100 years ago HMS New Zealand arrives in New Zealand (12 April 1913)
Model of the battlecruiser HMS New Zealand, 1955 – 1959, New Zealand. T. Devitt. Gift of the Wellington Marine Model Club, 1959. Te Papa.
In March 1909, New Zealand’s Prime Minister, Sir Joseph Ward announced that ‘the Dominion’ (New Zealand) was offering ‘the Motherland’ (Britain) the ‘free gift of … a first-class battleship’.
The Prime Minister thought that his offer to pay for a ship would allow New Zealanders to take ‘much greater pride and interest’ in the Empire’s defence. This proved to be enormously popular in New Zealand, and Parliament authorised the expenditure of up to £2 million on the ‘gift ship’.
The ship’s construction began in early 1910, and was completed in November 1912, having been given the name HMS NewZealand in 1911.
HMS New Zealand in a terrific gale, 1910s. Maker unknown. Te Papa
Her ‘thank you’ visit to New Zealand, during April and May 1913, was a triumph. The medal below was made to commemorate the occasion. Huge crowds flocked to see her – at Wellington on 16 April alone, over 15,000 people went aboard. She called at most of New Zealand’s major ports, where her visits inspired impressive demonstrations of patriotic fervour.
Medal commemorating the visit of H.M.S. New Zealand, 1913. New Zealand. William Rose Bock, Te Papa
HMS New Zealand participated in several major naval battles during WWI. In 1919, she made another, farewell visit to New Zealand. The presentation casket (below) was presented to the wife of the Governor General at a ball that was held in the Wellington Town Hall to commemorate the event.
Presentation casket, circa 1919, New Zealand. Maker unknown. Purchased 2012. Te Papa.
Most of these identifications have been based on detective work using military personnel files, historical newspapers, and genealogical sources such as births, deaths, and marriages data. Lately we’ve been very grateful for the help received from Allan Dodson.
Burch 12/10, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
Allan has been trying to confirm the identity of the soldier (above and below) whose name is recorded as ‘Burch’ on two glass plate negatives. Our dilemma is that there were 12 men with the surname Burch who served in the NZEF:
Our two most likely contenders are James Burch, and George Robert Burch – with George Robert, a 37-year-old Master Plumber from Wellington, the more likely.
Burch 12 12/10, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
The criteria we have used to get to this shortlist of two are:
the collar and hat badge, which indicate service in the 34th Reinforcements onward but not with the New Zealand Rifle Brigade, which had its own badge
the absence of any rank on the uniform, which indicates that at the time of the photo ‘Burch’ would have been a private
an indication that ‘Burch’ is a more mature man in his late twenties to early thirties
and an indication that he has light hair and possibly blue eyes
Te Papa would like to hear from anyone who can help us confirm that this is George Robert Burch’s portrait. Contact details are on Te Papa’s Collections Online database and on our ‘Kiwi Faces of World War I’ Flickr site. We’d also like to know if their are photographs of the other Burch men, as these will help us to definitely eliminate them from the running.
73 years ago Prime Minister Michael Joseph Savage dies (27 March 1940)
Mickey Savage, as many New Zealanders fondly referred to him, was the country’s first Labour Prime Minister.
Autograph album, 1930s, New Zealand. Maker unknown,compiled by Benjamin Roberts. Gift of anonymous donors, 2007. Te Papa
Australian-born Savage had arrived in New Zealand in 1907. He became the Labour MP for Auckland Central electorate in 1919.
Labour’s win 16 years later was a response to the hardship of the Great Depression and the limitations of private charity. The party won 55 seats out of a total of 80 and, as its leader, Savage became Prime Minister.
Under Savage, Labour promised more humane policies – ‘applied Christianity’ – and the right to a decent standard of living for all. The means to this ‘cradle to grave’ welfare philosophy was realised through Social Security legislation.
Shortly after it was introduced, in August 1938, Savage collapsed. Emergency surgery revealed cancer of the colon. In just 19 months, the 68-year-old had succumbed to the disease.
After lying in state in Wellington, Savage’s body was taken by train to Auckland; around 200,000 people lined the route up to his grave at Bastion Point.
Michael Joseph Savage was probably New Zealand’s most beloved Prime Minister. Many felt a deep personal connection to him. His memorial gained special significance for those who lived through the Depression and found hope in Savage’s vision of New Zealand.
Easy Chair, 1951-1952, Sweden. Made by Ostrom, inspired by Gustaf Berg. Purchased 2011. Te Papa
When Te Papa purchased Easy Chair two years ago, we acquired it for its associations with modernism and with the Auckland store jon jansen. But we wanted to verify the designer. Detailed research – surveying design publications, comparing similar chairs, identifying woods – finally led me to the original Swedish designer.
Jon jansen made and imported designs between the 1950s and early 60s: the retailer’s stamp on the rail of Easy Chair verified this connection. This was one of several contemporary stores that sought to reflect modern design through sleek designs – like this chair – and advanced use of materials. Modernism had quite a presence in New Zealand at the time, fuelled by the arrival of European émigrés and a desire for cultural change.
The ‘jon jansen’ stamp appears on the inside of the back rail. Te Papa
Before we acquired the chair, we were informed that the designer was Bob Roukema, designer with jon jansen. In considering this aspect I checked through the local publication Home & Building which carried jon jansen advertisements crediting Bob Roukema. However there were no images that suggested any similarity to this specific chair design with its laminated bentwood frame and use of webbing. But a check through modernist publications suggested that the chair may have had some association with Swedish design: the moulded wood and webbing indicated this connection. I then wondered if the chair may have been designed by the great Swedish modernist designer Bruno Mathsson, as he introduced webbing with laminated bentwood in the mid 1930s. Mathsson’s Pernilla 1 Easy Chair has some resemblance to this chair.
Webbing provided comfort for the sitter within the bentwood laminated structure. Te Papa
Bruno Mathsson’s designs
Then a friend mentioned that she owned a Mathsson chair, and this gave me the opportunity to compare designs. Webbing and bent laminated wood construction were common features. But in Mathsson’s designs, the arms always came as separate components rather than being integrated into the legs, as was the case with our example.
Here is Vicki’s chair with the back stamp behind the top rail: signature of Bruno Mathsson and DUX, one of the manufacturers of Mathsson’s designs from the 1960s.
Work Chair by Bruno Mathsson. Photograph by Justine Olsen. Te Papa
Impressed marks show the signature of Mathsson and the manufacturer DUX. Photograph by Justine Olsen. Te Papa
Woods – identifying materials
Identifying the wood was another consideration. With the help of conservator Robert Clendon and museum preparator Penny Angrick, (a former cabinetmaker) we identified the wood as birch with other European hardwoods. This eliminated the possibility that the chair had been manufactured in New Zealand.
Publications and finally some further clues …
A search through the New Zealand magazine Home & Building, the1952-53 editions, offered several important clues. It seemed that a New Zealand company (probably jon jansen) was importing Swedish-designed furniture, including examples like our Easy Chair, under the name of Ostrom. These chairs were described as economical to export from the other side of the world on account of their flat packing. This idea sounds strangely familiar, as contemporary furniture designer David Trubridge exports from New Zealand in a similar manner.
Another publication, this time a recent title, Bruno Mathsson: architect and designer (2007) illustrated furniture by another Swedish designer working at the same time as Mathsson: Gustaf Berg. The shape of Torparen chair is so similar to our Easy Chair in the way the legs and arms are made from one continuous piece of moulded wood that finally we have a clearer design source. Our Easy Chair is not an exact replica but I would suggest that a designer was inspired by the shape. And at this stage we have yet to know a great deal about the manufacturer Ostrom but research continues.
Easy Chair will be part of the new exhibition Being Modern, Ngā Toi | Arts Te Papa, Level 5. It opens on 29 March.
By Justine Olsen, Curator of Decorative Arts and Design (contemporary)
70 years ago, 48 Japanese prisoners of war are killed during a riot at the Featherston prisoner of war camp (25 February 1943)
From 1942, Japanese prisoners of war were brought to New Zealand and interned at the camp at Featherston, in the Wairarapa. This camp had previously been used as a military training camp during WWI.
Carved and painted wooden model of an alligator. 1945, New Zealand. Maker unknown. Purchased 2012. Te Papa
The carved alligator (above) was made by an unknown prisoner at one of the camp’s so-called ‘hobby huts’. The other item (shown below) is an example of one of the tokens used at the camp. These tokens, plus craftwork made and bartered by the prisoners, were used to procure goods, as legal currency was not permitted in the camp.
Internment Camp token, Five Shillings. 1941 – 1945, Australia. R. Arendeen & Sons Pty Ltd. Gift of the New Zealand Army, 1946. Te Papa
The Japanese prisoners also had to work for ‘the enemy’ while they were incarcerated. This included vegetable-growing, furniture-making and shifting rocks. This work caused some prisoners considerable shame. On 25 February 1943, around 240 of them staged a sit down strike to protest against being made to work.
In the confusion and rioting that followed, prisoners began throwing stones and guards opened fire. As a result 48 Japanese prisoners and a New Zealand guard were killed. The other New Zealand guards were absolved of any wrong-doing at a military enquiry the following month. The court’s finding were not accepted by the Japanese Government.
This fatal event occurred when Japan was depicted as a threatening enemy in popular culture and print media (see poster below). However, war-time censorship and fears of retaliation helped to keep news of the clash from being widely circulated in the press.
Poster, ’The Rising Sun Must Set’, 1942, Wellington. New Zealand National Savings Committee. Gift of Mr C H Andrews, 1967. Te Papa
12.51pm today marks the second anniversary of the 6.3 earthquake that caused severe damage and resulted in the loss of 185 lives in Christchurch and its suburbs, with many more injured and displaced. Two years on the citizens of Canterbury are still struggling to rebuild their city and lives. While stories of frustrations with bureaucracy make the news daily, stories of acts of kindness and generosity also thankfully abound.
‘I am currently exploring magical thinking, radical gratitude and the sense of connectedness that makes all the difference when life is difficult.’
The bee is a continuation of a project that Sarah launched in 2012 entitled This Too Shall Passin order to raise funds to support Caroline Billing’s contemporary jewellery gallery, The National. Sarah was inspired by the fact that although Caroline had lost her business premises in the 22 February 2011 earthquake, she continued to showcase jewellery in Christchurch via other means, such as when she took jewellery to the streets with Host A Brooch. (This project is documented in Te Papa’s collection as part of our collection around entrepreneurial and creative responses to disaster.)
This Too Will Pass by Sarah Read
Wanting to put her ‘heart and soul… to help the regeneration of Christchurch. If Christchurch loses places like The National, there won’t be a beating heart’, Sarah created a participatory project. She invited well-wishers to donate their time to assembling ribbons which bore the legend ‘This too will pass’. In selecting the simple form of the ribbon, Sarah drew on an established history of ribbons being used as potent symbols of hope and support, from tying a yellow ribbon to an oak tree to the AIDS and Breast Cancer ribbons.
Once assembled, the ribbons were distributed to galleries who agreed to waive their commission fees, and gifted on by purchasers to anyone they know who could need a little extra help. The ribbons are intended to be worn inside clothing where they had protective and healing qualities for the wearer.
An anonymous donor kindly gifted a set of these ribbons to Te Papa last year. Each is attached to an image of the quake devastated city.
This Too Will Pass by Sarah Read, 2012. Te Papa.
You are invited to Pass It On and create more ribbon pins tomorrow at The Dowse Art Museum in Lower Hutt anytime between 10am and 4pm. While the sheer scale of the Canterbury aftermath is daunting, we should never forget that there are many small things we can do as individuals to make a difference, if not to the whole city, to a friend, colleague or stranger’s day through a little act of kindness.
St Joseph’s Home for Incurable opens 113 years ago (29 January 1900)
This home for so-called ‘incurables’, in Buckle Street, Wellington, was an initiative set up by Reverend Mother Mary Joseph Aubert, with the help of Catholic nuns, the Daughters of Our Lady of Compassion. Mother Aubert was the founder of this religious congregation, in 1892.
Prior to her work in Wellington with urban poor, she had gained notice for work in rural areas, especially with Maori in the Whanganui. This French-born nun was also well-versed in the use of Maori medicinal practices and herbs and had manufactured her own medicines, like the one shown below.
’Paramo’ medicinal preparation in box, circa 1895, Wanganui. Mother Mary Aubert. Gift of The Sisters of Our Lady’s Home of Compassion, Island Bay, 1990. Te Papa
Her new venture began with 11 beds for men and women. From 1901, a soup kitchen was being run from the premises. Then, in November 1903 a crèche opened in nearby cottages for the babies of working mothers.
In October 1903, an article in the Evening Post called the Home a ‘resting place for the decrepit, the unfit, the unfit, the maimed people the outside world has no use for’. Mother Aubert and her Sisters were praised for their dedication ‘to lift[ing] fallen humanity from the slough of the world, no matter how they got there’.
Old men’s home, Ashburton, New Zealand. Muir & Moodie, Te Papa
The Home, which depended on public donations, was the first of its kind to open in New Zealand. A reliance on private charity was normal for many other similar institutions, such as the one shown above.
Although the Old Age Pensions Act had been passed in November 1898, it was not until after 1935 that the New Zealand government became the main provider of social welfare.
Few people are aware of Ruapuke Island. Guarding the eastern approaches to Foveaux Strait, the 1600 ha island is large enough to appear as a smudge of colour at the very bottom of TV3’s weather map. Yet the island’s low relief means that passengers on the Stewart Island ferry 20 km to the west barely notice it compared to the imposing bulks of Bluff Hill and Mt Anglem.
Henrietta Bay on the south coast of Ruapuke Island. The cannon is claimed to have come from the Elizabeth Henrietta. Image: Colin Miskelly
Ruapuke Island is privately-owned, mainly by descendants of the Kai Tahu chief Tuhawaiki. Most of the island is rough farmland (sheep and beef cattle), with a large patch of rimu / rata / kamahi / miro / kahikatea forest in the centre. Long sandy beaches separate granite and basalt headlands, with shallow lagoons lying behind several beaches.
Ruapuke was an important site for two of New Zealand’s earliest industries – the harvesting of fur seal skins and flax (harakeke) fibre. But the island has another more furtive claim to historical fame – or infamy. It was the first New Zealand site to be colonised by mice.
The brig Elizabeth Henrietta was engaged in the flax trade when it ran aground in Henrietta Bay on 25 February 1824. It was eventually refloated in August that year, but some time during its enforced stay, mice made it to shore. This was 6 years before the second recorded presence of mice in New Zealand, at the Bay of Islands in 1830. The residents of Ruapuke Island did not know what the strange creatures were, and reportedly referred to them as ‘henriettas’ after the ship they came from.
A mouse caught on Ruapuke Island. Image: Colin Miskelly
I was privileged to be invited to stay on Ruapuke Island at the tail-end of 2012. My hosts knew the significance of the island’s mice, and had been involved in the collection of tissue samples (i.e. mouse tail tips) for a genetic study that has confirmed that Ruapuke’s mice are from a different lineage to the rest of New Zealand’s mice. Yet during 188 years of mouse presence on Ruapuke Island, no specimens had reached Te Papa’s extensive collection of New Zealand rodents. Prepared with a selection of traps and baits, I spent 3 days trying to rectify this. It took some effort, as the mice were scarce (or wary), with two only caught in 27 corrected trap-nights. The main challenge was hiding the traps from inquisitive weka, which took 4 cheese baits, and would have taken any mice if I didn’t beat them to it.
Rātana is a Māori adaptation of the Judeo-Christian tradition. Founded in 1918 by T.W. Rātana (1873–1939), Rātana has become a major Māori church in New Zealand with over 45, 000 Morehu or followers (as at the 2006 census). T.W. Rātana was raised Presbyterian with Wesleyan influences, so it is highly likely this religious familiarity has influenced the presentation of the Rātana kākahu, which show a distinct and direct correlation to the Protestant ecclesiastical vestments. The clothing that symbolised authority within the Protestant faith was adapted as the symbols of authority and leadership in the Rātana faith.
From its establishment to today, the Rātana Church continues its role as an important faith and guide for many Māori across the country, and T.W. Rātana had a major impact on Māori leadership in the twentieth century.
A.005127; At Ratana; 1939; Maori; Raine, William Hall
A.005115; Ratana; about 1933; Raine, William Hall. 5 men (all 5 wearing suits), on house porch, attending the 60th birthday celebrations of Tahu Potiki Wiremu Ratana (centre, front row) :- Back row (left to right) – PK Paikea, T Omana. Front row (lerft to right) – HT Ratana, Tahu Potiki Wiremu Ratana and ET Tirikatene.
Rātana Ministerial Uniforms
Uniforms are of great importance to the Rātana Church, especially as visual signifiers of the specific roles and duties of the wearer. There are three levels of Āpotoro – three different ministers/readers, and each of these is identifiable by their various prescribed uniforms.
In the image below, you can see three types of minister uniforms.
The different Āpotoro at Rātana Pā. Photograph courtesy of Robin Ohia. 2011.
The Āpotoro Rēhita or the Registered Apostle is an official registered minister who not only has spiritual duties but also legal. They are legally mandated to carry out the similar duties as a Justice of the Peace. (Purple cassock, white surplice, purple stole)
There are also the Āpotoro Wairua, the lay-readers, who support many followers of the Rātana Faith with spiritual counsel and guidance. (Blue robe, red stole)
There are the Akonga, or the disciples in training. (White surplice, yellow stole)
Colour origins
The design origins of the Rātana ministerial clothing lie within the Old Testament from the Exodus gospel: “And of the blue, and purple, and scarlet, they made cloths of service to do service in the holy place, and made the holy garments for Aaron; as the Lord commanded Moses. (Exodus 39, 1)
The Donor – Mita Ririnui
The Honourable Mita Ririnui in his Āpotoro Rēhita robes. Photographed by Michael Hall. Copyright Te Papa Tongarewa, 2012.
These kākahu were gifted by Honourable Mita Ririnui, a retired Labour MP for the Waiariki District and an Apōtoro Rēhita in the Rātana Church for the last 25 years. He lives in Tauranga, where he was born and raised, and is of Ngāti Ranginui, Ngāi Te Rangi and Ngāti Pukenga descent. He continues to carry out Treaty Settlement work following his retirement from Parliament in 2011 and was raised in the Rātana Church:
“I have always been a member of the Rātana Church, my dad was a member of the Rātana Church, my granddad was a member of the Rātana Church so that’s the only religion I have ever known. …. I have always followed the philosophy of the Rātana Church; much of it has been instrumental in my upbringing.” (Mita Ririnui, interview with the Curator, 14 June 2012).
Mita became an Ākonga at the relatively young age of 27 and just a few years later he was made an Āpotoro Rēhita. His ascension within the church not only meant a commitment by him as an individual, it also required the commitment of his wider whanau. He described the special process in acquiring his appropriate robes for his new roles and the involvement of his family, almost as a rite of passage:
“My family gave me my kākahu – my first set of kākahu were my lay reader’s kākahu. My dad and his sisters gave me those. They were the only set of kākahu I had for that particular tūranga (appointment). When I graduated to the next level as an Āpotoro Wairua, the responsibility was mine from thereon…and so when I was appointed the position, I made a deliberate approach to the church authorities and presented my certificate. And once it had been signed, I made a deliberate attempt to purchase my own, because it had to be mine. And because the role became more important I had to take total responsibility.” (Mita Ririnui, interview with the Curator, 14 June 2012)
The Āpotoro Rēhita robes that he wore as a Registered Apostle were, in the end, paid for by Mita and his father. The involvement of family in the ordination and robing was significant. To acquire the robes, the pair made a trip to the Rātana Pā near Whanganui.
“They’re only made in the church office, Rātana Pā – these lovely ladies in the back room, with their sewing machines, having been seamstresses in previous lives, and I’d like to say made to measure, but they fitted me perfectly.” (Mita Ririnui, interview with the Curator, 14 June 2012)
Mita was then 30 years old, and still continues to practice today as an Āpotoro Rēhita.
Detail close ups of the kākahu. Photographed by Michael Hall. Copyright Te Papa Tongarewa, 2012.
On a slightly more personal note, while I was brought up Katorika or Catholic, I was also raised alongside many of my extended family and members of my tribes who belonged to the Rātana church. Indeed three of my grandparents were raised Rātana (until my maternal grandmother converted to Catholicism after marrying my grandfather). So the Rātana church had a very strong presence in my childhood and I’ve always loved the colours and sounds of Rātana – their striking purple uniforms, hymns, the thunder and lament of the Rātana Brass Bands (otherwise called the Reo), and the solemnity of the spiritual Āpotoro. And in this, there were memories of watching uncles who were Āpotoro, dress in their Āpotoro robes, in readiness for Whakamoemiti or prayer service. There was a tangible sense of transformation and reflection as they dressed. In that short small and informal ritual of donning their robes over their everyday clothes they stopped being our uncles, and became spiritual leaders. I wanted to duplicate this process somehow in the Uniformity exhibition.
When I explained this to the Uniformity exhibition team and to Mita, they were in full support. And with huge amount of gratitude to the generosity of Mita, we were able to film the following clip here in our studio at Te Papa. We filmed his dressing process in the morning, and in the afternoon, I interviewed him about his life in the church and as an Āpotoro.
Filming Mita Ririnui in Te Papa studio. June 2012. Photographer Puawai Cairns, copyright Te Papa Tongarewa 2012.
Adjusting robes for filming. Photographer Michael Hall. Copyright Te Papa 2012.
Mita Ririnui and the Curator. Photographer Michael Hall. Copyright Te Papa Tongarewa, 2012.
I’m always interested in hearing and seeing your own memories of churches in your life. Please feel free to share images or stories, either of the Rātana Church or of any other denomination.
He mihi:
Thank you to Mita Ririnui for his generosity in contributing to the Uniformity exhibition and sharing his personal stories with Te Papa.
Thank you also to Te Herekiekie Herewini, for peer reviewing this article.
Glossary:
Kākahu: Clothes, robes
Tūranga: appointed position
Āpotoro Rēhita: Registered Apostle
Āpotoro Wairua: Spiritual Apostle, Layreader
Ākonga: Acolyte, Learner
Whetū Marama: The crescent moon and star symbol of the RātanaChurch
For me the new year is an opportunity to stop for a moment and reflect on the achievements of the past year. Today my focus has been on Te Papa’s Kiwi Faces of World War I project where we have been identifying soldiers in a collection of negatives taken at the Berry & Co Photography studio. The soldiers, their identities and stories have slowly but steadily been revealing themselves over the past year and now we have almost 60 soldiers identified in our group of 108 – we are half way!
Harry Spire Powell Circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
The latest identification, Harry Spire Powell was helped along by an expert in uniforms and badges. Barry O’Sullivan’s knowledge of the fine details of military regalia has already helped with the identification of two soldiers. In this case it was the style of the ammunition bandolier that clinched it. Much of the work on this project wouldn’t have been possible without the help of our wonderful volunteers. Genealogists Chris McLennan and Lynley Goldsmith, have been doing an amazing job of exploring the family histories of soldiers once identified, and Victoria University students, Coralie Clarkson and Matariki Williams have also generously volunteered their time to help identify soldiers and record their stories.
Once the first 50 were identified I decided it was a good moment to reflect on how the group represented the experiences of New Zealand’s World War I soldiers in general.
Amazingly, this relatively small but distinct group has proven to be very representative. Of the fifty identified thirty-seven survived, seven died in action and six died of an illness. A slightly higher percentage of the Te Papa group died overseas, about 24% including those that died of illness, compared to the national figure of about 18% or 18,500 out of the 103,000 that served overseas.
The geographical spread is also representative. Of those that were involved in active service, three went to Samoa, six fought at Gallipoli, eight were based in Egypt, and twenty-eight on the Western Front. Many of these soldiers fought in New Zealand’s most devastating battles including Passchendaele, the Somme and Messines.
While I’m pleased to know that this group of images reflects the big picture, it is still the personal stories that resonate the most. One incredible story that came to the fore last month was that of Private Lance Bridge who died of wounds obtained during the Gallipoli campaign.
Private Lance Bridge, (image on left) with unknown soldier circa 1914, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa
Lance volunteered to take his wounded comrades back to safety early in the attack on Chunuk Bair but was badly wounded while doing so. He was taken down to the beach but refused to be taken to the hospital ship, until the many wounded who were worse off than he was had been looked after. He lay for two days in the hot sun, with only food or water given by passing soldiers. He was finally taken aboard ship, but died there and was buried at sea. (From Hutchinson, G. (2012) Pilgrimage: A Traveller’s Guide to New Zealanders in Two World Wars)
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