal Grind’s self-titled EP,
  • Albums and singles by Alastair Galbraith

Hocken has also recently acquired the Xway Vision VHS video of Xpressway (and associated labels) musicians performing in 1991.

The Xpressway papers and recordings are used by students and other researchers, with material frequently published on the artists, the label, and the wider scene. The popularity of the label, and the music that emerged from it will only increase the intrinsic value of this collection. The Xpressway papers (and associated recordings) are a fascinating look at how an independent record label is run in a small music community, where artists often performed in each other’s bands, or on each other’s recordings.

References:

Williams, M. (2000). Magic Kiwis – Bruce Russell. Perfect Sound Forever. March. Retrieved from http://www.furious.com/perfect/deadc.html

 

Happy Birthday Frances Hodgkins!

Thursday, April 27th, 2017 | Anna Blackman | No Comments

Post compiled by Andrea Bell, Curator of Art

Today marks what would have been artist Frances Hodgkins’ 148th birthday. Frances Mary Hodgkins was born in Dunedin in 1869, the daughter of Rachel Owen Parker and William Mathew Hodgkins. Born into an artistic family, she joined the Otago Art Society at age 21 and dedicated her life to painting. In 1875 she studied at the Dunedin School of Art under the tuition of Italian artist Girolamo Pieri Nerli and in 1901 she travelled abroad to expand her artistic horizons. In 1912, she emigrated permanently, and went on to spent the majority of her life in Britain and Europe. Primarily a painter, she worked across a range of media including watercolour, pencil, charcoal, gouache and oils. She lived a nomadic life and travelled widely around Europe. As a result, her work underwent numerous transitions: from Impressionist to Surrealist, to Neo-Romantic with abstract tendencies—but never losing sight of her subject. At age 71 she was invited to represent Britain in the 1940 Venice Biennale, along with her younger contemporaries. Hodgkins was one of New Zealand and indeed Britain’s leading modernist painters. She died in Dorset, England in 1947, aged 78.

Frances Mary Hodgkins 1869-1947, Double portrait (1922), oil on canvas, 610 x 770mm, 73/169, Hocken Collections, Uare Taoka o Hākena, University of Otago

One of the Hocken Collections’ most prized artworks is Double Portrait (1922), depicting Hodgkins’ former art students Hannah Ritchie (left) and Jane Saunders (right), with whom she maintained a long association throughout her life. Hodgkins’ use of bright colour and flattened painting technique shows the influence of Henri Matisse, while the elongated figures call to mind Amadeo Modigliani – both artists whose work Hodgkins would have seen around this time. The patterns on the women’s dresses also foreshadows Hodgkins’ foray into textile design at the Calico Printers’ Association (CPA) in Manchester, where she worked between 1925-26. Double Portrait was sold by Ritchie in 1957 via Leicester Gallery to Charles Brasch, who bequeathed the work to the Hocken Collections in 1973.

The Frances Hodgkins Fellowship was established at the University of Otago in 1962 in her honour.

 

Why preserving the original matters

Friday, April 7th, 2017 | Anna Blackman | No Comments

Post compiled by Dr Anna Petersen, Curator of Photographs

Now that such high quality digital copies of historic photographs are possible, people sometimes question why preserving the original matters.  There are actually many reasons that can be given to justify this core business at the Hocken but this blog post will just touch on a few in relation to one specific item, P2014-001, in the Photographs Collection.

What would prove the annual highlight of donations for 2014 arrived just after New Year, when a lady walked in holding an old Christmas card box containing a family heirloom.  Mrs Joan Miskimmin had been given the contents by her father, P.D.J. Cockerill, and decided to gift it to the Hocken for safekeeping.

Once the photograph had been carefully removed from the wrapping and traces of red glitter blown away, the portrait of a young man with a small child on his knee looked familiar.  The Hocken already had a copy print of the photograph on file and the image had been published over the years in a number of books, always identified as the well-known whaler and pioneer Dunedin businessman, John Jones.  The donor knew by then, however, that this information was incorrect.

Fig. 1 John Jones, copy print, S11-315.

Thanks to maritime historian Ian Farquhar, someone had thought to question this attribution and hunted down the original.  John Jones was born in 1808 or 1809, married Sarah Sizemore in 1828 and together they had eleven children.  This would have made John in his early 30s when Daguerre first patented the daguerreotype and Talbot developed the calotype process in 1840.  Though it is often difficult to define people’s age, things didn’t seem to quite add up so Ian invited Associate Professor Erika Wolf from the University of Otago to accompany him to the owner’s home and advise on the probable date by looking at the photograph itself.

Fortunately, the history of photography encompasses the rapid development and use of many different materials and technical processes and using her knowledge, Erika could quickly determine the portrait as an ambrotype.  Ambrotypes belong to the small category employing non-paper supports and are photographs on glass as opposed to daguerreotypes on polished metal, ferrotypes (commonly known as tintypes) on lacquered iron, and opaltypes on translucent white glass.  Like daguerreotypes, ambrotypes were often put into elaborate pinchpeck frames and cased for protection but can still be easily told apart when looking at the original by the fact that daguerreotypes have a mirrored appearance, turning from positive to negative when viewed from different angles.

Ambrotypes became popular around the world in the 1850s, so even though there is nothing on the artefact to say whether or not it was produced in New Zealand, enough information could be gleaned by looking at the original to rule out the initial identification.  The portrait is now thought to be of John Jones’s eldest son, John Richard Jones (1832-1911), and his eldest daughter, Mary Louise Sarah, who was born in August 1856.

Fig. 2 John Richard Jones and Mary Louise Sarah, ambrotype, c.1858.  Hocken Photographs Collection, P2014-001.

The Hocken Photographs Collection includes examples of all the early forms of nineteenth century photography.  Every year, classes of students at the University of Otago and Otago Polytechnic come to visit and learn to discern the differences by looking at the originals, Hocken staff routinely use this knowledge to help catalogue items and members of the public, including artists and photographers, request to see the real objects which have survived the years and can only be fully appreciated at first hand.  A small selection of early photographs on non-paper supports are shown below.

Fig. 3 Mother and daughter, hand-tinted daguerreotype, Whitelaw family collection, 1840-1850s. Hocken Photographs Collection, P1997-120-001.

 

Fig. 4 William Mathew Hodgkins, ambrotype, 1853 (removed from frame).  Hocken Photographs Collection, P1984-017. (Inscription on the back of the frame: ‘Photograph taken while in London the spring of 1853, at any rate before he went to Paris. The hair is not fouled, It is dressed in the fashion of the day.’)

 

Fig. 5 Three young men, ferrotype, Whitelaw family collection, 1860s-1870s.  Hocken Photographs collection, P1997-120-002. (According to historian Bill Dacker, hats were quite a feature of society in Lawrence around this time).

Fig. 6 Ellen Brook and her two daughters, Esther and Jane, opaltype, c.1895.  Hocken Photographs Collection, P1991-026. (They are dressed in mourning clothes after the death of their husband/father in a quarry during the building of the Otago Central Railway near Naseby.)

 

New Zealand Archaeology Week 2017

Monday, April 3rd, 2017 | Anna Blackman | 2 Comments

Post prepared by Jacinta Beckwith, Kaitiaki Mātauranga Māori 

Each of us is an epitome of the past, a compendium of evidence from which the labours of the comparative anatomist have reconstructed the wonderful story of human evolution. We are ourselves the past in the present.                                                           

H.D. Skinner, The Past and the Present

This year’s inaugural New Zealand Archaeology Week (1-7 April) offers an opportune moment to highlight some of the Hocken’s archaeology-related taonga. Examples include the Otago Anthropological Society Records (1960-1983), Anthropology Departmental Seminar flyers (most dating to 1997), and a wide variety of archaeological reports, notebooks, diaries, letters and photographs including papers of David Teviotdale, Peter Gathercole and Atholl Anderson. More recently, our collections have been enhanced by the ongoing contribution of local archaeologists such as Drs Jill Hamel and Peter Petchey who regularly submit their archaeological reports, for which we remain deeply grateful.

One of our largest collections relating to the world of archaeology and anthropology are the Papers of Henry Devenish Skinner (1886-1978). At 3.14 linear metres in size, this collection comprises folders full of handwritten research and lecture notes, letters, photographs, scrapbooks and newspaper clippings pertaining primarily to Skinner’s archaeological, anthropological and ethnological work with the Otago Museum and the University of Otago, and also to his school days and military service. It includes personal correspondence detailing the collection of Māori artefacts, letters with Elsdon Best, S. Percy Smith, Willi Fels, and other notable anthropologists and collectors. Skinner’s papers also include a significant series of subject files relating to not only Māori and Pacific archaeology but also to that of Africa, Europe, the Mediterranean and the Middle East.

H.D. Skinner is fondly remembered as the founding father of New Zealand Anthropology. He is particularly known for his development of the Otago Museum, for his pioneering work on the archaeology of the Māori and for his comparative studies of Polynesian archaeology and material culture. He was the first Lecturer of Anthropology in Australasia, appointed Lecturer in Ethnology at the University of Otago in 1919 (where he lectured until 1952). He was appointed assistant curator of the Otago Museum in 1919, later becoming Director of the Museum from 1937 until 1957. Skinner was also Librarian of the Hocken from 1919 until 1928. Much of the collection expansion in the Otago Museum, and the importance placed on the collection and display of Māori and Polynesian artefacts can be attributed to him. He also expanded the Hocken’s collections, most notably in New Zealand paintings and drawings.

Skinner’s research on the Moriori represents a milestone in the history of Polynesian ethnology as the first systematic account of material culture of a Polynesian people. He set new standards in description, classification and analysis, and he demonstrated how ethnological research could contribute to important historical conclusions. Professor Atholl Anderson, Honorary Fellow of Otago’s Department of Anthropology & Archaeology, describes Skinner’s analyses of Māori material culture as prescribing the method and objectives of the discipline for over 50 years and his teaching as inspirational for several generations of archaeologists, especially in southern New Zealand.

References:

Anderson, A. Henry Devenish Skinner, Dictionary of New Zealand Biography Volume 4, 1998

Skinner, H.D. The Past and the Present – Popular Lecture, in Skinner, Henry Devenish Papers, Hocken Archives Collection, MS 1219/071

Wells, M. Cultural appreciation or inventing identity? H.D. Skinner & the Otago Museum. BA (Hons) thesis, Otago, 2014

ITEMS ON DISPLAY

HOCKEN FOYER

Anthropology Department Seminar flyers from the late nineties. Hocken Ephemera Collection

DISPLAY TABLE

  1. Skinner, H. D. 1923. The Morioris of Chatham Islands. Honolulu, Hawaii: Bernice P. Bishop Museum. Hocken Published Collection
  2. Letters from Elsdon Best and S. Percy Smith to H.D. Skinner, and envelope addressed to Corporal H.D. Skinner containing further letters and clippings relating to Moriori in ‘Letters, extracts, notes, etc. relating to Morioris’, Skinner, Henry Devenish Papers, Hocken Archives Collection, MS-1219/169
  3. Letter from J Renwick (1925) to H.D. Skinner in ‘Technology and Art of the [Moriori of the Chathams]’, Skinner, Henry Devenish Papers, Hocken Archives Collection, MS-1219/160
  4. Photos of Chatham Island artefacts in ‘Moriori Photos’ (n.d.), Skinner, Henry Devenish Papers, Hocken Archives Collection, MS-1219/168. Stone patu, bone fishhooks, blubber cutter, stone adzes and postcard map of Chatham Islands.
  5. Syllabus of Evening Lectures on Ethnology 1919 & University of Otago Teaching of Anthropology (n.d.) in ‘Anthropology at Otago University’, Skinner, Henry Devenish Papers, Hocken Archives Collection, MS-1219/022

PLINTH

  1. Freeman, D. & W. R. Geddes, 1959. Anthropology of the South Seas: essays presented to H. D. Skinner. New Plymouth, N.Z.: T. Avery. Hocken Published Collection
  2. Dr Henry Devenish Skinner at the Otago Museum (1951). D. S. Marshall photograph, Hocken Photographs Collection, Box-030-013
  3. Dr Henry Devenish Skinner and others get aboard the ‘Ngahere’ for Chatham Islands (1924). The others are identified as Robin Sutcliffe Allan, John Marwick, George Howes, Maxwell Young and Dr Northcroft. Photographer unknown, Hocken Photographs Collection, Box-030-014

PLINTH

  1. The Dunedin Causeway – archaeological investigations at the Wall Street mall site, Dunedin, archaeological site 144/469 (2010). Petchey, Peter: Archaeological survey reports and related papers, Hocken Archives Collection, MS-3415/001
  2. Beyond the Swamp – The Archaeology of the Farmers Trading Company Site, Dunedin (2004). Petchey, Peter: Archaeological survey reports and related papers, Hocken Archives MS-2082
  3. A smithy and a biscuit factory in Moray Place, Dunedin… report to the New Zealand Historic Places Trust (2004). Hamel, Jill, Dr: Archaeological reports, Hocken Archives MS-2073
  4. Otago Peninsula roading improvements – Macandrew Bay and Ohinetu sea walls, report to the New Zealand Historic Places Trust (2010). Hamel, Jill, Dr: Archaeological reports, Hocken Archives MS-4174/001
  5. Album of photographs accompanying Otago Peninsula roading improvements – Macandrew Bay and Ohinetu sea walls report (2010). Hamel, Jill, Dr: Archaeological reports, Hocken Archives MS-4174/002

 

… But most of all, it’s fashion!

Friday, March 24th, 2017 | Anna Blackman | No Comments

Post by Amanda Mills, Curator of Music and AV

It’s iD fashion week here in Dunedin, and an opportunity to highlight an interesting piece of fashion-related audiovisual material in Hocken’s collections. The song It’s Fashion by Jack Roberts and Ian Couldrey was created as the theme for Ross and Glendining’s  fashion show.

Credit It’s Fashion. 1961. Lyrics by Ian Couldrey, and music by Jack Roberts. Hocken Sound Recordings Rec-S 3362

The company Ross and Glendining (founded by John Ross and Robert Glendining) was established in Dunedin in 1862, when they bought a local Dunedin retail drapery business. Changing to an import and warehousing business within three years, they sold imported fashion goods, though some of the most popular goods sold included blankets, and hosiery. To create woollens, they built the Roslyn Woolen Mill in 1879 for production of consumables like yarn, blankets and flannels, and several years later, they introduced knitting machines to produce hosiery and clothing. While expanding their clothing manufacturing business throughout New Zealand, Dunedin was still their main centre, opening a clothing factory in 1883 to manufacture men’s and boy’s clothing (under the Roslyn label), a hat factory in 1901, and also manufacturing footwear  from 1908, and neckwear from 1957. The list of brands Ross and Glendining manufactured was large, and included Mayfair Shoes, Roslyn Blankets and Rugs, Osti Lingerie, Glenross Millinery, Aotea Knitting Wool, and Sacony Fashions.

Mimosa Lingerie.[1959]. Ross and Glendining: Records, Hocken Collections AG-512/066 S09-529g.

Originally a staid manufacturer of wool, and an importer of garments, Ross and Glendining did not enter the world of fashion until the late 1950s and “stunned trade buyers with an innovative fashion show in Auckland at which they displayed their latest… creations” (Jones, 2010, p. 341). The show (held at the Winter Garden of the Great Northern Hotel) ran for 106 minutes, and used a three-piece orchestra and 10 models (eight adults and two children). The idea for this show came from Ian Couldrey, the company’s sales controller, well known in national publicity circles (Jones, 2010, p 341). The show had three successful nights before moving on to Wellington, Christchurch, and Dunedin, and a film was made of the shows to feature in smaller centres. This was promised to be the first of many fashion events for the company.

Unfortunately, the motion picture of this 1960 show is not part of Hocken’s large collection of Ross and Glendining records; in fact, no copies seem to exist. This is a significant gap in the collection, and, if found, would be a fantastic addition to our records of the company.

It’s Fashion is stated as being written for Ross and Glendining’s 1961 fashion show, but the annual reports and records don’t document any event that year, so the date may have been incorrectly attributed – perhaps the song was written for the 1960 show. It’s Fashion was written  for the event by Roberts and Couldrey. The song is in the popular genre of the day – a charming piano-driven mid-tempo, melodic pop-ballad, sung in the style of Doris Day (sadly, there is no mention of the female vocalist’s name). The performance is sweet, and appropriate for the show, which while innovative at the time, would likely not be cutting-edge by today’s standards. Regardless, this lovely song is one of few recorded specifically for a fashion show and an interesting, and modern, approach for Ross and Glendining to take to advertise their fashion lines.

It’s Fashion.

 

References:

Jones, S.R.H. (2010). Doing well and doing good: Ross and Glendining Scottish enterprise in New Zealand. Dunedin, New Zealand: Otago University Press.

The real housewives of Dunedin: the Dunedin Housewives’ Union Dunedin Housewives’ Association : Records (1930 – 1977) AG-002

Wednesday, March 8th, 2017 | Anna Blackman | No Comments

Post prepared by Kari Wilson-Allan, Hocken Collections Assistant, Researcher Services

Today being International Women’s Day, it seems fitting to delve into the history of some Dunedin women – our own real housewives.

Established in late 1930, in the midst of the Great Depression, the Dunedin Housewives’ Union, headed up by the dynamo Mrs Alice Herbert, aimed to become a ‘real live and effective power in this part of the Dominion’. Meetings were held fortnightly, initially in the Dunedin Trades Hall, with a 2/6 annual membership fee.

First page, Minute Book (1930 – 1941) AG-002-01

Subjects under discussion revolved around, among other things, the quality and cost of foodstuffs, fuel, schoolbooks, and housing. Meat was ‘the foundation of the usual daily dinner’ and therefore ‘of utmost importance to the housewife’. That available in Dunedin was the ‘dearest in the Dominion’.  Milk and bread also drew attention; calls for the pasteurisation of milk and the packaging of bread appeared in local newspapers, along with requests for a municipal milk supply as a means to cut distribution costs.

Media coverage of riots in Dunedin, Otago Witness, 12 January 1932, p.20.

Fundraising events were common features in the women’s calendars. They organised bazaars, jumble sales, hat-trimming competitions, guess-the-weight-of-the-ham competitions (ham kindly supplied by Wolfenden and Russell), even baby shows.  A ‘hot pea and hot dog stall’ in 1931 was the cause of ‘much meriment [sic] ’.

As well as supporting the community with events like the 1933 party for the old-age pensioners at Talboys’ Home (lollies donated by Wardell’s Grocery), which was intended to ‘bring a little brightness into their drab lives’, the women looked after their own.  One member was gifted cocoa as she was ‘in great need of additional nourishment’.

The employment and unemployment of women concerned the Union.  It was recognised that often young women would be hired for a short period of time and then dismissed, leading to insecurity.  Compounding the problem was the higher costs of living in the South Island, where food and clothing were dearer.  The importation of foreign goods also raised their ire.

Temptations to housewives, Minute Book (1930 – 1941) AG-002-01, p.144

Housing conditions were decried; condemned buildings were at times tenanted. Washing facilities were in short supply, women needed to be recruited as inspectors, and to have a larger role in the City Council over all.

Housewives’ concerns, Minute Book (1930 – 1941) AG-002-01, p.125

Meetings often featured speakers or debates.  One such debate in 1933 on the subject of birth control proved to be ‘very interesting’, and at its conclusion, members shared their personal opinions, which were both ‘amusing and instructive’.

A selection of speakers’ subjects in the Union’s first decade, Notes on the history of the Association, AG-002-13

 

Who were the women of the Union?  This is not an easy question to answer.  Members of the Executive of the first year included a Mrs. Seddon, a Mrs. Anderson and a Mrs. Allen.  Without their first initials, finding the correct woman in electoral rolls has proved to be a minefield.  Sometimes the addition of a husband’s initial was a vital clue.

The members certainly had adequate time to contribute to their cause, to pay their annual dues and rent their premises.  Based on this and a number of other clues, I surmise that they were certainly not the poorest of the poor at that time.  They had education behind them, and political contacts.

Alice Herbert’s husband was the Secretary for the Dunedin Drivers’ and Storemens’ Union, and he, along with Alice, was heavily involved in the Labour Party.  In 1934, Alice tendered her resignation for the president’s role, based on her other commitments, but this was refused pending a determination of how time-consuming her other political activities would prove to be.  That the Union did not accept her resignation seems a signifier of her great influence and energy.

Women around New Zealand came to hear of the Dunedin Union, and made contact, wanting to establish similar groups of their own.  Unions formed in Invercargill, Waimate and Napier and elsewhere, eventually growing a network around the country.  Affiliations with the National Council of Women developed, and by the 1950s, the name Union was dropped for the less combative sounding Association.

It would be unfair of me to allude to ‘real housewives’ without supplying some element of drama.  The minutes do indicate certain conflicts of interest, perceived insults and tempestuous resignations, but to focus on these would belittle the valuable contributions made to the community.  Certainly as membership grew, challenges arose.  Rules were established, and prospective members needed to be introduced by current members to be admitted.  By June 1934 there was concern that ‘misrepresentation’ could arise as a consequence of ‘business [of the Union] being discussed outside the organization’, and in October of that year it was declared that ‘loyalty to our union must be shown.’

Minute Book (1930 – 1941) AG-002-01, p.164

 

Curiosity piqued by this first minute book?  Come in and explore them further.  The minute books stretch from 1930 through to 1974, are unrestricted, and contain myriad avenues for investigation.

 

Sketching a past : Susan Downing, Sister Mary Genevieve

Wednesday, November 2nd, 2016 | Anna Blackman | No Comments

Post researched and written by Debbie Gale – Archivist

The exciting discovery of an accomplished watercolour sketchbook within the archives of the Dominican Sisters of Aotearoa New Zealand held by the Hocken, was first assumed to be the work of a pupil at one of the Dominican Schools.  Instead, it has been found on closer examination to be that of one of its Sisters, Mary Genevieve.

Front page & Text knitted

Hocken Collections, Natural history work book, Susan Downing, Upton Hall. Records of the Dominican Sisters of Aotearoa New Zealand. AG-264-A-019/002. To see detailed image, right click, open in new tab and zoom in.

The first ten Dominican Sisters arrived in Dunedin from Sion Hill Convent in Dublin in 1871, accompanying Bishop Moran.   Under the conditions of the agreement, those chosen to move to New Zealand needed to be qualified to teach in both ‘A High School’ and ‘A Poor School’.  Sister Mary Genevieve’s maternal aunt, Charlotte (professed as Sister Catherine Hughes in 1857), was part of this first contingent.  Indicative that the Sion Hill community sent some of its outstanding members to New Zealand, Sister Catherine had studied under a pupil of Chopin and was a highly gifted musician.  She was sister-in-law to Sir Charles Gavan Duffy, Irish Nationalist, journalist, poet and Australian Politician (8th Premier of Victoria 1871-1872).  Duffy married her sister Susan Hughes in 1846[1].

The High School, opened very shortly after the Sisters’ arrival in 1871, accepted pupils from all over Dunedin for pianoforte lessons, singing, harp lessons, painting, flower making, art, needlework and languages such as French, Italian, German and Spanish[2].

By 1971, the number of Irish sisters who came out to New Zealand had risen to 80.  Like the first contingent, most were from privileged backgrounds, daughters of wealthy landowners who had received an education.  Dunedin’s successful immigrants sent their daughters to the Dominican Sisters for two reasons – to receive a good Catholic education and to acquire the ‘accomplishments’ (cultural studies of music and art and modern languages)[3].

Susan Downing appeared to fit the mould of a Dominican Sister perfectly.  She had an educated, upper class background and she was accomplished in the arts.  These attributes are evidenced both through her beautiful sketchbook, and from information held by the Dominican Sisters themselves.

By accessing genealogy resources, making enquiries about Downing from the Dominican Sisters’ Archive and following up on clues in the sketchbook, we can piece together some of Susan’s early life in England.

England Census 1861:

Six-year-old Susan J. Downing is listed in the Downing household in the Parish of Birkenhead.  Her estimated birth year is 1855 and her birthplace is listed as Birkenhead, England.  She appears in the England and Wales birth index as Susan Jane Downing.

Father Samuel was born in Ireland about 1820, he was a physician, surgeon and general practitioner.  Mother Marianne was also born in Ireland about 1819. The family appears to be prosperous, with the household consisting of five siblings and two household staff whose occupations are listed as ‘domestic servants’.

England Census 1871:

There are two entries for Susan. She is listed within her household census, and also as a scholar at Upton Hall.

Upton Hall, then a Catholic convent school in Wirral, Cheshire, lies about 10kms away from Birkenhead. It was ‘designed to produce accomplished young ladies’.  This is where Susan would have begun her sketchbook, in 1876, at the age of 21.

Illustrations knitted

Hocken Collections, Natural history work book, Susan Downing, Upton Hall. Records of the Dominican Sisters of Aotearoa New Zealand. AG-264-A-019/002. To see detailed image, right click, open in new tab and zoom in.

The Downing household now has three domestic staff whose occupations are listed as ‘groom (domestic servant)’, ‘cook’ and ‘housemaid’.  Their immediate neighbours are an attorney and broker. William, the eldest son, is a merchant’s apprentice and two further sons a medical student and scholar.

No record of Susan is found in the 1881 or 1891 England census returns so we may assume that she had left England by this time. Susan’s personal record held by the Dominican Sisters indicates that she had been educated in Holland, France and in Dublin at the Dominican College, Sion Hill and arrived in Dunedin directly from Dublin in 1892.

Sadly, no Irish census information for these years survives as the original returns were pulped during the First World War, probably because of the paper shortage.  She left Upton Hall at some point after 1876 and moved to Dublin, but without the Irish census returns it is difficult to pin dates down.

Moving to the other side of the globe:

Downing passenger list

Archives New Zealand Passenger lists from 1892 show that Susan made the long voyage to New Zealand at the age 37, by herself, on the ‘S.S. Kaikoura’.

The journey was not without incident. Both the Otago Daily Times (15 July 1892) and Hobart Mercury (11 July 1892) reported on the ‘Kaikoura’ embarking passengers of a ship wrecked on its voyage to Melbourne, as well as the terrible weather conditions encountered by its passengers:

On the 6th June at Cape Verde, Africa, the ‘Kaikoura’ embarked passengers of the liner ‘Port Douglas’, which had been wrecked on the voyage to Melbourne. The passengers also encountered ‘terrific seas’ and ‘rain, hail and sleet were frequent…traversing the Southern Ocean’. However, ‘The usual concert balls etc., were organised to enliven the monotony…they were entered into heartily by all on board’.  I wonder, did convent girl Susan join in these proceedings?

Received into the Dominican Sisters on 15th January 1893, Susan took the name Sister Mary Genevieve and was professed on 8 November 1894. Dunedin electoral rolls of 1893 and 1896 list her teaching at St Dominic’s Priory on Dowling Street. Records show she eventually reached the rank of sub prioress in 1910.  Her death is given as 19 September 1923 aged 69.

For all that we can piece together the recorded fragments of Sister Mary Genevieve’s early life; there are a few questions that will remain unanswered:

What made Susan decide to move to the opposite side of the world, on her own, at 37 years of age? It seems likely that she decided to follow in her Aunt Charlotte’s footsteps and join her as a Dominican Sister, but what was her spur? Her parents would have been in their 70s at this point, maybe they had died and she wanted a fresh start?

According to her death notice, her forte was music, and information from the Dominican’s own records describes her as an ‘excellent linguist, speaking and reading several tongues’.   There appears to be no mention of her artistic gifts, however, and her sketchbook remains sadly unfinished.  Did she simply decide to discontinue her art once she arrived in New Zealand, or maybe she was just too busy with her teaching and religious duties?  This seems a shame, when we consider how evidently she was once attached to her sketchbook, so lovingly crafted and cherished, a travelling companion on her long journey overseas.

[1] McCarthy, 19-20

[2] Collins, 78

[3] Collins, 81-82

Sources:

Collins, Jenny.  Hidden lives : The teaching and religious lives of eight Dominican sisters, 1931-1961: A thesis submitted in partial fulfilment of requirements for the degree of Master of Education at Massey University, Palmerston North. 2001

McCarthy, Mary Augustine. Star in the South : The centennial history of the New Zealand Dominican Sisters. Dunedin St Dominic’s Priory, 1970

New Zealand Dominican Sisters Archives

Rombouts. Michael : Death notices in the New Zealand Tablet May 1873 to Apr 1996. Dunedin N.Z. : M.J.Rombouts 2000

Rombouts. Michael : Catholic death notices in the Otago Daily Times 1861-1950. Dunedin N.Z. : M.J.Rombouts 1998

Upton Hall School Census 1871. (Retrieved August 2015 ‘http://history.uptonhallschool.co.uk’)

Upton Hall School website (Retrieved August 2015, ‘http://www.uptonhallschool.co.uk/’)

England census returns (Retrieved August 2015. ‘Ancestry’)

England and Wales birth index (Retrieved October 2015 ‘Ancestry’)

New Zealand Tablet, 1923

New Zealand, Archives New Zealand, Passenger lists 1839-1973 (Retrieved August 2015. ‘familysearch.org’)

The Mercury, Hobart 11 July 1892 (Retrieved September 2015. ‘Trove’ http://trove.nla.gov.au/ndp/del/article/13295915)

Otago Daily Times, 15 July 1892 (Retrieved August 2015. ‘Papers Past’)

New Zealand Electoral Rolls, 1893, 1896

 

Happy World Audiovisual Heritage Day!

Thursday, October 27th, 2016 | Anna Blackman | No Comments

Post by Amanda Mills, Liaison Librarian – Audio Visual and Music

This annual day (October 27th) is run by UNESCO to celebrate audiovisual heritage, and to raise awareness that this vulnerable material is in danger of being lost through neglect, decay, destruction, and lack of resourcing. World Audiovisual Heritage Day has a different theme every year, and 2016’s theme is ‘It’s your story – don’t lose it.’ This theme presents opportunities to showcase cultural material in the audiovisual collections, and we’ve found a couple of fascinating pieces to share with you.

The first recording is from a disc called ‘Social Credit in 3 minutes’ (spoken word by A.E. Willyams) and is a promotional 78rpm recording for the Social Credit Party, recorded in the 1950s (side B is the ‘Social Credit March’). The short excerpt is taken from the last part of the recording, and explains what social credit is.

Social credit in three minutes

‘Social Credit in 3 Minutes’. Hocken Sound Recordings: Rec-M 1104

The second recording is a 1958 45rpm disc ‘: A Maori love story’, told by Kenneth Melvin, on the Reed Records label. This short excerpt picks up the story where Hinemoa and Tutanekai become aware of each other.

Hinemoa and Tutanekai

‘Hinemoa and Tutanekai: A Maori love story’. Hocken Sound Recordings: Rec-S 318.

How much audiovisual material do you have to preserve?