During the First World War the New Zealand Government was fighting an internal battle with 'shirkers'- the men who (for whatever reason) were not enlisting in the forces even though they were eligible to. Shirkers were portrayed in newspapers and posters as weak men who looked unkempt and shifty, as opposed to the strong, masculine soldier. Some papers fretted that the shirkers would father children while the soldiers were away, weakening the New Zealand national character.

Of course, given the punishments and social stigma, it took as much courage to be a conscientious objector as it did to sign up for the army. In Bulls, a local blacksmith refused to serve young men who were not in the army without a good reason and many such men were accosted in the street and on public transport.

They were also accosted in the cinema via government promotional slides like this one. The expensive 'dress circle' seats were taxed to help pay for the war- but the cheaper 'stalls' below were exempt as they provided an important boost to morale. By 1917  it was stated in Parliament that “not less than 550,000 people go to picture entertainments every week." What better place to show a recruiting slide?

This slide urges uncommitted men to join the forces by emphasising the loss of pride of having others fight for them, and highlights the personal contribution they needed to make to the war effort. 

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection.

General Foch was an innovative commander and one who was big enough to admit mistakes and learn from them. On the 26th of March 1918 this French General was appointed the head of all Allied forces- a big change from the previous squabbling between the British and French commands. Foch's authority did not extend to overruling national commands, but he could at least coordinate strategy and direction of battle and by being the 'head' of all armies he could shelter his subordinate commanders from political interference. 

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection. 

General Pershing was the commander of the American Forces, who entered the war on the Allied side in 1917. Pershing adamantly refused to integrate his troops into the other Allied armies, preferring to fight for the most part as a separate force. His men were ill-trained for the realities of trench warfare and suffered terrible casualties but by sheer numbers made an impact on the front line.

Judging by the consistent hand colouring this slide was part of a set made in 1918. MAVtech has others from this series on Kete.

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection. 

General Joffre was a senior commander of the French Army who won early victories during the war. However, a string of losses eroded his position and by the time this slide was made he was likely no longer in direct command and instead had an advisory role. 

Judging by the consistent hand colouring this slide was part of a set made in 1918. MAVtech has others from this series on Kete. These slides were certainly shown in cinemas, but may also have been shown via magic lanterns to smaller audiences as well.

This slide is another from MAVtech's collection which focuses on the New Zealand Government's recruitment efforts during World War One. A sticking point for many men was leaving their wives and sweethearts if they enlisted, and this slide tries to counter this. It suggests that even if women were saying for men to go, they were thinking it and hit this point home by insinuating that the 'real men' were in uniform. 

The slide even portrays the New Zealand nation as a young women, urging men to leap to her defence. At the same time as this slide screened there were posters pitched towards women. These said that if a man would abandon his country in a time of need he would abandon his wife as well. 

Despite these slides many men were understandably cautious about signing up and risking being shot, and the government introduced conscription in 1916.

This was the slide that everyone wanted to see. It was made to celebrate the successful end of the First World War and was shown in cinemas of jubilant crowds.

But it didn't go to plan.

The returning troops brought with them strains of influenza which struck communities with a vengeance. Medical staff were ill equipped to deal with this new invisible enemy and the government was forced to close cinemas, along with many other public places.. A month later the cinemas opened again, but with an influenza which claimed 8,573 lives the slide would have been shown to a more muted audience 

Amid the scores of patriotic songs of the First World War was a pacifist tune just as well known in its day: "I Didn't Raise My Boy to Be a Soldier". Written in America before their entry into the war as a way to keeping the country in peace, the song implores mothers to seek peace, least their sons become casualties. The lyrics went like this....

 Ten million soldiers to the war have gone,

Who may never return again.

Ten million mothers' hearts must break

For the ones who died in vain,

Head bowed down in sorrow

In her lonely years,

I heard a mother murmur thru' her tears:

Chorus

I didn't raise my boy to be a soldier,

I brought him up to be my pride and joy.

Who dares to place a musket on his shoulder,

To shoot some other mother's darling boy?

Let nations arbitrate their future troubles,

It's time to lay the sword and gun away.

There'd be no war today,

If mothers all would say,

"I didn't raise my boy to be a soldier."

Verse 2

What victory can cheer a mother's heart,

When she looks at her blighted home?

What victory can bring her back

All she cared to call her own?

Let each mother answer

In the years to be,

Remember that my boy belongs to me! 

The song became a hit amongst pacifists around the world and was known in New Zealand. It was mostly derided in the press- when it was sung at an Australian socialist rally soldiers who were in the audience disrupted the song, to the approval of most New Zealand papers but to the condemnation of the socialist 'Maoriland Worker' publication. 

Nonetheless, the song was effective enough for recruiting authorities to try and counter it. Patriotic films referenced the song before the hero decided to stand up for his country and join anyway. The slide shown here was displayed as part of a screening at the cinema and urges young men to join whilst quietly disparaging the song.

There are some common visual themes used here which are also seen in contemporary posters and political cartoons. Note the straight back and clean face of the military recruit and compare these to the hunched back of the 'shirker' whose hands rest idly in his pockets and whose face has a vacant expression. 

Of all the recruiting slides in MAVtech's collection, this one has the most fascinating background!

MAVtech's collection holds many cinema slides relating to war- with war bonds being a particularly popular genre. However, what makes this slide unusual is that it is from the First World War, not the second.

In 1914 many small towns were only just getting permanent cinemas established so advertising would have been quite new. This may explain the unusual shape of this slide. It is a copy of a popular recruiting poster so its message would have been amplified.

It is not known exactly when in the war this slide was displayed- but we do know that voluntary enlistments were not enough to keep the ranks filled- on the 1st of August 1916 New Zealand introduced military conscription. 

This particular slide came from a Paraparaumu cinema (but the same design was probably shown nationally). It shows a lot of wear- not unexpected given that it is over one hundred years old! The full text read "Rally Round The Flag- We Must Have More Men"

Who are the people in this magic lantern slide? Where is this house? Why is there so much mud? And, most importantly, had anyone heard of firearms safety? The child in the picture must be hoping that the gun isn't loaded.

If anyone can answer these questions (or can decipher the writing on this slide) please let the MAVtech Museum know! In the absence of any answers we can see why this slide is important: many family photographs and postcards show groups outside of houses. With land needing to be broken in, families outside their properties were seen as a kind of colonial pride.

What they are holding also speaks volumes about how people saw themselves (or at least, how they wanted to be seen). The man is holding a gun and is seen as a powerful provider. The boy holds a hammer- has he been helping with the work? The lady holds a book (a Bible perhaps? This was common for womens' photographs in Western countries back then). And the young lady looks ready to go to school or church in her neat hat and tidy clothing. These themes were often used in professional photographs and subconsciously spilled over into many early snapshots. 

Mind you- this could also be a professional photograph.

Also, this is a lantern slide, designed to be projected onto a wall. Unlike a personal photo album, these  slides were usually viewed as a large group. Extended family? A soldier overseas in the First World War? (the Dunedin Photographic Society took photographs of families that soldier relatives could then view near the front. These were all magic lantern slides.)

Photographs are often seen as perfect windows into the past but this one holds more questions than answers! 

Every photograph is a window into the past- and sometimes what you see surprises you. Children singing a waiata about being kind to animals seems like a modern day school lesson, but the writing on this slide is from 1924! In the 1920s only a few private schools taught the grammer of Te Reo. Tragically, all the other schools saw speaking Te Reo as a caning offence. Was this slide of one of the private schools- or a smaller group or club? We just don't know.

Or maybe these children were located at Waiata Shores, near Auckland (although even then, few schools used Te Reo names for locations back in the 1920s).

Art historian Walter Benjamin coined a term called 'optical unconsciousness' and part of that is seeing a photograph in hindsight. The people in it do not know the future, but we do. Whatever this photograph depicted it seems like it belongs in our present than in it's past.

But the past is full of surprises!

During the First World War when New Zealanders on the 'home front' were far away from the front line and struggled to get accurate photographs published in the press, seeing photos of commanders like Haig would have been important.

Sir Douglas Haig is pictured here after his promotion to General in late 1914 but before his rise to Field Marshal in 1917. A senior commander for much of the war, he has a complicated legacy. Once nicknamed 'the master of the field' and 'the man who won the war' he is now known as 'the butcher of the Somme'- forever linked with the bloody attrition of trench warfare and backward thinking military tactics. However, historians are still divided over which of these legacies is the most deserved.

This 'magic lantern slide' was designed to be inserted into a protector (most likely powered by a lightbulb or, for bigger audiences, a carbon arc lamp) and enlarged onto a screen. Haig's photograph would have been shown in cinemas, schools and churches as well as in community meeting urging patriotism for the war. 

The corner of the slide indicates that it was made in London and it's copies would have served a similar purpose there. 

A slide designed to be projected with a 'magic lantern'. The HMS Hood was the biggest warship in the world for much of her service and was the pride of the Royal Navy. Seen as a reminder of the power of Empire, the 'Mighty Hood' visited New Zealand in 1924 and 1936. This photograph was taken during one of these visits.

Slides of the visit would have been viewed around Aotearoa at the time. HMS Hood's 1936 visit was especially important when the warship's presence provided a sense of security as war brewed in Europe. However, the Hood was sunk when fighting the German 'Bismark' in 1941. 

Inscription on back: Mrs MacDonald with Flora’s love December 1902

Formal head to waist studio photograph of Flora McDonald. Wearing dark blouse with large ribbon bow over high necked undergarment. Hair down.

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Typed on damaged piece of paper sellotaped to back: “Perhaps 1918 Peace Procession. Miss M. McKegg was the successful Carnival Queen (Later Mrs Easton). Mr Vickers dressed as John Bull.”

Children lead the Armistice Day Peace Parade, along Oxford Street and west down Queen Street in 1918. The photograph is takenacross the Oxford Street and Queen Street intersection looking west towards the Levin Hotel. There are flags across the intersection and hanging from buildings.

1 B&W photo print, mounted (composite)

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Update from plaque in Main Street, Foxton.

The view from Clyde Street dates from the early 1900s, prior to 1905. It was in that year that the old Bank of New Zealand building (next to the first telegraph pole on the left) was burnt down. Whytes Hotel is on the left and on the other side of White Street is the Red Store of M H Walker. A flag flies on the Post Office Hotel. On the right a group stands outside the building which was built as the Bank of Australasia and in the photograph is probably a doctor's surgery. It was also used by the Salvation Army Red Shield Club before it was burnt down.

Main Street, Foxton, looking south from Clyde Street intersection, c.1900. A group of people are gathered on the footpath while a girl dressed in white stands on the road . A gas streetlight stands on the corner.

Also large mounted copy

Any use of this image must be accompanied by the credit “Foxton Historical Society”

Dora Adkin and Ron Law sitting on motorbike on beach with boys on horses in background.

Photographed Wednesday December 26 1917 at Hokio Beach.

From Te Papa Collection:

http://collections.tepapa.govt.nz/ObjectDetails.aspx?oid=123403

Typed below picture - Huia Flag paraded at civic Welcome Home to men from the Boer War – 1903.

Taken from the building next to the Post Office on Oxford Street looking towards the Levin Hotel on the Queen Street and Oxford Street intersection. The Ngati Huia flag Huia is across the intersection and a crowd stands in a block to take part in the service.

See also – Acc #2000.018.0210 identical photo (scene described as: Service of Commemoration for Edward VII, 1910)

See also 2000.516.0001, 2000.510.0001, 2000.510.0002 and 2000.510.0003

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Written on backing board: “(with oak frame, see #s2001.019.0002) – Return to N. Clayton, Centennial Committee.”

Plimmer Terrace, Shannon. The street has been decorated with flags and bunting for opening of the Mangahao Power Station (Monday 3rd November 1924) by Prime Minister W.F. “Bill” Massey. The road is unpaved and there are several cars parked on both sides.

1 B&W photo print, mounted

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Written on paper attached below photo – Borough Councillors & Staff 1927

Written on back – Borough Council, 1927 Mortensen – W.G. Clark – F. Parker – ...?... – F. Roe – (H. Channings, overseer) – Hobson (mayor) – Ramsay (town clerk) – ...?... – C. Keedwell Road-building Machine

Borough Councillors with road-building machine (steam roller), 1927

Left to Right: M. Mortensen, W.G. Clark, F.E. Parker, ...?... , F. Roe, H. Channings (overseer), T. Hobson (mayor), Ramsay (town clerk), ...?... , C.S. Keedwell.

Plus an unidentified man standing on the machine in the shadow.

See also – Acc# 2000.018.0242 (copy made from this orginal and mounted). See also – Acc# 2001.013.0001 (same machine and people seen from a different view).

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Photo appears to have been glued in an album and removed.

Penciled on back: “Harry Whibley”

Five boys with cricket gear standing in front of house in Vogel Street, c.1920. Those in the photograph are from left to right:- Unknown, Brian Clayton, Harry Wibbley, Hughie Curran, Unknown.

1 B&W photo print

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Written on back with blue ballpoint pen: “Back row Harry Whibley, Gwen Stuart-Forbes Lf to rt, 1920’s Jacky Charles, Clarry Satherly, Pearl Satherly, Sandy Logan, Athur Satherly & Brian Clayton”

NOTE – spelling: Satherly (on back of photo) but Satherley (on info sheet)

Eight children in fancy dress representing Ireland at Empire Day celebrations, c.1920. Harry's mother was a dressmaker (who owned a camera" and his father worked at flax mill. Harry was wearing a green waistcoat and Gwen wore a green dress and had shamrocks in her hair. Costumes made by Mrs Wibbley.

Photo taken behind present Fire Station Grey Street, Shannon.

The children pose with Harry Whibley’s six pet rabbits. Those in the photograph are from left to right:-

Back Row : Harry Wibbley and Gwen Stuart-Forbes. Front Row: Jackie Charles, Clarry Satherley, Pearl Satherley, Sandy Logan, Arthur Satherley & Brian Clayton.

1 Colour photo print, copy (of sepia tone original)

NOTE – spelling: Satherly (on back of photo) but Satherley (on info sheet)

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Ten scullers and an official pose during the Manawatu Sculling Handicap 1909.

Photograph is in fair condition – torn at edges

Any use of this image must be accompanied by the credit “Foxton Historical Society”

Photograph taken by Leslie Adkin on 1 January 1913 of Maud Herd standing by the Ohau River. She is holding a fishing rod, net and a fish she has just caught.

From: Collection at Te Papa - online at http://collections.tepapa.govt.nz/object/42105

Penciled on back: “PNPL / D46 Opening of Reikorangi skimming station c.1902 -[but opening given as 1904 from Massey archives] Adjacent to P.O. site. From here, cream sent by horse transport to Waikanae and then by rail to Otaki. Back row 2nd from left, white beard, Alf Monk. Front row 4th from left : R. Stubbings. 3rd from right : Byron Brown.”

Reikorangi Cream Skimming Station Opening, c.1902-04. From here the cream was sent by horse transport to Waikanae and then by rail to Otaki.

1 B&W photo print copy

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

This photograph shows a decorated truck and 13 women, possibly from Shannon, dressed in the clothing from 1840 through to 1940.

Unfortunately we do not have names for the people - so if you think you know them, please let Kete Horowhenua know. Thank you!

Photo provided by Kathleen Roach.

Names identified so far:

Back Row: _____, [1900] poss. Mrs C. Young_, _____, _____

Middle Row: [1901]_____,[1940]_June Roberts_?_, [date obscured], poss. Mrs Murray_, [18??]_____

Front Row: [1913]_Sybil Roach____, [1840]_____, [1880]_Mrs Enoch Chester_, [1895_____

Printed on front of mounting board, top right, with black ink: “P 53”

Written below pictures 1 and 2, as caption: “The whares left by Mr P. Bartholomew after the removal of his sawmill. 11.1.14.”

Written below picture 3, as caption: “The old sawmill site from the terrace near the main gate leading into Leighton paddock. 11.1.14.”

Written on back with black ballpoint pen - The Bartholomew sawmill occupied this site by the Makahika river from 1906. Late in 1913 the machinery was removed to a new site near the Makaretu junction with Ohau. G.L. Adkin renovated the whare next the low knoll (The ‘Kopje’) so that he could camp there while developing North Block. After he had married Maud Herd ( in December 1915) they spent nearly three months living here while ‘Woodside’ homestead was built on Section 42, Queen Street East. They called it ‘Sonoma’, after ‘The Valley of the Moon’ in Jack London’s novel of that name. (Adkin Coll, A.T.L)

Stamped on back with black ink – Horowhenua Historical Society. Acc. No. Date

Three photographs of the old sawmill site, Makahika River, Horowhenua, 1 November 1914. Picture (1) top – Whare (door open) and saddled horse. Picture (2) centre – Same whare (left) and 2nd whare (right). Picture (3) bottom – Remains of sawmill site & the whares.

1 B&W photo print copy, mounted (composite)

Any use of this image must be accompanied by the credit “Horowhenua Historical Society Inc.”

Accomodation for workers at Whitinui flax mill in 1911/

Any use of this image must be accompanied by the credit “Foxton Historical Society”

Inscription printed on front of photograph reads: “Poplar Mill.”

Inscriptions on reverse read: “Tramming for Poplar Mill.” “Geo Rankin on Tram.” “Fred Allerby on tram.” “About 1919.” “Donated by Mr Fred Allerby of Rongotea 1969. (Copy negative held by I R Matheson.”

Carting flax at Poplar mill c1919. Two horses are pulling wagons loaded with cut flax along a tramway. The two men in the photograph are Fred Allerby and Geo Rankin.

Any use of this image must be accompanied by the credit “Foxton Historical Society”

Ernie with his Grandfather W F Cresswell & Aunt Dorothy Cresswell. The cottage, as was all of Waitarere until late 1939, had no Electricity or Telephone.

Horse drawn tram and load of flax beside Manawatu River at Moutoa. set of scales in paddock one of set of 6 photographs

Any use of this image must be accompanied by the credit “Foxton Historical Society”