Te Wiki o Te Reo Māori 2017

Monday, September 11th, 2017 | Anna Blackman | No Comments

Nā Jacinta Beckwith, Kaitiaki Mātauranga Māori

This year Te Wiki o Te Reo Māori coincides with #MahuruMāori – a reo challenge to speak Māori for the month of September. Here at Hocken and across the Libraries we continued with our kaupapa from recent years to promote rangahau Māori and this year we especially highlight Postgraduate Māori research in displays and in Postgraduate Māori research presentations at Hocken.

This morning at our opening event, we were treated with a fantastic kōrero from Te Koronga Researcher Ngahuia Mita. Ngahuia graduated with a Master’s degree in Physical Education with distinction from the School of Physical Education, Sport & Exercise Sciences last year, and then travelled to Antarctica with Professor Christina Hulbe, Kelly Gragg and Michelle Ryan under the Ross Ice Shelf Programme. Ngahuia’s kōrero was complemented by the launch of an exhibit in the Hocken Foyer celebrating Māori and Polynesian voyagers to Antarctica, displaying a range of Antarctic resources from the Hocken Collections.

Tawhana kahukura i runga, ko Hui-te-Rangiora te moana i tere ai

The rainbows span the heavens whilst Hui-te-Rangiora speeds over the oceans

Celebrating Māori and Polynesian Voyagers to Antarctica

Hui-Te-Rangiora

Rarotongan narratives and traditions of Ngāti Rārua and Te Āti Awa tell the story of a Polynesian explorer, Hui-Te-Rangiora, or, Ui-Te-Rangiora, the first to travel to the Antarctic around 650 AD. Hui-Te-Rangiora returned with stories of icebergs, naming the land: “Te Tai-Uka-a-Pia”meaning “sea foaming like arrowroot” comparing the similar characteristics of the starchy scrapings with the sheets of floating ice and snow.

Hui-Te-Rangiora remains remembered and honoured as he sits atop the whare tūpuna (ancestral house) Tūrangapeke at Te Awhina marae in Motueka, and atop the waharoa (gateway) at the entrance to Te Puna o Riuwaka (the Riuwaka Resurgence), a place he is said to have taken rest preparing himself spiritually and physically for the epic voyage to the Southern Ocean.

Tuati

The first New Zealander to enter Antarctic waters was a Māori man named Tuati, a crew member aboard the Vincennes during Lieutenant Charles Wilkes’ United States Exploring Expedition of 1839-1840. Son of a Scottish whaler Captain William Stewart and his Ngāpuhi wife, Tuati was also known as Te Atu, John Sac and John Stewart.

Tuati worked both as a seaman and as an interpreter, accompanying Wilkes when the expedition stopped in French Polynesia. In his narrative of the expedition, Wilkes describes “Tuatti” as “an excellent sailor, a very good fellow”.

The New Zealand Geographic Board commemorated Tuati’s first sighting of Antarctica by naming a peak after him in Antarctica’s Royal Society Range 150 years later.

Dr Louis Hauiti Potaka

Captain A. L. Nelson, commander of the Discovery II., welcoming Dr Potaka on embarking aboard the Discovery, en route to Little America, where he will take the place of Dr G. Shirey as medical officer to the Byrd Expedition. Evening Star, 15 February 1934, page 2, Hocken Newspapers Collection

Louis Hauiti Potaka, born at Utika, Whanganui in 1901, was the fifth Māori medical graduate in New Zealand and served as doctor for Rear Admiral Richard E. Byrd’s second Antarctic expedition in 1934-1935.

Potaka studied medicine at the University of Otago from 1920-1929, graduating with his MBChB in 1930. Following graduation, he worked at Nelson Public Hospital and in Murchison. When the Byrd expedition’s original doctor was unable to winter over in Antarctica, a call went out for a replacement doctor and Potaka was selected.

In February 1934, Potaka boarded the Royal Research Society’s Discovery II, which called into Port Chalmers especially to pick him up. The vessel took him to rendezvous with the rest of the team on the Bear of Oakland in the Ross Sea before their four-day journey through pack ice to ‘Little America’.

While in Antarctica Potaka performed an emergency appendectomy, extracted teeth, conducted health checks on the team and dealt with a broken arm and frostbite. Non-medical activities included chess, movies and digging in the ice for buried items from Byrd’s first expedition, 1928-1930.

On his return to Dunedin via Byrd’s supply ship Jacob Ruppert in February 1935, he said he had enjoyed his experience but was glad to be back.

Potaka then went back to Nelson to work as a locum and Native Medical Officer for Dr Edward Coventry Bydder but the arrangement did not go well. He left to set up his own practice with support from the local community, but British Medical Association rules instructed him to leave the district to practice elsewhere. His vision was also deteriorating due to ultraviolet keratitis (snow blindness), a condition he developed while in Antarctica, and made worse by its remedy at the time – cocaine drops. His failing eyesight and unhappiness at work weighed heavily on him, leading to depression and his premature death by morphine overdose.

Two years later, his mother received the US Congressional Medal in appreciation of her son’s work for the Byrd expedition. The US Advisory Committee on Antarctic Names named an inlet after him on the north side of Thurston Island.

Randal (Ray) Murray Heke

Ministry of Works, Clerk of Works Ray Heke was part of the 1955-1958 Commonwealth Trans-Antarctic Expedition led by Sir Edmund Hillary. Heke was foreman for the construction party made up of men from the HMNZS Endeavour and the New Zealand Army, guiding the construction of New Zealand’s first Antarctic base, Scott Base, while Hillary and his team were off on their journey to the South Pole.

Originally from Waikanae, Heke, now 89 years old, was awarded the New Zealand Antarctic medal in June this year. Proud to have been one of the first Māori in the ice, of his Antarctic experience he said:

“I got on very well with Ed and he was a great leader and as leader of the construction team I got to know him very well down there. He was keeping an eye on progress and what I was doing and it was something I will always remember, being involved in his preparation to travel to the South Pole and my building the base from which he was to take off for his expedition.”            Waateanews.com, September 5, 2017

Ramon (Ray) Tito

Able Seaman Ramon Tito was also part of the 1955-1958 Commonwealth Trans-Antarctic Expedition led by Sir Edmund Hillary, voyaging to Antarctica on the HMNZS Endeavour. Tito (also named Te Tou in some accounts) officially raised the New Zealand flag at the opening of Scott Base in 1956. Recalling the event nearly 50 years later, Tito said:

“At the time we were having a beard-growing contest and because I had less hair than Jim, I got the job to raise the flag. I did not think too much of it but when I got home from that trip, everyone would say, ‘There’s the guy who put the flag up.’ Then I started thinking, maybe I did do something.” Call of the Ice, p.29

Robert J. (Bob) Sopp

Diesel engineer and fitter mechanic from Kaingaroa Forest, Wairoa, Hawke’s Bay, Bob Sopp was selected as one of twelve wintering personnel for the tenth New Zealand Antarctic Research Expedition, and as part of the 1966-1967 US Operation Deep Freeze. At only 21 years of age, Sopp had complete charge of the diesel generating plant supplying all power for the base.

Sopp carved a tekoteko (figurehead) which was presented by Scott Base to the CPO Mess at McMurdo Station. The carving was inscribed:“Rurea Taitea, kia Toitū, ko Taikaka” which means to strip away the sapwood and expose the heartwood. It also means to choose friends who are dependable and steadfast. The whakataukī (proverb) acknowledged especially the journey in cultural restoration and understanding, and reflected the working culture of those in Antarctica.

Ngahuia Mita in Antarctica, with Professor Christina Hulbe, Kelly Gragg and Michelle Ryan, Summer 2016/2017. Photo courtesy of Ngahuia Mita.

Ngahuia Mita

Ko Maungahaumi te maunga
Ko Waipaoa te awa
Ko Horouta te waka
Ko Te Aitanga-a-Mahaki te iwi
Ko Ngati Wahia te hapū
Ko Mahaki te tangata
No Tūranganui-ā-Kiwa ahau
Ko Ngahuia Mita tōku ingoa.

My name is Ngahuia and I come from Te Tairāwhiti (The East Coast of the North Island). In the summer of 2016/17 I had the honour of travelling to Antarctica alongside scientists including Professor Christina Hulbe, Kelly Gragg and Michelle Ryan under the Ross Ice Shelf Programme (funded by NZARI Aotearoa). The wider purpose of the research programme is to examine the Ross Ice Shelf and its response to climate change. My role was as an intern focusing on Māori and Polynesian voyages to Antarctica and thus the whakapapa connection that we as Māori and Polynesian descendants have to the continent. The findings of this research highlight the importance of the inclusion of Māori and Polynesian voices in Antarctic research. The work of Antarctic scientists is ground-breaking and critical in understanding our planets response to climate change, a change that ultimately effects Māori, coastal communities and all of us. Therefore I believe the inclusion of mātauranga Māori (Māori knowledge) can only enhance these approaches. I acknowledge those who made it possible for me to experience what our tīpuna (ancestors) would have hundreds of years ago and all of the Māori Antarctic scientists, kaimahi (workers) and explorers that have gone before me.

List of items on display

Map showing some recorded voyages of the Polynesians, page 3, in Best, E. 1923. Polynesian Voyagers: The Maori as a Deep-Sea Navigator, Explorer and Colonizer, Wellington, NZ: Government Printer. Hocken Published Collection.

Captain A. L. Nelson, commander of the Discovery II., welcoming Dr Potaka on embarking aboard the Discovery, en route to Little America, where he will take the place of Dr G. Shirey as medical officer to the Byrd Expedition. Evening Star, 15 February 1934, page 2, Hocken Newspapers Collection.

National Geographic Society (U.S.) Cartographic Division. Antarctica. Washington, D.C.: National Geographic Society, 1963. Hocken Maps Collection.

First day covers and envelopes bearing polar postmarks, H. P. Lowe Papers, Hocken Archives Collection, MS-2703/002

‘Antarctic’, New Zealand Antarctic Society quarterly news bulletin, New Zealand Alpine Club Records, Hocken Archives Collection, MS-3024/021

Photograph of Medical School Staff and Students, August 1930, University of Otago Medical School, Alumnus Association Inc. Records, MS-1537/708

List of stores loaded on the “Bear of Oakland”, 1934, Tapley Swift Shipping Agencies Limited Records, Hocken Archives Collection, MS-3165/016

‘Medical locker’ supplies list and Inward Manifest list of crew from the SS Jacob Ruppert, 1934, from Crew lists, invoices and bills of lading, H.L. Tapley and Company Limited: Papers relating to the Admiral

Byrd Expedition to the Antarctic, Hocken Archives Collection, MS-1138/003

Scrapbook relating to Byrd’s second expedition, Byrd Expedition Records, Hocken Archives Collection, AG-372/002

Photograph of Dr. Potaka uses “painless dentistry” on Corey, facing page 232, in Byrd, R. E. 1936. Antarctic Discovery. London: Putnam. Hocken Published Collection.

Photograph of PO Ramon Tito (second from left) with Sir Edmund Hillary, Sir Vivian Fuchs and PO Terry Devlin on HMNZS Endeavour, January 1958, Plate 1, in Harrowfield, D. L. 2007. Call of the ice: fifty years of New Zealand in Antarctica. Auckland, N.Z.: David Bateman. Hocken Published Collection.

Ngahuia Mita in Antarctica, with Professor Christina Hulbe, Kelly Gragg and Michelle Ryan, Summer 2016/2017. Photos courtesy of Ngahuia Mita.

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

 

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.

 

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?

Unboxing (mostly) Flying Nun

Monday, May 30th, 2016 | Anna Blackman | No Comments

Post by Amanda Mills, Music and AV Liaison Librarian

One of the most fun things we get to do at the Hocken is open new material, so in celebration of Music Month, we thought we would share some of our new popular music acquisitions with an unboxing video. Most of the discs are from Flying Nun artists in the 1990s, though the Chris Knox compilation on cassette (on the Thokei Tones label) is a brand new release and the Ladyhawke discs (released on Modular) date to around 2007-2008. The Flying Nun discs were mostly sourced from overseas vendors, as some of these titles are hard to come by, and finding them locally (or nationally) can often be a challenge. These recordings are a great addition to our vinyl (and other format) holdings, especially as many of them showcase Dunedin musicians.

These titles include:

King Loser – Caul of the outlaw

Chris Knox – KnoxTraxFine

Ladyhawke – Back of the van

Love’s Ugly Children – Cakehole

Martin Phillipps and The Chills – Sunburnt

Straitjacket Fits – Melt

Various Artists – Abbasalutely

 

You may ask, what are the next steps in the process of putting them in our collections?

Flying Nun albums unboxed

Flying Nun albums unboxed

The discs are placed into inert polyethylene bags to protect the sleeves, metadata about the recording is input into the publications database (Library Search Ketu), and then items are barcoded and labelled before being shelved into our specially made LP cabinets. They are then available for University of Otago staff, students, and the general public to come and listen to.

vinyl cabinets

LP storage cabinets

We acquire New Zealand music of all genres, time periods, and (most) formats constantly, and this is only a snapshot of the material that is added to the music collections on a weekly basis. All published music can be searched for via the University of Otago publications database, Library Search|Ketu.  For more information on the music collections at the Hocken, please see our music guide.

album spines

Albums all safely stored in the cabinets

Shellal Mosaic : Fragments of Middle Eastern History at the Hocken

Friday, April 22nd, 2016 | Anna Blackman | 3 Comments

Post researched and written by Dr Anna Petersen, Assistant Curator of Photographs.

Housed in the Hocken Photographs Collection is an album compiled by a World War I soldier, Francis Leddingham McFarlane (1888-1948) from Dunedin, who occupied a short-lived but significant place in the long history of the Shellal Mosaic.

Sapper McFarlane of the New Zealand Wireless Troop was serving in Palestine in April 1917, when fellow ANZAC soldiers near Shellal stumbled across pieces of this sixth century mosaic.  The chance discovery was made during the second battle of Gaza on the floor of a captured Turkish machine gun outpost, located on a small hill overlooking the cross roads of what would once have been the main road between Egypt and Jerusalem.[i]

The soldiers reported their find to Senior Chaplain, Rev. W. Maitland Woods, who had a keen interest in archaeology and made a habit of entertaining the troops with stories about the Holy Lands where they were based.[ii]  Rev. Maitland sought professional advice from curators at the Cairo Museum and gained permission to organise a group of volunteers to uncover and remove the remains.[iii]  Sapper McFarlane was given the job of drawing what they uncovered (fig. 1).[iv]

Figure 1. The sketcher at work. P1993-024-012c

Album 213 includes three photographs showing sections of the Shellal Mosaic in situ (figs 2, 3 and 4), as well as a photograph of the sketcher at work and his completed drawing of the whole carpet-style design (fig. 5).

S16-070c P1993_024_012a

Figure 2. Mosaic floor discovered at Shellel. P1993-024-012a

S16-070h P1993_024_013a

Figure 3. Inscription and portion of border. P1993-024-013a

S16-070i P1993_024_013b

Figure 4. One of the circular designs. P1993-024-013b

A colour lithograph of McFarlane’s drawing was subsequently published in Cairo but, like the photograph, does not do full justice to the subtle hues.  An example of the lithograph can also be found at the Hocken, housed in the Ephemera Collection (fig.6).

MosaicSidebySide

Figure 5. Photograph of drawing of mosaic fragments. P1993-024-011a. Figure 6. Lithograph of mosaic found at Shellal, South Palestine on 23rd April 1917. Hocken Posters collection acc no. 816608.

The full significance of Sapper McFarlane’s drawing is explained in a booklet, written by A.D. Trendall and published by the Australian War Memorial Museum in 1942, some decades after the mosaic was handed over to the Australian government in 1918. Trendall relates how a second drawing, made by Captain M.S. Briggs six weeks later, reveals that during the interim, portions of the mosaic went missing.  Other soldiers probably took away pieces of the peacock and border in the lower right corner in particular as souvenirs and these proved impossible to recover.  Fortunately 8,000 tesserae survived from the top inscription written in Greek; enough to learn that the mosaic once decorated a church dating to A.D.561-2 and honoured a bishop and a priest called George.  Anyone wanting to learn the whole story plus an analysis of the imagery, technique and style, can read Trentham’s booklet, a later edition of which is housed with the album at the Hocken.

Frank McFarlane went on to serve as a war artist in the Middle East and continued to paint and draw after returning to civilian life. Other photographs in album 213 (all now available online via Hakena) help document McFarlane’s time during World War I in Mesopotamia (modern day Iraq).  These include a view of the Arch of Ctesiphon near Baghdad (fig. 7) and a soldier operating a pack set wireless in the field (fig. 8).  A sketchbook in the Hocken Pictorial Collections dates to the 1930s when McFarlane worked as a postmaster at Lawrence in Central Otago.  It includes pencil portraits of local people in Lawrence and remnants of the gold-mining days.

Figure 7. Arch of Ctesiphon near Baghdad. P1993-024-005a

S16-076f P1993_024_022b

Figure 8. Pack set wireless in the field, Mesopotamia. P1993-024-022b

Frank McFarlane married Bessie King and together they had two daughters who became professional painters with work also represented at the Hocken that reflects a shared interest in vestiges of the past.  Their paintings are not currently available online for copyright reasons but Heather McFarlane (1925-2011) married New Zealand diplomat, Sir Laurie Francis and a loose photograph in the back of album 213 shows her viewing the Shellal Mosaic on display at the Australian War Memorial Museum in 1965.  A drawing by Shona McFarlane-Highett (1929-2001) entitled ‘Dunedin-Palmyra’ (1965) depicts a quarter of the city that was once inhabited by Assyrians. A photograph in the Dunedin Public Library Collection at the Hocken (P1990-015/49-264) shows a similar row of houses, presumably named after the Syrian city of Palmyra and since demolished.

S16-037e P1990_015_49_0264

Figure 9 Palmyra before demolition, 1971. P1990-015-49-0264

These days the Shellal Mosaic is internationally recognised as one of the finest sixth-century mosaics in existence and as we prepare to welcome more Syrian refugees to the city, it may be a comfort for them to know that the Hocken also preserves some memories and material of relevance to that part of the world.

 

[i] A.D. Trendall, The Shellel Mosaic and Other Classical Antiquities in the Australian War Memorial Canberra, Canberra, 1964, p.9.

[ii] General Sir Harry Chauvel, ‘Foreword’ in The Shellel Mosaic and Other Classical Antiquities in the Australian War Memorial, Canberra, 1964.

[iii] Trendall, p.9.

[iv] Ibid.

The Dunedin Sound?

Thursday, August 20th, 2015 | Anna Blackman | 8 Comments

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

Dunedin Sound cabinet 2

The Dunedin Sound is a phrase used widely to describe a particular sound in independent music (most often on the Flying Nun label) that emerged from Dunedin in the 1980s. Currently, there are a number of people who claim ownership of the phrase ‘Dunedin Sound’, but it is commonly attributed to The Clean’s guitarist, David Kilgour, who uttered it in an interview. The phrase is contentious: many people deny there was ever such a thing as the ‘Dunedin Sound’, while others are adamant it existed. However, it is a convenient term to use when describing local bands from that era, in particular The Chills, The Clean, The Verlaines, The Bats, Look Blue Go Purple, and Sneaky Feelings – all bands that used (to a greater or lesser degree) an underlying  drone, or a jangly guitar in their sound. Dr. Graeme Downes (guitarist, vocalist and songwriter with The Verlaines) argues that there is a ‘Dunedin Sound’, found in the songs themselves, within structural and compositional commonalities. Other factors fit too: isolation, the weather, and finding that their diverse inspirations all filtered through a similar mindset. The right time, and, crucially, the right place.

It has been argued the ‘Dunedin Sound’ began with The Clean’s Boodle Boodle Boodle EP (which was very popular, selling over 10,000 copies, and attaining the no. 4 place in the charts), and then continued with The Chills, the Stones, The Verlaines, and Sneaky Feelings (a.k.a The Dunedin Double), which is still a benchmark for local independent music – compilations such as Wellington’s Four Stars, and last year’s Fishrider Records compilation Temporary were heavily compared to it.

Dunedin Sound posters

The Hocken’s collections are rich in material from this music sub-genre, spread throughout our different collections – Posters and Ephemera include treasures such as one-off gig posters, such as these by the Magick Heads and Look Blue Go Purple, and invites to parties where the bands played; Garage, Hahaha, and Kahoutek zines all feature in-depth interviews with the musicians. Within the archives, a copy of Martin Phillipps’ recent oral history with Helen Frizzell resides, and the Xpressway papers are a mine of information about releases and careers of local musicians signed to the label (many formerly on Flying Nun). The accompanying Xpressway cassette collection was transferred to the published music collections, and these tapes include rare, and early, live recordings of bands and solo artists. There is research too – theses by Craig Robertson and Sian O’Gorman provide information on the bands and the music, as well as the creative scenes surrounding the musicians. Our publications hold books on New Zealand music that include the local scenes and profile the artists, and our music clippings files cover not only ‘Dunedin Sound’ bands and artists, but also the wider Dunedin music scenes and genres. The recorded music collection is richest in terms of the core of the ’Dunedin Sound’ – the actual recordings. We hold some of the hardest-to-find music releases because we collected them at the time of release, and, thus, have a collection deep in content. While not 100% comprehensive, original recordings and reissues are constantly being added to the collection – many new items purchased recently have been reissues. In addition, as part of the Audioculture function held at here on May 14th this year, we were generously gifted the original design for the initial Flying Nun logo (a one-eyed cherub holding an LP), a significant addition.

Dunedin Sound cabinet

 

Music is subjective: here are my 10 favourite ‘Dunedin Sound’ recordings in the Hocken’s music collections, between 1981 and 1996. How many of these do you know?

  • ‘The Dunedin Double’ EP (The Chills, The Verlaines, The Stones, Sneaky Feelings)
  • ‘Boodle Boodle Boodle’ EP (The Clean)
  • ‘Life in One Chord’ EP (Straitjacket Fits)
  • ‘Death and the Maiden’ single (The Verlaines)
  • ‘Pink Frost’ single (The Chills)
  • ‘Outer Space single’ (The 3Ds)
  • ‘Bewitched’ EP (Look Blue Go Purple)
  • ‘Snapper’ EP (Snapper)
  • ‘Randolph’s Going Home’ single (Shayne Carter and Peter Jeffries)
  • ‘A Timeless Piece’ EP (The Rip)

Finally, it’s worth bearing in mind that many of these bands and artists are still making records:  new Chills and Verlaines’ albums are coming, Shayne Carter has a new solo album out this year, and The Clean and The Bats have toured locally and internationally recently.

 

TE REO O TE HAUORA – TE HAUORA O TE REO

Wednesday, August 12th, 2015 | Anna Blackman | No Comments

Na,

Dr Anne Marie Jackson (Ngāti Whatua,  Te Roroa, Ngāpuhi, Ngāti Wai, Ngāti Kahu) Lecturer – Te Kura Parawhakawai, the School of Physical Education, Sport and Exercise Sciences)

Jeanette Wikaira (Ngāpuhi, Ngāti Pukenga, Ngāti Tamatera – Te Uare Taoka o Hakena, Hocken Collections.

TeReoOTeHauora

Every year for Te Wiki o te Reo Māori the Hocken develops a Foyer Exhibition to promote Māori collections, Māori research and Māori language. In 2015 Jeanette Wikaira and Dr Anne Marie Jackson from Te Kura Parawhakawai, the School of Physical Education, Sport and Exercise Sciences, worked with the Hocken’s poster collection to develop Te Reo o te Hauora – Te Hauora o te Reo. This small exhibition examined Māori Health Promotion posters to plot the development of Hauora Māori, looking at the wider socio-political context from which Māori health promotion grew, from the 1950s through to more recent Māori health promotional campaigns. The display also considers how the development of Maori Health corresponds with the health of the Māori language through the increasing use to Te Reo Māori within health promotional material. From this collaboration, an online exhibition will also be developed with Te Koronga, a Māori postgraduate research excellence group within the School of Physical Education, Sport and Exercise Sciences.  The Hocken has digitised a collection of Māori Health Promotion posters for this project ranging from the 1950s through to the 2000s; some of which came from the University of Otago’s Smithells Gymnasium and were donated to the Hocken from the School of Physical Education.

Te Reo o te Hauora – Te Hauora o te Reo is up until August 28th.

CleanYourTeeth

ChewTheseFoods

 

 

 

 

 

 

 

 

HAUORA MO NGA IWI MAORI – HEALTH PROMOTION FOR MĀORI

Historically health promotion for Māori applied generic health promotion campaigns to Māori individuals and communities. The health promotion objectives seen in the posters from the 1950s, was to promote European notions of ‘good’ health to Māori such as cleanliness and sanitation and framed within a deeply entrenched view that Māori needed to assimilate into European society in order to survive. A commonly held perception from the mid-nineteenth century through to the early twentieth century was that the Māori people, language and culture would be incapable of withstanding the progress of Western civilisation and colonisation.

MaoriActivism

KA WHAWHAI TONU MĀTOU – RESISTANCE AND ACTIVISM

Resistance and activism increasingly became strategic approaches of Māori development throughout the 1960s and 1970s. After the 1970 Young Māori Leaders Conference held at Auckland University, the first truly radical group, Ngā Tamatoa, took the issues of Māori rights into the public arena and protest action headlined across New Zealand with the Land March of 1975; the occupation of Bastion Point in 1977 and the 1978 occupation of the Raglan Golf Course. Māori activism also created proactive community projects such as a nation-wide petition for the recognition of Māori language in the education system. The petition contained 30,000 signatures seeking support for Māori language to be taught in schools. The argument over the value associated with Māori language use in a modern world was at the heart of the debate and bilingual schools and community initiated language approaches such as Te Ataarangi and Te Kohanga Reo developed in this period.NaTeMahiKaiPaipa

 

 

TEKAU TAU O TE TIPURANGA MĀORI – THE DECADE OF MĀORI DEVELOPMENT

KoTatouSelf-determination ran at the core of Māori protest in the 1960s and 1970s. This protest acted as stimulus for change and the creation of ideological space for contemporary Māori development. The decade of Māori development launched at the 1984 Hui Taumata heralded major transformations in approaches to Māori social, cultural and economic advancement. As part of the transformative process, a Māori developmental agenda was incorporated into government strategies and policies and this can be seen in the Māori health promotional material over this period. Māori health promotional material transformed radically throughout the 1980s and 1990s in comparison with previous decades.  The use of Robyn Kahukiwa’s art was instrumental in creating a visual imagery of Hauora Māori that situated Māori in the Māori world. With this new imagery and a heightened use of Te Reo Māori in the form of whakatauaki or traditional sayings, Māori health messages at this time, many of which had an anti-smoking message, were reframed from a deficit approach to a more positive and aspirational approach referring to Māori health as a taonga to be nurtured.

 

FlourishingForEverybody

HAUORA MĀORI

Hauora Māori recognises a notion of health that is framed within the parameters of a Māori worldview and requires a sound understanding of the social, economic, political, cultural and historical determinants of health among Māori people. A Māori worldview is the cultural and philosophical perspective of Māori health that maintains continuity with traditional knowledge, identity, language, customs and beliefs, along with contemporary and future focussed perspectives. In this way, Māori health is not limited to physical, mental and spiritual conditions of today. It recognises the relationship with past experience and knowledge, as well as aspirations and concerns for future generations. Māori health promotional material from the 21st Century moves some way towards reflecting Hauora Māori, in particular with the use of Te Reo Māori and the portrayal of Māori in everyday contexts. However with changes in Government funding priorities and the development of iwi Māori ability to provide Hauora services and messages directly to their communities, Māori health posters over recent years, when compared to previous decades, have taken on a mainstream approach to Māori Health promotion.

TeTinoRereketanga