Toi Tangata | Arts Update

Total Page:16

File Type:pdf, Size:1020Kb

Toi Tangata | Arts Update TOI TANGATA | ARTS UPDATE 13 March 2020 News UC Arts at the Arts Centre Are you, or do you know, a UC student keen for CCR credits? Take a look at the link here and get involved in Arts Centre events for the Teece, Music & Classics. School of Music On Monday night, we were delighted to host Dunedin composer/sound artist Kerian Varaine for New Music Central. There was a great audience who enjoyed experiencing a range of modalities, including an alpha test of an interactive piece currently in production! On Tuesday night, we were lucky to have a visit from Susan West and Sally Bodkin-Allen, who presented a talk on ‘An alternative altruistic approach to singing for everyone’ in the Camerata Room. Next week, Head of Performance, Mark Menzies curates a violin and viola mini-fest! 'Vln&Vla' will run from Wed 18 - Sun 21 March, and will feature a series of strings performances from students, staff, and guests. Check out the dates below. Upcoming events: • Friday Lunchtime Concert – Friday 13 March, 1.10pm: Shostakovich (& others) – Venue: Recital Room, UC Arts City Location • Vln&Vla: a mini-fest of violin & viola performances – Wed 18 March, 7.00pm: Mark Menzies & Tim Emerson – Venue: Recital Room, UC Arts City Location • Vln&Vla: a mini-fest of violin & viola performances – Fri 20 March, 1.10pm: Lunchtime concert – The pull of Autumn strings – Venue: Recital Room, UC Arts City Location • Vln&Vla: a mini-fest of violin & viola performances – Sat 21 March, 2.00pm: Bach’s birthday! With Tomas Hurnik – Venue: Recital Room, UC Arts City Location • Vln&Vla: a mini-fest of violin & viola performances – Sat 21 March, 5.00pm: Bach’s birthday! With Tomas Hurnik – Venue: Recital Room, UC Arts City Location • Vln&Vla: a mini-fest of violin & viola performances – Sun 22 March, 5.00pm: Nathaniel Otley, Jeffrey Zhap & guests – Venue: Recital Room, UC Arts City Location Teece Museum of Classical Antiquities Following on from International Women's Day last weekend, it's great to see an initiative which aims to increase knowledge about the contribution of women to ancient world studies. It seems very appropriate that the new blog by Australasian Women in Ancient World Studies features UC graduate (and Teece Gallery Host!) Natalie Looyer discussing her research into the life of Miss Marion Steven. You can read about it here! Upcoming events: • Holding Fast: conservation of the Logie Collection – Thursday 19 March, 6.00pm – Venue: Teece Museum, UC Arts City Location Holding fast: conservation of the Logie Collection and new research into mounts for museum exhibitions In this short-format public talk conservators Emily Fryer and Neeha Velagapudi (Canterbury Museum) will discuss the conservation of the Logie Collection after the Christchurch earthquakes, and explain their new research into the use of adhesive mounts for museum exhibitions. Emily Fryer has a Masters degree in the Conservation of Historic Objects from Durham University and over 17 years' practical experience in treating a wide range of three-dimensional objects. She has worked as a conservator for Bristol City Museum, the Tate Gallery in London and the Antarctic Heritage Trust in Antarctica. She has worked privately since 2007 in Christchurch for a wide range of institutions and private individuals and is currently contracted to Canterbury Museum part time to work on objects for their upcoming book. Neeha Velagapudi graduated with a Master of Cultural Materials Conservation from the University of Melbourne and went on to gain experience at a variety of institutions in Australia. She completed some short-term assignments with the Museum and Art Gallery of the Northern Territory, and was involved with the relocation of the Freemasons Victoria museum collection. She held the role of junior objects conservator with Emily Fryer Conservation for two years and is currently a Collections Technician Human History at Canterbury Museum. FREE entry, but seats are limited so PLEASE register to attend. School of Fine Arts Congratulations to Ilam alumnus, Janna van Hasselt, this year's ZAFAA winner, hosted by Ashburton Art Gallery. Fantastic to see so many Ilam graduates, undergraduates and staff exhibiting: Abby Baillie, Audrey Baldwin, Jen Bowmast, Rosetta Brown, Sarah Brown, Olivia Chamberlain, Kaitlin Fitzgibbon, Jacquelyn Greenbank, Ella Hickford, Phoebe Hinchliff, Mi Kyung Jang, Orissa Keane, Hannah Phillips, Emma Wallbanks. SoFA alumnus Melissa Macleod, last year's winner, returns to the gallery with a stunning exhibition 'The Trappings of Ghosts'. Maurice Askew (1921-2020) By the time Maurice came to New Zealand to teach Design at the University of Canterbury School of Fine Arts in 1962, he had already amassed a lifetime of adventures and a long legacy of ground-breaking creative work. As an RAF flight engineer on Lancaster Bombers during World War Two, he was shot down over Germany in 1944. Parachuting into a field of snow, he spent the next year and a half marching from one Prisoner of War camp to another. With his wry sense of humour, he once told me that he “…had seen enough of Germany... I don’t feel the need to go back again.” After the war he had the opportunity, like so many demobbed soldiers, to retrain rather than go back to the old Anglepoise lamp factory that he worked in before his enlistment. He now had the chance to go to art school and follow his love for design and drawing. Subsequently, in the early 1950’s, he was employed by the fledgling Granada Television Studios where he created award-winning animations and amongst other things, was the set designer for the iconic Coronation Street television series. Teaching was one of Maurice’s passions throughout his life and, in the early sixties, along with Doris his wife and a young family, he embarked on yet another challenge to sail to the other side of the world, to the University of Canterbury and to make Christchurch his new home. His influence on the shift of design thinking in New Zealand in the 1960’s has been highly underrated but can be seen most strikingly in a series of decimal currency stamps from 1971 especially if compared to earlier designs. Here, Maurice was part of the winning design team alongside a number of recent graduates. During this time he worked on many other design projects such as the University of Canterbury Centenary and the 1974 Commonwealth Games held in Christchurch. The 1970’s was also a time when the Court Theatre evolved and part of their success was due to the vibrant theatre sets designed by Maurice. By 1975 the demand by his students for film-making was so great that a separate Film Studio at Ilam was created. It remains arguably the oldest Film School in the country and I am very proud to say that it is still going strong today. Amongst its early students, it included NZ directors Vincent Ward and Gaylene Preston as well as the famous Australian producer Timothy White. Maurice retired from UC in early 1981 and started yet another creative chapter in his life illustrating a number of children’s books and developing his distinctive watercolour style as he rendered striking landscapes locally, and from all over the world. It is during this time that I first met Maurice who was still heavily involved in the Canterbury Film Society that he revitalised in the 1960’s. I will always remember his wonderful sense of humour and his kind, gentle and generous mentoring which stayed with him right until the end. John Chrisstoffels Senior Lecturer in Film School of Fine Arts 10th March 2020 Antigua Boatsheds 1990 M.V.Askew Classics Assoc Prof Alison Griffith has been accepted as a Senior Fellow of the Higher Education Academy. She is the first Senior Fellow in the College of Arts and the fourth in the University. Philosophy Jack Copeland has been invited to be a Mentor in the field of Intelligence and Artificial Intelligence at the Institute for Advanced Study at Aix--Marseille, France, in November 2020, and at the Institute for Advanced Study in Belo Horizonte, Brazil, in 2021. Intercontinental Academies held at the Institutes "allow a selected group of fellows to meet a group of highly distinguished mentors to elaborate new interdisciplinary path-breaking research projects". History Katie Pickles has just completed a second and final year as a Royal Society Te Apārangi James Cook Research Fellow. The main output from the fellowship will be a monograph, Heroines in History: A Thousand Faces, to be published by Routledge. The second year of the fellowship was largely spent working on that book. Publications during the second year of the fellowship are Katie Pickles “‘Fossilised prejudices’ and ‘Strange Revolution’: The 1919 Women’s Parliamentary Rights Act”, New Zealand Journal of History, vol. 53, no. 1, April, pp. 109-128; Katie Pickles, ‘Introducing Mrs Cook: in search of history’s ‘other half’, The Spinoff, 6 November (https://thespinoff.co.nz/society/06-11-2019/introducing-mrs-cook-in-search-of-historys-other-half/); and Katie Pickles, ‘Why New Zealand was first to grant women the vote in 1893 but then took 26 years to let them stand for parliament’, The Conversation, 19 September 2019 (https://theconversation.com/nz-was-first-to-grant-women-the- vote-in-1893-but-then-took-26-years-to-let-them-stand-for-parliament-123467). Katie gave three invited seminars and lectures during the year; ‘Wheels of Change: Stories of Victorian Heroines’, the Forrester and Lemon Memorial Lecture in Oamaru, was drawn from monograph research, as was a WEA Christchurch lecture on Marie Curie. A lecture about the 1919 Women’s Parliamentary Rights Act concerned the women’s status in New Zealand society part of the fellowship.
Recommended publications
  • Kate Sheppard House a Public Asset Explore Our Most Important Movement and Their Relevance Today
    SUMMER 2019 CANTERBURY Kate Sheppard House in Christchurch. (CREDIT: FRANK VISSER/HERITAGE NEW ZEALAND POUHERE TAONGA) Heritage New Zealand Pouhere “To be given the responsibility to manage Kate Sheppard Taonga is delighted to be this nationally and internationally significant property is a great honour,” Heritage managing Kate Sheppard House New Zealand Pouhere Taonga Board Chair, House a public in Christchurch, as announced by Marian Hobbs, said at the event. Greater Christchurch Regeneration “Where we are today is a physical connection asset Minister, Megan Woods, at a to a person and movement that only a fabulous event on 19 September, heritage place can provide.” Suffrage Day. This Category 1-listed Christchurch home was where Kate Sheppard and suffragist CONTINUED OVER > heritage.org.nz 1 supporters spent much time working towards New Zealand becoming the first self-governing country in the world to grant women the vote. It was here that the Contents 270-metre petition was pasted together before being presented to Parliament. Together, Heritage New Zealand Pouhere Taonga and the University of Canterbury have an exciting opportunity to be able to open it 1 CANTERBURY 12 TOHU WHENUA for a range of future use options, particularly highlighting Kate Sheppard, the suffrage Kate Sheppard House a public asset Explore our most important movement and their relevance today. landmarks with Tohu Whenua 2 CONTENTS Kate Sheppard House joins 43 other 13 MID-CANTERBURY properties Heritage New Zealand Pouhere 3 EDITORIAL More than just an office Taonga cares for nationwide on behalf of Heritage New Zealand Chief the public. Other properties include Old Executive Andrew Coleman 14/15 WAIKATO Government Buildings in Wellington, the Kerikeri Mission Station complex in Northland Recognition for Kīngitanga and the birthplace of our frozen meat industry, 4/5 FEATURE INTERVIEW heartland Jess Armstrong: Heritage, history, Totara Estate near Ōamaru.
    [Show full text]
  • THAT BLOODY WOMAN by Luke Di Somma and Gregory Cooper in Association with the Court Theatre Thanks to Our Supporters
    Vol. 2 No. 6 June 2016 THAT BLOODY WOMAN by Luke Di Somma and Gregory Cooper In association with The Court Theatre thaNKS TO OUR SUppORTERS S IPAL NC I R FUNDER P NG ti NERS T EN R S CORE FUNDER PA RE P sity NER T R VER I FUNDER PA UN Artistic S R Director's Note tE J O R OR A M pp Artistic Director Colin McColl U S t's our great pleasure to present Many thanks to our colleagues the Auckland premiere of That at The Court Theatre Christchurch S Bloody Woman by Luke Di Somma for joining us as presenting partners IA NER T I and Gregory Cooper. of That Bloody Woman. The show will R MED PA When I saw That Bloody Woman in play an eagerly awaited return season its first showing at the Christchurch in Christchurch after this Auckland Arts Festival last year I knew season. Thanks, too, to our fabulous S NG immediately I had to find a way cast, band and creative team. Director ti NER T to bring the show to Auckland Kip Chapman, set designer Rachael R POR P audiences. It is such a good Walker, costume designer Lisa Holmes PA U S night at the theatre: great music, and lighting designer Brendan Albrey outrageously well sung, provocative have all relished the opportunity Q Theatre lyrics and feisty characters. The to upscale the production from its S SKYCITY Theatre inspired idea to present the story intimate Spiegeltent setting to the big NER T Herald Theatre of Kate Sheppard and her flock (in SKYCITY stage, as have our amazingly R PA Selwyn College Theatre, Kohimarama their struggles to secure the vote for talented cast and musicians, led by 2016 VENUE The Civic women in NZ) as a punk rock opera Esther Stephens as an inspired Kate projects the story out of its colonial Sheppard.
    [Show full text]
  • “The Defection of Women”: the New Zealand Contagious Diseases Act Repeal Campaign and Transnational Feminist Dialogue in the Late Nineteenth Century
    1 “The Defection of Women”: the New Zealand Contagious Diseases Act Repeal Campaign and Transnational Feminist Dialogue in the Late Nineteenth Century James Keating (UNSW) [email protected] Author accepted manuscript of ‘“The Defection of Women”: the New Zealand Contagious Diseases Act Repeal Campaign and Transnational Feminist Dialogue in the Late Nineteenth Century,’ Women’s History Review 25, no. 2 (2016): 187–206. 2 Abstract: Over the past decade, historians have situated feminist reformers’ efforts to dismantle the British imperial contagious diseases apparatus at the heart of the transnational turn in women’s history. New Zealand was an early emulator of British prostitution regulations, which provoked an organised repeal campaign in the 1880s, yet the colony is seldom considered in these debates. Tracing the dialogue concerning the repeal of contagious diseases legislation between British and New Zealand feminists in the 1890s, this article reaffirms the salience of political developments in the settler colonies for metropolitan reformers. A close reading of these interactions, catalysed by the Auckland Women’s Liberal League’s endorsement of the Act in 1895, reveals recently enfranchised New Zealand women’s desire to act as model citizens for the benefit of metropolitan suffragists. Furthermore, it highlights the asymmetries that remained characteristic of the relationship between British feminists and their enfranchised Antipodean counterparts. 3 ‘The Defection of Women’: the New Zealand Contagious Diseases Act repeal campaign and transnational feminist dialogue in the late nineteenth century Despairing of the faltering imperial campaign to abolish state-regulated prostitution, in 1895 the British social purity activist Josephine Butler decried the tendency for women’s organisations to advocate regulation.
    [Show full text]
  • There Is No Health Without Mental Health in This Issue
    CEO UPDATE 27 August 2018 There is no health without mental health Last Friday the Coroner released the provisional suicide statistics for each region in New Zealand. It was extremely sad to again be confronted with another increase in the number of suicides recorded in Canterbury. Every suicide is a tragedy for individuals, brothers, sisters, husbands, wives, partners, friends, family and work mates. Preventing suicide is complex as there is no single cause. grow. When people don’t receive the right support for their This is a whole of society problem to solve and we need to mental health at the right time, things can get worse come together as a community to ensure people are quickly. People don’t reach their potential and they struggle. connected and supported through life events. This has a negative impact on our whole community. I echo our Chief of Psychiatry Peri Renison’s comments from Mental health exists in a range between wellness and last week regarding looking out for each other: “I encourage mental illness. We all need to rethink how we view mental everyone to be there for the people around them – as we do health, how we approach addressing the challenges people not always know who is struggling to cope.” face and how we as a community can support people to be mentally healthy and to be there when things go wrong. We Everyone has mental health in the same way as everyone need to tackle the causes of mental ill health rather than has physical health. Canterbury is made up of communities the effects.
    [Show full text]
  • Sally Crawford
    100 Playing the Trump card: Glorifying Aotearoa New Zealand feminism in ‘dangerous times’ SALLY CRAWFORD Abstract The Women’s March took place globally on 21 to 22 January, 2017. It was organised by a collective of women from around the world advocating for women’s rights and allied social justice concerns, and was catalysed by Donald Trump’s inauguration and administration. Aotearoa New Zealand joined in this global event, holding marches across many diferent regions in support of the main Women’s March in Washington, United States. However, despite these global outcries of solidarity, the march lacked an intersectional approach in its feminist goals. This article summarises research from the author’s Honours dissertation, carried out at the University of Auckland, where the author used the Women’s March protests throughout Aotearoa New Zealand to explore how feminism is currently articulated in this country. They investigated this question over a period of 12 weeks through discourse analysis of mainstream Aotearoa New Zealand newspaper articles. Two of the notable fndings from the data are discussed in this article. Firstly, New Zealanders have a tendency to heroise themselves in terms of achieving women’s rights and freedoms. Second, issues of inclusion and intersectionality were highlighted through the discourse analysis. While Aotearoa New Zealand feminism has tried to be inclusionary in its approach and is presented by feminists as a ‘diverse’ movement, it still fails to take an intersectional approach. In contrast to the popularised notion of Aotearoa New Zealand feminism as world-leading, the author argues that feminism still has a long way to go in this country.
    [Show full text]
  • The Fight to Vote the Trial VOTEཟ
    THE FIGHTTO by Susan Paris VOTE It's hard to imagine a world where women can't vote. Yet up until 1893, this was the reality. Not one country allowed women to have a say in their national government. In some parts of the world, it would stay that way for a long time. New Zealand was different. On 28 November 1893, women went to the polling booth ght. for the fi rst time. It was a famous victory –fi a radical change – but it didn't come without a Women’s Rights In early colonial New Zealand, women had few rights. Most worked at home, looking after their families, and left politics to men. In the 1860s, however, women began to speak out. They wanted equal rights in marriage, education, and employment. Most importantly, they wanted to help shape society. They wanted to vote. Why the First? Women in New Zealand weren’t acting alone. They were infl uenced by feminists in Europe and Britain, who were also demanding legal Why were New Zealand women the fi rst in For many Pākehā settlers, New Zealand equality and social justice – to stand as equal citizens alongside men. the world to have suff rage (the right to vote)? was also seen as a “new” country with the Mary Ann Muller, from Blenheim, followed what was happening in the Some historians think it was because the settler chance to make its own rules. Most immigrants experience taught them to be independent had come from Britain, where there were women’s movement overseas and became very outspoken about women’s and capable.
    [Show full text]
  • Of 5 Mayor Lianne Dalziel's Speech At
    Canterbury Women’s Club, Inc- CC 41122- 190 Worcester Street Christchurch 8011 New Zealand 03 366 8957 Mayor Lianne Dalziel’s Speech at the “Liberation of the Kate Sheppard National Memorial Bronze Wall – 12 noon, 8th June, 2014. Avon Riverbank, Christchurch. “Margaret Arnold, President, Canterbury Women’s Club, Inc., Karena Brown, Chair of the Kate Sheppard Memorial Trust Welcome to the liberation of the Kate Sheppard National Memorial. Commissioned by Women Towards 2000 Inc. and Sculpted by Margriet Windhausen, it was unveiled on September 19 1993 by Dame Catherine Tizard, Governor-General. The Memorial was caught in the fall zone of the neighbouring building as was the case for so many buildings after the earthquake. When we were approached to see whether this would be possible, the council team pulled out all the stops for International Women’s Day – three days after the worst rainfall the city had experienced in decades. But the team delivered anyway. But another date had to be set and here we are. Let us acknowledge these women: Meri Te Tai Mangakanhia of Taitokerau, who requested the vote for women from the Kotahitanga Māori Parliament <http://www.dnzb.govt.nz/DNZB/alt_essayBody.asp?essayID=2M30> Amey Daldy, a foundation member of the Auckland WCTU and president of the Auckland Franchise League. http://www.dnzb.govt.nz/dnzb/alt_essayBody.asp?essayID=2D2 Kate Sheppard of Christchurch, the leader of the suffrage campaign. Ada Wells, also of Christchurch who campaigned vigorously for equal educational opportunities for girls and women. Helen Nicol who pioneered the women’s franchise campaign in Dunedin.
    [Show full text]
  • Full Publication
    COVER IMAGE Natasha Te Arahori Keating & Bethany Matai Edmunds, ‘Te Kōpū’, an installation held at Māngere Arts Centre Ngā Tohu o Uenuku, 27 January – 3 March 2018. ‘Te Kōpū’ is a collaborative exhibition showcasing the work of Natasha Te Arahori (Ngāti Tūwharetoa and Ngāi Tūhoe), and Bethany Matai Edmunds (Ngāti Kuri). The collaborative works are paintings on upcycled native timber by Keating, and woven adornments by Edmunds, made from flowers and fibres harvested in the bush and the streets of Tāmaki Makaurau. In this exhibition the artists create a space in which atua wāhine — Māori goddesses — are depicted. As wāhine Māori, the artists are challenging the known creation narratives, often authored by non-Māori males, and in so doing creating a safe place from which reflection can take place. The exhibition also acknowledges the political legacy of the women who asserted their right to vote, and is part of the wider celebration of women’s suffrage. For more on ‘Te Kōpū’ see <http://ondemand.facetv.co.nz/watch.php?vid=8580181a2>. EDITOR Nadia Gush EDITORIAL ASSISTANT Fiona Martin EDITORIAL ADVISORY GROUP Giselle Byrnes, Massey University Te Kunenga Ki Purehuroa, Palmerston North. Catharine Coleborne, University of Newcastle, Australia. Nadia Gush, University of Waikato Te Whare Wānanga o Waikato, Hamilton. Stephen Hamilton, Charles Darwin University, Darwin, Australia; Massey University Te Kunenga Ki Purehuroa, Palmerston North. Bronwyn Labrum, Museum of New Zealand Te Papa Tongarewa, Wellington. Mark Smith, University of Waikato Te
    [Show full text]
  • Anna Paterson Stout: Protrait of a New Zealand Lady, 1858-1931
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Anna Paterson Stout: Portrait of a New Zealand Lady 1858 – 1931 A thesis submitted in partial fulfilment of the requirements of the degree of Master Of Arts in History at Massey University Monica R. Webb 2015 Figure 1: Lady Anna Stout, 1926, oil on canvas, gold plastered frame by A.F. Nicholls, ref: G-830-1, reproduced with the permission of the Alexander Turnbull Library, Wellington, N.Z. i Abstract Lady Anna Paterson Stout was one of the most widely-known advocates for women in New Zealand in her lifetime (1858-1931) and a leading figure of the early women’s movement. During the course of her life, which corresponded to New Zealand’s development from settler society to established Dominion, and due to her marriage to Sir Robert Stout, she knew personally, worked with or influenced nearly every leading political, social and activist figure of that period. Why surprisingly little is known about her today forms one of the central questions to this thesis. This thesis analyses Anna’s life in light of historians Mary Beard and Gerda Lerner’s advocacy of women as force in their generations. It also explores Anna’s deliberate use of influence within the unique context of early female political equality as well as her willingness to act deliberately and independently from her more famous husband as a conscious exemplar of the New Woman.
    [Show full text]
  • Public Art in Central Christchurch
    PUBLIC ART IN CENTRAL CHRISTCHURCH A STUDY BY THE ROBERT MCDOUGALL ART GALLERY 1997 Public Art In Central Christchurch A Study by the Robert McDougall Art Gallery 1997 Compiled by Simone Stephens Preface Christchurch has an acknowledged rich heritage of public art and historically, whilst it may not be able to claim the earliest public monument in New Zealand, it does have the earliest recognised commissioned commemorative sculpture in the form of the Godley statue by Thomas Woolner. This was unveiled in August 1867. Since that date the city has acquired a wide range of public art works that now includes fountains and murals as well as statues and sculpture. In 1983 the Robert McDougall Art Gallery, with the assistance of two researchers on a project employment scheme, undertook to survey and document 103 works of art in public places throughout Christchurch. Unfortunately even though this was completed, time did not permit in-depth research, or funding enable full publication of findings. Early in 1997, Councillor Anna Crighton, requested that the 1983 survey be reviewed and amended where necessary and a publication produced as a document describing public art in the city. From June until December 1997, Simone Stephens carried out new research updating records, as many public art works had either been removed or lost in the intervening fourteen years. As many of the more significant public art works of Christchurch are sited between the four Avenues of the inner city, this has been the focus of the 1997 survey the results of which are summarised within this publication.
    [Show full text]
  • Women's Suffrage Day | Nzhistory, New Zealand History Online
    Skip to main content Today in History 19 September 1893 Women's suffrage day The Governor, Lord Glasgow, signed a new Electoral Act into law. As a result of this landmark legislation, New Zealand became the first self-governing country in the world to grant all women the right to vote in parliamentary elections. The passing of the Electoral Act was the culmination of years of agitation by the Women’s Christian Temperance Union (WCTU) and other organisations. As part of this campaign, a series of massive petitions − including one earlier in 1893 signed by almost one in four adult women in New Zealand − were presented to Parliament. In most other democracies – notably Britain and the United States – women did not win the right to vote until after the First World War. New Zealand’s world leadership in women’s suffrage became a central part of our image as a trailblazing ‘social laboratory’. Even so, New Zealand women still had a long way to go to achieve political equality. They would not gain the right to stand for Parliament until 1919, and the first female MP (Elizabeth McCombs) was not elected until 1933 – 40 years after the introduction of women’s suffrage. The number of female MPs did not reach double figures until the mid-1980s, and at about 30% of MPs women remain under- represented in Parliament. Image: ‘The summit at last’, suffrage cartoon Internal links Brief history - women and the voteWomen MPs - Parliament's peoplePolitical and constitutional timelineAda WellsJohn HallJohn Ballance External links Women's suffrage petition (Archives
    [Show full text]
  • Men, Women and Electoral Politics, 1893-1919
    GENDER COUNTS: MEN, WOMEN AND ELECTORAL POLITICS, 1893-1919 ______________________________________ A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts in History in the University of Canterbury by Linda Miriam Georgina Moore _________________________________ University of Canterbury 2004 Abstract Gender has seldom been considered in accounts of electoral politics and voting in early twentieth century New Zealand. This thesis approaches the question of gender and electoral politics in three ways. The first is a case-study of the 1893 election campaign in Christchurch based on qualitative data. Gender threaded through both political organisation and debates in this election campaign. Men and women organized separately and invoked gender difference in the discussion of election issues. The second approach is a quantitative study across time and space comparing men's and women's participation rates in general elections from 1893 until 1954. Women's turnout was significantly lower than men's in the 1890s, but the difference had largely disappeared by the late 1940s. Moreover, although broad social changes increased women's participation relative to men's, factors such as party organisation and the nature and content of political debates were also important. The third approach is a statistical analysis comparing men's and women's voting preferences on the liquor issue and for the political parties at electorate level from 1893 until 1919. The analysis is of an ecological nature. It is designed to overcome the absence of individual-level voting data and to limit the ecological fallacy problem which is the error of assuming that relationships evident at the group level reflect relationships at the individual or sub-group level.
    [Show full text]