New Women and Not-So-New Men
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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. -
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. -
“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. -
“They'll Go Like British Shells!”: a Historical Perspective on Commercial
“They’ll Go Like British Shells!”: A Historical Perspective on Commercial “Anzackery” in New Zealand STEVEN LOVERIDGE Abstract The term “Anzackery” was regularly employed in New Zealand during the centenary of the First World War to condemn a sense of irreverent exploitation of Anzac remembrance, with commercial exploitation forming a particular concern. This article contends that such sentiments continue a much older dynamic and seeks to offer a historical perspective by surveying the relationship between marketing and war, circa 1914–1918. It examines the rise of a distinctive mode of branding goods and services in the decades leading up to and including the First World War, investigates the wartime mobilisation of this consumerism and contemplates the nature of the resulting criticism. In doing so, it provides some perspective on and insight into the contemporary concerns of the relationship between commercial activity and Anzac remembrance in New Zealand. Across the centenary of the First World War, New Zealand enterprises displayed a remarkable capacity to brand diverse products with reference to the conflict and Anzac.1 Museum gift shops stocked a wealth of merchandise—including T-shirts, mobile phone cases, fridge magnets, stickers, coffee mugs, drink coasters and postcards—stamped with First World War iconography. Specialty remembrance poppies were produced for motorists to attach to their vehicles’ bumpers and rear windows. The Wellington Chocolate Factory created “The Great War Bar,” the wrapper of which depicted entrenched soldiers taking relief in small comforts. Accompanying marketing noted that “Thousands of chocolate bars left the hands of loved ones on their voyage to those on the front line. -
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. -
Rape Representation in New Zealand Newspapers (1975 – 2015)
It’s The Same Old Story: Rape Representation in New Zealand Newspapers (1975 – 2015) By Angela Millo Barton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Criminology School of Social and Cultural Studies Victoria University of Wellington 2017 ii Abstract Newspaper reporting of rape, and in particular, representations of women as rape victims, have historically been presented by the media in a misinformed manner, influenced by myths and misconceptions about the dynamics of sexual violence. Previous research has shown media depictions can promote victim-blaming attitudes which affect society’s understanding toward sexual violence, promoting false narratives and rape-supportive beliefs. Victim narratives of sexual victimisation struggle within a ‘culture of silencing’ that prevents the majority of sexual offending from coming to the attention of authorities, and identifying the silencing of women’s experiences of rape has, and continues to be, a key objective for feminist scholars. Newspapers are one medium which has been exclusionary of women's experiences, therefore it is important to look at the role of newspapers on a longitudinal level to investigate whether there have been changes in reporting practices and attitudes. To address this issue, this study draws on feminist perspectives and adopts a quantitative and qualitative methodology utilising newspaper articles as a specific source of inquiry. Articles concerning male-female rape were collected from eight prominent New Zealand newspapers across a 40 year period from 1975 – 2015 with individual years for analysis being 1975, 1985, 1995, 2005 and 2015. Results from this analysis show minimal inclusion of women’s words regarding newspaper commentary in articles concerning rape. -
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. -
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. -
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. -
Hymn of Hate”
Wicked Wilhelmites and Sauer Krauts: The New Zealand Reception of Ernst Lissauer’s “Hymn of Hate” ROGER SMITH Abstract When the German poet Ernst Lissauer published his anti-English poem “Haßgesang gegen England” in the early weeks of the First World War, the effect was electric. The poem, translated into English and dubbed the “Hymn of Hate,” echoed around the globe, reaching as far as New Zealand where newspapers sedulously followed its international reception and published local responses. Given the nature of New Zealand’s relationship to Britain and the strength of the international press links, it is not surprising that news of the poem reached New Zealand in the early months of the war. However, the sheer volume of coverage given to a single German war poem in New Zealand’s press over the course of the war and after, as well as the many and varied responses to that poem by New Zealanders both at home and serving overseas, are surprising. This article examines the broad range of responses to Lissauer’s now forgotten poem by New Zealanders during the Great War and after, from newspaper reports, editorials and cartoons, to poetic parodies, parliamentary speeches, enterprising musical performances and publications, and even seasonal greeting cards. “The poem fell like a shell into a munitions depot.” With these words, the Austrian novelist Stefan Zweig recalled the impact made by Ernst Lissauer’s anglophobic poem “Haßgesang gegen England” (“A Chant of Hate Against England”) upon first publication in Germany in 1914.1 The reception of Lissauer’s poem in the German-speaking world is a remarkable story, but its reception, in translation, in the English-speaking world is no less surprising. -
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 -
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.