Tag Archives: New Zealand

Ferns of New Caledonia that are very different to those in New Zealand

You’ll never have seen anything like these New Caledonia ferns in New Zealand, unless you’ve been to a very interesting garden (which I’d love an invitation to!). These are photos from my recent fern collecting trip.

Dipteris conjugata. This is a very distinctive species with its un-fern like, c. 1 metre wide fronds. It is can be common on sunny, roadside banks. The same species occurs in south-east Asia to Australia and Fiji. The closest relatives in New Zealand – and it is a distant relationship – are Gleichenia, Sticherus, and Dicranopteris. Photo Leon Perrie. © Te Papa.

Dipteris conjugata. The spore-producing structures (sporangia) occur in clusters (sori) spread over the underside of the frond. Photo Leon Perrie. © Te Papa.

Austrogramme marginata. You can be forgiven for thinking this is an Asplenium birds-nest fern. But the resemblance is only superficial, and it is actually in the Pteridaceae family! The closest relative in New Zealand is probably Anogramma (and/or Pteris). Photo Leon Perrie. © Te Papa.

Drynaria rigidula. A so-called basket fern. These are epiphytic ferns that have some of their fronds modified (centre of the photograph) to catch litter and organic debris, which on decomposing provides nutrients to the plant. Widespread through south-east Asia and the tropical Pacific. The closest relatives in New Zealand are Pyrrosia and Microsorum. Photo Leon Perrie. © Te Papa.

Prosaptia contigua. Looks a bit like New Zealand’s Ctenopteris heterophylla except the reproductive structures are clustered into cups at the apices of the frond segments. Widespread through south-east Asia and the tropical Pacific. The closest relatives in New Zealand are Ctenopteris and Grammitis. Photo Leon Perrie. © Te Papa.

Stromatopteris moniliformis. A fascinating fern for anyone interested in fern evolution. This is the only species in the genus Stromatopteris, and its relationships were intensely debated. Now classified in the Gleicheniaceae, along with the following genera found in New Zealand: Dicranopteris, Gleichenia, and Sticherus. I saw Stromatopteris only in the maquis vegetation, where it was one of very few ferns present. At the base of the image on the left is a young Dracophyllum. Photo Leon Perrie. © Te Papa.

Selaginella hordeiformis (?). A lycophyte rather than a fern. No Selaginella are native to New Zealand, but misfortunate conservationists and gardeners may be familiar with the introduced Selaginella kraussiana. Despite the latter’s diminutive stature, it carpets the floor of wet forests (and gardens), choking regeneration. New Caledonia is home to several Selaginella species that produce erect ‘fronds’, although none as big as Fiji’s Selaginella viridangula which can be over 1.5 m tall! Photo Leon Perrie. © Te Papa.

Tectaria sinuata. New Zealand is seemingly too cold for this large group of ferns. The closest relative in New Zealand, is believe it or not, the epiphytic Arthropteris. Photo Leon Perrie. © Te Papa.

New Caledonian ferns with close relatives in New Zealand

A lot of New Caledonian species belong to fern genera that also occur in New Zealand. Some look very similar to New Zealand species, whereas others are quite different!  Here’s a few from my recent trip.

Cyathea albifrons. Like New Zealand’s silver fern (Cyathea dealbata), the fronds are white underneath. But the two species are not closely related. Cyathea albifrons was the dominant tree fern in the forested serpentine areas that we visited. Photo Leon Perrie. © Te Papa.

Cyathea intermedia. I’ve seen competing claims about whether New Zealand’s Cyathea medullaris or New Caledonia’s Cyathea intermedia was the world’s tallest tree fern. Having now seen them both, my vote is with Cyathea intermedia; easily. Majestically massive. Photo Leon Perrie. © Te Papa.

Dicksonia thyrsopteroides. Superficially similar to New Zealand’s Dicksonia squarrosa (wheki), but it is less hairy and the different-looking fertile parts of the frond are distinctive (see below). Photo Leon Perrie. © Te Papa.

Dicksonia thyrsopteroides. The fertile parts of the frond, right and centre, look very different to the sterile parts, to the far left. Photo Leon Perrie. © Te Papa.

Trichomanes laetum. What a cute little fuzz ball! According to my books, laetum is Latin for attractive or joyful. The closest relative in New Zealand is Trichomanes elongatum. Photo Leon Perrie. © Te Papa.

Hymenophyllum rolandi-principis. There are lots of Hymenophyllum species in New Zealand, but I think none so elegant as this. Grows as an epiphyte in high altitude forest. Photo Leon Perrie. © Te Papa.

Adiantum novae-caledoniae. I suspect our DNA analyses will confirm this as being very closely related to Adiantum cunninghamii, A. fulvum, and A. viridescens of New Zealand, and Adiantum silvaticum of Australia. Photo Leon Perrie. © Te Papa.

Asplenium oligolepidum. An uncommon epiphyte. Preliminary DNA analyses have suggested that its relationship to New Zealand’s Asplenium oblongifolium and Asplenium obtusatum is not as close as one might suspect from its looks. Photo Leon Perrie. © Te Papa.

Blechnum obtusatum. Common around streams. A very handsome fern that could make a wonderful garden plant. Recalls somewhat Blechnum fluviatile or Blechnum durum, but unpublished DNA analyses indicate the closest New Zealand relatives are probably those currently classified as Doodia. Photo Leon Perrie. © Te Papa.

Blechnum corbassonii. A fairly common forest fern. Part of a group of New Caledonian Blechnum ferns that I found difficult to work with, but which are apparently related to Blechnum novae-zelandiae. Photo Leon Perrie. © Te Papa.

Blechnum diversifolium. Unusual for a Blechnum in that the frond is twice-divided. Blechnum fraseri in New Zealand does the same, and perhaps they’re related. Photo Leon Perrie. © Te Papa.

Sticherus montaguei. Reasonably common at the margins of upland forests. Up close it looks like Sticherus flabellatus, but it is much, much bigger. Photo Leon Perrie. © Te Papa.

New Caledonian ferns shared with New Zealand

About 35 species of fern are found in both New Caledonia and New Zealand. That’s about 13% and 18% of the total species in each area.  Almost all of these are widespread species that are also found elsewhere in the Pacific (and beyond).

Here’s a few of them that I saw during my recent field work in New Caledonia:

Dicranopteris linearis is one of the world’s most widespread ferns. In New Zealand it is only found at geothermal sites in the central North Island, but it is widespread through the Pacific. In New Caledonia it is abundant where the vegetation is recovering from disturbance, such as in the Melaleuca savannah. From the morphological diversity present in New Caledonia, I suspect more than one species is present. Dicranopteris is distinguished from the related Gleichenia and Sticherus by the naked stems below the frond-forks. Photo Leon Perrie. © Te Papa.

Lycopodiella cernua is a lycophyte rather than a fern. It is often found with Dicranopteris linearis, at sites where the vegetation has been disturbed.  It gets much bigger in New Caledonia than in New Zealand. Photo Leon Perrie. © Te Papa.

Schizaea dichotoma, fan fern. This is just a young, unfurling frond. The red colour doesn’t last. Photo Leon Perrie. © Te Papa.

Tmesipteris sigmatifolia, fork fern. Grows on tree fern trunks. Seemed common in New Caledonia. Largely restricted to kauri forest in New Zealand, although other species are widespread. Photo Leon Perrie. © Te Papa.

Histiopteris incisa, water fern. A relative of bracken (Pteridium esculentum), but generally found at wetter sites. New Caledonian plants have a ‘tougher’ look compared to those in New Zealand. Photo Leon Perrie. (c) Te Papa.

Gleichenia dicarpa, tangle fern. Up close, New Caledonian plants look very different to those from New Zealand. We were already working on a taxonomic revision of this species. Photo Leon Perrie. © Te Papa.

Contemporary New Zealand art on display in China

Two weeks ago I was in Shanghai for the opening of the exhibition Meridian Lines: Contemporary Art from the Museum of New Zealand Te Papa Tongarewa at the China Art Museum with artist Yuk King Tan and Wen Powles, Te Papa’s International Strategy Advisor.

The China Art Museum is the new home of the Shanghai Art Museum, which has relocated to the China Pavilion from the 2010 World Expo.

The China Art Museum in Shanghai. Photo: Hutch Wilco, Te Papa

The China Art Museum in Shanghai. Photo: Hutch Wilco, Te Papa

As part of their re-opening celebrations, the China Art Museum invited several international museums to contribute exhibitions from their collections. The other museums included the British Museum, the Rijksmuseum, the Whitney Museum of American Art, the Victor Hugo Museum and the National Council for Culture and the Arts of Mexico.

While many of these institutions selected important historical works from their collections, we decided to present a selection of contemporary art from New Zealand. Meridian Lines includes works by Bill Hammond, Ralph Hotere, Ani O’Neill, Michael Parekowhai, John Pule, Yuk King Tan and Gordon Walters.

Here’s a glimpse at our exhibition…

From left to right, artworks by Yuk King Tan, Ralph Hotere and Gordon Walters. Photo: Hutch Wilco, Te Papa

From left to right, artworks by Yuk King Tan, Ralph Hotere and Gordon Walters. Photo: Hutch Wilco, Te Papa

The response to the exhibition was really quite overwhelming with a strong level of interest from both the local Chinese and other international visitors. Yuk King Tan’s work was reproduced on the second page of the English language South China Morning Post newspaper and one morning I discovered the show being featured on a Chinese television station.

Yuk King Tan’s work featured in the 'South China Morning Post', 2 October 2012.

Yuk King Tan’s work featured in the ‘South China Morning Post’, 2 October 2012.

The China Art Museum anticipates that approximately half a million people will visit the museum by the end of the year, when our exhibition closes.

Listen to Mary Kisler discussing the exhibition with Kim Hill on Radio New Zealand National.

Sarah Farrar

Curator of Contemporary Art

The Berry Boys – Girl Day

One of the fascinating aspects of the Berry & Co photographs of World War I soldiers is that they were often photographed with family and friends. These family photographs bring to the fore the fact that women and children were affected by the war. Life on the home front was far from easy. People had to learn to live with the constant worry and fear that their loved one might be killed or injured. Food and other resources were severely limited and expensive. With so many men away, the work force was greatly reduced. Women often had to bring up young children on their own both during the war when their husbands were away and sometimes for the rest of their lives, if their loved one died.

In recognition of United Nations ‘International Day of the Girl Child’ I’d like to dedicate today’s blog to the women and children in the Berry & Co photographs. This annual event aims to raise public awareness about the equal rights of girls. It therefore seems appropriate and timely to highlight some of the girls featured in these photos and explore what their lives were like growing up in New Zealand.

Herbert and Marguerita Freeman with baby Zena, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Baby Zena situated in the centre of this photo was the first child of Marguerita and Herbert Freeman. She was about three months old when this photo was taken. Her father was granted leave for four months in December 1916 on grounds of ‘hardship’ and that his wife Marguerita was a ‘very delicate woman’, which was code for her being pregnant. When he eventually embarked for the Great War on the 1 August 1918, Zena already had a sister, Rita who was born in April 1918. The family was lucky because even though Herbert was away from home for about a year, he arrived in England just prior to the Armistice in November 1918.

Arthur and Amy Gamon with baby Kathleen, Circa 1918, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

 Kathleen Gamon pictured here between her father Arthur and mother Amy was born on 20 June 1916. This photo was probably taken in about 1918 prior to Arthur leaving for the war. 

Life in New Zealand when Zena and Kathleen were born and growing up, was very different from today. The 1877 Education Act meant that there was free compulsory education for children aged between five and 14 but although secondary schooling was available, most children left school when they turned 14.

Kathleen attended the Lyall Bay Primary School but it is not known where Zena went to school. It is highly likely that they shared their classroom with up to 40 other children. Children were crammed into rows and the rooms were often hot in summer and cold in winter. Fresh air was considered to be highly beneficial so teachers were encouraged to keep the windows open year-round.

Most children learned to write on slate boards and when good enough they moved on to paper and pencil, and then ink. Widespread use of the strap and the cane ensured children followed the rules, held their pencils correctly and did their homework!

The 1920s was a time when the educational and professional sectors expanded in New Zealand. Women seized new opportunities in employment. The School Dental Nurse service, established in the 1920s, provided an opportunity for women to train as Dental Nurses and the Plunket Society trained Plunket and Karitane nurses all considered good career choices for young women.

Like most women, both Zena and Kathleen married and had children. Kathleen died in 2003 but Zena is still alive. It’s amazing to think about the changes she would have seen in her life time. The opportunities for girls in New Zealand today are vast in comparison to when Zena and Kathleen were little girls and it’s hard to imagine a time when women weren’t allowed to take part in parliament or choose to have a career or university education. In many countries though, there are still huge levels of inequality for girls. ‘The International Day of the Girl Child’ is an important date and moment to think about girls’ rights and the recognition girls deserve as citizens and as powerful agents of social change.

1920s taoga (treasures) from Niue

Welcome to the third blog in our series focusing on Niue taoga (treasures) from Te Papa’s collection for Vagahau (Language) Niue Week (6-13 October).

Titi (skirt); Niue; FE006396; Purchased 1973; Te Papa

Titi (skirt); Niue; FE006396; Purchased 1973; Te Papa

This titi (skirt) was collected in the 1920s by H W Cockerill a telegraphic engineer for the General Post Office who helped install a wireless telephone station on Niue. The titi, one of several are made of natural hibiscus bast fibres dyed in pink, red and green,and decorated with rosettes. They indicate a preference at the time for dying natural materials. This is similar to Cook Islands dance costumes from the same period.

Titi (skirt); FE006399; Purchased 1973; Te Papa

Titi (skirt); FE006399; Purchased 1973; Te Papa

Along with the titi, Cockerill acquired other items including tablemats, iliili (fan) and the lei (necklace) below.

Lei (necklace); Niue; FE006400/1; Te Papa

Lei (necklace); Niue; FE006400/1; Te Papa

Since the beginning of New Zealand annexation in 1901, New Zealanders such as Cockerill visited the island for work, travel and leisure. In 1973, Cockerill’s collection was acquired from his son, and provide a snapshot of items produced in that period.

Do you know this building?

 Te Papa has an enormous collection of photographs, negatives and transparencies by Brian Brake (1927 – 88), one of New Zealand’s best known photographers.  Brake became famous while working overseas as a photojournalist – one of his best known works is the Monsoon photo essay, which he took in 1960.  He also photographed extensively in New Zealand, taking many images of scenery and historic buildings.  Many of these have come to us with nothing to tell us where they are, but maybe they’re just up the road from you.  So I’m hoping you might be able to identify these for us … send us your ideas!

1 – Old wooden buildings – maybe Arrowtown?

New Zealand Historic Buildings:, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

 2 – Where and who is he?

New Zealand Historic Buildings: Monument, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings: Monument, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

3 – A wee wooden church somewhere:

New Zealand Historic Buildings: Church, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings: Church, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

 

4 – A monument or a building?  Nice location …

New Zealand Historic Buildings:, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

5 – Maybe Otago?

New Zealand Historic Buildings:, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

6 – This reminds me of some of the old East Coast freezing works . . .

New Zealand Historic Buildings:, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Historic Buildings:, 1960s – 1980s, New Zealand. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Going International, Part II – What caught my eye at two recent botany meetings

Here are just a few of the many highlights from the two international botany conferences I recently attended: Botany 2012 (Columbus, OH, USA) and  Biodiversity and Evolutionary Biology 2012 (German Botanical Society 21st International Symposium, Mainz, Germany).

  • Plant identification goes visual, interactive and mobile

Plant identification keys are useful when you want to identify an unknown plant specimen to a species. Traditionally, keys have been found in books or other printed media, and have used written, verbal descriptions as choices that user must make (see an example here for Plantago from the 1961 New Zealand Flora). When using a conventional key, a user must proceed down the key and finally “key out” or identify the plant specimen of interest.

But keys are becoming increasingly interactive, making use of specialised computer software and including photos and drawings to aid identification (see for example Key to the Flowering Plant Genera of New Zealand). Keys are also becoming exteremely mobile, with the development of smart phone applications for plant identification (such as Leafsnap for the USA). I saw one talk by Alexander Krings about the development of these great apps for the Flora of North Carolina. Wouldn’t it be fantastic to have such mobile plant identification apps for the New Zealand flora?

I also attended a hands-on workshop about so-called “visual keys“, which rely exclusively on photos and other visual aids. At the workshop, which was run by Bruce Kirchoff from the University of North Carolina Greensboro, we were divided into groups whose task was to create our own visual key for oak tree leaves using only a set of images. Then other workshop participants tested our group’s visual key by keying out leaves from another set of images. The workshop was fun and challenging, would be a great exercise for high school or university biology courses, and got me thinking about different ways I might create plant ID keys, especially for the forget-me-nots I am currently working on.

  • DNA Sequencing: The Next Generation

Use of so-called “Next Generation Sequencing” in (NGS) evolutionary biology research was a dominant theme at both conferences I attended. (And even though this might sound more like something from a certain television programme from the 1980s and 90s, I can assure you I was attending botany conferences, not sci-fi conventions!) The relatively new technology of NGS allows sequencing of large portions of the genome quickly, giving us orders of magnitude more DNA data from the organisms we study and allowing researchers to understand them better and answer more interesting questions about them.

In fact I have come to Oldenburg, Germany to learn and perform NGS methods to study the evolution of certain polyploid New Zealand and European Veroncica species (more on that later). By the way, on the conference field trip to “Mainzer Sand”, I saw my first European Veronica species in its native habitat, check it out (with thanks to Aaron Liston for the photos):

Heidi Meudt on the botanical field trip to the "Mainzer Sand", at the “Biodiversity and Evolutionary Biology" meeting, the 21st International Symposium of the German Botanical Society (DBG) , Sept. 2012. I am kneeling just behind the European plant species Veronica spicata. Photo by Aaron Liston.

Heidi Meudt on the botanical field trip to the “Mainzer Sand”, at the “Biodiversity and Evolutionary Biology” meeting, the 21st International Symposium of the German Botanical Society (DBG) , Sept. 2012. I am kneeling just behind the European plant species Veronica spicata. Photo by Aaron Liston.

Veronica spicata flowers from the "Mainzer Sand", Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

Veronica spicata flowers from the “Mainzer Sand”, Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

Veronica spicata fruits from the "Mainzer Sand", Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

Veronica spicata fruits from the “Mainzer Sand”, Mainz, Germany. Sept. 2012. Photo by Aaron Liston.

Farewell Don Binney

We are saddened to hear that contemporary New Zealand artist Don Binney has passed away.  Our thoughts are with Don’s family and friends.

Don Binney, 'Pacific frigate bird', 1968, Te Papa

Don Binney, ‘Pacific frigate bird’, 1968, Te Papa

Unforgettable: Michael Parekowhai’s ‘On First Looking into Chapman’s Homer’

If you live in the Wellington region then I really hope you’ll come to Te Papa and visit Michael Parekowhai’s On First Looking into Chapman’s Homer, which is on show on Level 5 until 23 September 2012.

Rather than describing my own experience of these works, I thought I’d share with you some of our visitors’ comments instead…

Hear Courtney Johnston talking about it on Radio NZ.

Excerpt from a letter to the editor from Wellington’s Capital Times, 5 September:

My ten year old boy and I visited Te Papa while the beautiful Steinway, carved, inlaid and painted to within a semi – quaver of its life, was being played. Have you ever seen the insides, let alone put your head beneath the lid (and under the watchful “Don’t Touch!” gaze of the attendants) of a grand piano, as Chopin is being played? We neither. Until today!  

The beautifully played music (thanks Ariana Odermatt) and the applied imagination of Parekowhai filled the exhibition space, as it did my body, mind and heart. This installation reflects and celebrates my understanding of bi- culture. Far out! Kia ora! 

Tom White, Island Bay (abridged).

Find out more about the exhibition and about a special event next Thursday night.

If you’ve already seen the works and want to share your response, please feel free to leave a comment below.

Sarah Farrar

Curator of Contemporary Art

Follow

Get every new post delivered to your Inbox.

Join 276 other followers