How to get to New Brighton

Richard Greenaway is an expert on the local history of Christchurch. He has an eye for a good story and the skill and patience to check and cross check all kinds of references. He has compiled a wonderful array of New Brighton stories. Here he explores the way early residents of Christchurch travelled to New Brighton.

Road making on Tramline [later Pages] Road, near New Brighton  [1897] Dutch, F. W. File Reference CCL PhotoCD 5, IMG0066
Road making on Tramline [later Pages] Road, near New Brighton [1897] Dutch, F. W. File Reference CCL PhotoCD 5, IMG0066

New Brighton Road

The first route from Christchurch to New Brighton in European times was via FitzGerald Avenue (then the East Belt), and Shirley and New Brighton Road. Because it was the first route, it was sometimes called the ‘Old Brighton Road’. New Brighton Road dates from 1860s. This route avoided bridges.

A mishap to the Christchurch-New Brighton tram at Wainoni Park  [14 Dec. 1913] File Reference CCL PhotoCD 18, IMG0035
A mishap to the Christchurch-New Brighton tram at Wainoni Park [14 Dec. 1913] File Reference CCL PhotoCD 18, IMG0035

City and Suburban Tramway Company route

The City and Suburban tramway Company put through a tramline which started in town, went down Travis Road and towards the sea along what is now Bowhill Road. The line then went along the Esplanade (Marine Parade) to Central Brighton. The line was opened for traffic in 1894. The company went out of business and was taken over by the man who had built the line, John Brightling (1843-1928). Bowhill Road is named after Thomas Bowhill Thompkins (1837-82), a publican, who had land in the area. Stronger Christchurch uncovered some tram tracks from this line in 2012.

Seaview Road, New Brighton  [ca. 1910] File Reference CCL PhotoCD 18, IMG0021
Seaview Road, New Brighton [ca. 1910] File Reference CCL PhotoCD 18, IMG0021

Avon River

Richard Bedward Owen thought of the Avon as a route to Christchurch. Some small vessels trying to negotiate Sumner bar sank there and at the entrance to the Avon-Heathcote Estuary.

Paddle steamers

These came down the Avon to New Brighton, mainly bringing picnickers. Notable among these was the Maid of the Avon. In 1866 the captain, John Mills, chopped down the Stanmore Road bridge because it was impeding a true-born Englishman’s right to pass along a navigable waterway. Another notable paddle steamer was the Brighton which was part of Joseph Harrop Hopkins’ attempt to boost New Brighton in 1872-75. He also had built the original New Brighton hotel, in Seaview Road (later Patterson’s and McCormack’s).

It was customary for the Christchurch fire brigade to hold an annual picnic. On 3 April 1874, members of the brigade celebrated the occasion by chartering the Brighton for an excursion to the beach. With their friends, and with Mr. Bunz’ popular band, they set off.  They enjoyed the races and games of cricket on the beach, as well as the luncheon provided at Mr. Hopkins’ hotel.

One of the brigadesmen, Richard Edward Green (1853-1938) wrote about this outing in the Star of 1928. Green recalled the chorus of one of the songs that firebrigadesman Samuels had sung at a party that day:

Ah – she has fairly broken my heart.

I wish I had never seen

that dark young girl with her hair in curl

that works at the sewing machine

The library has some great photographs of New Brighton capturing its life as one of New Zealand’s premier seaside suburbs, full of life and character. New Brighton residents have been good at recording their local history and the place has inspired novels and biographies. Read more blog posts about New Brighton history, including more from Richard.

Sources

Innovative collaboration and a Living wall

A great project between members of the Library Programme Design and Delivery team in collaboration with Department of Conservation and Fab Lab in Christchurch meant we could utilise our 3D printer to produce and contribute panels to the “Living Wall” project.

Elizabeth Guthrey from DOC.
Elizabeth Guthrey from DOC.

Various community groups and organisations such as local schools and businesses that have access to 3D printers have been asked to contribute panels to this wall. It will eventually be planted up with native plants and situated on the corner of Cashel and High Street in Christchurch’s central city.

Elizabeth Guthrey (the project leader pictured above) explains that urban green walls and roofs provide habitats for plants and animals, supporting nature in our city. They create shelter, shade and cool cityscapes for a more liveable urban environment for people. The proven positive effects on people’s wellbeing mean green spaces are a must-have in urban regeneration. This particular wall is tipped to be around 20 metres long and remain in place for around two years or more. The picture below provides an indication of how the wall may look when complete.

From the PDD team’s perspective, it is great to get involved in initiatives that contribute to our city’s regeneration and it has certainly been a fantastic trial for our little Makerbot 3D printer – which so far hasn’t missed a beat.

urban-living-wall-designBlog_post

Danny
South Learning Centre

This week in Christchurch history (2 to 8 March)

2 March 1970
Amid mounting controversy, City Council begins construction of road deviation through Hagley Park. The work was stopped by March 7 for legal reasons, and the project was eventually scrapped.

2 March 1974
Re-built Centennial Pool opens.

3 March 1879
First Town Hall design competition. But building costs were too high and the project was abandoned in March 1882.

Photo of bust of Roald Amundsen, Flickr CCL-2012-Amundsen
Bust of Roald Amundsen, Canterbury Museum. Flickr CCL-2012-Amundsen

4 March 1977
Museum Antarctic wing opens. View our page on Antarctica and its Christchurch connections.

5 March 1863
Samuel Bealey elected third Superintendent of Canterbury.

6 March 1856
Riccarton race course established.

6 March 1914
First point to point flight in Canterbury by J. W. H. Scotland from Timaru to Christchurch. In the same year, Scotland had the dubious privilege of becoming the first pilot to crash in New Zealand.

7 March 1925
Cholmondeley Home for children (a gift of Hugh Heber Cholmondeley) opens at Governors Bay.

More March events in the Chronology.

Riding the surf at New Brighton : Picturing Canterbury

Riding the surf at New Brighton beach [1939]. Christchurch City Libraries, CCL Photo Collection 22, Img00788

And visit First to Surf celebration at New Brighton this weekend, to commemorate 100 years since a display of surfing by Duke Kahanamoku in New Zealand.

The party then went to New Brighton, where an exhibition of surf-riding and swimming by Kahanamoku, in company with members of the New Brighton Surf Club, had been arranged. Unfortunately, the rollers were too short for a real exhibition of surf-riding. A long, strong roller, sweeping right into the beach, is required for this, but the rollers at New Brighton this morning were short, breaking too soon. However, Kahanamoku gave as good a display as was possible in the circumstances, and certainly taught members of the Surf Club something of the art of surf-riding. His position as he lay on the board was very graceful. Once he tried to stand upright on the board as he came shooting in, but the roller broke,as he did so and he capsized. One or two other similar efforts failed for the same reason. He showed a few of the other fancy touches of surf riding, manipulating the board in various ways as he rode it.

Sun, Volume II, Issue 327, 24 February 1915, Page 5

Toku ara o te reo Māori / My te reo journey / Moja te reo pot

It was enchanting, impressive and compelling from the very first moment. As all the best things in life, it happened so unexpectedly and it was something completely different! Although my life has been kindly providing me with opportunities of diving into various languages ever since I can remember, learning te reo Māori has been without a doubt one of the most amazing journeys I have ever taken.

Te Kupu o te Reo Maori

It started in rather unspectacular circumstances though. I was sitting in a pub in Hanmer Springs one day last winter, leisurely browsing through the Saturday issue of The Press. An article about te reo classes caught my eye. I was after some Māori language classes since I landed in Aotearoa, but I hadn’t found anything that would be:

  • holistic (embracing the language as well as the culture and tikanga)
  • fun
  • affordable.

The classes were taught by an English teacher at Burnside High school, the excellent Regan Stokes, with the support of his two friends Joshua T. Toki and Damien Taylor. As the article stated, classes were based on koha donations and were offering a relaxed and informal encounter with te reo – so they were perfect for people with other commitments or for those who just wanted to check out what te reo is all about.

I started attending classes weekly and learning has never been so much fun. I have loved schooling since I was a child. Learning and sharing knowledge has always been exciting to me, but I had never imagined it could be so entertaining, encompassing various skills and styles – not just visual and auditory but kinaesthetic and imaginative as well.

What surprised me first was that so many words and vowels resonated with the sounds and words of my own Slovenian language. I felt strangely at home, producing these first utterances. Pronunciation in my own language is much closer to te reo pronunciation than English, so I found it quite easy to grasp its logic (I am still far from mastering pronunciation itself – that takes time!) Every language sounds different to every pair of ears. To me, te reo sounds playful and uplifting.

I can imagine anyone who was brought up to speak in languages with highly developed vocabulary, as well as complicated and often very confusing grammar, would agree that te reo’s nature is truly economical. Readers may know, that Māori language will often use what already exists in order to make up a word. Deciphering the words in te reo can as a consequence be a special pleasure, it’s like a taonga hunt and is highly rewarding for beginners as it quickly makes sense.

The economical aspect of te reo encourages constant repetitions, which give the language a joyful yet poetical note. Repetition, whether it is whole words or the rhythm, is one of the core elements of poetry and nursery rhymes. Its importance was and still is strongly manifested in the religious chants and rituals of most tribes. It does not work only as an aesthetic device, it affects readers and listeners subconsciously, on an intuitive level.

Maori

It almost seems contradictory, but the economy of te reo is where the most enchanting part of it, its depth, emanates from. To me it seems as the whole language exists on a totally different level. It is basically impossible to understand and grasp this language without understanding and elucidating tikanga and essence (not just meaning) behind certain words. Direct translation of one word to another just doesn’t do justice to the meaning. It is not only the stories, that most kupu carry with them, it is the entire cosmology of Māori culture, the view and understanding of the world that radiates out of them. I am mesmerised again and again by these luminous kōrero that are hiding behind so many words. It seems to me every word is a treasure on its own and the layers of one single word are sometimes countless. Everything becomes even more complex when sentences are knitted together – the language itself then almost feels three dimensional. It is expanding in so many directions and on many levels. Digging after meanings and untangling the karakia sometimes feels as if you would be diving through the endless layers of Tangaroa or Ranginui.

These two features – economy and depth – are distinctive features of poetry as well. And te reo is an outstandingly poetical language. It is not just the structure of words and repetition of sounds that make it melodic and rhythmical, it is the structure of sentences, the grammar itself which brings te reo’s utterance, articulation closer to te ātaahua of poetry forms (ātaahua can be translated as “beauty” or “beautiful”, but it actually means “carefully shaped”). For me the essence of a perfect art form, let it be literary or visual or musical or any other, lies in the harmony, in perfection of its form. A work of art is perfect as it is, there is nothing one would add to it or remove from it, as that would only ruin it. So too is te reo. Its economy shapes it so sophisticatedly and that also nurtures its inspiring ambiguity and beauty. This language is potently charged with metaphor and one can trace its figurativeness even in everyday, informal talk.

Maori books

Shirley Library. Flickr 2013-04-10-IMG_5757

The view of the world that opens through te reo is entirely different to the one that my own language or English has furnished me with. All the languages that I have learned are of Indo-European origin and they all hold on to a very strong anthropocentric position. They derive from a point of view of a subject, of a human as the centre of the universe. How we, as human beings, see and comprehend the world around us and how we relate to this world is strongly rooted in the language. It is the language we are born in that has a great impact on our comprehension of the world and our relation to it, because we relate to everything inside of us and outside of us through this language.

Te Reo Māori is far from being anthropocentric – rather the opposite. Subject and verb are structurally very important elements of grammar in most Indo-European languages. All language classes I’ve attended started with learning how to say TO BE and later on TO HAVE. That doesn’t happen in te reo. Te reo doesn’t even know the verbs “to be” or “to have” (and how cool is that!?) In te reo, one wouldn’t say “I like the book”, but “The book is good to me.” THE BOOK IS GOOD TO ME.

I am struck again and again how differently this language expresses the relations between concepts and notions – so unlike those that are deeply rooted in me. Concepts that other languages regard as immanent and omnipresent, like concepts of substance, existence, possession and ownership, are quite foreign to te reo. Less subjective concepts (at least to my understanding) seem to prevail in it: relationship, belonging, coalescence and mutual responsibility. Human being is placed in a more humble, yet more connected position in te reo view of the world. To me, this view makes so much more sense.

Te Reo Māori self checkout

Te Reo Māori self checkout. July 2014. Flickr 2014-07-10-IMG_0669

Learning te reo makes me often reflect on Slovenian, as well as English. Lately it has made me think a lot about the history and survival of my language. My country gained independence in 1991 and that’s when it appeared on the map of the world (it looks like a small chicken in the right bottom corner of Europe). For a long time throughout history, my culture and my tangata existed only through the language. Most of the time we were part of other bigger and more powerful countries, empires or other forms of constitutional unions (like Yugoslavia, Austro-Hungarian Empire, Illyrian Provinces etc). In comparison to other European nations we were not numerous, we had no power and we were not landowners. We can boast only a few aristocratic families in our whakapapa. In our history, we have been Christianized, survived all sorts of systems of government (including principalities, provinces, empires, kingdoms, federations), been occupied and/or governed by numerous foreign forces (including French, German, Italian and Austro-Hungarian just in the last 200 years), battled through the first and second world war (and worst of all our own civil war) and the Balkan conflict in 1990s. All this time, we kept our language (despite all other languages which were official, taught in schools and used in legal matters). It was the language where the consciousness of culture, its uniqueness and identity came from.

Whanau display at Shirley Library

Whanau display at Shirley Library. Flickr CCL-2014-03-16-Shirley-Whanau-Display-DSC_04369

The first book in the Slovenian language was written and printed in the 16th century, a few decades before Shakespeare’s first works were published. So we had a lot to catch up with, which we did. Mostly in the Romantic era and later on in the 20th century – with prolific poets and authors writing in the Slovenian language and for Slovenian readers. Newspapers had been published since the beginning of the 19th century and we established our first publishing house dedicated to children’s literature after World War Two. The strongest and most passionate advocates of independence at the end of 1980s came from a group of authors, poets and intellectuals, centred around the literary magazine Nova revija. Today, we are the second country in Europe by number of books published per year per capita (right after the United Kingdom). We have survived because of our language and literature.

All our stories and histories are unique and complex – there is no point in comparing them as they stem from entirely diverse circumstances. I like to see my history as a story of language, its power and importance. Now, it seems more inspiring and meaningful to me than ever before.
I feel deeply grateful, that I can walk this rewarding journey of te reo, because it has given me so much more than just basic phrases in another foreign language! In utu I would like to share the story of my language (Utu has a wide variety of meanings in te reo. Here, it is used in a sense of reciprocity of kind deeds, of a gift exchange, that creates and establishes permanent and personal relationships). Let it linger as a little reminder of the importance of te reo and the need to nurture it.

Te Reo Māori classes in Ōtautahi

Te Reo Māori resources

Here are some resources which I find very useful in learning te reo Māori:

Cover of He Whakamārama Cover of Te Aka Cover of Reed Book Cover of Ka Whawhai Tonu matou

Masha Oliver
Library Assistant, Te Kete Wānanga o Papa Kōhatu

An electronic marriage – Origins and Find My Past

Christchurch has a large array of electronic, print and people resources for those wishing to discover their family history whether it be a lost branch of a family tree, a birthplace or a story. The family history electronic resources are very popular for those just starting out on their search or for those looking for that one random link that can make everything fall into place.

Due to this any changes to those resources can see a flurry of questions so please be aware that Origins has disappeared! Origins specialised in unusual and often hard to find British and Irish records. Its many early records include rare marriage indexes, apprentices and poor law records. All this information is not lost, it has just been “consumed” by Find My Past. The merger will see all of the Origins information including the National Wills Index combined with the Find My Past material into a mega family history resource under the Find My Past banner.

So one search and more results – just another way your life is getting easier (online anyway).

Older man at PC

Have a play and find the black sheep in your family today.

Te Matatini National Kapa Haka Festival

Every two years, Te Matatini organises the Te Matatini National Kapa Haka Festival, where top kapa haka teams from New Zealand and Australia compete for the honour of being crowned the best of the best. From 4 to 8 March 2015, Te Matatini will be hosted by the Waitaha rohe at Hagley Park (North), Christchurch.

Te-Matatini-Large-670x362

Te Matatini started in 1972 and is now the world’s largest celebration of Māori traditional performing arts, attracting over 30,000 performers, supporters and visitors.

Find out more about kapa haka.

More information

Over four days, audiences experience the best Māori performing arts in the world – from the harmonies of dynamic group singing to the graceful movements of women performing the poi and the ferocity of the male haka.

Te Matatini is a whānau friendly, smoke, alcohol and drug free event. It is an opportunity for all people, regardless of culture, background or age to come together, to share and celebrate.

While the main focus is kapa haka, Te Matatini also celebrates Māori culture and cuisine. Visitors can enjoy a range of retail and food stalls, art and craft exhibitions and other entertainment activities.

Festival competition

Day 1 – Pōwhiri by the Tangata Whenua.

All kapa haka performers, supporters, dignitaries and visitors are welcomed by the local hosts.

Days 2, 3 and 4 – Pool Rounds (Te Ihu, Te Haumi, Te Kei)

Kapa Haka teams are required to perform six disciplines within their performance piece – whakaeke (a choreographed entry), mōteatea (traditional chant), poi (light ball swung on the end of a rope), waiata-ā-ringa (action song), haka and whakawātea (exit). They must perfect every discipline in a polished 25 minute performance.

Each performance is judged against set criteria, by expert judges, appointed from around New Zealand.

Taonga (trophies) are awarded to the team with the highest score in the seven compulsory (aggregate) categories (the six discplines mentioned and the seventh category, Te Reo Māori – the use and clarity of the Maori language). Further taonga are awarded across non compulsory (non-aggregate) categories such as Kaitātaki Wahine (Best Female Leader), Kaitātaki Tāne (Best Male Leader) and Kākahu (Costume).

The top three teams with the highest combined marks in their competition pool will compete in the Competition Finals.

Day 5 – The Finals (Te Whakarae)

The finalists are judged anew to determine third, second and the new Toa Whakaihuwaka – overall winner of the competition.

The Venue – Pūtaringamotu

Te Matatini takes place in Hagley Park. It lies within the wakawaka of Pūtaraingamotu, the site of one of the many kāika (settlements) established in the maze of swamps, waterways and lagoons lying between Waihora (Lake Ellesmere) and the Waimakariri River.

Pūtaringamotu means either the place of an echo or the severed ear. The latter is a metaphoric expression referring to ‘bush isolated from the rest’. This is in reference to the great fire that swept across Ngā Pākihi Whakatekateka o Waitaha (the Canterbury Plains) during the moa hunter period, leaving behind this bush remnant.

Local Māori also believed that at a certain place in the forest, those trained and skilled in the practice could hear the sound of people approaching on the trails through the surrounding swamp by putting an ear to the ground, hence the name ‘place of an echo.’

Te Matatini web series by Te Rūnanga o Ngāi Tahu

Te Matatini videos and livestream

Māori Television has videos of the haka groups performing at Te Matatini National Kapa Haka Festival being held at Pūtaringamotu, Christchurch.

Lyttelton Harbour, Governors Bay, 1961 : Picturing Canterbury

Maria Rohs with father Frederick Rohs. Lyttelton Harbour, Governors Bay, 1961. Entry in the 2014 Christchurch City Libraries Photo Hunt. Kete Christchurch. CC BY-NC-SA 3.0 NZ Kete Christchurch PH14-184.jpg

Cool new stuff from the Selectors

Cover of Girls standing on lawnsGirls Standing on Lawns

Our selector noticed that this interesting and rather odd little book kept getting good reviews so she decided it was worth purchasing. Once she read it cover to cover (which only took less than 5 minutes) she agreed that this was quite a delightful wee book after all.

It is exactly what the title says, photos and paintings of girls standing on lawns with the author pondering and reflecting on the moment caught…

Marae: Te Tatau Pounamu: A Journey around New Zealands Meeting Houses

Bishop Muru Walters is a very well known Anglican minister. He is also a master carver, poet, broadcaster and former Māori All Black. His son Robin is a photographer and filmmaker who is director at Curious Films. Sam Walters, Robin’s wife, is a photographer.

Cover of MaraeTogether the Walters spent three years visiting some of this country’s major meeting houses as well as many of the more humble ones – houses that serve smaller hapū and iwi – to bring together a beautiful photographic book on the meeting house. They are intensively photographed, with detailed shots of their carvings, kōwhaiwhai panels, tukutuku panels and much more. Many are photographed during an event, the images conveying a rich sense of life and activity.

From north to south, from the east coast to the west, and from ancient wharenui to bold new designs, this handsome book, with its engaging personal text, captures the huge variety of New Zealand’s original architecture. It’s a book for all New Zealanders to treasure.

When Books Went to War

Learning that the US government, along with librarians and publishers, decided to dispatch millions of books to American GIs, sailors, and fliers in the Second World War is sure to warm any book reader’s heart.  For many soldiers this was the first time they had come in contact with literature; some were so moved they wrote to the authors!  These books helped ease boredom, alleviated stress and gave a sense of purpose. By the number of starred reviews it has received, this book of books should be a good read.

Cover of The Wellness SyndromeThe Wellness Syndrome

Feeling like you don’t exercise enough, or eat the right foods? You are not alone! The Wellness Syndrome follows people who go to extremes to find the perfect diet, corporate athletes who start the day with a dance party, and the self-trackers who monitor everything, including their own toilet habits.

This is a world where feeling good has become indistinguishable from being good. Visions of social change have been reduced to dreams of individual transformation, political debate has been replaced by insipid moralising, and scientific evidence has been traded for new-age delusions. A lively and humorous diagnosis of the cult of wellness, this book is an indispensable guide for everyone suspicious of our relentless quest to be happier and healthier.

Te Matatini National Kapa Haka Festival

4 – 8 March 2015, hosted by the Waitaha rohe at Hagley Park (North), Christchurch. Kia Rōnaki The Maori Performing Arts

Every two years, Te Matatini organises the Te Matatini National Kapa Haka Festival, where top kapa haka teams from New Zealand and Australia compete for the honour of being crowned the best of the best.

The Festival started in 1972 and is now the world’s largest celebration of Māori traditional performing arts, attracting over 30,000 performers, supporters and visitors.

Over four days audiences experience the best Māori performing arts in the world, from the harmonies of dynamic group singing to the graceful movements of women performing the poi and the ferocity of the male haka.

The Festival is a whānau friendly, smoke, alcohol and drug free event.  It is an opportunity for all people, regardless of culture, background or age to come together, to share and celebrate.

While the main focus is Kapa Haka , the Festival also celebrates Māori culture and cuisine.  Visitors can enjoy a range of retail and food stalls, art and craft exhibitions and other entertainment activities.

Day 1 – Pōwhiri b The Girls in the Kapahaka y the Tangata Whenua.

All Kapa Haka performers, supporters, dignitaries and visitors are welcomed by the local hosts.

Days 2, 3 and 4 – Pool Rounds (Te Ihu, Te Haumi, Te Kei).

Kapa Haka teams are required to perform six disciplines within their performance piece – whakaeke (a choreographed entry), mōteatea (traditional chant), poi (light ball swung on the end of a rope), waiata-ā-ringa (action song), haka and whakawātea (exit).  They must perfect every discipline in a polished 25-minute performance.

Each performance is judged against set criteria, by expert judges, appointed from around New Zealand.

Taonga (trophies) are awarded to the team with the highest score in the seven compulsory (aggregate) categ Waiata mai 35 Maori songs Leathem, Kare Rapata ories (the six disciplines mentioned and the seventh category, Te Reo Maori – the use and clarity of the Maori language). Further taonga are awarded across non compulsory (non-aggregate) categories such as Kaitātaki Wahine (Best Female Leader), Kaitātaki Tāne (Best Male Leader) and Kākahu (Costume).

The top three teams with the highest combined marks in their competition pool will compete in the Competition Finals.

Day 5 – The Finals (Te Whakarae)

The finalists are judged anew to determine third, second and the new Toa Whakaihuwaka – overall winner of the competition.

More information: