This month last century: May 1953

Sixty years ago, Edmund Hillary and Tenzing Norgay become the first people to reach the summit of Mount Everest, the world’s tallest mountain (29 May 1953)

Brian Brake 'Portrait of Edmund Hillary', circa 1947. Spencer Digby / Ronald D Woolf Collection. Gift of Ronald Woolf, 1975. Te Papa

Brian Brake ‘Portrait of Edmund Hillary’, circa 1947. Spencer Digby / Ronald D Woolf Collection. Gift of Ronald Woolf, 1975. Te Papa

The two men’s mountaineering triumph came just a few days before Queen Elizabeth II was crowned. Their feat boosted the rejoicing that was already taking place throughout the British Commonwealth because of the coronation.

Knighted soon after this momentous event, Sir Edmund Hillary life’s achievements as a mountaineer and philanthropist are universally well-known. Although he passed away in 2008, he remains eternally a national hero.

New Zealanders are very familiar with Sir Edmund’s profile, partly because his portrait features on the country’s five dollar bills. In contrast to these everyday reminders of the great man are two unique and instantly recognisable artworks that depict Sir Edmund, which are held in Te Papa’s collections.

The first is a photographic portrait (shown at the top of this blog post) taken in the late 1940s by another famous New Zealander, Brian Brake. Brake took Edmund Hilllary’s photograph, probably for his personal portfolio, while he was working in Spencer Digby’s photography studio in Wellington. 

Ophelia Gordon-Bell 'Sir Edmund Hillary', circa 1953. Gift of the New Zealand Dairy Produce Marketing Commission, 1955. Te Papa

Ophelia Gordon-Bell ‘Sir Edmund Hillary’, circa 1953. Gift of the New Zealand Dairy Produce Marketing Commission, 1955. Te Papa

The second artwork is a bronze bust (above) sculpted by English artist Ophelia Gordon-Bell. Gordon-Bell met Sir Edmund Hillary at the Eskdale Outward Bound Centre in the English Lake District, where a reunion of members of the Everest expedition was held. Eric Shipton, who had controversially been overlooked as the leader of the expedition, was the centre’s warden at the time.

The bronze bust was exhibited in London in 1955 and subsequently purchased by the New Zealand Dairy Produce Marketing Commission. The marketing commission then donated the bust to the National Art Gallery. It is now displayed on level four at Te Papa in Slice of Heaven: 20th Century Aotearoa.

Read about Sir Edmund Hillary’s life on the Dictionary of New Zealand Biography website

Find out about the reception of Hillary and Norgay’s conquest of Everest on the Slice of Heaven exhibition website

Le vaiaso o le gagana Sāmoa (Sāmoan language week) : the fue – symbol of the Samoan orator

To celebrate le vaiaso o le gagana Sāmoa (Sāmoan language week) 26-31 May 2013, the Pacific Cultures curators are highlighting stories related to cultural treasures from Sāmoa.

This is a fue, an item of regalia important for a Sāmoan tulafale (orator). They use fue when they deliver lauga (oratorical speeches). High chiefs can also carry them but only when appearing as orators.

In Sāmoa, lauga is presented in two main settings, either indoors within a house or fale or outdoors on the malae (village green). There are different conventions for using the fue in these settings. For example, inside a fale, the tulafale delivers his speech sitting with their legs crossed. They will often make several movements with it before starting their speech. This may involve throwing it over the left and right shoulders before placing it on the floor. The speech is then delivered with the left wrist on one knee and the right palm on the floor in line with the buttock.

Fue are usually made from lengths of braided coconut fibre (sennit) attached to a short wooden handle. However, in the 1920s it had become the custom to use horse hair exclusively for high chiefs. The fue you see pictured was once owned by James Baxter Fleck (1869-1939) who served with the New Zealand Army Occupation Force in Western Sāmoa from 1915-1919. The other fue below, are examples from the Te Papa collections.

Fue (fly whisk) Gift of Mrs Alice Hunt, 2000

Elderly man with fue by photographer Thomas Andrews

Fue (fly whisk) Gift of Mrs Louisa Kronfeld, 1939

Fue (fly whisk) Gift of Dr Alex M Rutherford, 1954

Mata’afa [Iosefo Laiufi] in European dress and carrying a Fue (flywhisk). By photographer Thomas Andrew.

 

Mirek Smisek (1925–2013)

It is with sadness that we farewell the distinguished New Zealand potter Mirek Smisek, who passed away last week.

Mirek’s life was dedicated to his craft. He began working with clay in Sydney, after having left his devastated homeland, Czechoslovakia, at the end of World War II.

Mirek consolidated his passion for pottery when he moved to New Zealand in 1951: first at Crown Lynn’s Auckland factory, where he made free-flowing decorative vases, and later, when he established a pottery studio in Nelson, and then Horowhenua. The salt-glazed pottery that defined his work as a studio potter reflects his abiding interest in local clays, glaze treatments, and cultural traditions.

A group of Mirek’s Crown Lynn ceramics is currently on display in Ngā Toi | Arts Te Papa, in the Being Modern gallery. Mirek made these brown-manganese-slip vases during his lunch hours at Crown Lynn. As well as illustrating the flowing decorative line that characterised his work, these vases reflect his view that pottery should be hand made rather than commercially created – a view he held to throughout his career. Mirek was always true to himself.

Between 1978 and 1982, Stan Jenkins recorded Mirek’s Te Horo practice for the Ministry of Education. Mirek Smisek: Potter has now become an invaluable record of Mirek’s dedication to the craft that he committed his life to.

See Mirek Smisek’s work on Collections Online

“Bohemia Ware” vase. 1951 – 1952, New Zealand. Smisek, Mirek, Crown Lynn Potteries Ltd. Purchased 2009. Te Papa

Vase, 1970-1972, New Zealand. Smisek, Mirek. Purchased 1972 with Ellen Eames Collection funds. Te Papa

Justine Olsen, Curator of Decorative Art and Design

News from Loans – Edwardian Opulence

Way back in April 2012 we agreed to lend the Yale Centre of British Art a painting from our collection for their extravagant exhibition Edwardian Opulence: British Art at the Dawn of the Twentieth Century.

The exhibition opened on 28 February 2013 and closes on 2 June 2013 so if you are in New Haven, Connecticut, USA in the next few days make sure you visit and hunt out The Death of the Year painted around 1912 by Charles Sims.

When requesting the painting, the Yale Centre for British Art let us know that “Edwardian Opulence is the first major international exhibition in more than a generation to survey the full depth and breadth of the visual arts in Britain during the opening decade of the twentieth century. Languishing in a liminal position between the expansive Victorian era and the advent of the Modern, this momentous period in the history of British art has suffered from two lingering afternoon or coda to the Victorian period, while the opposing view maintains that the era in fact constitued a time of rising polititcal, cultural, imperial, and artistic upheaval that would eventually upend every aspect of British life and lead straight into the abyss of the Great War…”

The death of the year, 1910-1912. Sims, Charles. Purchased 1912 by public subscription. Te Papa

Our curators describe The Death of the Year as “the personification of the dying year as a woman lying on her back in a river with one hand raised in a dark landscape illuminated by candles. The personification of the new year to come as a naked infant seated floating on the water at right.”  The exhibition curators describe it as a ‘drift of snow’ and suggest the model for the painting to be a poem by Percy Bysse Shelley titled Dirge for the Year written in 1821.

 Along with Te Papa the lenders to Edwardian Opulence are public art museums and private individuals spread over four continents.  The exhibition is accompanied by a lavish publication, full of beautiful images, that is a delight to read.

Te Papa is very pleased to be able to make our collections available to magnificant exhibition such as this.  I encourage you to check it out at the venue, on line or via the spectacular publiction.

Le vaiaso o le gagana Sämoa (Sämoan language week) 2013

To celebrate le vaiaso o le gagana Sämoa (Sämoan language week) 26-31 May 2013, the Pacific Cultures curators are highlighting stories related to cultural treasures from Sämoa. We are co-writing these blogs with Galumalemana Alfred Hunkin from Samoan Studies at Victoria University of Wellington. We will publish a blog each day, highlighting historical, and cultural dimensions of the object. In Gagana Sāmoa, Galumalemana will provide commentary from a linguistic and Samoan Studies perspective.

In this first blog we feature some basic facts about the natural environment of Samoa and a short story about  Samoa’s origins.

Sataua, Savai’i, Western Samoa, 1982. From the series: Polynesia here and there
by Glenn Jowitt 1982

Total land area: 2934 square kilometres Highest point: About 1850 metres above sea level Annual rainfall: 2540–7620 millimetres Population in the year 2010: 188,000  (updated). Many Samoans also live in New Zealand and elsewhere.

Samoa is made up of volcanic islands that have formed over the last two million years. Some of its volcanoes are still active. The last eruption was on Savai‘i in 1911. Samoa has fertile soils, plenty of fresh water, and good marine resources. Earlier inhabitants depended on food crops that their ancestors had introduced. These included taro, breadfruit, bananas, and yams. Environmental threats to Samoa include cyclones and volcanic eruptions. In the future, any rise in sea level will encroach on coastal areas.

How the Samoan world was created

The god Tagaloaalagi  (oftened shortened to Tagaloa) lived in the Expanse. Nothing else existed. Then a rock grew, on which Tagaloa stood.

From this rock, he made Papa-ta‘oto (lying rock), Papa-sosolo (creeping rock), Papa-lau-ā‘au (reef rock), Papa-‘ano-‘ano (thick rock), Papa-‘ele (clay rock), Papa-tū (standing rock), as well as Papa-‘amu-‘amu (coral rock) and its children. Tagaloa also created the Earth, the Sea, and the Sky from the rock he stood on; then Immensity, Space, and Clouds.

Tagaloa spoke and created the first man. Then he created spirit, heart, will and thought, which joined together inside man.

Gagana Sāmoa:

O le gaosiga po’o le fa’afoaga (foafoaga) o le lalolagi lenā e i luga,  mai le Solo  o le Va, ‘o se solo po’o se fātuga tāua tele mai Manu’a.  E ‘umi lenei solo, ‘ae ‘o sina vāega pu’upu’u lea e tepa ‘i ai:  Galu lolo, ma galu fātio’o, Galu tau, ma galu fefatia’i:—’O le auau peau ma le sologā peau, Na ‘ona fa’afua ‘ae lē fati: …..“Tagaloa e, taumuli ai,  Tagaloa fia mālōlō; E mapu i le lagi Tulī mai vasa;  Ta lili’a i peau a lalō.”

The Solo o le Va is a Samoa epic poem which tells the story of creation. Solo is the word for poem and vā is the space between two things. John Fraser records this in the Journal of the Polynesian Society in Vol. 6, 1897. The word vā in fact is not only at the heart of Samoan cosmogony, as Solo o le Va clearly shows, but it is also at the centre of Samoan tōfā manino or philosophical  viewpoint. Social and cultural relationships in fa’asamoa (Samoan culture) are deliberated  and measured in terms of the proximity between two people or groups (such as ‘āiga, nu’u etc), so that we take care to look after our relationships with others and hence the saying; teu le vā.

Matariki approaches

Matariki

“Whakanuia te Tau Hou Māori ki te Taiopenga o Matariki ki Te Papa. I tēnei tau ka whai tātou i te kōrero mō te whakarauora o Matariki rātou ko āna tamāhine i a Tama-nui-i-te-rā. Ko te mana whakaora tēnei o te ira wahine, o te ira tupua, o ngā whetū o Matariki.

Matariki (Māori New Year) is a time to come together as whānau. This year at Te Papa, we are celebrating the role of women in our lives. They are the shining stars in our community – role models who share qualities with Matariki and her daughters.”
http://www.tepapa.govt.nz/WhatsOn/Matariki/Pages/default.aspx

Matariki has been celebrated historically throughout many islands of the Pacific as well as here in Aotearoa. Throughout Aotearoa and at Te Papa, Matariki is acknowledged a period of reflection during the quiet time of winter, a time to take stock of preserved stores, and to come together as a people.

At Te Papa Tongarewa, Matariki is usually an exciting time filled with events, concerts, and a taonga display selected specifically for Matariki.

This year in our taonga display, we profile the hue or the gourd to help us celebrate Matariki 2013. Within Māori cosmology, the hue is personified by the deity Pū-tē-hue or Hine-Pū-tē-Hue. She was the daughter of Hinerauāmoa and Tānemahuta and believed to be a queller of conflict. The hue has associations with healing. It also was extraordinarily versatile as a vessel to carry water and preserve food. The Hue or Lagenaria Siceraria is a remarkable plant; an object admired for its subtle beauty, usefulness and widespread presence across the Pacific, and indeed the world. A widely travelled seed that has followed the migration patterns of humankind across continents and oceans is one of the earliest cultivated plants introduced with the first Māori settlers of Aotearoa. However, it is a plant that has had a wider presence in global migratory stories, with many examples that are able the show material history of the hue across Te Papa’s collection.

We have put together a small exhibition celebrating the hue that will be installed closer to Matariki (13 June), where you can see some of the hue from the museum’s collection. That display will be up for a month so come in during the Matariki Festival and explore!

The 2013 Matariki Poster

Each year Te Papa also produces a Matariki poster to promote the busy festival programming and activity at the museum.  I have been asked a few times about the new Matariki poster, so here is a bit of information.

This year, we feature Jasmine Governor, a young Health Sciences student at Whitireia Polytechnic who plans to eventually go into Nursing Training. Jasmine is Ngāti Kahungunu and Ngāti Porou and this was her first modelling foray. I think she did a marvellous job.

The tahā or gourd vessel that she holds has been in the museum collection since 1968. It was purchased from the people of Te Whiti Pā, near Gladstone in the Wairarapa circa 1902. So it is at least 110 years old, probably older.

Because of conservation concerns about the hue, Jasmine wasn’t able to hold it with her bare hands. So we photographed Jasmine with hands posed as if she was holding it, and then photoshopped in the hue (separately photographed) at a later time.  The seven stars which make up the Matariki / Pleiades cluster were also dropped in later, as were the water and light effects.

The whole effect was intended to allude to the feminine and healing associations of the hue while also showing a youthful face of Matariki.  I didn’t know it at the time but after Jasmine and the hue were selected, I contacted the people to whom the tahā has a direct connection – the people from Te Whiti Pā. After speaking to representative Rawiri Smith who gave the peoples’ endorsement, it turned out that Jasmine is from the same people and has whakapapa to that same pā. So through a lovely Matariki alignment, the hue is held by a descendent of the people who made it.

Te Papa Tongarewa, 2013

Te Papa Tongarewa, 2013

Credits:

Model: Jasmine Governor

Photographer: Norm Heke, Te Papa Tongarewa

Graphic Designer: Turi Park from Native Limited.

Make up / Hair:  Natalia Spooner from The Beauty Stop.

Further Reading:

If you want to read further explanation about Matariki and what it represents, here are some online resources for you:

An article written by Harry Dansey for Te Ao Hou magazine, 1968 (2 pages)


http://teaohou.natlib.govt.nz/journals/teaohou/image/Mao61TeA/Mao61TeA015.html

The story of Matariki and her daughters as told by the Tainui tribes of Aotearoa New Zealand. The story provides the theme for Te Papa’s 2013 Matariki Festival.


http://www.tepapa.govt.nz/WhatsOn/Matariki/Pages/Matarikiandherdaughtersthehealers.aspx

Wonder Box: Nature outreach in South Island schools

Melanie Dash, one of our audience engagement team, travelled to the South Island to work with schools on our Wonder Box project. Students get the chance to have their work displayed at Te Papa. Find out what Melanie and the students got up to…

14 May 2013 – You’re the curator!

It’s a been a busy two days here in Blenheim so far.  Year 5 and 6 children from Witherlea and Springlands Schools have been learning about their national museum and what it’s like to put an exhibition together.  Previous to me visiting this week they have all been busy starting a collection of their own of wonders from the natural world. 

The first day saw us take a virtual tour of the museum and they even got a sneaky peak at some of our natural environment collection.  Today they took on the role of a museum conservator, curator and exhibition designer as they planned their own mini ‘Wonder Box’ exhibition using pieces from their collection.

Over the rest of the week our new museum recruits will be telling the stories behind their collections and presenting them to family and friends before ten from each school get chosen to go on display at Te Papa.

15 May 2013 – Telling your story

What makes a good story?  Children from Springlands and Witherlea Schools got to write a label to accompany their wonder box today.  It told the story of their collection, where it was found and why it was special to them.  Each story is unique to them and helps our museum audience better understand the exhibits on display.  This was the last time I would be working with them before they presented their boxes on Friday.  Just one more day to go make their boxes museum ready.  Exciting!!

Students making their Wonder Boxes. Photographer: Melanie Dash © Te Papa

Students making their Wonder Boxes. Photographer: Melanie Dash © Te Papa

16 May 2013 – Which boxes are coming to Te Papa?

Check out my drive to work today…

Mel's drive to work. Photographer: Melanie Dash © Te Papa

Mel’s drive to work. Photographer: Melanie Dash © Te Papa

Went to LinkwaterSchool in the Marlborough Sounds this morning to meet the children who have been following a self-guided version of the Wonder Box project.  I was bowled over by the standard of their Wonder Boxe. After they were each presented to the rest of the school and some of their parents we were all faced with the difficult job of voting for the two boxes that would come back with me to Te Papa.  It was such a difficult decision we ended up choosing three.   Ka pai to Jack, Mika and James.

Linkwater School students enjoying a well deserved morning kai to celebrate finishing their wonder boxes. Photographer: Melanie Dash © Te Papa

Linkwater School students enjoying a well deserved morning kai to celebrate finishing their wonder boxes. Photographer: Melanie Dash © Te Papa

In Springlands and WitherleaSchools tomorrow.  Good luck everyone.

17 May 2013 – A celebration

It was the final day of the Wonder Box programme and time for pupils at Springlands and Witherlea Schools to present their exhibitions to the rest of the school.

Georgina shows off her work. Photographer: Melanie Dash © Te Papa

Georgina shows off her work. Photographer: Melanie Dash © Te Papa

Each, like Georgina, carefully told the story of their collection. It was then time to celebrate all that had been achieved during the week with some morning and afternoon kai, during which the children and their teachers got to vote for their favourite three wonder boxes. Only ten could be chosen from each school to take back to Te Papa so it was important to think carefully about why those boxes deserved to go.

The votes were then counted and the winners announced. Congratulations and thank you to all the schools that took part and watch this space for the new Wonder Box exhibition coming to NatureSpace Discovery Centre this June!

Particular Rooms, Particular Moments: A journey to the Venice Biennale

With my departure to Venice imminent, I’m trying to decide what I’m looking forward to the most. Memories of previous visits have flooded back and I’m excited to be reconnecting with the city. As a British art student, my first experience in 1989 fell a little flat. It was mid-winter, just at the close of the annual festival Carnevale, and Venice greeted me with biting cold, wet confetti-stained streets and cafes full of tired Venetians wearing dishevelled 18th Century wigs.

My second visit in 2003, (New Zealand’s artist was Michael Stevenson with This is Trekka) came courtesy of the Whitechapel Galleries’ enlightened staff travel policy, and was a roller coaster ride of art-fuelled emotion: my first experience of the overwhelming cultural avalanche that typifies the Venice Biennale.

Reflecting on curatorial practice and the context a gallery space can evoke, the Tate’s Sir Nicholas Serota once wrote: “Our aim must be to generate a condition in which visitors can experience a sense of discovery in looking at particular paintings, sculptures or installations in a particular room at a particular moment”. The unique context provided by Venice and the intriguing architecture of its exhibition venues shape the experience of viewing work at the Biennale.

Read more about my journey to the Venice Biennale on NZ At Venice’s blog.

Rialto Bridge, Venice. Photographer: Helen Lloyd (c) Helen Lloyd

Rialto Bridge, Venice. Photographer: Helen Lloyd (c) Helen Lloyd

What’s going on behind the scenes: an update

Science, Library Services and Managing Risk to our Collections

You may have seen the story about Te Papa on Campbell Live on Monday night which questioned our commitment to Science, and the future of our collections.

Some of the points made in the story were misleading and inaccurate and this communication is to provide some clarification.

Te Papa’s collections sit at the heart of everything the Museum does. It’s the interpretation of the collections and the importance of research and scholarship behind that which supports us in telling and sharing our Nation’s story.  This has been a key driver behind the recent restructure and remains an important objective for the future.

Investing in Science

Te Papa’s commitment to Science is growing.  We have reorganised the structure of the existing Science programme to accommodate a broader approach to include Physical, Earth and Technological Sciences, including the remarkable history of Science in New Zealand, without diminishing our commitment to Natural History. This is an exciting prospect for Science at Te Papa which will take us in new directions and strengthen Te Papa’s long established position as the premiere Science museum in New Zealand.

We must adapt if Te Papa’s Science programme is to reflect the changing picture of Science in New Zealand and to inspire new generations of scientists for the future.

We are underpinning this commitment by strengthening our curatorial capability in these areas, and establishing six new scientific roles to fulfil this ambition. These include a new position of Head of Science to set the new strategic direction for Science and Technology, as well as two new Science Advisers for the Physical and Earth Sciences.  We have also created three Assistant Curator positions for the Sciences to ensure the foundations of our knowledge, its development and the nation’s curatorial expertise are secured for the future. Senior post-doctoral research positions will also be added as the research programme expands.

To care for our collections we need a mix of Collection Managers with broad skills to contribute across a number of collection areas and with the proven expertise to work in a specific area of the collections and work across other collection areas.  As a result, collection management roles will now meet a wider set of needs in regard to the collections.

We have not reduced our capability of practising/researching Scientists or Curators.

All research programmes that were in place in 2012 continue. To support the future direction of research, Dr Claudia Orange, Practice Leader Research is developing Te Papa’s research programme. A new independent Research Advisory Panel, which includes four external distinguished Science-based panellists, will provide oversight and monitor the direction of our research programme.

Our refreshment plan for the galleries at Te Papa over the next few years will include our major Natural History exhibits, Awesome Forces and Mountains to Sea, and these will showcase our own scientific research and that of our Science partners.

Library Services

Te Papa has changed the way the library service operates, which is also about ensuring our library collections sit with the departments or with the Curators that will use them. This model is in line with how most other Museums operate, internationally. We are also sharing our Library collections with other institutions such as Victoria University of Wellington with whom we have a Memorandum of Understanding specifically for mutual library access. There is no change to public access of the Library collection nor a reduction in the number of Library staff.

The Sciences Library (Hector Room) at the Tory St facility remains available to staff, in addition to an archive reading room available to the public by appointment. We also have a dedicated Sciences Librarian to support research in this area. There are no budget changes to Science Library resources, or Science publications, towards which a significant portion of the budget goes.

The Humanities Library located behind Te Huka ā Tai opened this week for staff to use for research purposes.

We will continue to provide a reading room service and research space for the public by appointment at a new location above Signs of a Nation, Level 4, which is due to open late-June. There will be no diminution of the existing service.

Prior to distributing the library collections to departments the Cable Street collection was reviewed; a practice which is normal in all libraries everywhere. It is standard practice for libraries to review their content to ensure that library collections are current and relevant.

Duplicate and out of scope publications were offered to other libraries and institutions. Those that remained were offered to staff. In some instances these publications were unable to re-homed, and were recycled. This was a very small proportion of publications.

Managing the Risk to Our Collections

Te Papa has the responsibility to ensure that all risks to its collections are minimised. We are examining long term storage solutions that take into account seismic and other natural risks as part of the development of our 10 year strategy. It would be irresponsible of the Museum not to explore such risks, which are real and present. We have been very proactive following the Christchurch earthquakes in improving health and safety and seismic strength of the building as well as the safe containment of the collections.

Te Papa is not diminishing any of its collections. We are scoping a number of storage options to minimise any risk to them. This includes ensuring that they continue to remain fully accessible research collections. The protection of our staff and its collections is at the forefront of our thinking. At this stage no decisions have been made any future locations. Any decision will take account of our stated commitment in the Vision to providing national access to the national collection through a variety of solutions.

Remembering Mele Saiatua Lavulo (1916-2013) – a leader in the Tongan community

It is with sadness that the Pacific Cultures team at Te Papa acknowledges the recent passing of Mele Saiatua Lavulo. Saiatua was born in Tatakamotonga, Mu’a in Tonga in 1916. She had many achievements in her lifetime, and became an important figure in the history of the Tongan community in New Zealand. We had the privilege of meeting Saiatua in 2006-7. Kolokesa Māhina-Tuai (former Pacific Cultures curator) interviewed her for the exhibition Tangata o le Moana: the story of Pacific people in New Zealand, which is currently on at Te Papa.

In the interview, Saiatua talks about her experiences working with the Tongan community during the infamous ‘dawn raids’ of the 1970s.  The dawn raids were part of a tough stance by the New Zealand government towards people who had overstayed temporary visas. The controversial campaign targeted Pacific Islanders, while turning a blind eye to overstayers of European or other descent. It involved raids on houses (often at dawn) and work places, along with random street checks. Migrants were subjected to racial discrimination and harassed and prosecuted for overstaying. Saiatua, her husband Tevita Kautau Lavulo, and lawyer and son in law Clive Edwards  helped many Tongan overstayers with residency applications during this time. They provided crucial leadership and advice to the Tongan community in a time of crisis. In this short extract from her interview Saiatua recalls an incident during the ‘dawn raids’.

When the Congregational Church of Tonga was being built (in Ponsonby) rumors were being circulated that people who were living there were overstayers. I will tell you of one instance when we had just finished work and we headed to our church, this was in 1978.  Together with a family, who had already received their permit’s, we prepared food for the people who were building the church. While my husband, Tevita Kautau Lavulo, was blessing the food in an upstairs room of the large building next door to where the church was being built, two immigration officers turned up at the door. I stood up and went outside and downstairs with the immigration officers who explained that they had been informed by people that the house was full of overstayers.  They told me that they can see that there is a prayer being said and I explained that we were in the middle of blessing the food we had prepared and that they were mistaken about the house being full of overstayers,there are no overstayers living in the building. I told them that we were just having a meal and that afterwards we would all leave the church.  It was common during this time for people to tell on others, but regardless of this, there were many families that were blessed and ended up remaining here.”

Acknowledgement: My thanks to Kolokesa Māhina-Tuai for her assistance with this post.

Mele Saiatua Lavulo (1916 – 2013)

Oral histories in the exhibition Tangata o le Moana: the story of Pacific people in New Zealand

Oral histories in the exhibition Tangata o le Moana: the story of Pacific people in New Zealand. Saiatua appears first on the left with Veimau Lepa, The Honourable Anand Satyanand and Tumanuvao Alfred Tupu.

Tangata o le Moana Living portraits

Oral histories in the exhibition Tangata o le Moana: the story of Pacific people in New Zealand

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