Dr George S Evans : a life

Recently I breathed in the gentle gentility of the Wellington Club, The Terrace, whilst held in awe of Helen Riddiford’s meticulous and deeply researched account of the New Zealand Company’s finest member, Dr George Samuel Evans.

geo1By evening’s end, there were surely more than the just the two of us who would attest to his right to be named Wellington’s founding father, – a man who stood tall on the principles and the application of the Company’s constitution and held a desire to include tangata whenua in te ao hurihuri, / an evolving new life. In the words of one of our two official languages – here was a man truly worthy of the description: he kōtuku rerenga tahi.

For all the sentiments expressed above – how many people , today, remember any details of this man who gave his name to that inner bay (Evans’s / Evans Bay) and whose contribution to the settlement placed him second only to Colonel Wakefield, in his roles, which included that of chief judicial authority for the new colony.

When Edward Gibbon Wakefield accompanied Lord Durham to Canada, it was Dr Evans who stepped forward to place his hand firmly on the tiller of the colonial ship.

But who was this man? George Evans grew up in a household where civil and religious liberty was embraced. He was a brilliant scholar who excelled in Latin, Greek and Hebrew – His later work spanned the fields of education, judiciary and journalism. In 1928 he became, briefly, headmaster of Mill Hill School, London.

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(Source: School House at Mill Hill School : https://en.wikipedia.org/wiki/Mill_Hill_School)

It was here that he met school matron Mrs Riddiford, whose husband passed away in 1829. George and Harriet married, 16 January 1930, and George became the stepfather of Amelia (13 years) and Daniel (16 years) – he, Daniel, who was to become the founder of the Riddiford farming dynasty at Orongorongo and the stations around the Wairarapa coast of New Zealand.

There is so much detail of Evans’ life within the pages of this book. There’s the interesting story of his involvement with Nayti and Hiakai, two passengers on the Mississippi who became stranded at Le Havre, were rescued by the New Zealand Association and provided with lodgings by Wakefield and Evans, in the 1830s. With Hiakai’s help George Evans was introduced to Māori customs and reo. He began a grammar of Te Reo Māori, which was completed in 1839, but never officially published. Wellington City Central Library holds a copy of this Manuscript of a Maori grammar.

The top view stretches across Thorndon Flat with Dr Evans’ house on the left, a range of early houses and businesses along the waterfront and on the right, Colonel William Wakefield’s house with flagpole.

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(Source: Brees, Samuel Charles, 1810-1865 :Pictorial Illustrations of New Zealand. London, John Williams and Co., Library of Arts, 141, Strand, 1847.. Ref: PUBL-0020-22. Alexander Turnbull Library, Wellington, New Zealand. http://natlib.govt.nz/records/22816178)

Dr Evans fulfilled a designated role as advocate for Māori in all legal disputes – with varying degrees of success. Helen’s easy- read documentation of Dr Evans life and work in the new colony makes this book an absolute must for those of us mindful of the view – that you must first understand and embrace the past in order to move forward.

The study of the settlement of Wellington is a very complex exercise – but – don’t be confined only to those official publications — the reports and commissions, and records of deeds of release – Here lies, within these pages, the flavour of that era. This is a far more interesting journey by way of Helen’s archival research and her detailed account of Dr Evans work.

Dr Evans returned to England, 1846-52, and was dealt to harshly by the Company, in clearing the debts on his town and country sections in Wellington. It was an example of Wakefield’s ‘ability’ to turn against his closest allies.

George Evans and Harriet moved to Melbourne, 1853. He planned to undertake legal work but also began working with the Melbourne Morning Herald. He later gained a seat in the legislative assembly. His journalistic output was legendary. George and Harriet returned to New Zealand, 1865, but Harriet died 31 March 1866, and Dr Evans’ death followed in 1868.

In the words of Helen Riddiford “In the colonies he was head and shoulders above many of his peers in education and ability. He operated within an influential network of men, but was always independent in his views, which isolated him from many of his contemporaries. He was viewed as a ‘singular character’ a gentleman almost unique in this setting. His many visionary ideas were handicapped by a volatile temperament and principles that were compromised by circumstances, an unpredictable man of reckless courage whose steadfast commitment to the creation and success of Wellington was fully acknowledged after his death. Amongst others, The Independent noted that he was ‘one of the founders, if not the real founder of this colony. There is scarcely an official document of the period in which [his] name is not conspicuous”.

Here was a man truly worthy of the title bestowed by his Māori friends – Nui, Nui Rangatira

Jock McEwen: He kōtuku rerenga tahi

Orongomai Marae, Upper Hutt was the chosen place for a very special evening on Monday 17 October – the launch of the book Te Oka – Pākehā kaumātua : the life of Jock McEwen written by Mary McEwen.

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“He lived by the philosophy of ‘saying little and doing much’”

We speak sometimes of special people amongst us who have travelled successfully in two worlds. Quite often there follows the story of one such- of a minority culture who has seamlessly stood tall and proud not only in his/her own culture but also in the mainstream – i.e. – Pākehā or Palagi world.

Jock McEwen was living proof of that the reverse may well occur.

Whanaungatanga
On Monday many dear friends and relatives of Jock McEwen gathered to honour a man whose ancestral roots were in Scotland and Perthshire, but whose great-grandparents reached these shores in the very early days of the new colony at Te Whanganui-a-Tara.

One ancestor – not admired by Māori, was John Bryce who led the Pāhuatanga – the destruction of Parihaka, 5 November, 1881 and others of Jock’s family became fluent speakers of Te Reo.

Whanaketanga
But Jock began his school days at Taonui, where his father was headmaster at the local school – which lay very close to Aorangi Marae. It was there, through the guidance of Meihana Te Rama-Apakura, and Kahurautete, and their whānau that he began to absorb te reo , te māoritanga me he kōrero nehe, tō te iwi who would later inspire his writing of the book Rangitane.

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At a very early age, inspired by carvings at the wharenui of Ngāti Kauwhata, he began his lifelong interest in whakairo, creating a patu which he deemed appropriate for himself as leader of the Feilding Boy Scouts’ haka. At secondary school, he excelled in languages – English, French and Latin, but the depression deprived him of the opportunity to leave school to take up, immediately, a university bursary and so he began his university studies whilst still at Palmerston North Boys’ High School.

Tū Rangatira
Please take the time to track down this biography, to acquaint yourself with the details of the life of this unique man, – hei whānaunga, hei kāiarahi, hei kaimahi kawanatanga – including Niue, his niche at Māori Affairs, his work with inmates at Wi Tako prison, his development of a carving school.

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Important to him were his roles as a founding member of Ngāti Poneke Young Māori Club, – his involvement with Kingi Tahiwi in composing and supporting waiata in Wellington and later, his huge mahi within the community at Upper Hutt and in the creation of an urban marae – Orongomai , where, along with Dovey Katene-Horvath, he assisted Māwai Hakona Māori Club to became a force to be reckoned with, in the development of regional and national cultural competitions.

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Māwai Hakona : Upper Hutt City Library : Recollect : 1989 05 30 2 (Creative Commons)

This book invites us to understand the immense contribution that Jock McEwen made to the lives of all New Zealanders.

Most people – however much revered – are, in death, more or less ‘replaceable’ in the continuum of life on earth – Jock, himself, came close to proving that there are some who are not.
Six years after his death we are blessed with this story written by his daughter-in-law, Mary McEwen.

Kua wheturangitia a Te Oka, i te korowai o Ranginui.

Johnny Cooper, ‘The Māori Cowboy’

Johnny Cooper, hero of early New Zealand rock’n’roll, died earlier this month in Lower Hutt, aged 85.

Born in 1929, Cooper grew up on an isolated farm near Wairoa. He was gifted a ukulele by his uncle, who played saxophone in a Gisborne dance band. He began playing along to 78s, and would play in woolsheds to entertain the shearing gangs.

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Johnny Cooper in the early 1950s.
Source: Alexander Turnbull Library, Ref: PAColl-10069-18-08

Cooper won a scholarship to attend Hawkes Bay’s illustrious Te Aute college. After attending for a time, Cooper was desperate to leave. However, his elders were insistent that he stay in school. So Cooper boarded the train to return to school from Wairoa, and instead stayed on-board and ran away to Wellington. This resulted in Cooper being disowned by his parents: “They said, you’re on your own.”

Cooper stayed in a boarding house and got a job at Karori cemetery. On Sunday nights he sang at cinemas and suburban halls. He dug graves during the day, and met bass-player Willy Lloyd-Jones. In 1953 they formed The Ridge Riders with guitarist Ron James and Don Aldridge on steel. The group wore cowboy style outfits and became known at talent quests and live shows on radio, with appearances in Wanganui and at Linton and Waiouru.

On Sundays they recorded in Alan Dunnage’s Island Bay studio, inside an old shop. A duet by Cooper became the number one 78 of 1954; Look What You’ve Done produced a double-sided hit. Cooper had written most of the song in a day: “I heard someone say ‘look what you’ve done’ and thought that was a crazy thing to say, that it would be good to sing something like that.” The song became a continual request for The Ridge Riders: “Shearing shed or anywhere, every party you went to in that period that was all you heard them play.” The song became a well-known Kiwi party song and was famously sung by Jake and Beth Heke in ‘Once Were Warriors’.

In 1955 Cooper started a solo career in rock’n’roll at town hall jamborees. He made New Zealand music history by becoming the first singer outside of the United States to record a rock’n’roll song when he recorded Rock Around the Clock with a group of Wellington jazz men at HMV’s Lower Hutt studios in 1955. As a country singer, Cooper had originally balked at the idea of recording a rock’n’roll track, and had said “What’s this rubbish? I’m not singing that.” Within a year Cooper was touted as the “undisputed king of rock’n’roll whose record sales are now far in excess of a hundred thousand.” Cooper also recorded New Zealand’s first original rock’n’roll song, Pie Cart Rock’n’Roll in 1955.

poster
F W Larcombe Ltd. Harry Fagin proudly presents New Zealand tour Variety round up, headed by Johnny Cooper, H.M.V. recording and television star. Johnny Cooper rocks ’em! Regent Theatre Greymouth, Wed Thurs Fri Oct 2, 3, 4. Larcombe Print [1957]. [Posters collected by Charles Cabot, for variety, comedy, and music-hall shows and performances in New Zealand. 1950-1959].. Ref: Eph-E-CABOT-Variety-1957-01. Alexander Turnbull Library, Wellington, New Zealand. http://natlib.govt.nz/records/22699643

Cooper’s musical talent saw him travel around the world, leading three concert tours during the 1950s to entertain Kiwi troops in Japan and Korea.

In 1957, The Ridge Riders drifted apart and Cooper started holding talent shows around small towns, including Give It A Go! Through this, he coached some of New Zealand music’s well-known names, including rock’n’roll idol Johnny Devlin, Midge Marsden (who played in Bari and the Breakaways) and the Formulya, whose song Nature was to be judged the greatest New Zealand rock song of all time.

Cooper moved into entertainment promotion in the 1960s. Good friend and fellow musician Midge Marsden says he did not so much fall from the limelight as ease himself into the shadows. “His private life was exactly that – private.”

Cooper, who was suffering from Alzheimer’s disease, died at his home early in September.

Neighbours of Johnny Cooper knew him as a friendly pillar of the community, who tidied the area and mowed lawns for free. Friends knew him as a warm, modest and humble man, and hold many fond memories.

Syndetics book coverBlue smoke : the lost dawn of New Zealand popular music, 1918-1964 / Chris Bourke.
“Bringing to life the musical worlds of New Zealanders both at home and out on the town, this history chronicles the evolution of popular music in New Zealand during the 20th century. From the kiwi concert parties during World War I and the arrival of jazz to the rise of swing, country, the Hawaiian sound, and then rock’n’roll, this musical investigation brings to life the people, places, and sounds of a world that has disappeared and uncovers how music from the rest of the world was shaped by Maori and Pakeha New Zealanders into a melody, rhythm, and voice that made sense on these islands. The accompanying audio CD wonderfully brings to life the engaging text, underscoring seminal moments in New Zealand’s musical history.” (Syndetics summary)

Early rock & roll from New Zealand. Vol. 5 & 6.

Pie cart rock ‘n’ roll : New Zealand rock ‘n’ roll 1957-1962.

Waiata : Maori showbands, balladeers & pop stars.

He Manu Karere | The Early Māori Newspapers

hikurangi!
Masthead of Te Puke ki Hikurangi.
From teara.govt.nz

What do you get when you cross Gutenberg’s printing press with the communal, oral storytelling of Māori tradition? When New Zealand’s first printing press arrived at Waitangi in the 1830s, the answer soon became clear: you got a print revolution.

The first book produced in New Zealand followed soon after this, an edition of Biblical epistles produced by CMS missionaries in the Bay of Islands. Many publications of various kinds followed, and by 1842 the first newspaper (niupepa) in Māori, Ko Te Karere o Nui Tireni, produced by the government, was already in production. Estimates of Māori literacy in the middle of the 1800s varied, but it is fairly certain that in many areas, rates of those able to read and write in their own language were at least as good as of the English population. The Niupepa found a ready-made readership and, and plenty of demand for news of events and other articles.

te karere
The masthead of Ko Te Karere o Nui Tirene.
From nzdl.org

Te Karere was quickly followed by around 34 more Māori newspaper publications in Te Reo, many publishing at the same time in the 1850s. Around 70% of content was published in Te Reo Māori only, 27% bilingually, and 3% in English only. Some papers were published by government, particularly through what was then the Department of Native Affairs, some by churches, particularly Anglicans and Wesleyans, and some by Māori movements including the Kingitanga and Kotahitanga. The different sponsors of the newspapers greatly influenced the content they published, which could range from collections of pēpeha, Māori proverbs, to government exhortations for allegiance to the crown. Inevitably, worsening frictions between iwi and settler government were reflected in the newspapers, and some operated in direct opposition.

The most notable government paper Te Pihoihoi Mokemoke and its Kingitanga counterpart, Te Hokioi, both of which sought to win the minds of people nationwide to their position at the height of the Waikato War. The competition escalated to the point where a group of Kingitanga warriors went to the press of Te Pihoihoi in Te Awamutu, took the entire printing press, and removed it from its printing works, effectively putting a stop to the war of words.

Many niupepa were highly nuanced, and drew on traditional metaphor to communicate their purposes. The imagery of a newspaper as a bird, bringing information to readers just as migratory birds brought their first birdsongs to signify summer and renewal, was very popular. Many niupepa expanded the metaphor, drawing parallels between subscriptions and “food for the bird”, sad news of accidents and deaths as mournful birdsong, and wrote of “our bird” frequently. A bird can be seen in several intricate masthead images, as in the image from Te Pipiwharauroa – a shining cuckoo soaring down over a peaceful home and a family sitting reading.

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The masthead of Te Pipiwharauroa.
From nzdl.org

As well as news from both Aotearoa and internationally, the niupepa often published stories, anecdotes of daily life, and translated English or foreign texts including poetry by Robert Brown and William Cowper, and excerpts from Shakespearean plays. Te Pipiwharauroa also published translations of, for example, Hawaiian songs, with Māori translation by the editors.

hawaii
A song translated from Hawaiian to Māori, featured in a copy of Te Pipiwharauroa in 1924.
From nzdl.org

Māori newspapers peaked in number in the 1850s, and declined to just three by the beginning of 1900. None of the niupepa from this period are still in production, having been replaced from the 1970s with other forms of media. However, many have been preserved in libraries and archives, and are available to study today as a fascinating insight into Māori history and society during this time.

Wellington City Libraries holds microfiche reproductions of many niupepa, available for viewing on the second floor of Central Library. We also hold several books about Māori newspapers, printing, and literacy.

 

Further Reading:

Syndetics book coverColonial discourses : niupepa Māori, 1855-1863 / Lachy Paterson.
“Paterson examines nine Maori-language newspapers in New Zealand over an eight-year span, starting with the revitalization of the government newspaper, Te Karere Maori, and ending with its demise. Examining the material, social, cultural, and political content, Paterson finds that the Maori-language newspapers were used for propaganda purposes and that those run by European settlers, while possessing different agenda, effectively spoke with one voice regarding religious, social and political issues. He also argues that the newspapers informed and influenced Maori readers but at the same time provided a platform for the Maori to voice their opinions and debate issues of the time with the European settlers…” (adapted from the Syndetics summary)

Syndetics book coverRere atu, taku manu : discovering history, language and politics in the Māori language newspapers / edited by Jenifer Curnow, Ngapare Hopa and Jane McRae.
“Collection of articles by scholars of Maori language who have researched Maori language newspapers from the 1840s into the twentieth century. The book uncovers Maori opinions on such matters as Maori representation in Parliament, the philanthropic and religious messages between Pakeha and Maori and Maori oratory and skilful use of the language.” (Syndetics summary)

Syndetics book coverBook & print in New Zealand : a guide to print culture in Aotearoa / edited by Penny Griffith, Ross Harvey, Keith Maslen, with the assistance of Ross Somerville.
“A guide to print culture in Aotearoa, the impact of the book and other forms of print on New Zealand. This collection of essays by many contributors looks at the effect of print on Maori and their oral traditions, printing, publishing, bookselling, libraries, buying and collecting, readers and reading, awards, and the print culture of many other language groups in New Zealand.” (Syndetics summary)

Sources:

McRae, Jane, ‘Māori newspapers and magazines – ngā niupepa me ngā moheni’, Te Ara – The Encyclopedia of New Zealand, updated 22 Jul 2014.
URL: http://www.TeAra.govt.nz/en/maori-newspapers-and-magazines-nga-niupepa-me-nga-moheni
Licensed by Manatū Taonga for re-use under the Creative Commons Attribution-NonCommercial 3.0 New Zealand Licence.

New Zealand Digital Library (University of Waikato): nzdl.org: Niupepa Māori online database of Māori newspapers.

Rauemi: Ko wai tō ingoa? / What’s your name?

Tēnā koutou! Nau mai, welcome to the first Rauemi blog post. This blog series looks at different resources, highlighting new, useful or unusual sources of Māori information.

A lot of people ask us at the wharepukapuka for help researching their family tree or their whakapapa. We have many nifty resources at the library; some stowed away at our information desks, some on the public shelves, and some available through our website. Here are just three rauemi (resources) that might help you in looking up names for your whakapapa – whether for places, people or objects.

An amazing rauemi available online is the Fletcher index of Māori names. This can be found through our Māori website Rauemi page, under the “History” header. The Fletcher Index is “from an unpublished manuscript compiled about 1925 by the missionary Rev. Henry James Fletcher (1868-1933). In its original form it was 987 pages long, a vast index of Māori names referred to in books and journals, including the names of boundaries, Māori individuals, canoes, trees, landmarks and geographical locations. It was Fletcher’s greatest piece of work, and one that merited improved access.” (from website). It has searchable, browsable access to a wide range of pre- and post-Pākehā names of people, places, and more, and provides the details of where those names are found in other sources. This makes it an excellent resource for finding a name’s provenance, or discovering new contexts and information about a name or place previously unknown.

A second rauemi available on the internet is this page of Pakeha (European) / Māori Transliterations. A common raru (problem) in trying to research whakapapa is that, particularly in older records, people could be known, recorded, and written about by more than one version of their name. This is where the Transileration page comes in. This page lists an amazing variety of Māori names with their reo Ingarihi (English) transliterations, and also English names and their Māori transliterations, and is searchable both ways. It also includes a huge number of Māori transliterations of Biblical names, which were very popular in early colonial times. For example, the Pākehā missionary William Colenso was known as “Colenso”, “Koroneho”, “Koreneho”, “Te Koreneho” and “Te Koroneho” formally, and “Neho” colloquially. Searching for just one of these names might bring up only a fraction of the material available for this person under his other names, and without knowing the transliteration, you might never find that data. Now, due to the handy magic of transliteration lists, your searching might become a little broader, and a little easier.

And finally, one from our shelves. If you’re looking for more information on Māori names for places, look no further than A. W. Reed’s dictionary of the same, Illustrated Māori Place Names, for a comprehensive etymology of places around Aotearoa.

Syndetics book coverIllustrated Maori place names / A.W. Reed

What’s in a name? It really all depends on the name – and I hope these rauemi might help you discover more about the names that mean something to your whakapapa or research.

Kōrero Nehe: Kete Taniko

Kia ora and welcome to our first kōrero nehe blog post here on he kōrero o te wā – a fortnightly feature where you can learn all about the history of objects and places around the Wellington region. This month our focus is on items which are part of the Taonga Māori collection at Te Papa.

I would like to introduce you to an item which is attributed to my own iwi, Ngati Porou. The item below is known as a kete taniko (a bag with fine embroidery or weaving in a geometric pattern). It is a rare example as it has a variety of geometric designs. It is made of dyed muka (flax fibre) and is dated at 1800–1900. The weaver is unknown.

ketetaniko
Image and information used with permission from Museum of New Zealand Te Papa Tongarewa

This kete taniko was acquired in 1907 from the high-ranking East Cape chief Matutaera (Tuta) Nihoniho (Ngäti Porou), along with a collection of other Māori taonga.

If you’re interested in checking out other items from Te Papa’s Taonga Māori collection, I suggest you check out this book from our catalogue:

Syndetics book coverIcons nga taonga : from the collections of the Museum of New Zealand Te Papa Tongarewa.