Tag Archives: photography

What do you dream?

Inspiration Station is home to some new, poignant photographs. Taken as part of Little Lotus Project, we’re really pleased to have them exhibited in Te Papa. 

Run by volunteers from New Zealand, Little Lotus Project is a collaborative art project, linking international artists with refugee children on the Thai/Burma border and aiming to bring colour and hope to displaced children.  

As part of the “What do you dream?” initiative, refugee children drew their hopes and dreams. Returning with these artworks to New Zealand, Little Lotus Project asked New Zealand artists to create works of art in response to the children’s dreams.

Little Lotus exhibition Photographer: Kimberley Gustavsson © Te Papa.

Little Lotus exhibition Photographer: Kimberley Gustavsson © Te Papa.

Over 30 talented creatives came together from around the world for the exhibition which will ultimately build new dreams for the children who inspired them. In October, an exhibition of work inspired by the children’s dreams was held at the New Zealand Portrait Gallery. All the funds that were raised went back to the children on the Thai/Burma border.

What do you dream? Photographer: Kimberley Gustavsson © Te Papa.

What do you dream? Photographer: Kimberley Gustavsson © Te Papa.

Photographs of the children who took part in the Little Lotus Project are exhibited in Inspiration Station. It’s certainly worth pausing to think about these children’s dreams and to hope that they can fulfil them.

Little Lotus exhibition Photographer: Kimberley Gustavsson © Te Papa.

Little Lotus exhibition Photographer: Kimberley Gustavsson © Te Papa.

You too can share your dreams with us! We’re asking what you dream. Come in and see the Little Lotus Project images and have a think about what you dream.

Sometimes moving, sometimes materialistic, sometimes funny; no matter what you dream, we’re always interested in hearing from you. So, what do you dream?

What do you dream? Photographer: Kimberley Gustavsson © Te Papa.

What do you dream? Photographer: Kimberley Gustavsson © Te Papa.

You can see the Little Lotus Project photographs in Inspiration Station, Level 4.

All action after school club

A team from the Discovery Centres recently spent nine Wednesday afternoons together with nine awesome tamariki (children) in a trial run of Te Papa’s first after school club.

Through the after school club we wanted to learn, together with the tamariki, about the stories Te Papa tells. We also wanted to find out how everyone can connect to Te Papa’s collections and use them to tell our own stories.

External speakers came in to talk to the after school club about all sorts of topics, from Samoan sasa to stick insects.

The first week saw Alistair from Wellington Photographic Supplies show us how to make the whole classroom into a big camera obscura. The tamariki built their own pinhole cameras and took photos of objects and scenery around Te Papa.

After School Club posing for the pinhole camera Photo: Kimberley Gustavsson. © Te Papa.

After School Club posing for the pinhole camera. Photo: Kimberley Gustavsson. © Te Papa.

Another week we discovered karetao (traditional Māori puppets) with Ati from the Discovery Centres, and got to build our own contemporary ones with the help of Rich from Ponoko. The tamariki created characters and environments for the karetao,  designed them and wrote their mihi (greetings).

Carson and his karetao Photo: Kimberley Gustavsson. © Te Papa.

Karson and his karetao. Photo: Kimberley Gustavsson. © Te Papa.

After karatao came a field trip! Ricardo Palma, an entomologist, took us on a special tour of the Tory Street building, where Te Papa’s zoological specimens are kept. The tamariki got to choose which insects to learn about: weta, stick insects and beetles were high on the list.

From insects to dancing in just one week: Crystal from the Discovery Centres showed us how to dance the Samoan sasa with style. We interpreted the sasa to tell the stories of people who travelled to New Zealand from the PacificIslands, learning NZ history and dancing skills at the same time!

With all that hard work, the tamariki deserved a reward – and they got one! At the end of the after school club, the tamariki curated their own exhibition, showing the karetao and pinhole cameras to the public. Frith and Helen from Te Papa’s writing team talked to us about how to write labels for exhibition objects and the tamariki wrote one for their karetao.

The exhibition now sits proudly in Inspiration Station, on Level 4. It was great to have the tamariki and their whānau (family) join us for the opening of the exhibition, complete with a blessing and delicious kai (food).

Rangimoana Taylor blessing the After School Club's exhibition Photo: Kimberley Gustavsson. © Te Papa.

Rangimoana Taylor blessing the After School Club’s exhibition Photo: Kimberley Gustavsson. © Te Papa.

This is the first after school club exhibition at Te Papa and we’re really proud of all the tamariki who have taken part. They did a fantastic job on the exhibition, so please check it out. You’ll see some unusual karetao – from a free-running ninja to a sky spirit!

Thanks to everyone who helped to make the after school club so special.

News from Loans – What to see in January 2013

It is a new year and I suspect you are not at work again just yet but happily enjoying the gorgeous sunny weather we have been having. Well… here in Wellington anyway!

While you are still out and about can I remind you of some of the exhibitions that we have lent our collection items to?

Untitled. From the portfolio: Underwood, 2001, New Zealand. Leek, Saskia. Purchased 2001. Te Papa

At the Dowse Art Museum in Lower Hutt, look for the seven paintings Te Papa lent to the exhibition titled Saskia Leek: Desk Collection. The exhibition provides the first opportunity for audiences to see a broad range of Leek’s work and appreciate Leek as an artist whose works may be physically modest in scale, but whose artistic reach is considerable. The exhibition is on until 14 April 2013 so you have plenty of time to visit.

The Clerkenwell flower makers, 1896. Fisher, Samuel Melton. Gift of Levin and Co. 1912. Te Papa

You have until 27 January 2013 to indulge in the sumptuous Victorian and Edwardian paintings at the Tauranga Art Gallery.  Fifteen of the twenty-three paintings in the exhibition Love, Life and Loss: Emotive and Evocative Paintings from the Victorian and Edwardian Eras are from Te Papa’s collection.

Ranunculus buchananii Hook.f. circa 1865, New Zealand. Buchanan, John. Acquisition history unknown. Te Papa

If you are in Dunedin check out the exhibition Art in the Service of Science – Dunedin’s John Buchanan on at the Hocken Collection gallery.  You have until 22 April 2013 to spot the sixty-two botanical, bird and fossil drawings, wood engravings and watercolours Te Papa has lent to this exhibition.

Back in Wellington you have until 10 February 2013 to catch two exhibitions that include Te Papa collection items. 

 At the Adam Art Gallery the exhibition We will work with you, not for you! Wellington Media Collective 1978-1998 examines the politics of style implicit in the Wellington Media Collective’s substantial body of graphic work, and through this lens, surveys a history of public culture in Wellington and New Zealand.  Included in this exhibition is a flag from Te Papa’s collection made for anti-Springbok rugby tour protests on the day of the second test at AthleticPark, Wellington, in August 1981.  Made by Chris McBride, the flag is screen-printed in black and brown with a clenched fist and the words Amandla Amandla.  Amandla, a Xhosa and Zulu word meaning power, combined with a clenched fist makes the flag forceful and dramatic.  The Springbok protests were about something much deeper than rugby; people were taking a stand about apartheid in South Africa and racism in New Zealand.

The photographer’s shirt, 09 Sep 2003, Wellington. Cauchi, Ben. Purchased 2003. Te Papa

You still have time to check out and find the Ben Chauchi photographs at the City Gallery WellingtonBen Cauchi: The Sophist’s Mirror explores Chauchi’s intensive investment in and negotiation of the processes, histories and codes of photography offering new ways for historical photography techniques to work the contemporary world.  Look out for The photographer’s shirt from Te Papa’s collection.

The Berry Boys – The First 50

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

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

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)

Movember memories

Movember is drawing to a close, and thousands of men in New Zealand and around the world are sporting moustaches for a good cause.  In New Zealand, the funds raised are being used for research, advocacy and survivor support around men’s cancer and mental health.  Here’s a small selection of moustachioed men, drawn from our photograph collection to inspire you in Movember’s final days … and remember, these moustaches are the culmination of years of effort!

F. W. Harrington, circa 1860, Dublin. Chancellor and Son. Purchased 1916. Te Papa

F. W. Harrington, circa 1860, Dublin. Cabinet photograph by Chancellor and Son. Purchased 1916. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Moustache cup with saucer, 1902, England. John Aynsley & Sons. Te Papa

Campbell 12 PS, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Campbell 12 PS, circa 1908, Wellington. Gelatin dry plate negative by Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

India Series:, 1960 s, India. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

India series: soldier, 1960s, India. Colour transparency by Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 - 1866, circa 1860. Maker unknown. Purchased 1916. Te Papa

Lt. Col. A.W. Grant, Army medical service, 43rd L.T. New Zealand 1863 – 1866, circa 1860. Cabinet photograph, maker unknown. Purchased 1916. Te Papa

Self portrait, 1930 s, Wellington. Lee-Johnson, Eric. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

Self portrait, 1930s, Wellington. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. Te Papa

See more moustaches from our collection

 

Climb every mountain

Brian Brake grew up in Arthur’s Pass and retained a love of New Zealand’s mountains all his life.  He took hundreds of photographs of South Island peaks, lakes and rivers.   If you’re an alpine enthusiast, a keen tramper, or you know the South Island well, please take a look and let us know if you can name any of these mountains, rivers and lakes …

[mountain from the air], 1960 - 1985, New Zealand. Brake, Brian. Gift of Wai Man Lau, 2010. Te Papa

1. Which mountain? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Wai Man Lau, 2010. Te Papa

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

2. A mirror lake. Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

New Zealand Farming and Horticulture: Sheep Muster, 1960 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

3. Sheep muster where? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

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

4. Coastal township, possibly Kaikoura? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1970 s - 1980 s, New Zealand. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

5. Southern Alps perhaps? But which mountain? Nice flares … Colour transparency, 1970s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Southern Alps, 1960 s - 1980 s, Southern Alps. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

6. Mountain and river valley, Southern Alps? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Westland, 1960 s - 1980 s, West Coast. Brake, Brian. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

7. Which river in Westland? Colour transparency, 1960s – 1980s. Brian Brake. Gift of Mr Raymond Wai-Man Lau, 2001. Te Papa

Te Vaiaho o te Gagana Tokelau: Tokelau Language Week

This week is the inaugural Tokelau Language Week (29 October – 4 November). The theme is Ke mau ki pale o Tokelau: Hold fast to the treasures of Tokelau. To celebrate, the Pacific Cultures team will post a blog each day highlighting cultural treasures from Tokelau in Te Papa’s collections. Today, in this first blog post we offer a short environmental profile of Tokelau and finish with one of Tokelau’s creation stories.

Tokelau- low-lying atolls
Tokelau is comprises of villages on three main low-lying atolls – Atafu, Fakaofo and Nukunonu.A low coral atoll is formed from a coral reef that has grown on top of a submerged volcano. The actual land rises only a few metres above sea level. This land consists of sand and coral that has built up on the surface of the reef. The three main islands of Tokelau all sit on extinct volcanic peaks.

Agate, Alfred T 1812-1846. Agate, Alfred T 1812-1846 :Cocoanut grove at Fakaafo or Bowditch I. / painted by A.T.Agate; engr. by J Smillie. Philadelphia, [s.n.], 1849.. Ref: A-282-007. Alexander Turnbull Library, Wellington, New Zealand. http://beta.natlib.govt.nz/records/22754561

Food and water on Tokelau
Low coral atolls like Tokelau have no surface fresh water. The people had to dig wells to a lens-shaped natural reservoir of fresh water trapped beneath the sand. This precious resource is replenished by rain. For food, Tokelauans in earlier times depended on the native pandanus and coconut trees, as well as introduced plants such as swamp taro (which they grew in ponds dug down to the freshwater level) and breadfruit. Marine resources and activities like fishing were also vital. Tokelau people have developed a unique system of sharing out food among all members of the community. This is called inati.

Toki (hafted adze)

Toolmaking on Tokelau
The only ‘rock’ in Tokelau is coral, so the people used shell and bone for tools. Occasionally they obtained stone tools from other islands, like Samoa. This adze’s handle is modern, but its blade is of a type used by generations of people on low coral atolls. For many Pacific toolmakers, clam shells made a good alternative to stone.

Toki (shell adze blade)

Nukunonu, Tokelau 1981. From the series: Polynesia Here and There (photographer Glenn Jowitt)

How the Tokelau Islands were created
Three brothers lived in Tonga. Their names were Mauimua, Mauiloto, and Mauimuli. They were out fishing one day when Mauimua’s hook caught on the roots of a coconut tree at the bottom of the sea. When he tried to free his hook, he pulled up an island. All three brothers were amazed, and called this island Fakaofo – ‘surprise’.

Later, Mauilotu’s hook caught on the roots of a nonu tree. He pulled up another island, and the brothers named it Nukunonu.

Finally, Mauimulu’s hook caught on the roots of a kanava tree. The island he pulled up was full of kanava trees. The brothers called it Atafu.

Na tupu vehea te atu fenua ko Tokelau

Na iei te kau uho e toka tolu na ola ake i Tonga. Ko o latou igoa ko Mauimua, Mauiloto ma Mauimuli. Na fai to latou faiva i te tahi aho oi lave ai te kafilo a Mauimua ki ni aka e o he niu nai te takele o te tai. Kae taumafai ia ke fakato tana kafilo, na ia fufutia ake ki luga he fenua. Na ofo lele te kau uho, oi fakaigoa ai e ki latou te fenua ko Fakaofo.

Fai fai lava to latou faiva kae lave te kafilo a Mauiloto ki na aka o he nonu. Fufuti ake ki luga tana kafilo ko he tahi fenua, ma na fakaigoa e ki latou ko Nukunonu.

Mulimuli ake, kae lave te kafilo a Mauimuli ki na aka o he kanava. Ko te fenua na ia fufuti akea ki luga e tumu ina kanava. Na fakaigoa ai e ki latou ko Atafu.

Tokelau-the facts

Total land area: 12 square kilometres
Highest point: 5 metres above sea level
Annual rainfall: 1600 millimetres
Population in the year 2011: 1205
Around 6819 Tokelauans now live in New Zealand. There are small communities in locations such as Samoa, Hawaii and Australia.

A slice of Wellington life: the Berry & Co collection

Wong Lee, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Wong Lee, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Te Papa has a collection of nearly 4,000 glass plate and film negatives taken by the Wellington photography studio Berry & Co.  The studio was founded by William Berry in 1897, and operated in Cuba St until 1931.  The negatives are mainly portraits – of families, children, men and women, soldiers in uniform, the occasional pet – and are a wonderful resource for those interested in our history, or in the history of fashion. 

Find out about our project to identify WWI soldiers in the Berry & Co collection

 1,479 of our Berry negatives had been digitally imaged and put online over the past ten years, leaving us 2,397 more to photograph and upload to the web.  We’re keen to make more of this great historical resource available online, so we have started a mass imaging project, to photograph them in batches of 100 per week.  At this rate, it will take about six months to do them all. 

Joliffe 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Photo Michael Hall. Copyright Te Papa. Negatives can be difficult to ‘read’, so creating a positive digital image makes it easier for us to improve our catalogue data, for example by using clothing details to estimate the date the photograph was taken.

From cold storage to the studio

The negatives are all kept in our cold storage vaults, as low temperatures and humidity slow their deterioration.  They have to be brought up to room temperature slowly (acclimatised), otherwise there’s a risk that moisture will condense on the surface of the negatives, and damage or destroy the image.   

 We are using small chilly bins to acclimatise and transport the negatives.  These are handled very carefully, but as additional protection against bumps which could crack the glass, the bins are padded out with foam and pillows. 

One of the transport chilly bins. The negatives are stored in archival paper sleeves, to protect the surface of the image. Photograph Anita Hogan, copyright Te Papa.

The negatives are placed on their edges in  the chilly bin, as this is the way they are designed to travel.  The bin is then left closed for five days, so the plates can slowly acclimatise to room temperature.

 In the studio

Once the plates have acclimatised, we move them to the photography studio and they are photographed on a light box by one of our imaging team.

Photographing a Berry & Co glass plate negative. We use a Phase I P40 camera and Schneider 110 lens, used with extension tube, with a 40MB back. This gives us a 38MB digital image, which is our ‘access master’ size. Photograph Michael Hall, copyright Te Papa.

When the photographs have been taken, the negatives are moved back to the cold storage vault.  As one set of negatives acclimatises another is being photographed, so there are always three sets of chilly bins on the move.

 So far we’ve photographed 500 of the negatives in the project, and they are being uploaded as we go.  Here’s a small selection.  I’ll be putting up more as the project continues, or you can keep an eye out for new additions on Collections Online.

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Miss Roma Lee Coupon 1 doz PC, circa 1920, Wellington. Berry & Co. gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Cowie 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Gregorias 12, circa 1920, Wellington. Berry & Co. Gelatin dry plate negative. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

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.

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

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